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1
Booker, Vaughn. "“An Authentic Record of My Race”: Exploring the Popular Narratives of African American Religion in the Music of Duke Ellington." Religion and American Culture: A Journal of Interpretation 25, no. 1 (2015): 1–36. http://dx.doi.org/10.1525/rac.2015.25.1.1.
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AbstractEdward Kennedy “Duke” Ellington (1899–1974) emerged within the jazz profession as a prominent exponent of Harlem Renaissance racial uplift ideals about incorporating African American culture into artistic production. Formed in the early twentieth century's middle-class black Protestant culture but not a churchgoer in adulthood, Ellington conveyed a nostalgic appreciation of African American Christianity whenever hewrote music to chronicle African American history. This prominent jazz musician's religious nostalgia resulted in compositions that conveyed to a broader American audience a portrait of African American religiosity that was constantly “classical” and static—not quite primitive, but never appreciated as a modern aspect of black culture.This article examines several Ellington compositions from the late 1920s through the 1960s that exemplify his deployment of popular representations of African American religious belief and practice. Through the short filmBlack and Tanin the 1920s, the satirical popular song “Is That Religion?” in the 1930s, the long-form symphonic movementBlack, Brown and Beigein the 1940s, the lyricism of “Come Sunday” in the 1950s, and the dramatic prose of “My People” in the 1960s, Ellington attempted to capture a portrait of black religious practice without recognition of contemporaneous developments in black Protestant Christianity in the twentieth century's middle decades. Although existing Ellington scholarship has covered his “Sacred Concerts” in the 1960s and 1970s, this article engages themes and representations in Ellington's work prefiguring the religious jazz that became popular with white liberal Protestants in America and Europe. This discussion of religious narratives in Ellington's compositions affords an opportunity to reflect upon the (un)intended consequences of progressive, sympathetic cultural production, particularly on the part of prominent African American historical figures in their time. Moreover, this article attempts to locate the jazz profession as a critical site for the examination of racial and religious representation in African American religious history.
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Asai, Susan Miyo. "Nisei Politics of Identity and American Popular Music in the 1930s and 1940s." Ethnic Studies Review 32, no. 2 (January 1, 2009): 92–119. http://dx.doi.org/10.1525/esr.2009.32.2.92.
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Growing nationalist thinking and anti-immigration legislation in American politics today calls for a critical historicizing of the continuing ambiguities of U.S. citizenry and notions of what it is to be an American. The identity crisis of Nisei-second generation Japanese Americansresulted from the complex intersection of America's racialized ideology toward immigrants, California's virulent anti-Asian agitation, and the economic and political power struggles between the United States and Japan in gaining dominance of the Pacific region.
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Hisama, Ellie M. "The Ruth Crawford Seeger Sessions." Daedalus 142, no. 4 (October 2013): 51–63. http://dx.doi.org/10.1162/daed_a_00236.
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Ruth Crawford Seeger (1901–1953), an American experimental composer active in the 1920s and 1930s, devoted the second half of her career to transcribing, arranging, performing, teaching, and writing about American folk music. Many works from Crawford Seeger's collections for children, including “Nineteen American Folk Songs” and “American Folk Songs for Children,” are widely sung and recorded, but her monumental efforts to publish them often remain unacknowledged. This article underscores the link between her work in American traditional music and Bruce Springsteen's best-selling 2006 album “We Shall Overcome: The Seeger Sessions” in order to give Crawford Seeger due credit for her contributions. By examining her prose writings and song settings, this article illuminates aspects of her thinking about American traditional music and elements of her unusual and striking arrangements, which were deeply informed by her modernist ear.
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KURAGANO, LEAH. "Hawaiian Music and Oceanizing American Studies." Journal of American Studies 52, no. 04 (November 2018): 1163–72. http://dx.doi.org/10.1017/s0021875818001147.
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American studies has been dedicated to understanding cultural forms from its beginnings as a field. Music, as one such form, is especially centered in the field as a lens through which to seek the cultural “essence” of US America – as texts from which to glean insight into negotiations of intellectual thought, social relations, subaltern resistance, or identity formation, or as a form of labor that produces an exchangeable commodity. In particular, the featuring of folk, indigenous, and popular music directly responded to anxieties in the intellectual circles of the postwar era around America's purported lack of serious culture in comparison to Europe. According to John Gilkeson, American studies scholars in the 1950s and 1960s “vulgarized” the culture concept introduced by the Boasian school of anthropology, opening the door to serious consideration of popular culture as equal in value to high culture.1
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Paul, David C. "Consensus and Crisis in American Classical Music Historiography from 1890 to 1950." Journal of Musicology 33, no. 2 (2016): 200–231. http://dx.doi.org/10.1525/jm.2016.33.2.200.
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In the late nineteenth century American publishers began to answer a burgeoning demand for histories of classical music. Although some of the authors they contracted are well-known to scholars of music in the United States—most notably Edward MacDowell and John Knowles Paine—the books themselves have been neglected. The reason is that these histories are almost exclusively concerned with the European musical past; the United States is a marginal presence in their narratives. But much can be learned about American musical culture by looking more closely at the historiographical practices employed in these histories and the changes that took place in the books that succeeded them in the first half of the twentieth century. In particular, they shed light on the shifting transatlantic connections that shaped American attitudes toward classical music. Marked at first by an Anglo-American consensus bolstered by the social evolutionary theory of prominent Victorians, American classical music histories came to be variegated, a result of the influence of Central European émigrés who fled Hitler’s Germany and settled in North America. The most dramatic part of this transformation pertains to American attitudes toward the link between music and modernity. A case study, the American reception of Gustav Mahler, reveals why Americans began to see signs of cultural decline in classical music only in the 1930s, despite the precedent set by many pessimistic fin-de-siècle European writers.
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WELLS, CHRISTOPHER J. "“Spinnin' the Webb”: Representational Spaces, Mythic Narratives, and the 1937 Webb/Goodman Battle of Music." Journal of the Society for American Music 14, no. 2 (April 24, 2020): 176–96. http://dx.doi.org/10.1017/s1752196320000061.
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AbstractBenny Goodman and Chick Webb's 1937 battle of music has become a mythic event in jazz historical narratives, enshrined as the unique spectacle that defines Harlem's Savoy Ballroom and its legacy. While this battle has been marked as exceptional and unique, as an event it was a relatively typical instantiation of the “battle of music” format, a presentational genre common in black venues during the 1920s and 1930s. Within African American communities, battles of music re-staged ballrooms as symbolically loaded representational spaces where dueling bands regularly served as oppositional totems that indexed differences of locality (Chicago vs. New York), gender (men vs. women), ethnicity (Anglo- or African American vs. Latin), or race (black vs. white). This article details the ten-year history of battles of music that preceded the Webb/Goodman battle and that made its signifying rhetoric legible within African American communities. It then argues that the disconnect between the battle's relatively typical signifying rhetoric and its subsequent enshrinement as an exceptional event occurred due to a specific confluence of circumstances in the mid-1930s that shaped its immediate reception and subsequent legacy: Goodman's emergence as the “King of Swing” during a new period of massive mainstream popularity for swing music, a coterminous vigilance among both white and black jazz writers to credit black artists as jazz's originators and best practitioners, and the emergence of athletes Jesse Owens and Joe Louis as popular black champions symbolically conquering white supremacy at home and abroad.
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Garrett-Davis, Josh. "American Indian Soundchiefs." Resonance 1, no. 4 (2020): 394–411. http://dx.doi.org/10.1525/res.2020.1.4.394.
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American Indian Soundchiefs, an independent record label founded by the Rev. Linn Pauahty (Kiowa) in the 1940s, developed a remarkable model of Indigenous sound media that combined home recording, dubbing, and small-scale mass production. Alongside other Native American media producers of the same era, Soundchiefs built on earlier engagements with ethnographic and commercial recording to produce Native citizens’ media a generation prior to the Red Power era of the 1960s and 1970s. This soundwork provided Native music to Native listeners first, while also seeking to preserve a “rich store of folk-lore” sometimes in danger of being lost under ongoing colonial pressures. Pauahty’s label found ways to market commercial recordings while operating within what music and legal scholar Trevor Reed (Hopi) calls “Indigenous sonic networks,” fields of obligation and responsibility.
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WRIGGLE, JOHN. "Jazzing the Classics: Race, Modernism, and the Career of Arranger Chappie Willet." Journal of the Society for American Music 6, no. 2 (May 2012): 175–209. http://dx.doi.org/10.1017/s175219631200003x.
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AbstractThe American popular music tradition of “jazzing the classics” has long stood at the intersection of discourses on high and low culture, commercialism, and jazz authenticity. Dance band arrangers during the 1930s and 1940s frequently evoked, parodied, or straddled these cultural debates through their manipulations of European classical repertoire. This article examines Swing Era arranging strategies in the context of prevailing racial essentialisms, conceptions of modernism, and notions of technical virtuosity. The legacy of African American freelance arranger Chappie Willet, and his arrangement of Beethoven's Piano Sonata, op. 13 (“Pathétique”) for the black dance band of Jimmie Lunceford, suggests that an account of the biography and artistic voice of the arranger is critical to understanding the motivations behind these hybrid musical works.
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Martinez, Theresa A. "Popular Culture as Oppositional Culture: Rap as Resistance." Sociological Perspectives 40, no. 2 (June 1997): 265–86. http://dx.doi.org/10.2307/1389525.
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Bonnie Mitchell and Joe Feagin (1995) build on the theory of oppositional culture, arguing that African Americans, American Indians, and Mexican Americans draw on their own cultural resources to resist oppression under internal colonialism. In this paper, rap music is identified as an important African American popular cultural form that also emerges as a form of oppositional culture. A brief analysis of the lyrics of political and gangsta rappers of the late 1980s and early 1990s, provides key themes of distrust, anger, resistance, and critique of a perceived racist and discriminatory society. Rap music is discussed as music with a message of resistance, empowerment, and social critique, and as a herald of the Los Angeles riots of 1992.
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RAO, NANCY YUNHWA. "Racial essences and historical invisibility: Chinese opera in New York, 1930." Cambridge Opera Journal 12, no. 2 (July 2000): 135–62. http://dx.doi.org/10.1017/s095458670000135x.
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Describing the performances of two Chinese opera groups – the visiting famous opera singer Mai Lan-fang and his troupe on Broadway and the local San Sai Gai troupe in Chinatown – and their reception by non-Chinese Americans, this essay tracks various formations and effects of Chinese images in 1930s New York that were deeply imprinted in popular imagination. The regrettable invisibility of Chinese opera in American music history is a result of such a pre-constructed concept of Chineseness.
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ARNOLD-FORSTER, TOM. "Dr. Billy Taylor, “America's Classical Music,” and the Role of the Jazz Ambassador." Journal of American Studies 51, no. 1 (February 26, 2016): 117–39. http://dx.doi.org/10.1017/s0021875815002662.
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The idea of jazz as “America's classical music” has become a powerful way of defining the music, asserting its national and artistic value, and shaping its scholarly study. The present article provides a history of this idea through a close analysis of its primary theorist and most visible spokesperson, Dr. Billy Taylor. It argues that the idea was not a neoclassical and conservative product of the 1980s, but had important roots in the Black Arts imperatives of the later 1960s and early 1970s. It suggests that Taylor initially made the idea work inventively and productively in a variety of contexts, especially through his community arts project Jazzmobile, but that these contexts diverged as his public profile was stretched thin across and beyond the United States. The idea's disintegration into clichéd ubiquity in the mid-1980s then provides a critical perspective on the idea of the “jazz renaissance,” and an opportunity to consider the role of the jazz ambassador in the context of debates about African American intellectuals.
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Wallenius, Todd. "American Counterculture Ideals Expressed through the Music of the 1960s." Prithvi Academic Journal 1, no. 1 (May 31, 2018): 79–87. http://dx.doi.org/10.3126/paj.v1i1.25902.
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The 1960s era was one of the most divisive, turbulent periods in American history. In many ways, the decade was defined by the Counterculture Movement and by those who resisted the demands of a conformist society rooted in Cold War values. This historical study first contextualizes the emergence of the Counterculture Movement of the 1960s within the historical period of mid-century America. Next, the paper provides an analysis of the values of the Counterculture Movement expressed through music. Exploration of counterculture songs reveals that participants advocated the rejection of society through the expression of personal freedom, immediate gratification, anti-materialism, community, and free love. Furthermore, inquiry demonstrates that music was used as a vehicle to explain and promote the movement’s ideals. Ultimately, the study demonstrates the ways in which music of the Counterculture Movement reflected Americans’ broader questions of, and challenges to, the Cold War culture in the late- 1960s.
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Lipták, Dániel. "Hungarian Ethnomusicologist Oszkár Dincsér (1911–1977) as a Pioneer of Musical Anthropology." Studia Musicologica 59, no. 1-2 (June 2018): 79–97. http://dx.doi.org/10.1556/6.2018.59.1-2.7.
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There are marked differences between Hungarian and American ethnomusicology in incentives, aims, interests, and methods. Hungarian research was based in the early twentieth century on study of musical form, while the Americans approached music in terms of social context and functions. However, Hungarians from the mid-1930s onward moved toward an increasing interest in the social aspects of folk music. Oszkár Dincsér, a lesser known researcher of Kodály's school, exemplifies this trend in his 1943 study of chordophone instruments in the Csík (in Romanian: Ciuc) County region of Transylvania Két csíki hangszer. Mozsika és gardon (Two instruments from Csík. Fiddle and gardon). A comparison with Alan P. Merriam's fundamental work The Anthropology of Music (1964) reveals that Dincsér's study includes almost every topic and approach set out by Merriam twenty years later. Although Dincsér's scholarly career ended with his emigration in 1944, he remains an important forerunner of musical anthropology.
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GABRIEL, JOHN. "There and Back Again: Zeitoper and the Transatlantic Search for a Uniquely American Opera in the 1920s." Journal of the Society for American Music 13, no. 2 (May 2019): 195–215. http://dx.doi.org/10.1017/s1752196319000075.
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AbstractThis article argues that in the late 1920s, the German genre of Zeitoper paradoxically became an essential component of the search for a new kind of uniquely American opera, resulting in a transatlantic cycle of mutual influence. This influence was possible because Germans and Americans alike saw the United States as the embodiment of modern life and technology. American producers and composers thus adapted German Zeitoper to bring it more in line with Americans’ self-image. I examine this dynamic by juxtaposing two German and two American Zeitopern, looking specifically at their engagement with jazz, film, race, and American popular musical theater: Paul Hindemith's Hin und zurück, Marc Blitzstein's Triple-Sec (inspired by Hindemith's opera), Ernst Krenek's Jonny spielt auf in the United States, and the unsuccessful effort to stage George Antheil's Transatlantic (modeled on Jonny and revised under the mentorship of Krenek) in New York. Both Germans’ image of America and Americans’ self-image were as much real as imagined, and although the similarities between them facilitated this cultural exchange, their differences also impeded it.
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SHADLE, DOUGLAS. "Nineteenth-Century Music." Journal of the Society for American Music 9, no. 4 (November 2015): 477–84. http://dx.doi.org/10.1017/s1752196315000401.
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Musicological research on nineteenth-century music blossomed during the 1970s. The surge was solidified with the founding of the journal 19th-Century Music in 1977, roughly a year after the establishment of the Sonneck Society and a decade before the appearance of AmeriGrove I. During this decade, the journal published seven articles on nineteenth-century American subjects (all on the United States, not other American regions or countries). By contrast, the official journal of the Sonneck Society, American Music, published nearly twice that number between 1983 and 1986 alone. Although this simple metric has sociological explanations exceeding the scope of this review, it suggests that work on nineteenth-century music in the Americas stood at some remove from general musicological discourse in the Sonneck Society's early days.
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Romero, Sergio Ospina. "Ghosts in the Machine and Other Tales around a “Marvelous Invention”: Player Pianos in Latin America in the Early Twentieth Century." Journal of the American Musicological Society 72, no. 1 (2019): 1–42. http://dx.doi.org/10.1525/jams.2019.72.1.1.
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Gabriel García Márquez's literary portrait of the arrival of the pianola in Macondo in One Hundred Years of Solitude functions as a metaphor for the reception and cultural legitimization of player pianos in Latin America during their heyday in the 1910s and 1920s. As a technological intruder, the player piano inhabited a liminal space between the manual and the mechanical as well as between unmediated musical experiences and the mechanically mediated consumption of sounds. It thus constitutes a paradigmatic case by which to examine the contingent construction of ideas about tradition and modernity. The international trade in player pianos between the United States and Latin America during the first decades of the twentieth century was developed in tandem with the commercial expansion and political interventionism of the United States throughout the Americas during the same period. The efforts of North American businessmen to capture the Latin American market and the establishment of marketing networks between US companies and Latin American dealers reveal a complex interplay of mutual stereotyping, First World War commercial geopolitics, capitalization on European cultural/musical referents, and multiple strategies of appropriation and reconfiguration in relation to the player piano's technological and aesthetic potential. The reception of player pianos in Latin America was characterized by anxieties very similar to those of US consumers, particularly with regard to the acousmatic nature of their sounds and their perceived uncanniness. The cultural legitimization of the instrument in the region depended, however, on its adaptation to local discourses, cultural practices, soundscapes, expectations, language, gender constructions, and especially repertoires.
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Martin, Toby. "Dougie Young and political resistance in early Aboriginal country music." Popular Music 38, no. 03 (October 2019): 538–59. http://dx.doi.org/10.1017/s0261143019000291.
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AbstractCountry music has a reputation for being the music of the American white working-class South and being closely aligned with conservative politics. However, country music has also been played by non-white minorities and has been a vivid way of expressing progressive political views. In the hands of the Indigenous peoples of Australia, country music has often given voice to a form of life-writing that critiques colonial power. The songs of Dougie Young, dating from the late 1950s, provide one of the earliest and most expressive examples of this use of country music. Young's songs were a type of social-realist satire and to be fully understood should be placed within the broader socio-political context of 1950s and 1960s Australia. Young's legacy was also important for Aboriginal musicians in the 1990s and the accompanying reassessment of Australia's colonial past. Country music has provided particular opportunities for minority and Indigenous groups seeking to use popular culture to tell their stories. This use of country music provides a new dimension to more conventional understandings of its political role.
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Dhakal, Lekha Nath. "Musical Tradition and Cultural Vision in Langston Hughes’s Poetry." Literary Studies 33 (March 31, 2020): 41–45. http://dx.doi.org/10.3126/litstud.v33i0.38034.
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In American music, Langston Hughes is one of the literary figures that hold a place similar to the aforementioned luminaries. In the literary field, Hughes is respected as one of the most important figures of the twentieth century. With the rise of African American Studies as an academic field in the 1970s, his life, writing, and influence has received frequent attention. What has not been documented in more specific terms is his importance to America’s musical culture in the twentieth century. Whether directly or indirectly, Langston Hughes has been a fixture in American musical culture, both popular and concert music, since the 1920s. In addition to his personal affinity for blues, jazz and other specifically African American musical forms such as gospel music, his vast contribution to American music specifically and American music culture in a broader sense can be separated into four general categories.
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WILSON KIMBER, MARIAN. "Women Composers at the White House: The National League of American Pen Women and Phyllis Fergus's Advocacy for Women in American Music." Journal of the Society for American Music 12, no. 4 (November 2018): 477–507. http://dx.doi.org/10.1017/s1752196318000378.
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AbstractWomen composers' concerts, arranged by Phyllis Fergus, were held for Eleanor Roosevelt at the White House in 1934 and 1936. They featured music by members of the National League of American Pen Women—an organization for writers, artists, and composers—and were part of a substantial agenda proposed by Fergus, its music director and later president, to achieve national recognition for its composer members. Drawing on Fergus's scrapbooks and documentation in the FDR Library and Pen Women's archives, this article explores the events that Fergus helped to organize, including concerts in Miami, Chautauqua, and Chicago, the latter played by members of the Women's Symphony Orchestra. White House appearances by Amy Beach helped emphasize the League's professional status, and the nationalistic tone of its publicity, urging audiences to “Buy American” during the Depression, worked to distract from age-old assertions of women's lack of creativity. However, the musicales for Roosevelt, who received the composers socially rather than as paid professionals, reinforced women's domestic position, and financial restraints limited most League programming to the genres typically associated with female composers. Despite its separation from a male mainstream, the NLAPW was nonetheless a significant force in promoting women's music in the 1930s.
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Basri, Hasan. "Social condition of japanense geisha as reflectd in short story Madame Butterfly by John Luther Long." COMMICAST 2, no. 1 (February 2, 2021): 15. http://dx.doi.org/10.12928/commicast.v2i1.2731.
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In this undergraduate thesis, the writer discusses short story Madam Butterfly written by John Luther Long. This study is aimed: (1) to describe the Geisha social life condition in Japanese society as reflected in Madame Butterfly (2) to describe the social class in Japanese society in 1903s as reflected in Madam Butterfly. In doing this research, the writer uses descriptive qualitative method which refers to description of things, characters, meaning and symbols. There are two types of data in this study.The findings of the research show that Geisha in Japan through Cho Cho San the main character in Madame Butterfly was a reflection of Geisha’s life condition in Japanese society. The writer conclude that Social condition of Geisha in Japan in 1930s are an entertainer because they are has been train for accompany all of the guests. Serve the drink, singing, dancing and playing music instrument were the Geisha’s job while accompany the guest. The guest also did some flirting to the Geisha. In 1930s American missionary and American Navy enter Japan for some mission, there are also American people who married Japanese girl. Beside the Geisha social life condition, there are two class in Japanese society that exist in 1903s Kazoku (Nobleman) and Heinin (Proletar). The social class in Japan in that time is very contrast between the Nobleman and Ploretar. Madam Butterfly include to high class people because of she married to a foreigner because according to Japanese, if they married a foreigner it can rise their social status.
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Palmese, Michael. "THE CURIOUS CASE OF ANTHONY GNAZZO: A LOST AMERICAN EXPERIMENTALIST." Tempo 74, no. 294 (September 1, 2020): 39–47. http://dx.doi.org/10.1017/s0040298220000376.
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ABSTRACTArchival evidence indicates that Anthony Gnazzo was a major figure within the Bay Area avant-garde music scene of the 1960s and 1970s who retired from composition by 1983 and has since been largely forgotten. Historical documents reveal, however, that a study of Gnazzo enables us to better understand the complex network of influences and artists working on experimental music in the Bay Area during the 1960s, 70s, and 80s. This article outlines Gnazzo's career and work, from his earliest academic compositions to his late electronic pieces, and concludes with a consideration of the ethical and moral issues inherent in musicological research on living subjects, particularly in the case of a composer who consciously avoids discussion of his personal aesthetic or compositional output. Should one study music that appears to have been ‘abandoned’ by the artist?
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Stratton, Jon. "Coming to the fore: the audibility of women's sexual pleasure in popular music and the sexual revolution." Popular Music 33, no. 1 (January 2014): 109–28. http://dx.doi.org/10.1017/s026114301300055x.
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AbstractThis paper examines the genre of tracks centred around the mid-1960s to the mid-1970s which include aural representations of female sexual pleasure. The two most important tracks, and the ones on which this paper focuses, are Jane Birkin and Serge Gainsbourg ‘Je t'aime … moi non plus’ and Donna Summer ‘Love To Love You Baby’. The paper argues that this new audibility of female sexual pleasure related to the transformation in the understanding of female orgasm associated with Alfred Kinsey and with William Masters and Virginia Johnson, the American sexologists who radically changed Western understandings of sexual behaviour in the 1950s and 1960s. More broadly, the paper argues for a link between the so-called sexual revolution of the late 1960s and 1970s and the popularity of tracks in which sounds identified as female sexual pleasure were upfront in the musical mix.
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McGRAW, TED. "The McNulty Family." Journal of the Society for American Music 4, no. 4 (October 19, 2010): 451–73. http://dx.doi.org/10.1017/s1752196310000386.
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AbstractThe McNulty Family was known as the royal family of Irish entertainers. They were the hottest Irish entertainment act on the East Coast, and perhaps in all of North America, from the 1930s through the 1950s. Ann “Ma” McNulty was the leader; her son Peter played the violin and piano, sang, and danced; and her daughter Eileen sang and danced. They also acted and performed skits to accompany their songs and comedy routines. Their shows were a high-energy, fast-paced type of vaudeville event. Ann Burke was born in Kilteevan, County Roscommom, Ireland, in 1887 and emigrated to the United States in 1910. She married John McNulty in 1914 and was a widow by 1928. This emigrant, who played the melodeon, and her two talented children started to entertain people to make a living. At the height of their career in the early 1940s, in addition to appearing at several venues every week, they had two radio shows, wrote a weekly column for the Irish Advocate newspaper, and had released about eighty recordings. Their vaudeville style was an excellent compliment to their talents, where acting and dancing were part of the delivery of a song or comedy routine.
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Reichardt Ellis, Sarah, and Michael Lee. "Monsters, Meaning, and the Music of Chopin in American Horror Cinema of the 1930s and ’40s." Journal of Musicological Research 39, no. 1 (January 2, 2020): 24–41. http://dx.doi.org/10.1080/01411896.2020.1713702.
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Cabrera, Daniel Antonio Milan. "PENGARUH MUSIK AMERIKA LATIN TERHADAP INDONESIA." Sorai: Jurnal Pengkajian dan Penciptaan Musik 13, no. 1 (November 20, 2020): 36–50. http://dx.doi.org/10.33153/sorai.v13i1.3093.
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Since the beginning of the last century, Latin American music has been succes in the U.S. music industry because its intrinsic musical characteristics and its involvement within the film industry. Through the U.S. and Europe, it has been influencing popular music around the world; including Indonesia, Malaysia, Singapore, and India, countries that also contributed to the diffusion of Latin styles in Indonesia. The corpus of original works of Indonesian-Latin music is quite huge and has great quality; particularly audio recordings done in the 1950s and 1960s that mixed Latin, Western, and regional musical elements to create new musical forms know as lagu daerah (regional songs) and pop daerah (regional pop). This article aims to provide some understandings of this complex diffusion process utilising mainly a bibliographical research method (books, journals, digital news, etc.), interviews, and listening-based information from old audio recordings. My hipothesis is that Latin American music has been well accepted in Indonesia, espetially in Java and Sumatra, due to historical crossroads that spread musical and cultural similarities in both regions. In order of its importance in Indonesian-Latin music, these are: the conection of Asia and America during the Spanish, Portugal, and Holand colonial era; the Islamic influence in Indonesia, India, Malaysia, and the Iberic peninsula; the influence of Dutch music in Indonesia and German music in Latin America; the role of African music in Latin America and the probable two side influences between Africa and Indonesia; and the inmigration to Amerika from Nusantara-Oceania sailors in prehistoric times.
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SKINNER, KATHERINE. "‘Must Be Born Again’: resurrecting the Anthology of American Folk Music." Popular Music 25, no. 1 (January 2006): 57–75. http://dx.doi.org/10.1017/s0261143005000735.
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Since the 1997 reissue of the 1952 Anthology of American Folk Music by Smithsonian Folkways Recordings, journalists, scholars and musicians have promoted this collection as the ‘founding document’ (Marcus 1997) and ‘musical constitution’ (Cantwell 1996) of the urban folk revival of the 1950s and 1960s. This reception differs markedly from that of its original issue, which sold few copies and attracted only minor critical attention. This article provides an account of the transformation in the Anthology's cultural status – showing that the canonisation of the Anthology stems not just from its content, but from the interplay of its content and its sociohistorical context. I identify some of the factors that influenced the retrospective consecration of the Anthology, including the important work of key people, the growth of a new field (‘Americana’ music) and changes in the organisational structures of the recording industry.
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LEE, KUN JONG. "Towards Interracial Understanding and Identification: Spike Lee's Do the Right Thing and Chang-rae Lee's Native Speaker." Journal of American Studies 44, no. 4 (February 19, 2010): 741–57. http://dx.doi.org/10.1017/s0021875810000022.
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African Americans and Korean Americans have addressed Black–Korean encounters and responded to each other predominantly in their favorite genres: in films and rap music for African Americans and in novels and poems for Korean Americans. A case in point is the intertextuality between Spike Lee's Do the Right Thing and Chang-rae Lee's Native Speaker. A comparative study of the two demonstrates that they are seminal texts of African American–Korean American dialogue and discourse for mutual understanding and harmonious relationships between the two races in the USA. This paper reads the African American film and the Korean American fiction as dialogic responses to the well-publicized strife between Korean American merchants and their African American customers in the late 1980s and early 1990s and as windows into a larger question of African American–Korean American relations and racialization in US culture. This study ultimately argues that the dialogue between Spike Lee's film and Chang-rae Lee's novel moves towards a possibility of cross-racial identification and interethnic coalition building.
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Sawangchot, Viriya. "Rebel without Causes: The 1960s Thai Pop Music and Bangkok Youth Culture." Communicare : Journal of Communication Studies 3, no. 2 (March 21, 2018): 1. http://dx.doi.org/10.37535/101003220161.
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In this paper, I would like to acknowledge that 1960s to the 1970s American popular culture, particularly in rock ‘n’ roll music, have been contested by Thai context. In term of this, the paper intends to consider American rock ’n’ roll has come to function as a mode of humanization and emancipation of Bangkok youngster rather than ideological domination.
In order to understand this process, this paper aims to focus on the origins and evolution of rock ‘n’ roll and youth culture in Bangkok in the 1960s to 1970s. The birth of pleng shadow
and pleng string will be discussed in this context as well.
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WARNES, ANDREW. "Black, white and blue: the racial antagonism of The Smiths’ record sleeves." Popular Music 27, no. 1 (December 13, 2007): 135–49. http://dx.doi.org/10.1017/s0261143008001463.
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AbstractAs Matthew Bannister has recently suggested in these pages (see Popular Music, 25/1), The Smiths stand at the head of a 1980s Indie canon based on its rejection of a commodification associated with contemporary black US musics. This article argues that this racial understanding has also bled into the band’s critical reception, encouraging many to assume that Morrissey and Marr drew on exclusively white influences. Specifically, I argue that the white camp icons from the 1950s and 1960s who famously adorn the band’s record sleeves together form a kind of smokescreen, or ‘beard’, which stokes interest in Morrissey’s sexual predilections and orients it away from his and Marr’s Black Atlantic sources. The pre-immigrant Britain summoned up by these icons, I argue, helps prevent fans and critics alike from grasping that Morrissey’s lyrical attempts to find humour and succour by remembering pain is profoundly inspired by the African-American form of the Blues.
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Silva, João. "Mechanical instruments and everyday life: the player piano in Portugal." Popular Music 40, no. 1 (February 2021): 58–74. http://dx.doi.org/10.1017/s026114302100012x.
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AbstractThis paper examines player pianos in Portugal between the 1890s and the 1930s. In a small European country with few production facilities, mechanical music developed in a particular way since a local recording industry was expanding rapidly and radio was not yet disseminated. Despite the local market's reliance on imported goods, the music business concentrated on Portuguese pieces. The mechanisation of the piano and its display as a product that embodied modernity illustrates the transformations that took place in Portugal at the beginning of the 20th century. These were reflected in new forms of entertainment, such as cinemas and nightclubs that incorporated new music genres. At the dawn of the century, the leisure market relied on the popular music theatre, which was dominated by Portuguese, French and Spanish music. In the interwar period, English and American pieces made their way into people's lives, transforming the music business.
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KUPFER, PETER. "‘Our Soviet Americanism’:Jolly Fellows, Music, and Early Soviet Cultural Ideology." Twentieth-Century Music 13, no. 2 (July 22, 2016): 201–32. http://dx.doi.org/10.1017/s1478572216000049.
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AbstractThe musical comedy film was perhaps a surprising genre to appear and flourish in the Soviet Union during the 1930s, a decade traditionally associated with the grimmer realities of Stalin's ruthless consolidation of power, show trials, and purges. Despite (and in many ways because of) this, the musical comedy became quite popular, with audiences and officials alike. Its creation did not, however, proceed without controversy or difficulty. In this article, I examine how director Grigory Aleksandrov and composer Isaak Dunayevsky drew on well-known and well-liked American musical and cinematic models to construct the first Soviet musical comedy film,Jolly Fellows(1934), and the role of music in the controversy that the film sparked. I argue that in choosing musical content appropriate for contemporary Soviet viewers and transmitting it by using American-inspired formal structures that rely on music, Aleksandrov and Dunayevsky created a powerful hybrid that spoke convincingly to audiences and critics, who ultimately used the film and its music as a means for debating issues of cultural significance.
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Bendrups, Dan. "Latin Down Under: Latin American migrant musicians in Australia and New Zealand." Popular Music 30, no. 2 (May 2011): 191–207. http://dx.doi.org/10.1017/s026114301100002x.
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AbstractThe global significance of Latin American popular music is well documented in contemporary research. Less is known about Latin American music and musicians in Australia and New Zealand (collectively termed ‘Australasia’): nations that have historically hosted waves of migrants from the Americas, and which are also strongly influenced by globalised US popular music culture. This article presents an overview of Latin American music in Australasia, drawing on ethnographic research, with the aim of providing a historical framework for the understanding of this music in the Australasian context. It begins with an explanation of the early 20th-century conceptualisation of ‘Latin’ in Australasia, and an investigation into how this abstract cultural construction affected performance opportunities for Latino/a migrants who began to arrive en masse from the 1970s onwards. It then discusses the performance practices that were most successfully recreated by Latin American musicians in Australia and New Zealand, especially ‘Andean’ folkloric music, and ‘tropical’ dance music. With reference to prominent individuals and ensembles, this article demonstrates how Andean and tropical performance practices have developed over the course of the last 30 years, and articulates the enduring importance of Latin American music and musicians within Australasian popular music culture.
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Rao, N. "American compositional theory in the 1930s: scale and exoticism in ''The Nature of Melody'' by Henry Cowell." Musical Quarterly 85, no. 4 (December 1, 2001): 595–640. http://dx.doi.org/10.1093/mq/85.4.595.
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BERRY, DAVID CARSON. "Hans Weisse and the Dawn of American Schenkerism." Journal of Musicology 20, no. 1 (January 1, 2003): 104–56. http://dx.doi.org/10.1525/jm.2003.20.1.104.
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ABSTRACT Many musicians contributed to the early spread of Schenkerian ideas in the U.S., but one played a crucial and unparalleled role during the earliest decade, the 1930s: Hans Weisse (1892––1940), one of Schenker's most esteemed students. Although Jewish, Weisse was not a political or war refugee, as were later Schenker éémigréés. Instead, he came to the U.S. to teach, in the fall of 1931; by the time his former colleagues were finding their ways from Europe, Weisse had already become an American citizen. He died prematurely in 1940, but by then his impact on the pedagogy of music theory and analysis was already being felt, not only directly, at institutions where he taught, but through his many students who were active in disseminating the Schenkerian approach. As the Schenker enterprise now enters its eighth decade in the U.S., a better understanding of its early and largely unexplored foundations becomes ever more essential, and the contributions of Weisse provide a logical point of departure. Heretofore his role has remained largely undocumented. Investigation of three aspects of Weisse's accomplishment and legacy help shed light on his pivotal role as a music educator and thinker in this country: the record of his highly active professional life as a teacher of music; the theoretical positions and pedagogical strategies revealed by his few preserved writings and remarks; and the enduring influence of his teachings. Through the work of his students, it can be seen that his contribution was decisive in laying the foundation for future Schenkerian work.
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Juravich, Tom. "“Bread and Roses”." Labor 17, no. 2 (May 1, 2020): 81–100. http://dx.doi.org/10.1215/15476715-8114769.
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This paper traces the history of the song “Bread and Roses” to examine labor culture and the role of song in the labor movement. In the late 1930s and early 1940s, “Bread and Roses” was included in several of the first generation song books produced by unions that reflected an expansive and inclusive labor culture closely connected with the Left. With the ascendance of business unionism and the blacklisting of the Left after the war, labor culture took a heavy blow, and labor songbooks became skeletons of the full-bodied versions they had once been. Unions began to see singing not as part of the process of social change but as a vehicle to bring people together, and songs such as “Bread and Roses” and other more class-based songs were jettisoned in favor of a few labor standards and American sing-along songs. “Bread and Roses” was born anew to embody a central concept in the women’s movement and rode the wave of new music, art, and film that were part of new social movements and new constituencies that challenged business unionism and reshaped union culture in the 1980s.
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SLOBIN, MARK. "Constructed Melodies: Building the Score into the Set." Journal of the Society for American Music 10, no. 2 (May 2016): 181–97. http://dx.doi.org/10.1017/s1752196316000067.
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AbstractThe article introduces the topic of film music's relationship to the built environment of cinema. The discussion springboards from James Sanders's analysis of New York City sets, based on the architecture of selected movies (mostly from the 1930s and 40s), as presented in his Celluloid Skyline. The focus is on four locations: the brownstone façade, the working-class street, the enclosed courtyard, and the construction site. The argument is that two key components of American cinema's structure—music and architecture—are sometimes in direct dialogue, as composers and filmmakers both render New York ethnographically accurately and offer sometimes a mythic imagining of a particular place.
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Kelman, Ari Y., and Jeremiah Lockwood. "From Aesthetics to Experience: How Changing Conceptions of Prayer Changed the Sound of Jewish Worship." Religion and American Culture 30, no. 1 (2020): 26–62. http://dx.doi.org/10.1017/rac.2020.4.
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ABSTRACTThis article tracks changes in conceptions of American Jewish congregational prayer music during the second half of the twentieth century, paying specific attention to the late 1960s and early 1970s. During those years, more than fifty albums of new American Jewish synagogue music were released. These drew on the sounds of folk and rock music, and they represented a shift from the sounds of classical cantorial synagogue music. These changes have largely been understood as a shift away from cantorial styles, which emphasized performance and virtuosity, and toward more accessible and more participatory forms of prayer. This article contributes to our understanding of the sounds of American Jewish prayer practices by attending to the larger discourses in which the musical changes were situated. By listening to the music, reading album liner notes, and contemporaneous writings about Jewish prayer music, we discover a shift in descriptions and expectations of how Jewish prayer ought to work, from one that emphasizes the aesthetics of the music to one that emphasizes the experience of the music. We argue that music is one element of a larger shift in how people who made music for congregational prayer understood prayer and how best to engage congregations in that practice.
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Richards, Sam. "AMERICAN LOCAL AMERICAN GLOBAL." Tempo 70, no. 278 (September 28, 2016): 67–69. http://dx.doi.org/10.1017/s0040298216000358.
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Of the conversations I had with Bob Gilmore when he was a Dartington College lecturer and lived in Totnes, five minutes from where I live, there was one in particular that we returned to a few times. And it concerned the way the burgeoning American folk movement from the 1920s through to the 50s interacted with experimentalism in music, perhaps surprisingly, yet in some significant ways.
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Rapetti, Valentina. "La rinascita della tragedia dallo spirito del blues nel teatro di August Wilson." Le Simplegadi 18, no. 20 (November 2020): 147–61. http://dx.doi.org/10.17456/simple-163.
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Born in 1945 in Pittsburgh, Pennsylvania, August Wilson was the most prolific and represented African American playwright of the twentieth century. His Century Cycle, a series of ten plays that chronicle the lives of African Americans from the early 1900s to the late 1990s, is an expression of Wilson’s spiritual realism, a form of drama that, while adhering to some conventions of the Western realist tradition, also introduces elements of innovation inspired by blues music and Yoruba cosmology. This essay analyses the double cultural genealogy of Wilson’s work to show how, despite respecting the Aristotelian principle of mìmesis, his playwriting draws on a quintessentially black aesthetic. In conceiving of theatre as a ritualistic performative context where music and words intertwine, Wilson restored what Friedrich Nietzsche regarded as the authentic spirit of Greek tragedy – the harmony between Dionysian and Apollonian – while at the same time injecting an African American ethos into the Western theatrical canon.
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Parler, Samuel. "DeFord Bailey in Country Music's Multiracial Canon." Journal of the American Musicological Society 73, no. 1 (2020): 53–94. http://dx.doi.org/10.1525/jams.2020.73.1.53.
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DeFord Bailey (1899–1982), an African American harmonica virtuoso, performed regularly on the Grand Ole Opry radio program from 1926 to 1941 and afterward fell into obscurity. Decades later, however, he was inducted into the Country Music Hall of Fame (2005), overseen by the Country Music Association (CMA), amid calls to diversify a predominantly white country music canon. Motivated by racially progressive ideals and seeking to rehabilitate the genre's image, many fans and industry advocates misrepresented Bailey's achievements in the surrounding conversations, or they relied upon essentializing notions of black music in their advocacy on his behalf. Resistance to his candidacy for the Hall was cited as evidence of the industry's institutionalized racism. While his eventual induction allowed the CMA some room in which to refute that charge and promote a multiracial narrative for the genre's history, consistent with its long-standing desire to cultivate middle-class respectability, that same multiracial narrative obscured Bailey's role in the production of a distinctly white image for country music in the 1920s and 1930s. Highlighting this discrepancy, this article compares the historical and contemporary reception of Bailey's music and legacy, drawing upon newspaper accounts, Opry promotional materials, archival interviews, and commercial recordings. Opry broadcasts played host to blues, blackface, and other racially coded repertoires; Bailey's blues-based style did not distinguish him from his white Opry peers. Opry marketing worked assiduously to present a singular white image for the show and its repertoire, marginalizing or obscuring Bailey's racial identity in its programming and publicity. In this manner, Bailey's career has paradoxically been made to serve narratives asserting both the whiteness and the multiracialism of country music.
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Kerman, Joseph. "American Musicology in the 1990s." Journal of Musicology 9, no. 2 (1991): 131–44. http://dx.doi.org/10.2307/763549.
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Heisinger, Brent. "American Minimalism in the 1980s." American Music 7, no. 4 (1989): 430. http://dx.doi.org/10.2307/3051914.
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Kerman, Joseph. "American Musicology in the 1990s." Journal of Musicology 9, no. 2 (April 1991): 131–44. http://dx.doi.org/10.1525/jm.1991.9.2.03a00010.
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RICHTER-IBÁÑEZ, CHRISTINA. "Latin American Songs in the GDR and the East German Singer-Songwriter Repertoire (1970–2000): Gerhard Schöne's ‘Meine Geschwister’ in the Light of Translation Studies." Twentieth-Century Music 17, no. 3 (October 2020): 401–17. http://dx.doi.org/10.1017/s1478572220000195.
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AbstractLatin American folkloric-popular music had an impact on the music scenes of both Germanies, where singer-songwriters emerged and became interested in Chilean Nueva Canción, the Argentinian Movimiento del Nuevo Cancionero, and Cuban Nueva Trova in the 1970s. Particularly interesting in this context is the contact of some Latin American countries with the German Democratic Republic (GDR). Based on translation theory and articles on Nueva Canción in Europe, this article examines the Latin American presence at the Political Song Festival in East Berlin and analyses some publications that focus on this annual event. The article focuses on the singer-songwriter Gerhard Schöne, who during the 1980s, took Nicaragua as a political example, as is shown in songs, and who also composed German lyrics to melodies by Violeta Parra, Atahualpa Yupanqui, and Silvio Rodríguez, transferring the songs into a new context.
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Duinker, Ben. "Song Form and the Mainstreaming of Hip-Hop Music." Current Musicology 107 (January 27, 2021): 93–135. http://dx.doi.org/10.52214/cm.v107i.7177.
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Song form in North American hip-hop music has evolved along the genre’s journey from its origins as a live musical practice, through its commercial ascent in the 1980s and 1990s, to its dominance of mainstream popular music in the 21st century. This paper explores the nature and evolution of song form in hip-hop music and uses them as a musical lens to view the gradual and ongoing mainstreaming of this genre. With the help of a corpus of 160 hip-hop songs released since 1979, I describe and unpack section types common to hip-hop music—verses, hooks, and instrumentals—illustrating how these sections combine in different formal paradigms, such as strophic and verse-hook. I evaluate the extent to which formal structures in hip-hop music can be understood as products of the genre’s live performance culture; one with roots in African American oral vernacular traditions such as toasting. Finally, I discuss how form in hip-hop music has increasingly foregrounded the hook (chorus): the emergence of the verse-hook song form, an increase in sung hooks (often by singers outside the hip-hop genre), the earlier arrival of hook sections in songs, and the greater share of a song’s duration occupied by hooks. Viewing hip-hop music’s evolution through this increasing importance of the hook provides a clear representation of the genre’s roots outside of, and assimilation into, mainstream popular music; one of many Black musical genres to have traversed this path (George, 1988).
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Love, Rachel E. "Talking Italian blues: Roberto Leydi, Giovanna Marini and American Influence in the Italian folk revival, 1954–66." Popular Music 38, no. 2 (May 2019): 317–34. http://dx.doi.org/10.1017/s0261143019000114.
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AbstractThis article examines how Roberto Leydi and Giovanna Marini, two important figures of the Italian ‘folk revival’, negotiated diverse American cultural influences and adapted them to the political context of Italy in the 1950s and 1960s. I argue that American musical traditions offered them valuable models even as many Italian intellectuals and artists grew more critical of US society and foreign policy. To explore this phenomenon in greater depth, I take as examples two particular moments of exchange. I first discuss American folklorist Alan Lomax's research in Italy and its impact on Leydi's career. I then examine how Marini employed American talking blues in order to reject US society in her first ballad, Vi parlo dell'America (I Speak to You of America) (1966). These two cases provide specific examples of how American influence worked in postwar Italy and the role of folk music in this process.
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Silverman, Marissa. "I drum, I sing, I dance: An ethnographic study of a West African drum and dance ensemble." Research Studies in Music Education 40, no. 1 (October 28, 2017): 5–27. http://dx.doi.org/10.1177/1321103x17734972.
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The purpose of this ethnographic study was to investigate the Montclair State University’s West African drum and dance ensemble. Analyses of the data revealed three themes related to individual participants and the “lived reality” of the group as a whole, and to the social-cultural teaching–learning processes involved: spirituality, community-as-oneness, and communal joy. My motivation for undertaking this inquiry arose from the fact that, beginning in the 1960s, music education scholars in the United States have been concerned about the widespread marginalization of non-Western musics in American music teacher education programs. This situation is still a major concern because American undergraduate and graduate music teacher preparation remains overwhelmingly dominated by Western classical styles. This situation runs contrary to the massive social, cultural, situational, and musical diversity of American students’ lives. As one small effort to advance musical diversity in my own university music school context, I developed the proposal for and initiated the Montclair State University’s West African drum and dance ensemble.
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Zion, Lawrence. "The impact of the Beatles on pop music in Australia: 1963–66." Popular Music 6, no. 3 (October 1987): 291–311. http://dx.doi.org/10.1017/s0261143000002336.
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For young Australians in the early 1960s America was the icon of pop music and fashion. This was the result of the projection of America through the mass media and the numerous American rock'n'roll acts that were brought to Australia by Lee Gordon, an American entrepreneur who lived in Sydney (Zion 1984). This overall tendency led the American, A. L. McLeod, to observe when writing about Australian culture in 1963 thatin general, Australian popular music is slavishly imitative of United States models; it follows jazz, swing, calypso or whatever the current fashion is in New York or San Francisco at a few months distance. (McLeod 1963, p. 410)Yet by late 1963 the potency of America was in decline. For while the Californian surf music craze made a somewhat delayed impact, especially in Sydney, the popularity of the Beatles was gathering momentum. This can be traced crudely through the Top Forty lists of the day: in Sydney the song ‘From Me To You’ entered the charts on 12 July 1963 and eventually reached number six (Barnes et al. 1979, p. 50).
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STRAS, LAURIE. "Sing a song of difference: Connie Boswell and a discourse of disability in jazz." Popular Music 28, no. 3 (October 2009): 297–322. http://dx.doi.org/10.1017/s0261143009990080.
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AbstractAlthough a wheelchair-user and permanently disabled through polio, the southern American singer Connie Boswell was one of radio and vaudeville's biggest stars in the 1930s. She and her sisters were a compelling force in American popular entertainment for the first half of the decade; and when the group split in 1936, Connie carried on a solo career in radio, recording, film and television for another twenty-five years. Connie's unique position as the only visibly disabled ‘A-list’ female popular entertainer for most of the twentieth century – and one whose voice, both physical and musical, shaped the sound of jazz and popular music – makes her an obvious focus for any study that links popular music and disability. This essay is concerned with how disability may have operated as a discourse about and within Connie's chosen medium, jazz; and how disability studies can illuminate why the ways in which difference is figured in her work, initially a source of anxiety, could have also been a significant reason for her success.
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Moore, Ryan, and Michael Roberts. "Do-It-Yourself Mobilization: Punk and Social Movements." Mobilization: An International Quarterly 14, no. 3 (September 1, 2009): 273–91. http://dx.doi.org/10.17813/maiq.14.3.01742p4221851w11.
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The intersection between music and social movements is a fertile area of research. We present three case studies taken from punk-the Rock Against Racism campaign in Britain during the late 1970s, the American hardcore scene of the 1980s, and the riot grrrl feminism of the early 1990s-as instances where music and subculture have not simply figured as symbolic forms of resistance and identity formation but also as a means of organizing protest, raising consciousness, and creating change. The central mechanism that has allowed punk subcultures to achieve high levels of mobilization has been the do-it-yourself ethic, which demands that punks take matters of cultural production into their own hands by making music, fanzines, and record labels, creating a network of venues for live music performance, as well as creating other forms of micromedia that are commercially independent of the corporate culture industry. We use these case studies to both draw attention to neglected areas of empirical research and as a means to intervene in theoretical debates that have tended to polarize social movement studies between paradigms that emphasize structural phenomena and those that emphasize cultural factors.