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题目材料：
In his essay "Classical Jazz and the Black Arts Movement," Lorenzo Thomas argues that the Black Arts movement of the 1960s grew out of the Harlem Renaissance of the 1920s, during which African American artists produced work consciously grounded in their cultural heritage. Both movements hoped to advance African Americans' social position through cultural expression. Yet Black Arts movement scholar Larry Neal pronounced the Harlem Renaissance, which produced enduring works in many genres, "essentially a failure." According to Thomas, Neal' s statement reflects a difference in the two movements' political and aesthetic philosophies. Whereas leaders of the Harlem Renaissance championed the cause of African Americans by demonstrating their achievements in "high art" as defined by European tradition, the Black Arts movement' s leaders celebrated an African American aesthetic conceived as openly oppositional to that tradition. This is evident in the status held by jazz within the two movements. Commentators of the Harlem Renaissance cited, as evidence of the sophistication of jazz, the adaptation of jazz elements by European classical composers such as Antonin Dvorák. Some hoped that jazz musicians themselves would develop jazz into forms resembling European orchestral music. By contrast, asserts Thomas, Black Arts movement participants celebrated jazz as a musical form grounded in African Americans' historical experience that could not be evaluated using European aesthetic values.
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