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Relevant bibliographies by topics / Blues (Music) – History and criticism

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Journal articles

Academic literature on the topic 'Blues (Music) – History and criticism'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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Journal articles on the topic "Blues (Music) – History and criticism"

1

Vrana, Laura. "Leyla McCalla’s Tributes to Langston Hughes." Langston Hughes Review 29, no. 1 (2023): 29–50. http://dx.doi.org/10.5325/langhughrevi.29.1.0029.

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ABSTRACT Classically trained Black musician Leyla McCalla’s album Vari-Colored Songs: A Tribute to Langston Hughes (2014) intertwines innovative folk- and blues-inspired settings of Hughes’s blues poetry, interpretations of traditional Haitian folk songs, and original compositions. This article argues that the album constitutes both a vital homage to Hughes’s impact on Black diasporic culture and a feminist boundary-breaking reshaping of the expectations of the hegemonic, white-washing contemporary music industry. It reads together the album’s ambitious liner notes, accompanying visual element

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2

Zamotin, M. P. "Blues as a Symbolic Resistance and Representation of Countercultural Groups in the United States in the late 19 – early 20 centuries." Discourse 8, no. 1 (2022): 105–22. http://dx.doi.org/10.32603/2412-8562-2022-8-1-105-122.

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Introduction. This article examines the blues music tradition from the perspective of the use of symbolic representations by the creators of this form of culture, which formed a unique “hidden transcripts” transmitted by certain socio-cultural groups that lived and worked in a certain historical era. Since the blues tradition in the United States originates in black communities, in terms of the self-representation of representatives of this groups to the dominant culture, we can talk abut the music of this socio-cultural period of American history as an instrument for conveying “hidden transcr

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3

SMITH, AYANA. "Blues, criticism, and the signifying trickster." Popular Music 24, no. 2 (2005): 179–91. http://dx.doi.org/10.1017/s0261143005000449.

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Scholars in the field of literary theory have defined clearly the role of signifying in African-American literature. This article identifies one aspect of the signifying tradition and its influence on the early blues tradition. Since the Signifying Monkey is the ultimate trickster in the African-American narrative tradition, this article presents evidence for considering the blues singer as a trickster figure at several different levels. First, the singer identifies with the trickster's character traits through pseudo-autobiographical content in song narratives, particularly in expressing soci

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4

Sharma, Min Prasad, and Parthivendra Upadhyaya. "A Study of Sociological Issues in "Sonny's Blues"." Bhairahawa Campus Journal 6, no. 1-2 (2023): 73–82. http://dx.doi.org/10.3126/bhairahawacj.v6i1-2.65174.

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This research paper examines the sociological aspects and impact of blues in James Baldwin's "Sonny's Blues." Utilizing a sociological criticism approach, the study analyzes the dynamics of blues in the story and explores the dystopian environment of Harlem, highlighting the suffering experienced by Sonny and other black youths. The theoretical perspective applied emphasizes the relationship between the author and the text, contextualizing it within the social and cultural milieu. Through a close examination of the narrative, the paper reveals the role of blues as a means of expression and res

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5

Buffa, Alessandro. "Inner City Blues." Review of International American Studies 12, no. 2 (2019): 129–40. http://dx.doi.org/10.31261/rias.7369.

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In this article, I would like to propose an alternative and long view of “1968” which is grounded in black liberation movements, Afrodiasporic cultures, neighborhood-based organizations and sustained and propagated by music and sound. Venturing into this alternative history, I consider the Bronx, Harlem, and Naples, Italy as networks of resistance and nodal junctures for the transmission of Afrodiasporic cultures of opposition. Connecting the mutual influence of global social movements, music and neighborhood-based organizations, my article is also an invitation to start thinking about history

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6

Mueller, Charles. "Baudrillard's Blues." Popular Music 35, no. 1 (2015): 84–99. http://dx.doi.org/10.1017/s0261143015000823.

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AbstractIn his book, America, Jean Baudrillard characterised the United States as a nation created for the sole purpose of escaping history, a place that has purged itself of all negativity, and whose citizens live life in a perpetual present. Baudrillard's study of America provides an ideal framework with which to examine the ways that blues is both congenial and antithetical to postmodern America, and how the significations and meanings of blues have changed as the music has passed from modernity to postmodernity. Of particular interest is the question of whether African-American interpretat

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7

Munshower, Alan, and Greg Johnson. "Fannish boy: Examining blues fandom through British music periodicals." Journal of Fandom Studies 9, no. 1 (2021): 75–88. http://dx.doi.org/10.1386/jfs_00033_1.

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Before online forums and social media groups allowed spaces for blues fans to share their love of the music, newsletters and periodicals created by blues societies and fans provided outlets for blues aficionados to connect with other fans, discographers, musicians and scholars through performance and album reviews, pilgrimage storytelling, descriptions of recent discoveries of rare sound recordings and much more. The University of Mississippi Blues Archive holds a large collection of blues periodicals, covering over 1000 unique titles, from over 25 countries, with a bulk date of 1963 to the pr

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8

Botstein, Leon. "On Criticism and History." Musical Quarterly 79, no. 1 (1995): 1–5. http://dx.doi.org/10.1093/mq/79.1.1.

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9

BRACKETT, DAVID. "Improvisation and Value in Rock, 1966." Journal of the Society for American Music 14, no. 2 (2020): 197–232. http://dx.doi.org/10.1017/s1752196320000073.

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AbstractThe mid-1960s has figured as a central period in the historiography of popular music, but the role of improvisation has been little discussed. This article argues that issues of improvisation and value are crucial to understanding the emergence of a high-low split within popular music, a division that figures prominently in criticism and fan discourse up to the present day. This new stratification within popular music made it possible for rock to acquire critical prestige relative to other popular music genres. The formation of rock also relied on its association with a primarily white

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10

Sigdel, Chandrika. "The Song of Suffering, Reconciliation and Redemption: A New Critical Reading of “Sonny’s Blues”." Mindscape: A Journal of English & Cultural Studies 2, no. 1 (2023): 45–52. http://dx.doi.org/10.3126/mjecs.v2i1.61679.

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This research paper examines the story “Sonny’s Blues” by James Baldwin that depicts the everlasting sorrows and sufferings of two black brothers residing in Harlem, New York. The omnipresent suffering is caused primarily by their African-American identity that leads toward the split between the brothers and ultimately fuels the intra-racial conflict in the black community as a whole. In addition, amid the never-ending troubles and deeper wounds of the black brothers, jazz music, i.e., Sonny’s blues is offered as a soother and a healer that erases their pains and sufferings, and as a thread th

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