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muse is music

A broadly diversified, ambitious and multidisciplinary research examines the impact of Japanese and international influences on Afroamerican poetics from the Harlem Renaissance to modern spoken-word poetic. Meta DuEwa Jones examines establishing personalities such as Langston Hughes, Ntozake Shange and Nathaniel Mackey and a whole range of up-and-coming modern authors and interpreters and sheds light on the interfaces between racial, sexual and sex within the jazztradition and their representations in the realm of poetics.

By means of prose analyses, she emphasizes the musically relevant nature of afroamerican poetry and investigates the gender-specific meaning that can be seen in collaboration and in the critique, pictures and sound of jazzkultures. He also looks at writers who have taken part in blackface shows such as the Dark Room Collective and the Cave Canem Foundation, among them Harryette Mullen, Elizabeth Alexander and Carl Phillips.

With a subtly refined debate on the Black Arts Movement, the fused poetic approach to Jazzmaking in the 1950' and slamic and spoken-word environments such as Def is focused on contemporary performers like Tracie Morris, Saul Williams and Jessica Care Moore who are inspired by Jessica's hip-hop and music. By paying special heed to cadenza, rhythms and structures, The Muse Is Music is filling a void in literature by dealing with questions of sex in the fields of music, literature and literature, and analysing poem recording, both with and without music.

Using the method of lyrical close-up literary analysis of a critically closed listening analysis of the resounding world of US poesy, Jones' analysis examines the official innovations and queeric performances of Langston Hughes' collaborations with jazzmen, describes the relation between punctuation and postsoul poetic performances by John Coltrane, and examines the improvisational style of JAz- and hip-hop.

The Muse Is Music is a sophisticated way of articulating the links between music, poesy and words and gender and provides invaluable critique of particular lyrics and persuasive arguments about the form of modern art of music. She is an Adjunct Professorship in British, African as well as African and diasporic education and a member of the Center for Women's and Gender studies and the Center for African und African and American Studies at the University of Texas at Austin.

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