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Статті в журналах з теми "Jazz musicians United States Biography"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 30 липня 2024

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1

Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians." Perceptual and Motor Skills 90, no. 2 (April 2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.

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Анотація:

Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).

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2

Patalano, Frank. "Psychosocial Stressors in the Lives of Great Jazz Musicians." Perceptual and Motor Skills 84, no. 1 (February 1997): 93–94. http://dx.doi.org/10.2466/pms.1997.84.1.93.

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Brief biographical information on four great jazz tenor saxophone players of the past is presented to illustrate the similar psychosocial stressors these men seemed to experience, namely, severe substance abuse, haphazard working conditions, lack of acceptance of their art form in the United States, marital and family discord, and a vagabond life style. Ages at death of 80 great jazz musicians may indicate that the stressful life style of jazz musicians may be reflected in a shortened life span, but a control group is needed.

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3

Williams, Sarin. "Teaching Cultural Competency through Early New Orleans Jazz." Jazz Education in Research and Practice 5, no. 1 (January 2024): 128–41. http://dx.doi.org/10.2979/jazzeducrese.5.1.09.

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Abstract: Studying the inception of early jazz in 20th-century New Orleans can provide opportunities to address issues of diversity, equity, and inclusion by increasing cultural competency. Providing students with a historical framework for the creation of jazz may promote empathy with musicians of diverse races, cultures, and musical backgrounds while applying these lessons to students' lives today. Early jazz itself can be examined as a combination of African and European musical ancestry brought together by Black, White, and Creole musicians for the birth of a unique musical idiom to the Un

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4

FOSLER-LUSSIER, DANIELLE. "Cultural Diplomacy as Cultural Globalization: The University of Michigan Jazz Band in Latin America." Journal of the Society for American Music 4, no. 1 (January 14, 2010): 59–93. http://dx.doi.org/10.1017/s1752196309990848.

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AbstractFrom January to May 1965 the University of Michigan Jazz Band traveled extensively in Latin America for the State Department's Cultural Presentations Program. This tour serves as a case study through which we can see the far-reaching effects of cultural diplomacy. The State Department initially envisioned its cultural and informational programs as one-way communication that brought ideas from the United States to new places; yet the tours changed not only audiences, but also the musicians themselves and even the communities to which the musicians returned. Both archival and oral histor

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5

Kwaczyńska, Olga. "The Reception of American Jazz in Japan: An Outline of Issues." Kwartalnik Młodych Muzykologów UJ, no. 44 (1) (2020): 33–46. http://dx.doi.org/10.4467/23537094kmmuj.20.027.13900.

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The following article presents the history of Japanese jazz, from the first musical contacts to its contemporary successes and problems of the jazz music market. An important role in the development and evolution of jazz in Japan (even before the post-war US occupation of that country) was played by the presence of American military forces in the Philippines, which, as an American-dependent territory, maintained cultural contacts with the United States, where jazz had been born at the beginning of the 20th century and became one of the most popular forms of music. Apart from contact with Filip

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6

GARCÍA, DAVID. "“We Both Speak African”: A Dialogic Study of Afro-Cuban Jazz." Journal of the Society for American Music 5, no. 2 (April 14, 2011): 195–233. http://dx.doi.org/10.1017/s1752196311000034.

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AbstractFrom 1947 to 1948 the Dizzy Gillespie orchestra with Chano Pozo produced some of the most important recordings that contributed to the development of Afro-Cuban jazz. Pozo had already led a successful career as a professional musician in Havana before he moved to New York City, where he met Gillespie and joined his bebop big band. The integration of a black Cuban percussionist into Gillespie's all-black band raises important questions about the racial politics enveloping the popularization of bebop, Afro-Cuban jazz, and the work of others in contemporaneous political, cultural, and int

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7

Ikechi, Emeka, Ayebanoa Timibofa, and Otuare Theophilus Kika. "Aesthetics of Protest in Black American Literature: A Study of June Jordan’s Directed by Desires and Richard Wright's Native Son." Scholars International Journal of Linguistics and Literature 5, no. 2 (February 24, 2022): 51–57. http://dx.doi.org/10.36348/sijll.2022.v05i02.003.

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The introduction of jazz and blues in the United States of America influenced the works of Afro American writers both in content and form. These jazz and blues musical songs were used as mediums to protest against racism, class, gender and other inhuman practices meted on the blacks in the United States. Although these songs were not formally written, they became a source of inspiration for writers afterwards in terms of themes and style. The later writers who changed to formal literature borrowed from the themes and styles of these jazz and blues musicians. This paper is signicant because it

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8

GUERPIN, MARTIN. "From the History of Jazz in Europe towards a European History of Jazz: The International Federation of Hot Clubs (1935–6) and ‘Jazz Internationalism’." Journal of the Royal Musical Association 147, no. 2 (November 2022): 582–94. http://dx.doi.org/10.1017/rma.2022.27.

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‘Hot clubs’ proliferated all over Europe and the United States during the 1930s. For a brief period (1935–6), they joined forces in an International Federation of Hot Clubs (IFHC), the main purpose of which was to link together devotees in search of American hot jazz recordings at a time when they were difficult to find and buy in Europe, since that sub-genre was less popular and commercially successful than what was then called ‘straight’ jazz. The expression ‘hot jazz’ was coined by jazz musicians at the end of the 1920s and referred to a style based on performance and improvisation rather t

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9

Norgaard, Martin, Matthew G. Dunaway, and Steven P. Black. "Descriptions of Improvisational Thinking by Expert Musicians Trained in Different Cultural Traditions." Bulletin of the Council for Research in Music Education, no. 237 (July 1, 2023): 45–66. http://dx.doi.org/10.5406/21627223.237.03.

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Abstract Research about improvisation often focuses on one musical tradition. The current study investigated experts’ descriptions of thinking behind improvisation in different cultural traditions through interviews with advanced improvisers residing in a metropolitan area in the United States. The participants were rigorously trained in their tradition and have performance experience within it. However, as residents of the United States, they are experienced in communicating with Western audiences and conversant in Western ways of thinking about music. Immediately after completing the improvi

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10

Choi, inyoung, and Yoonhan Jeon. "Characteristic of Impressionism Music from Bill Ecans's Improvisation: Compare and Analyze with Claude Achille Debussy Prelude Ⅰ,Ⅱ." Korean Society of Culture and Convergence 45, no. 12 (December 31, 2023): 835–43. http://dx.doi.org/10.33645/cnc.2023.12.45.12.835.

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Jazz, which originated in the United States in the late 19th and early 20th centuries, has developed by absorbing musical features of various cultures and genres from its birth. This study seeks to identify impressionistic features in the improvisations of jazz pianist Bill Evans and compare them with the music of the Impressionism composer Debussy. The scope of this research includes the scores in the Bill Evans Omnibus and the works of Debussy in the Preludes Book 1 and 2. The characteristics of Impressionism music include the use of whole-tone scales, chromatic scales, pentatonic scales, ha

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11

Tsipursky, Gleb. "Jazz, Power, and Soviet Youth in the Early Cold War, 1948−1953." Journal of Musicology 33, no. 3 (2016): 332–61. http://dx.doi.org/10.1525/jm.2016.33.3.332.

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Examining the history of jazz in the Soviet Union between 1948 and 1953, this essay sheds light on the role of popular music in the cultural competition of the early Cold War. While the Soviet authorities pursued a tolerant policy toward jazz during World War II because of its wartime alliance with the United States, the outbreak of the Cold War in the late 1940s led to a decisive turn against this music. The Communist Party condemned jazz as the music of the “foreign bourgeoisie,” instead calling for patriotic Soviet music. Building on previous studies of the complex fate of western music in

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12

Gregory, Dianne. "Analysis of Listening Preferences of High School and College Musicians." Journal of Research in Music Education 42, no. 4 (December 1994): 331–42. http://dx.doi.org/10.2307/3345740.

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Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Inst

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13

Levitin, Alexis. "Litany 6-9 by Salgado Maranhão." Latin American Literary Review 47, no. 93 (May 5, 2020): 69–70. http://dx.doi.org/10.26824/lalr.176.

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Salgado Maranhão, winner of all of Brazil's major poetry awards, has toured the United States five times, presenting his work at over one hundred colleges and universities. In addition to fourteen books of poetry, he has written song lyrics and made recordings with some of Brazil’s leading jazz and pop musicians. He has published three collections of his work in English: Blood of the Sun (Milkweed Editions, 2012), Tiger Fur (White Pine Press, 2015), and Palavora (Dialogos Books, 2019). On Nov. 13, 2017, Salgado received an honoris causa doctorate for his cultural achievements from the Federal

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14

Masterson, Alice. "Lady Day on Screen." IASPM Journal 12, no. 1 (December 16, 2022): 69–82. http://dx.doi.org/10.5429/2079-3871(2022)v12i1.5en.

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Jazz singer Billie Holiday (1915 – 1959) is a hugely influential figure. The impact of her vocal craft – particularly her distinctive timbre, adroit use of rubato, and compellingly emotional interpretations – can be traced across subsequent generations of singers (Szwed 2015). However, details of her turbulent personal life often overshadow explorations of her musical legacy. The most recent depiction of Lady Day’s life on screen, Lee Daniels’ The United States vs. Billie Holiday, is arguably the latest retrospective to fall into this trap. However, this article argues that its mixed reception

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15

Vad, Mikkel. "“Very Female, with the Allure of a Foreign Aura”: Vocality, Gender, and European Exoticism in the US Careers of Alice Babs and Caterina Valente." Journal of the Society for American Music 15, no. 4 (November 2021): 424–46. http://dx.doi.org/10.1017/s1752196321000304.

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Abstract“How can America import ‘American’ jazz?,” asked the music editor of Good Housekeeping, George Marek, in 1956. Marek answered, “Singers, particularly if they are very female, give the home-grown music the allure of a foreign aura.” Taking these statements as a starting point, this article gives an account of the US careers of Alice Babs and Caterina Valente. Gender, class, and ethnicity were key elements in the US construction of Babs's and Valente's musical personae, which was especially heard in their vocality, with an emphasis on high-pitched vocal stylings, melismas, and “white” ti

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16

Lederman, Richard J. "Drummers’ Dystonia." Medical Problems of Performing Artists 19, no. 2 (June 1, 2004): 70–74. http://dx.doi.org/10.21091/mppa.2004.2011.

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Several reviews involving large numbers of instrumental musicians with focal dystonia from centers in the United States and Europe are available in the performing arts medicine literature, but only a relatively few percussionists have been included. This article describes 6 percussion instrumentalists, out of a total of 139 musicians with dystonia, seen in the Cleveland Clinic Medical Center for Performing Artists. The five men and one woman ranged in age from 21 to 51 years at the onset of dystonia; four were playing professionally, and two were students. Duration of symptoms at the time of e

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17

Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.

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Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art

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18

Hughes, Richard. "Gates, Jr And Higginbotham, Eds., Harlem Renaissance Lives - From African American National Biography." Teaching History: A Journal of Methods 34, no. 2 (September 1, 2009): 110–11. http://dx.doi.org/10.33043/th.34.2.110-111.

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With hundreds of accessible entries on the lives of African Americans directly or indirectly associated with this period, Harlem Renaissance Lives is an ambitious effort to highlight, and sometimes uncover, the role of African Americans in shaping the United States in the twentieth century. While the entries are brief, the book's strength is its breadth with portraits of not only writers, artists, actors, and musicians but also educators, civil rights and labor activists, entrepreneurs, athletes, clergy, and aviators. Students of history will find familiar figures of the period such as Langsto

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19

Rigg, John L., Randy Marrinan, and Mark A. Thomas. "Playing-related Injury in Guitarists Playing Popular Music." Medical Problems of Performing Artists 18, no. 4 (December 1, 2003): 150–52. http://dx.doi.org/10.21091/mppa.2003.4026.

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Playing a musical instrument involves the repetitive use of muscles, often at their extreme range of motion. Consequently, musicians in general are at an increased risk for the development of pain syndromes related to nerve or musculoskeletal damage. Acoustic and electric guitars are among the most popular instruments in the world today, with a large population of musicians at risk of injury. This article examines the results of a survey completed by 261 professional, amateur, and student guitarists to determine the most common anatomic locations of playing-related pain and its relationship to

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20

Voskoboinikov, Yakov. "George Gershwin’s jazz transcriptions in piano performance of academic tradition." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 429–48. http://dx.doi.org/10.34064/khnum2-19.25.

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Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing i

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21

TEICHGRAEBER, RICHARD F. "BEYOND “ACADEMICIZATION”: THE POSTWAR AMERICAN UNIVERSITY AND INTELLECTUAL HISTORY." Modern Intellectual History 8, no. 1 (March 3, 2011): 127–46. http://dx.doi.org/10.1017/s1479244311000072.

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The still astonishing expansion of the American university since World War II has transformed the nation's intellectual and cultural life in myriad ways. Most intellectual historians familiar with this period would agree, I suppose, that among the conspicuous changes is the sheer increase in the size and diversity of intellectual and cultural activity taking place on campuses across the country. After all, we know that colleges and universities that employ us also provide full- and part-time academic appointments to novelists, poets, playwrights, filmmakers, choreographers, composers, classica

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22

Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.

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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants,

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23

Nattapol Wisuttipat. "Empowerment, De-Orientalizing, and Asians: Three Aspects of Self-Determination in Asian American Music." Talenta Conference Series: Local Wisdom, Social, and Arts (LWSA) 3, no. 4 (December 4, 2020): 153–58. http://dx.doi.org/10.32734/lwsa.v3i4.1152.

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Asian Americans experience on marginalization and their struggle against it is distinct yet not unrelated to other ethnic groups in the United States. They have been racially discriminated and othered while their gender identity suppressed, which amounted to oriental stereotypes of Asian Americans. The Asian American movement between the 60s and the 70s is a historic turning point that gave voice to the people once considered “foreigner” by the White culture and enabled them to counter the imposed images. Among other significant achievements, the movement stimulated a consciousness towards sel

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24

Ясянь, Ю. "Evolution of musical genres and styles: analysis of the historical development of musical culture." Management of Education, no. 8(66) (June 30, 2023): 223–30. http://dx.doi.org/10.25726/h4735-1459-6465-b.

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Музыкальная культура, также как и любое другое общественное явление, постоянно меняется и развивается. В ней ветвисто переплетаются различные жанры и стили, что обуславливает огромную сложность анализа её эволюции. Музыка является искусством, отражающим как объективную действительность, так и субъективный взгляд создателей на неё, выражающийся в разнообразии музыкальных форм и направлений. Для этого анализа становится необходимым обращение к таким основополагающим концепциям, как жанр, стиль, история развития музыкальной культуры. Изучение самых ранних записанных музыкальных жанров и стилей ра

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25

Тяньфу, Ю. "Saxophone in music education: teaching methods and their evolution in different cultures." Management of Education 13, no. 12-1(72) (December 15, 2023): 214–21. http://dx.doi.org/10.25726/p2466-5734-2984-x.

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В настоящее время развитие музыкального образования рассматривается как один из важнейших аспектов всестороннего развития личности. Исследование методик обучения игре на саксофоне в разных культурах позволяет выявить наиболее эффективные подходы, способствующие полноценному усвоению навыков игры на данном духовом инструменте. Цель данной статьи состоит в сравнительном анализе методик обучения игре на саксофоне в развитых странах Запада и Востока в XX - XXI веках. В работе использовались методы исторического анализа для изучения эволюции подходов к обучению игре на саксофоне в Европе и США на п

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26

Chaichana, Tanarat. "The Sinicization of jazz: Exploring the rise and fall of jazz cultures in Shanghai from the colonial to the communist eras." Humanities, Arts and Social Sciences Studies, April 30, 2024. http://dx.doi.org/10.69598/hasss.24.1.265028.

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Compared with the numerous historical analyses of the development of jazz in the United States, few such accounts retell the history of jazz in Asia. Addressing this gap, this paper investigates the jazz culture of Shanghai between 1920 and 1950, drawing on records of foreign jazz musicians who traveled to Shanghai to perform and the academic literature on the development of jazz in Shanghai, with a primary focus on the contemporary social practice of jazz in Shanghai. Jazz culture entered Shanghai as a result of Western colonialism, prompting an influx of foreign musicians. The travel journal

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27

Robinson, Jason. "The Challenge of the Changing Same: The Jazz Avant-Garde of the 1960s, the Black Aesthetic and the Black Arts Movement." Critical Studies in Improvisation / Études critiques en improvisation 1, no. 2 (September 1, 2005). http://dx.doi.org/10.21083/csieci.v1i2.17.

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This essay focuses on the relationship between writers associated with the Black Arts Movement in the United States and the experimental directions in jazz that occurred during the 1960s, the decade generally associated with the evolution of the Black Arts Movement as well as the rise of the jazz avant-garde. The emergent experimentalism in the music centered on transgressive and innovative uses of improvisation that led to new approaches, sounds and interpretive meanings. While it is necessary to understand that both poetry and music of the 1960s were important sites where hegemonic processes

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28

"Book Reviews." German Politics and Society 29, no. 1 (March 1, 2011): 65–100. http://dx.doi.org/10.3167/gps.2011.290104.

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Sarah Elise Wiliarty, The CDU and the Politics of Gender in Germany: Bringing Women to the PartyReviewed by Louise K. Davidson-SchmichSilja Häusermann, The Politics of Welfare State Reform in Continental Europe: Modernization in Hard TimesReviewed by Aaron P. BoeseneckerMartin Klimke, The Other Alliance: Student Protest in West Germany and the United States in the Global SixtiesReviewed by Chris LoreKatja M.Guenther, Making their Place: Feminism after Socialism in Eastern GermanyReviewed by Ingrid MietheBrian M. Puaca, Learning Democracy: Education Reform in West Germany, 1945-1965Reviewed by

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29

Aitken, Leslie. "The Big Book of Canada: Exploring the Provinces and Territories by C. Moore." Deakin Review of Children's Literature 7, no. 4 (May 25, 2018). http://dx.doi.org/10.20361/dr29349.

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Moore, Christopher. The Big Book of Canada: Exploring the Provinces and Territories. Illustrated by Bill Slavin. Tundra Books-Random House Canada, 2017.This publication retains the contents and organizational structure of Moore’s 2002 edition of the same title. (It also revisits, reorganizes, and condenses material that he presented in The Story of Canada, Scholastic of Canada, 2016.) The Big Book of Canada is organized by province and territory, east to west, beginning with Newfoundland and Labrador. Each chapter opens with an illustrated map of the province or territory under discussion; how

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30

Brabazon, Tara, and Stephen Mallinder. "Off World Sounds: Building a Collaborative Soundscape." M/C Journal 9, no. 2 (May 1, 2006). http://dx.doi.org/10.5204/mcj.2617.

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There are many ways to construct, shape and frame a history of popular music. From a focus on performers to a stress on cities, from theories of modernity to reveling in ‘the post,’ innovative music has been matched by evocative writing about it. One arc of analysis in popular music studies focuses on the record label. Much has been written about Sun, Motown, Factory and Apple, but there are many labels that have not reached this level of notoriety and fame but offer much to our contemporary understanding of music, identity and capitalism. The aim of this article is to capture an underwritten

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Stewart, Jon. "Oh Blessed Holy Caffeine Tree: Coffee in Popular Music." M/C Journal 15, no. 2 (May 2, 2012). http://dx.doi.org/10.5204/mcj.462.

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Introduction This paper offers a survey of familiar popular music performers and songwriters who reference coffee in their work. It examines three areas of discourse: the psychoactive effects of caffeine, coffee and courtship rituals, and the politics of coffee consumption. I claim that coffee carries a cultural and musicological significance comparable to that of the chemical stimulants and consumer goods more readily associated with popular music. Songs about coffee may not be as potent as those featuring drugs and alcohol (Primack; Schapiro), or as common as those referencing commodities li

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Vavasour, Kris. "Pop Songs and Solastalgia in a Broken City." M/C Journal 20, no. 5 (October 13, 2017). http://dx.doi.org/10.5204/mcj.1292.

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IntroductionMusically-inclined people often speak about the soundtrack of their life, with certain songs indelibly linked to a specific moment. When hearing a particular song, it can “easily evoke a whole time and place, distant feelings and emotions, and memories of where we were, and with whom” (Lewis 135). Music has the ability to provide maps to real and imagined spaces, positioning people within a larger social environment where songs “are never just a song, but a connection, a ticket, a pass, an invitation, a node in a complex network” (Kun 3). When someone is lost in the music, they can

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Collins, Steve. "Amen to That." M/C Journal 10, no. 2 (May 1, 2007). http://dx.doi.org/10.5204/mcj.2638.

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   In 1956, John Cage predicted that “in the future, records will be made from records” (Duffel, 202). Certainly, musical creativity has always involved a certain amount of appropriation and adaptation of previous works. For example, Vivaldi appropriated and adapted the “Cum sancto spiritu” fugue of Ruggieri’s Gloria (Burnett, 4; Forbes, 261). If stuck for a guitar solo on stage, Keith Richards admits that he’ll adapt Buddy Holly for his own purposes (Street, 135). Similarly, Nirvana adapted the opening riff from Killing Jokes’ “Eighties” for their song “Come as You Are”. Mus

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Marotta, Steve, Austin Cummings, and Charles Heying. "Where Is Portland Made? The Complex Relationship between Social Media and Place in the Artisan Economy of Portland, Oregon (USA)." M/C Journal 19, no. 3 (June 22, 2016). http://dx.doi.org/10.5204/mcj.1083.

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ExpositionPortland, Oregon (USA) has become known for an artisanal or ‘maker’ economy that relies on a resurgence of place specificity (Heying), primarily expressed and exported to a global audience in the notion of ‘Portland Made’ (Roy). Portland Made reveals a tension immanent in the notion of ‘place’: place is both here and not here, both real and imaginary. What emerges is a complicated picture of how place conceptually captures various intersections of materiality and mythology, aesthetics and economics. On the one hand, Portland Made represents the collective brand-identity used by Portl

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Stewart, Jonathan. "If I Had Possession over Judgment Day: Augmenting Robert Johnson." M/C Journal 16, no. 6 (December 16, 2013). http://dx.doi.org/10.5204/mcj.715.

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augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dictionary 107) Almost everything associated with Robert Johnson has been subject to some form of augmentation. His talent as a musician and songwriter has been embroidered by myth-making. Johnson’s few remaining artefacts—his photographic images, his grave site, other physical records of his existence—have attained the status of reliquary. Even the integrity of his forty-two surviving recordings is now challenged by audi

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