Journal of the Society for American Music最新文献_第2页

SAM volume 18 issue 1 Cover and Back matter 萨姆》第 18 卷第 1 期封面和封底

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2024-02-01 DOI: 10.1017/s1752196324000117

引用次数: 0

SAM volume 18 issue 1 Cover and Front matter 萨姆》第 18 卷第 1 期封面和封底

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2024-02-01 DOI: 10.1017/s1752196324000105

引用次数: 0

God Rock, Inc.: The Business of Niche Music By Andrew Mall. Oakland, CA: University of California Press, 2021. 上帝摇滚公司小众音乐的商业》，安德鲁-马尔著。加利福尼亚州奥克兰市：加州大学出版社，2021 年。

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2024-02-01 DOI: 10.1017/s1752196323000482

Adam A. Perez

引用次数: 0

Singing Out: GALA Choruses and Social Change By Heather MacLachlan. Ann Arbor: University of Michigan Press, 2020. 唱出来：GALA 合唱团与社会变革 Heather MacLachlan 著。安阿伯：密歇根大学出版社，2020 年。

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2024-02-01 DOI: 10.1017/s1752196323000433

Allison McCracken

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":"<p>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.</p>","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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

New York Klezmer in the Early Twentieth Century: The Music of Naftule Brandwein and Dave Tarras By Joel Rubin. Rochester, NY: University of Rochester Press, 2020. 二十世纪初的纽约克莱兹梅尔：Naftule Brandwein 和 Dave Tarras 的音乐 Joel Rubin 著。纽约州罗切斯特市：罗切斯特大学出版社，2020 年。

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-11-01 DOI: 10.1017/s1752196323000330

Karen L. Uslin

引用次数: 0