Journal of the Society for American Music最新文献_第3页

Crossing Bar Lines: The Politics and Practices of Black Musical Space By James Gordon Williams. Jackson: University Press of Mississippi, 2021 《跨越酒吧界限：黑人音乐空间的政治与实践》，詹姆斯·戈登·威廉姆斯著。杰克逊：密西西比大学出版社，2021

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-08-01 DOI: 10.1017/S1752196323000202

Steven Lewis

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SAM volume 17 issue 3 Cover and Back matter SAM第17卷第3期封面和封底

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-08-01 DOI: 10.1017/s1752196323000263

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SAM volume 17 issue 3 Cover and Front matter SAM第17卷第3期封面和封面问题

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-08-01 DOI: 10.1017/s1752196323000251

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Agave Baroque and Reginald L. Mobley. American Originals: A New World, A New Canon Acis Productions LLC. 2021. 龙舌兰巴洛克和雷金纳德·L·莫布里。美国原创：一个新世界，一个新的佳能Acis Productions LLC。2021。

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-08-01 DOI: 10.1017/S1752196323000196

Karin A. Cuellar Rendon

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Christian Sacred Music in the Americas Edited by Andrew Shenton and Joanna Smolko. Lanham, Maryland: Rowman & Littlefield, 2021. 安德鲁·申顿和乔安娜·斯莫尔科主编的《美洲基督教圣乐》。马里兰州兰汉姆：罗曼和利特尔菲尔德，2021年。

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-08-01 DOI: 10.1017/S1752196323000184

Hannah Porter Denecke

{"title":"Christian Sacred Music in the Americas Edited by Andrew Shenton and Joanna Smolko. Lanham, Maryland: Rowman & Littlefield, 2021.","authors":"Hannah Porter Denecke","doi":"10.1017/S1752196323000184","DOIUrl":"https://doi.org/10.1017/S1752196323000184","url":null,"abstract":"and funk of tracks like “In Love,” “Soft and Wet,” and slow-jam “Baby” were among the styles of R&B that were right at home in Uncle Sam’s, the dance club that soon transformed into First Avenue. (The latter holds near-mythical status as the site where much of the Purple Rain LP was recorded, and additionally served as the visual setting of many club scenes in the film.) The precision of the playing, use of technological timbral and rhythmic characteristics, and melismatic, multi-tracked vocals that occur throughout the album all seem to be directly descended from the local scene. Then there is the last track on the record, the raucous “I’m Yours,” which begins with a nasty funk bass and screaming rock guitar lead part. In themes that focus on relations of race and their resultant musical markets, Swensson explains clearly how virtuosic guitar performance and rock-oriented styles were audible to Prince during his formative years. The beauty of learning this background helps to clarify that he was not somehow calculating his musical offerings to simultaneously occupy multiple economic segments within the music industry. Instead, his mix of rock and R&B elements was far more organic, reflecting his understanding of the possibilities of popular music as a means of artistic expression. Although written by someone with no official connection to higher education, Swensson’s book serves the mission of academic musicology as well as anything written by a university professor during the last half-decade. Using deep, historical investigation and carefully selected sources, Got to Be Something Here tells a fascinating story about music, race and region, filling a gaping hole in our public knowledge of this important musical scene.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"17 1","pages":"305 - 308"},"PeriodicalIF":0.4,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44790866","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}

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The Velvet Underground Todd Haynes, director. Criterion Collection Blu-ray. 2021. 《地下丝绒》导演托德·海恩斯标准集蓝光。2021.

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-08-01 DOI: 10.1017/s1752196323000214

Katherine Reed

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The Sonic Episteme: Acoustic Resonance, Neoliberalism, and Biopolitics By Robin James. Durham: Duke University Press, 2019. 《声波书信集：声学共振、新自由主义和生物政治》，罗宾·詹姆斯著。达勒姆：杜克大学出版社，2019年。

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-08-01 DOI: 10.1017/S175219632300024X

A. Apolloni

{"title":"The Sonic Episteme: Acoustic Resonance, Neoliberalism, and Biopolitics By Robin James. Durham: Duke University Press, 2019.","authors":"A. Apolloni","doi":"10.1017/S175219632300024X","DOIUrl":"https://doi.org/10.1017/S175219632300024X","url":null,"abstract":"concludes by calling the reader to look to what is now called Palestine for further context. O’Connor reminds us that Jesus himself once lived in that region and would be described today as “a person of color,” and a Jew “who sang the psalms at Passover” and “chanted the scripture in the synagogue” (335). Thus, when we speak of Christianity, we must not lose sight of the origins of its very namesake, as O’Connor confirms the “vast majority of Christians in the Americas (and worldwide) do not share Jesus’s Jewishness” (335). I enjoyed reading this book throughout 2021, and I think it will intrigue readers from a variety of contexts. These chapters would be useful in a variety of classroom environments, whether for undergraduate or graduate students studying sacred or American musical expressions. Scholars of American sacred music will also find this book stimulating in the variety of methodological approaches it considers. In addition to the scholarly and educational contexts in which this book would be useful, I imagine it would also prove meaningful for curious readers beyond an academic context.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"17 1","pages":"308 - 310"},"PeriodicalIF":0.4,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46920924","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}

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Got To Be Something Here: The Rise of the Minneapolis Sound By Andrea Swensson. Minneapolis: University of Minnesota Press, 2021. 《一定要有所成就：明尼阿波利斯之声的崛起》，作者：Andrea Swensson。明尼阿波利斯：明尼苏达大学出版社，2021年。

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-08-01 DOI: 10.1017/S1752196323000238

Andrew Flory

{"title":"Got To Be Something Here: The Rise of the Minneapolis Sound By Andrea Swensson. Minneapolis: University of Minnesota Press, 2021.","authors":"Andrew Flory","doi":"10.1017/S1752196323000238","DOIUrl":"https://doi.org/10.1017/S1752196323000238","url":null,"abstract":"Wilderson and its core ideas of Black social death and exclusion from humanity. Indeed, Williams finds Wilderson’s stark conception of Black inhumanity to be fundamentally incompatible with the vibrancy and global impact of Black music and with his subjects’ dedication to affirming their humanity through their art (18). He points instead to moments of multiracial collaboration from jazz history to illustrate Black musical space’s as-yet-unrealized potential to include all of humanity (19). Crossing Bar Lines is an excellent and timely addition to the literature of jazz studies, critical improvisation studies, and Black studies. With his insightful combination of cultural theory and music analysis, along with his engagement with urgent contemporary issues of race and gender, Williams has provided an especially illuminating look at Black musicians as improvisers and as theorists of politics and culture. His book will be useful for scholars in fields like Black Studies, American Studies, and Women’s and Gender Studies who seek a deeper understanding of contemporary Black improvised music and its relevance to ongoing social justice struggles.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"17 1","pages":"302 - 305"},"PeriodicalIF":0.4,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43852331","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}

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Capturing the Zeitgeist: Preserving American Music and Culture in the Mashups of DJ Earworm 捕捉时代精神：在DJ Earworm的混搭中保护美国音乐和文化

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-07-17 DOI: 10.1017/S1752196323000172

J. Yunek

{"title":"Capturing the Zeitgeist: Preserving American Music and Culture in the Mashups of DJ Earworm","authors":"J. Yunek","doi":"10.1017/S1752196323000172","DOIUrl":"https://doi.org/10.1017/S1752196323000172","url":null,"abstract":"Abstract The discussion of narrative in mashups typically involves how a preexisting message is reinterpreted by the incorporation of new musical material. However, many scholars note how DJ Earworm's technique of creating new lyrics through the combination of samples from up to fifty different tracks conveys an original message that is distinct from its borrowed sources. In his various interviews, DJ Earworm elaborates that his mashups are original compositions that act as musical time capsules that capture the zeitgeist of the age. Nevertheless, DJ Earworm only provides brief commentary on the meaning of his mashups and there is no close examination of these narratives in the literature. This raises the question: To what degree do DJ Earworm's mashups reflect cultural issues in American society? By merging Zbikowski's concept of conceptual integration with Almén's theory of musical narrative, this paper will demonstrate how DJ Earworm's mashups show a consistent pattern of having complex narratives with cultural messages that resonate with contemporary issues in American society, including fossil fuel dependence, income inequality, and political and racial division.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"17 1","pages":"273 - 299"},"PeriodicalIF":0.4,"publicationDate":"2023-07-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42186430","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}

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“I'm Workin’ on My Buildin”: Freedom and Foundation-Building in Florence Price's Two Violin Fantasies “我正在建造我的建筑”:弗洛伦斯·普莱斯的两部小提琴幻想中的自由与基础建设

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-07-04 DOI: 10.1017/S1752196323000226

Katharina Uhde, R. Todd, Naomi André, Karen M. Bryan, Eric Saylor

{"title":"“I'm Workin’ on My Buildin”: Freedom and Foundation-Building in Florence Price's Two Violin Fantasies","authors":"Katharina Uhde, R. Todd, Naomi André, Karen M. Bryan, Eric Saylor","doi":"10.1017/S1752196323000226","DOIUrl":"https://doi.org/10.1017/S1752196323000226","url":null,"abstract":"Abstract Florence Price (1887–1953) was instrumental in establishing a “black musical idiom” in the twentieth century (Samantha Ege, 2020) by embedding vernacular songs into her works, including Violin Fantasy No. 2 in F-sharp minor, built on “I'm workin’ on my Buildin.’” In 1940 she arranged the melody as the second of the Two Traditional Negro Spirituals, finished on March 26, 1940. On March 29 and 30, 1940, she quickly dispatched Fantasy No. 2. Price often performed the piano part of her works herself. The performative act of playing Fantasy No. 2 with its embedded spiritual “I'm workin’ on my Buildin’ […] All for my Lord” would have solidified her faith, which rested in part in her own interpretation of its lyrics: Her “work” on her “buildin” and foundations, in composition and in life. Furthermore, each performance of Fantasy No. 2 would have created an embodied performed commemoration, from her perspective, of historical events of injustice and oppression in the Jim Crow South, which she abandoned in 1927 for Chicago. By engaging with Price's fantasies through the lens of performance studies and genre theory, and by drawing on Ege (2020), Rae Linda Brown (2020), Cooper (2019, 2020), and Douglas Shadle (2021), this article examines Price's vernacular foundation and sonic foundation-building symbolically. Meanings of freedom emerge on several levels, which we relate to creative freedom and to “freedoms in the most oppressive of social environments,” such as Price's environment, to which she responded with “a powerful musical language” (Ege, 2020).","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"17 1","pages":"243 - 260"},"PeriodicalIF":0.4,"publicationDate":"2023-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44975190","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}

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