Journal of the Society for American Music最新文献

Binational Indianism in James DeMars’s Guadalupe, Our Lady of the Roses 詹姆斯-德马斯的《玫瑰圣母瓜达卢佩》中的两国印第安主义

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2024-06-03 DOI: 10.1017/s1752196324000063

Adriana Martínez Figueroa

{"title":"Binational Indianism in James DeMars’s Guadalupe, Our Lady of the Roses","authors":"Adriana Martínez Figueroa","doi":"10.1017/s1752196324000063","DOIUrl":"https://doi.org/10.1017/s1752196324000063","url":null,"abstract":"Since the late nineteenth century, the “Indian” as symbol has been a recurring trope in the art music of Mexico and the United States. Composers in both countries have often turned to representations of Indigenous Peoples as symbolic of nature, spirituality, and/or aspects of the national Self. This article seeks to place James DeMars's opera Guadalupe, Our Lady of the Roses (2008) in the context of two major cultural trends: Indianism in the U.S., and the representation of Mexico by U.S. composers. DeMars's use of Indigenous instruments in Guadalupe, including Mexican pre-Hispanic percussion, and flutes performed by famed Navajo-Ute flutist R. Carlos Nakai, continues the Indianist tradition of associating the Indigenous cultures of both countries with nature, spirituality, and authenticity. Similar associations emerge in the development and reception of both “world music” and the Native American recording industry since the 1980s, as exemplified by Nakai's career. DeMars uses these instruments in combination with Plains Native American features and generic exoticisms to represent both the Mexican Indigenous Peoples and the spiritual message of the opera. The sympathetic treatment of Indigenous cultures in Guadalupe nevertheless exists in tension with their exoticism and Otherness; in this the work is representative of U.S. cultural responses to Mexico stretching back throughout the long twentieth century.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"21 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141255532","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Joshua McCarter Simpson's Songs and Mid-Nineteenth Century Antislavery Activism 约书亚-麦卡特-辛普森的歌曲与十九世纪中叶的反奴隶制活动

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2024-06-03 DOI: 10.1017/s1752196324000087

Julia Chybowski

{"title":"Joshua McCarter Simpson's Songs and Mid-Nineteenth Century Antislavery Activism","authors":"Julia Chybowski","doi":"10.1017/s1752196324000087","DOIUrl":"https://doi.org/10.1017/s1752196324000087","url":null,"abstract":"The Ohio-based Black songwriter, Joshua Simpson, published two books of antislavery songs in the mid-nineteenth century, Original Anti-Slavery Songs in 1852 and Emancipation Car in 1854. Unlike most other known songsters, which were compilations of poetry from several authors, Simpson authored original lyrics for borrowed melodies, and he did so with extraordinary care, engaging the original song to enhance his activist messages. Employing the rhetorical practice of signification, his linkage of new lyrics with preexisting songs sometimes builds upon meaning from the original text, reusing it to add weight to the moral and political arguments against slavery. He also extends nature imagery and lyrics about the comforts of home and family in traditional ballads and contemporary sentimental songs to his new lyrics, but more often his signifying practice is ironic. He inverts the original song's sentimentality in deliberately discomforting ways that could persuade Americans to assist self-emancipating people and work toward wholescale abolition of slavery. Simpson's most radical songs talk back irreverently to the originals, especially minstrel tunes containing degrading caricatures and proslavery propaganda as well as patriotic anthems proclaiming hypocritical platitudes. Simpson did not simply write new songs; he transformed some of the most popular and beloved songs of his era, harnessing their renown to sharpen his activist messages.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"25 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-06-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141256469","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Opera and Land: Settler Colonialism and the Geopolitics of Music at the Carlisle Indian Industrial School 歌剧与土地：卡莱尔印第安人工业学校的殖民定居主义和音乐地缘政治学

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2024-04-04 DOI: 10.1017/s1752196324000075

Derek Baron

{"title":"Opera and Land: Settler Colonialism and the Geopolitics of Music at the Carlisle Indian Industrial School","authors":"Derek Baron","doi":"10.1017/s1752196324000075","DOIUrl":"https://doi.org/10.1017/s1752196324000075","url":null,"abstract":"This article examines the politics of music at the Carlisle Indian Industrial School, the flagship federal off-reservation boarding school for the compulsory education of Indigenous children, established in Carlisle, Pennsylvania, in 1879. By examining the music education and performance culture at the Carlisle School, this article considers the role of music both within boarding school discourses of “civilization” and in terms of the larger federal goal of dispossession of Native land. Based on original archival research and engagements with contemporary discourses in Indigenous music and sound studies, the article then considers a nationalistic comic opera titled The Captain of Plymouth performed by Native students at the Carlisle commencement exercises in 1909. It argues ultimately that, although music, dance, and expressive culture were a central concern for federal assimilationist policy, music making at Carlisle provided a groundwork for the emergence of an intertribal social formation that guided musical practices and self-determination movements of the twentieth and twenty-first centuries.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"49 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140569847","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Heitor Villa-Lobos and the Traces of Coloniality in Andrés Segovia's Guitar Repertoire 海托尔-比利亚-洛博斯与安德烈斯-塞戈维亚吉他曲目中的殖民痕迹

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2024-03-14 DOI: 10.1017/s1752196324000099

Luis Achondo

{"title":"Heitor Villa-Lobos and the Traces of Coloniality in Andrés Segovia's Guitar Repertoire","authors":"Luis Achondo","doi":"10.1017/s1752196324000099","DOIUrl":"https://doi.org/10.1017/s1752196324000099","url":null,"abstract":"Andrés Segovia's repertoire—the repertorio segoviano—has crucially shaped the guitar canon. Although some guitar scholars argue that these works helped rescue the instrument from the periphery of art music, others contend that, by commissioning music from minor, conservative composers, Segovia missed the chance to request pieces from the most influential twentieth-century modernists. This article questions the conservative homogeneity of the repertorio segoviano. Focusing on Segovia's collaborations with Heitor Villa-Lobos, I argue that it contains traces of coloniality: The perpetuation of colonial domination in Latin America. The relationship between Segovia and Villa-Lobos was more contentious than the official narrative suggests—tensions stemming from their dominant personalities, divergent approaches to guitar composition, and conflicting musical ideologies. Indeed, although Segovia's stance aligned with Francoist and European conservative aesthetics, Villa-Lobos embraced a transcultural approach to music shaped by, a response to, and exertion of the coloniality of power—discrepancies that were engraved in their collaborations and ultimately the repertorio segoviano. This article ultimately foregrounds that elite composers from the periphery played an essential role in the modernization of the guitar in the twentieth century, thereby questioning historiographies that detach the instrument from the social, political, and cultural messiness of colonial difference and the coloniality of power.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"83 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140156818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Bernice Johnson Reagon's Musical Coalition Politics, 1966–81 伯尼丝-约翰逊-里根的音乐联盟政治，1966-1981 年

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2024-02-26 DOI: 10.1017/s1752196323000469

Stephen Stacks

{"title":"Bernice Johnson Reagon's Musical Coalition Politics, 1966–81","authors":"Stephen Stacks","doi":"10.1017/s1752196323000469","DOIUrl":"https://doi.org/10.1017/s1752196323000469","url":null,"abstract":"In 1981, Bernice Johnson Reagon gave a talk at the West Coast Women's Festival, challenging the group of mainly white feminists to embrace coalition politics—a political praxis theorized and advocated by Black and Israeli feminists that sought to build coalitions only after distinct group identities were embraced and nurtured. Long before she articulated this concept as the future of the Movements within which she worked, Reagon piloted it in her post-Civil Rights Movement music making. In her work with the Harambee Singers and the Southern Folk Cultural Revival Project between 1966 and 1974, Reagon developed a musical coalition politics that would inform her later interventions. Not only were Reagon's musical coalition politics during this period a musical embodiment of the vanguard of feminist theory, but they also shed light on how one of the most important musician-scholar-activists of the twentieth century approached the crafting of a new political identity in conversation with the shifting front of the Black Freedom Movement in the immediate wake of the classical phase of the Civil Rights Movement. This little-known period of Reagon's output offers scholars of Black music, scholars of American music, feminists/Black feminists, and activists much to contemplate and incorporate into our work.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"3 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-02-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139968743","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Televising Talent: Musicality, Meritocracy, and the Aesthetics of Exclusion 电视转播人才：音乐性、功利和排斥美学

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2024-01-10 DOI: 10.1017/s1752196323000421

Lindsay J. Wright

{"title":"Televising Talent: Musicality, Meritocracy, and the Aesthetics of Exclusion","authors":"Lindsay J. Wright","doi":"10.1017/s1752196323000421","DOIUrl":"https://doi.org/10.1017/s1752196323000421","url":null,"abstract":"Throughout the history of television, American audiences have participated in a tradition of programs that follow a consistent structure: Amateur musicians and entertainers are offered an opportunity to display their talent on stage, competing for audience votes to win first prize and a chance at stardom. This article contributes to a growing literature on the significance of televised talent shows, demonstrating how their remarkable longevity and representational power stems from their configuration as a “format,” the set of guidelines that structure and constrain the content of each broadcast—an aesthetic process grounded in exclusion. Through their formatting, I argue, these programs reify the notion of “talent” at the heart of talent shows, transforming a multidimensional and context-contingent assemblage of musical abilities into a seemingly stable object able to be recognized, rated, and ranked. Musical auditions offer a microcosm of formatting's role as a means of training audiences’ attention. They normalize the practice of eliminating whatever (or whomever) is deemed unworthy—on these programs and in the wider world. Through analyzing examples from Ted Mack and the Original Amateur Hour (1948), The Gong Show (1978), and The Voice (2017), the article demonstrates how beneath the widely discussed content of contestant demographics, judge commentary, or audience voting results, the talent show format serves to obscure the contradictions upon which meritocracy's cruel optimism rests.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"25 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2024-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139409683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

“I Just Told Them Like It Was”: Performance and History at Colonial Williamsburg "我只是如实告诉他们"：威廉斯堡殖民地的表演与历史

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2024-01-09 DOI: 10.1017/s1752196323000470

Philip Gentry

引用次数: 0

The Spiritualist Ear 心灵之耳

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-12-18 DOI: 10.1017/s175219632300041x

Codee Spinner

引用次数: 0

Remembering the Cotton Screwmen: Inter-racial Waterfront Labor and the Development of Sailors’ Chanties 记住棉花螺旋起子:跨种族的滨水劳工和水手俱乐部的发展

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-11-16 DOI: 10.1017/s1752196323000287

Gibb Schreffler

{"title":"Remembering the Cotton Screwmen: Inter-racial Waterfront Labor and the Development of Sailors’ Chanties","authors":"Gibb Schreffler","doi":"10.1017/s1752196323000287","DOIUrl":"https://doi.org/10.1017/s1752196323000287","url":null,"abstract":"The prevailing white racial frame surrounding discourse on the sailor work songs called chanties (popularly, “sea shanties”) means that discussions tend to ignore or minimize these songs’ African American heritage. Articulating revised and more just historical narratives of chanties is additionally challenged by the normative approach of setting discussions within the spatial frame of the sea. We may overcome these challenges by recentering the frame of discussion on an adjacently situated space of shoreside labor and its actors, cotton screwmen. Throughout the nineteenth century, the United States’ cotton export trade depended upon screwmen's work of stowing cotton bales aboard ships in port. Although all screwmen were Black men during the profession's formative period, by mid-century, white men had joined the profession in complementary proportion. This created an unusual case, not only of both racial groups performing the same labor but also of white men entering and accommodating to an already-established “Black” labor environment. Importantly, from the advent of their profession, screwmen practiced singing to coordinate their labor. I argue that white sailors who came to work seasonally as screwmen were compelled to acculturate to existing African American work singing, and thus acquired the material and conceptual bases to develop the shipboard work songs best remembered as “chanties.” As the first ever sustained exposition of screwmen's forgotten singing, this essay contests both popular narratives’ granting of exclusive agency to white seafaring and academic discussions that tokenize African American heritage as an “influence” rather than the chanty genre's foundation.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"53 5","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138508020","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

“A Much More Valuable Signature”: Gender, Factory Labor, and the Mythology of Builder-Signed Amplifiers from Fender's “Tweed” Era, 1948–60 “一个更有价值的签名”:性别，工厂劳动，以及芬达“粗花呢”时代的制造者签名放大器的神话，1948-60

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-11-16 DOI: 10.1017/s1752196323000299

Erik Broess

{"title":"“A Much More Valuable Signature”: Gender, Factory Labor, and the Mythology of Builder-Signed Amplifiers from Fender's “Tweed” Era, 1948–60","authors":"Erik Broess","doi":"10.1017/s1752196323000299","DOIUrl":"https://doi.org/10.1017/s1752196323000299","url":null,"abstract":"Amplifiers from Fender's so-called Tweed era (1948–60) are among the most valuable instruments in all popular music. Inside most Fender Tweed amplifiers is a piece of masking tape bearing the signature of the worker who hand-wired the amplifier's circuit. Today, collectors have elevated several of Fender's previously unknown Latina employees into legendary figures with near cultlike followings. In the absence of biographical information about these women, however, the contemporary discourse about them is often highly romanticized. In this article, I present novel historical information about Fender's Tweed-era employees to counter the misinformation surrounding them and Fender's mid-century Fullerton, California factory system more broadly. Analyzing contemporary discourses surrounding Fender's earliest employees, I also critique the persistence of gendered and racialized stereotypes about Fender's female employees being naturally equipped for labor-intensive assembly work due to their supposedly “nimble fingers.” This article also details the social processes through which Fender's Tweed amplifiers have been made “vintage,” and the company's mid-century mass-production techniques have since been attributed the same artisanal values associated with vintage string instrument making. Ultimately, I show how the builder-signatures contained within Fender's Tweed-era amplifiers have been central to the discursive production of value among collectors.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"51 1","pages":""},"PeriodicalIF":0.4,"publicationDate":"2023-11-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138508003","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0