Abstract

This paper explores the continued reliance of the music of the Black Atlantic on oral rather than literate forms, and elaborates the thesis that African music in modern culture exemplifies an alternative to the culture of modern industrial society. A critical reappraisal of the work of Alaine Locke, Paul Gilroy, and John Dewey is used to extend our appreciation of pragmatism from its usual focus on science and technology to a more inclusive focus on art and the social value of music.