Minneapolis, Prince, and the Minneapolis Sound

IF 0.2 4区社会学 Q4 CULTURAL STUDIES

Boundary 2-An International Journal of Literature and Culture Pub Date : 2022-05-01 DOI:10.1215/01903659-9644576

R. Kay

引用次数: 0

Abstract

Prince was an artist who challenged many conventional notions of race, sexuality, and music. His music, characterized as the Minneapolis Sound, is a continuation and extension of America's indigenous music, the blues. This article is an explanation of the designation “Minneapolis Sound.” The first part establishes the Minneapolis milieu, specifically that of the black neighborhoods, and how it formed Prince and his cohort, such as James “Jimmy Jam” Harris Jr., Terry Lewis, André Cymone, Morris Day, and others. The second part is a close analysis of Prince's music and its sonic effects and how Prince engages and extends the blues idiom.

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明尼阿波利斯，普林斯，还有明尼阿波利斯海湾

普林斯是一位挑战许多关于种族、性和音乐的传统观念的艺术家。他的音乐，被称为明尼阿波利斯之声，是美国本土音乐蓝调的延续和延伸。这篇文章是对“明尼阿波利斯之声”名称的解释。第一部分建立了明尼阿波利斯的环境，特别是黑人社区的环境，以及它如何形成了普林斯和他的同伴，如小詹姆斯·“吉米·詹姆”·哈里斯、特里·刘易斯、安德烈·西蒙、莫里斯·戴等人。第二部分是对普林斯的音乐及其声音效果的详细分析，以及普林斯如何运用和扩展蓝调习语。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Boundary 2-An International Journal of Literature and Culture Multiple-

CiteScore

0.20

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0.00%

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期刊介绍： Extending beyond the postmodern, boundary 2, an international journal of literature and culture, approaches problems in these areas from a number of politically, historically, and theoretically informed perspectives. boundary 2 remains committed to understanding the present and approaching the study of national and international culture and politics through literature and the human sciences.