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By Ted Gioia

The blues grew out of the plantations and prisons, the swampy marshes and fertile cotton fields of the Mississippi Delta. With unique examine and prepared insights, Ted Gioia—the writer of a landmark learn of West Coast jazz and the seriously acclaimed The heritage of Jazz—brings to lifestyles the stirring song of the Delta, evoking the mythical figures who formed its sound and ethos: Robert Johnson, Charley Patton, Muddy Waters, John Lee Hooker, Howlin' Wolf, B. B. King, and others. Tracing the background of the Delta blues from the sphere hollers and plantation song of the 19th century to the exploits of modern day musicians within the Delta culture, Delta Blues tells the whole tale of this undying and unforgettable tune. No cultural strength boasts such humble origins or such world-conquering reverberations. during this evocative rags-to-riches story, Gioia indicates how the sounds of the Delta altered the process well known song in the USA and on this planet past.

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We would call} it a weakness if in the same distance one person should appear larger than another, or if dogs should be equal to horses, or better, as I frequently see, if a man is placed in a building as in a closed casket where there is scarcely room to sit down. For these reasons, all bodies should harmonise in size and in function to what is happening in the istoria [my emphasis}. (L. Alberti 1966: 72) To realise this isomorphic relationship between 'what is happening in the istoria' and the internal relations among the visual elements in a painting, the artist had to have recourse to the invention of certain formal techniques.

Serious art is never secure in Adorno's modernity ; it is an organ of truth but it is beset with corrupting forces on all sides. Modern art is subject to the division of labour wh ich assigns to the arti st the role of being an 26 MUSICA MORALIA autonomous own-account worker - an entrepreneur of 'sensibility' - and in that role banishes him to the periphery of the institutional order of modern society. Thus, the division of labour sets the modern artist free and thereby places him or her in a critical relationship to society, and yet, in the same moment, renders art inconsequential, as no longer of any importance in the praxis of everyday life.

Burkhardt 1981). It is inherent in the construction of bourgeois societies that individual freedom and social co-operation and constraint must somehow be harmonised, that the social order constructed through co-operation among bourgeois producers must be the means of realising and fulfilling the individual projects of those producers. The reconciling of individual and society, personal freedom and collective constraint, subject and object, part and whole, is not merely ideological; it is an urgent practical problem in the construction of bourgeois life.

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