Journal of the Society for American Music最新文献

{"title":"Private Equity Blues: Warner Music Group, Nonesuch Records, and Jazz in the Era of Financialization","authors":"D. Chapman","doi":"10.1017/S1752196323000160","DOIUrl":"https://doi.org/10.1017/S1752196323000160","url":null,"abstract":"Abstract Since the 1980s, the Nonesuch label, a longstanding subsidiary of the Warner Music Group (WMG), has become noteworthy for its steady market performance during a period of volatility for media multinationals. Nonesuch Records, having once been an adventurous boutique classical label under Teresa Sterne, has developed over the last three decades as a creatively idiosyncratic and commercially successful “adult” imprint under Robert Hurwitz, the erstwhile director of the Munich-based Edition of Contemporary Music jazz label. Nonesuch has not historically been understood as a jazz label, though it has served as a home for a few jazz acts, including Bill Frisell, Fred Hersch, and the World Saxophone Quartet. By the early years of the new millennium, though, Nonesuch had become one of the few major label subsidiaries willing to maintain an active roster of jazz instrumentalists, harnessing its diversified roster as a source of strength. This paper examines the Nonesuch label's cultivation of a distinctive jazz niche and situates this development against the backdrop of a period of structural turbulence for the WMG. The leveraged buyout of WMG in 2004, which precipitated the dissolution of the Warner Jazz subsidiary and the transfer of much of its jazz roster to Nonesuch, reflects a contemporary logic of financialization, where value extraction has become the overriding goal of corporate restructuring. Mergers and acquisitions enacted at the uppermost reaches of major label corporate hierarchies pass along significant costs to the label subsidiaries and their artist rosters, installing precarity at the core of the music industry's creative ecologies.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42809477","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}

{"title":"Institute for Composer Diversity, https://www.composerdiversity.com/","authors":"Sebastián Wanumen Jiménez","doi":"10.1017/s1752196323000111","DOIUrl":"https://doi.org/10.1017/s1752196323000111","url":null,"abstract":"Launched in 2018, the Institute for Composer Diversity (ICD) emerged as an initiative that aimed to challenge the canonical repertoire, advocating for diversity, equity, and inclusion (DEI) in Western-composed classical music. Although the ICD is housed by the School of Music at the State University of New York at Fredonia, the enterprise is funded by individual and institutional contributors, among them the Sphinx Organization through the 2020 Sphinx Venture Fund and New Music USA through its 2022 Organizational Development Fund. The ICD’s website, however, is not just an online platform for the ICD; instead, it is the Institute itself—together with the people that make it possible. Although offering a large variety of resources, the ICD’s sitemap is well-designed and easy to navigate. It requires a minimum of web browsing knowledge, which facilitates the initiative’s aim of diversity through accessibility. The ICD’s motto “Search. Program. Perform. Repeat.” gives a hint of the Institute’s purpose: “To encourage the discovery, study, and performance of music written by composers from historically excluded groups.” To that end, the ICD offers five databases: the Composer Diversity Database, the Art Song Database, the Choral Works Database, the Orchestra Database, and the Wind Band Database. Inclusion of composers and works are suggested by the public (which includes the composers themselves and third-party submitters) via an online form. To be included, two requirements should be met: Positive consent for inclusion by the composer (including verification of the information) and completeness. The Composer Diversity Database is oriented to display individual composers filtered by five advanced criteria: Gender identity and sexual/romantic orientation, demographics (ethnicities), genre (i.e., orchestra, wind band, etc.), subgenre, and the composer’s location. The other four databases revolve around works. However, the search tool combines works’ specificities criteria (for instance, the Art Song Database has as a filter for the vocal register) and composers’ identities criteria. These powerful databases include more than 2,200 composers and almost 10,000 individual works (as stated in the 2021 annual report). Nonetheless, they are far from complete, which is not necessarily undesirable. On the one hand, there are still many composers missing, especially historical composers from outside the United States that have had a presence in North America (e.g., Asian or Latin American composers). On the other, the ICD acknowledges that its databases are in permanent construction. There are always fresh composers developing their catalogs who are yet to join. This is the principle that the ICD articulates as “there is more to come!” (as stated at the top of each database webpage). Such a principle resonates well with the fact that DEI is also always under construction: As peoples and their conditions change, DEI strategies should adapt—a characteristic that i","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48197597","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}

{"title":"Jon Batiste. WE ARE Verve Records, 2021","authors":"Kyle DeCoste","doi":"10.1017/s1752196323000147","DOIUrl":"https://doi.org/10.1017/s1752196323000147","url":null,"abstract":"With the release of his sixth studio album, WE ARE (2021), Jon Batiste transformed from late night bandleader to center-stage popular music celebrity. The album helped secure five GRAMMY awards for Batiste and his team and garnered critical and commercial success. A multi-genre offering, WE ARE received nods in R&B, contemporary classical, and American roots awards categories. The album comes in at thirteen tracks with a 38-minute play time. There is also a nineteen-track deluxe edition that adds five remixes and the 12/8 soul jam “WORK IT OUT.” Conceptually, WE ARE is a multi-genre excavation of U.S. popular music that bridges the gap between the politics of the Civil Rights era and the summer of 2020 Black Lives Matter protests, which inspired the creation of the album’s title track. Batiste is a member of one of New Orleans’s most respected musical families. His father, Michael, is a member of the Batiste Brothers Band and played bass with Jackie Wilson and Isaac Hayes on the so-called “Chitlin’ Circuit.” Growing up, Batiste lived just outside of New Orleans in Kenner, but WE ARE leans strongly into the New Orleans aspects of Batiste’s upbringing. The ethical center of “TELL THE TRUTH” is built around Michael Batiste’s parting words before his son left for Juilliard: “I’m thinking ‘bout my papa/now that I’m a star ... before you drive off, boy/better know who you are/ He said tell it like it is.” The “Uptown” remix of the track from the deluxe album reimagines the song as a Black Masking Indian chant featuring Big Chief Romeo Bougere of the 9th Ward Hunters and the 79rs Gang on vocals and Michael Batiste on a stank-face-inducing electric bass. “BOY HOOD,” “MOVEMENT 11,” and “ADULTHOOD” make up a mini suite in the middle of the album. The intentional space between “boy” and “hood” in “BOY HOOD”’s title evokes the state of being a boy and the neighborhoods of Batiste’s childhood as he sings about No Limit soldiers, bubblegum, church on Sundays, and the pre-2008 colors of a Popeye’s bag (red, white, and blue). Joining him on the track are alumni of two of his high school music programs: PJ Morton, who is a graduate of St. Augustine High School, and Troy “Trombone Shorty” Andrews, who was classmates with Batiste at the New Orleans Center for the Creative Arts (NOCCA). “BOY HOOD” pays homage to New Orleans hip-hop with bounce-like high hats on a beat produced by Florida native Jahaan Sweet.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48033614","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}

{"title":"SAM volume 17 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s1752196323000135","DOIUrl":"https://doi.org/10.1017/s1752196323000135","url":null,"abstract":"","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43502949","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}

{"title":"SAM volume 17 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s1752196323000123","DOIUrl":"https://doi.org/10.1017/s1752196323000123","url":null,"abstract":"","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47542750","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}

{"title":"More Than One “Double Life”: Artistic Conceptions, Networks, and Negotiations in Benny Goodman's Commissions to Paul Hindemith and Darius Milhaud","authors":"Elisabeth Reisinger","doi":"10.1017/S1752196323000044","DOIUrl":"https://doi.org/10.1017/S1752196323000044","url":null,"abstract":"Abstract Beginning around the mid-1930s, clarinetist and bandleader Benny Goodman engaged with classical music, adding standard solo pieces to his regular performance and record portfolio. He also stimulated the emergence of a modern clarinet repertoire by granting commissions to composers, such as Béla Bartók, Paul Hindemith, Darius Milhaud, and others. In this article, I explore why and how these projects evolved and how the collaborations unfolded. My focus is on the commissions to Hindemith (1941/47) and Milhaud (1941). The newly found correspondence of Eric Simon, a Viennese-born clarinetist who advised Goodman and initiated contact with Hindemith and Milhaud, reveal Goodman's “double life” as a multilayered sphere for various actors, each with their own specific background and agenda. My analysis follows three topics that decisively shaped the investigated projects: Goodman's relationship with classical music, which I discuss in light of the intersectionally biased structures of U.S. musical life; the situation of European émigré artists experienced by Hindemith, Milhaud, and Simon; and the promotion of new music, which linked the lives, networks, and agendas of the aforementioned protagonists and even defined their relationships. By highlighting Goodman taking center stage as a performer-commissioner, I argue for more serious attention to performers’ impact on musical production and repertoire formation, given that they represent the ultimate gatekeepers to the living repertoire.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43208774","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}

{"title":"Industry: Bang on a Can and New Music in the Marketplace By William Robin. New York: Oxford University Press, 2021.","authors":"John R. Pippen","doi":"10.1017/s175219632300007x","DOIUrl":"https://doi.org/10.1017/s175219632300007x","url":null,"abstract":"","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49538583","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}

{"title":"Unbinding Gentility: Women Making Music in the Nineteenth Century South By Candace Bailey. Urbana: University of Illinois Press, 2021.","authors":"Aldona Dye","doi":"10.1017/S1752196323000068","DOIUrl":"https://doi.org/10.1017/S1752196323000068","url":null,"abstract":"Robin presents to me overwhelming evidence of Bang on a Can’s deep embrace of neoliberalism, but he never considers the impact of neoliberalism as an ideology that shapes music. This is especially striking given composers such as Cornelius Cardew and Ivan Tcherepnin and classmates of Lang, Gordon, and Wolfe are quoted in the book voicing sincere objections to capitalism. Robin, however, never deeply engages with such critiques. Race and gender are similarly considered here only with reference to Bang on aCan’s claim that, in relation to classicalmusicmore generally, they improved the racial and gender make-up of their programs. These are important issues that continue to trouble many in the field. A lack of stated aims beyond Robin’s descriptions of the book’s contents exacerbates these omissions. The resulting arguments may thus ultimately be frustrating to those searching for ways to imagine a better future for newmusic. In summary, Robin’s work presents a compelling account of Bang on aCan. It offers useful insights for researchers of classical music, especially those interested in new music, its funding, and its position in the recording industry in the late 1980s and 1990s. The book is eminently readable at the non-specialist level, suitable for undergraduates.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48502676","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}

{"title":"Chronicling Stankonia: The Rise of the Hip-Hop South By Regina N. Bradley. Chapel Hill, NC: University of North Carolina Press, 2021.","authors":"A. Coddington","doi":"10.1017/s1752196323000056","DOIUrl":"https://doi.org/10.1017/s1752196323000056","url":null,"abstract":"Although scholars recognize the U.S. South as the most influential region for hip-hop music today, there remains a dearth of academic work on it. 1 Regina N. Bradley ’ s Chronicling Stankonia: The Rise of the Hip-Hop South helps to fill that gap, to be sure; it contributes to the growing, and yet still deeply insufficient, number of histories of hip-hop in the South, such as those by journalists Roni Sarig, Ben Westhoff, and Briana Younger. 2 However the book does far more than narrate a vital strand of the history of southern hip-hop: Its analysis of music, literature, and audiovisual media makes clear the centrality of hip-hop in contemporary Black life in the U.S. South. In Bradley ’ s study, hip-hop does not just function as a musical genre, it becomes a way to understand Black Southern identity after the civil rights movement of the mid-twentieth century. The book ’ s interrogation of the cultural possibilities for the contemporary Black American South begins by acknowledging the absence of academic work in this area. As Bradley notes, scholarship on post-civil rights Black culture rarely focuses on the South, and popular representations of it all too often center the experiences of white southerners, with Black narratives typically confined to three historical moments: The antebellum era, Jim Crow, and the modern civil rights movement. This book ’ s focus on the hip-hop South — what Bradley defines as “ the experiences of black southerners who came of age in the 1980s and 1990s and use hip-hop culture to buffer themselves from the historical narrative and expectations of civil rights movement era blacks and their predecessors ” (6) — offers a necessary corrective, highlighting the complexity of Black southern life in the post-civil rights era and making plain the unrefined nature of popular representations of the South that fail to account for these experiences.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47617204","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}

{"title":"Hungry Listening: Resonant Theory for Indigenous Sound Studies By Dylan Robinson. Minneapolis: University of Minnesota Press, 2020.","authors":"Victoria Clark","doi":"10.1017/S1752196323000081","DOIUrl":"https://doi.org/10.1017/S1752196323000081","url":null,"abstract":"","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46623027","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}