Journal of the Society for American Music最新文献_第5页

Chronicling Stankonia: The Rise of the Hip-Hop South By Regina N. Bradley. Chapel Hill, NC: University of North Carolina Press, 2021. 《永恒的斯坦科尼亚：嘻哈南方的崛起》，作者：雷吉娜·N·布拉德利。北卡罗来纳州教堂山：北卡罗来纳大学出版社，2021年。

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-03-28 DOI: 10.1017/s1752196323000056

A. Coddington

{"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":"17 1","pages":"204 - 206"},"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}

引用次数: 5

The Court as Concert Hall: Music at the U.S. Supreme Court 作为音乐厅的法院:美国最高法院的音乐

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-03-23 DOI: 10.1017/S175219632300010X

James M. Doering, Lauren C. Bell

引用次数: 0

Ginger Smock: Narratives of Perpetual Discovery, Jazz Historiography, and the “Swinging Lady of the Violin” 金格·斯莫克：永恒发现的叙事、爵士乐史学和“摇摆的小提琴女士”

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-03-23 DOI: 10.1017/S1752196323000032

Laura Risk

{"title":"Ginger Smock: Narratives of Perpetual Discovery, Jazz Historiography, and the “Swinging Lady of the Violin”","authors":"Laura Risk","doi":"10.1017/S1752196323000032","DOIUrl":"https://doi.org/10.1017/S1752196323000032","url":null,"abstract":"Abstract Ginger Smock (1920–95), an African American jazz and classical violinist, was a popular Los Angeles entertainer and one of the first African American women bandleaders on television. This article traces her career from Los Angeles’ Central Avenue to Las Vegas showroom orchestras, drawing on archival materials from the Smithsonian National Museum of African American History and Culture. Through a close reading of a 1951 DownBeat profile of Smock, I interrogate racialized constructions of gender in that magazine and frame mid-century jazz reporting on women instrumentalists via a “narrative of perpetual discovery” that positions these women as waiting for a career break that never comes. As an antidote to the effacement implicit in such narratives, I propose close documentation of sustained artistic practice: That is, the day-to-day facts of a working musician's life. This article reads Smock's professional trajectory through an intersectional lens to offer a critical perspective on the ways in which social identities, especially race and gender, may shape both musical careers and our historicization of those careers.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"17 1","pages":"151 - 177"},"PeriodicalIF":0.4,"publicationDate":"2023-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48470753","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

Historical Records: Reissuing as Curatorial Practice in Harry Smith's Anthology of American Folk Music 历史记录:重新发行作为策展实践在哈利·史密斯的美国民间音乐选集

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-03-23 DOI: 10.1017/S1752196323000093

Dan Blim

{"title":"Historical Records: Reissuing as Curatorial Practice in Harry Smith's Anthology of American Folk Music","authors":"Dan Blim","doi":"10.1017/S1752196323000093","DOIUrl":"https://doi.org/10.1017/S1752196323000093","url":null,"abstract":"Abstract Reissues of recordings are commonplace, yet rarely examined by scholars. This article considers how reissuing is a creative act akin to museum curation. Through this lens, reissuers emerge as crucial interpretive figures, making decisions that affect how music and music history are understood by listeners. I take as a case study the Anthology of American Folk Music (1952), one of the most canonic and widely praised reissues. Created by record collector and avant-garde artist Harry Smith and distributed by Folkways, the Anthology comprises eighty-four commercially released recordings made between 1926 and 1932, accompanied by an idiosyncratic set of liner notes. At the time, folk music was beset by various mythologies, notably an idealization of racial purity and an antithetical stance toward commercialism and modernity. When reissuing the material, Smith carefully selected, sequenced, and annotated the recordings in ways that unsettled these mythologies. In 1994, the Smithsonian reissued the Anthology on compact disc. Drawing on archival documents from the Smithsonian, I demonstrate how their decisions reframed the Anthology in various ways to fit their goals and concerns. Through marketing, reproduction, cover design, and the soliciting and editing of additional notes, the Smithsonian elevated Smith as a racially progressive auteur while navigating commercial concerns and historical preservation. In particular, the editing of notes avoided controversial statements during an era of politically contentious museum exhibitions. Nevertheless in doing so, the very myths that Smith unsettled in his reissuing were replaced by an idealized race-blindness, anti-commercialism, and historicism.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"17 1","pages":"178 - 203"},"PeriodicalIF":0.4,"publicationDate":"2023-03-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43467759","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

Philippa Duke Schuyler. Seven Pillars of Wisdom Sarah Masterson, piano. Centaur Records 3944, 2022 菲利帕·杜克·斯凯勒。七根智慧之柱莎拉·马斯特森，钢琴。半人马记录3944,2022

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-02-01 DOI: 10.1017/s1752196322000487

Stephanie Jensen-Moulton

引用次数: 0

Against the Grain Theatre's Messiah/Complex and Indigenous Sovereignty 反对谷物剧院的弥赛亚/情结与本土主权

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-02-01 DOI: 10.1017/S1752196322000402

Nina Penner

{"title":"Against the Grain Theatre's Messiah/Complex and Indigenous Sovereignty","authors":"Nina Penner","doi":"10.1017/S1752196322000402","DOIUrl":"https://doi.org/10.1017/S1752196322000402","url":null,"abstract":"Abstract The COVID-19 pandemic and the intensification of IBPOC (Indigenous, Black, and People of Color) activism during this time have prompted many in the classical music industry to pause and reflect on the ways in which we perpetuate colonialism and racism in our leadership and governance structures, programming, casting practices, performance practices, and treatment of IBPOC artists. This article focuses on Messiah/Complex (2020) by Toronto's Against the Grain Theatre (AtG). All soloists were Indigenous or people of color. Based on conversations with several Indigenous artists involved in this project, this article argues that we need to move from thinking about how to include more Indigenous artists to thinking about how we can create space for Indigenous sovereignty. That is going to involve giving over decision-making power to Indigenous artists at all levels. Messiah/Complex could have made a more decisive move toward sovereignty if it had begun with conversations with IBPOC artists about what they want to say at this moment. The performers should have been able to decide not only what language to perform in but also whether they want to perform Handel's music at all, who they want to collaborate with, and how they want to work together.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":"17 1","pages":"20 - 42"},"PeriodicalIF":0.4,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42292732","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

SAM volume 17 issue 1 Cover and Front matter SAM第17卷第1期封面和封面

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-02-01 DOI: 10.1017/s1752196323000019

引用次数: 0

Joni Mitchell's Urges for Going, 1965–67: Coffeehouses, Counterculture, and Care 琼妮·米切尔的《去的欲望，1965-67:咖啡馆、反主流文化和关怀

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-02-01 DOI: 10.1017/S1752196322000414

Adam Behan

引用次数: 0

Beyoncé: At Work, On Screen, and Online Edited by Martin Iddon and Melanie L. Marshall. Bloomington: Indiana University Press, 2020. 《碧昂斯:在工作、银幕和网络上》，作者:马丁·伊登和梅勒妮·l·马歇尔。布卢明顿:印第安纳大学出版社，2020年。

IF 0.4 1区艺术学

Journal of the Society for American Music Pub Date : 2023-02-01 DOI: 10.1017/S1752196322000499

Paula Harper

引用次数: 0

SAM volume 17 issue 1 Cover and Back matter SAM第17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 : 2023-02-01 DOI: 10.1017/s1752196323000020

引用次数: 0