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Music and the Racial Imagination
"A specter lurks in the house of music, and it goes by the name of race," write Ronald Radano and Philip Bohlman in their introduction. Yet the intimate relationship between race and music has rarely been examined by contemporary scholars, most of whom have abandoned it for the more enlightened notions of ethnicity and culture. Here, a distinguished group of contributors confront the issue head on. Representing an unusually broad range of academic disciplines and geographic regions, they critically examine how the imagination of race has influenced musical production, reception, and scholarly analysis, even as they reject the objectivity of the concept itself. Each essay follows the lead of the substantial introduction, which reviews the history of race in European and American, non-Western and global musics, placing it within the contexts of the colonial experience and the more recent formation of "world music." Offering a bold, new revisionist agenda for musicology in a postmodern, postcolonial world, this book will appeal to students of culture and race across the humanities and social sciences.
Lying Up a Nation
What is black music? For some it is a unique expression of the African-American experience, its soulful vocals and stirring rhythms forged in the fires of black resistance in response to centuries of oppression. But as Ronald Radano argues in this bracing work, the whole idea of black music has a much longer and more complicated history-one that speaks as much of musical and racial integration as it does of separation.
Jazz Among the Discourses
Employing modes of criticism and theory that have transformed study in the humanities, this title addresses questions seldom if ever raised in jazz writing: What are the implications of building jazz history around the medium of the phonograph record? Why did jazz writers first make the claim that jazz is an art?
Celebrating a Century of Ecumenism
Modern ecumenism traces its roots back to the 1910 World Missionary Conference in Edinburgh. Celebrating a Century of Ecumenism brings readers up to date on one hundred years of global dialogue between many different church traditions, including Anglican, Lutheran, Methodist, Roman Catholic, Pentecostal, Evangelical, Orthodox, Baptist, Disciples of Christ, Oriental Orthodox, and more. Eighteen essays by authors representing a wide spectrum of denominational interests outline the achievements of this movement toward unity. The first part of the book focuses on multilateral dialogue that involved a variety of churches attempting to delineate common ground, with considerable progress reported. ...
Mexican American Mojo
Stretching from the years during the Second World War when young couples jitterbugged across the dance floor at the Zenda Ballroom, through the early 1950s when honking tenor saxophones could be heard at the Angelus Hall, to the Spanish-language cosmopolitanism of the late 1950s and 1960s, Mexican American Mojo is a lively account of Mexican American urban culture in wartime and postwar Los Angeles as seen through the evolution of dance styles, nightlife, and, above all, popular music. Revealing the links between a vibrant Chicano music culture and postwar social and geographic mobility, Anthony Macías shows how by participating in jazz, the zoot suit phenomenon, car culture, rhythm and blu...
Reggaeton
A hybrid of reggae and rap, reggaeton is a music with Spanish-language lyrics and Caribbean aesthetics that has taken Latin America, the United States, and the world by storm. Superstars—including Daddy Yankee, Don Omar, and Ivy Queen—garner international attention, while aspiring performers use digital technologies to create and circulate their own tracks. Reggaeton brings together critical assessments of this wildly popular genre. Journalists, scholars, and artists delve into reggaeton’s local roots and its transnational dissemination; they parse the genre’s aesthetics, particularly in relation to those of hip-hop; and they explore the debates about race, nation, gender, and sexual...
Chicago Blues
Chicago has always had a reputation as a "wide open town" with a high tolerance for gangsters, illegal liquor, and crooked politicians. It has also been the home for countless black musicians and the birthplace of a distinctly urban blues-more sophisticated, cynical, and street-smart than the anguished songs of the Mississippi delta--a music called the Chicago blues. This is the history of that music and the dozens of black artists who congregated on the South and Near West Sides. Muddy Waters, Big Bill Broonzy, Howlin' Wolf, Elmore James, Tampa Red, Little Walter, Jimmy Reed, Otis Rush, Sonny Boy Williamson, Junior Wells, Eddie Taylor--all of these giants played throughout the city and created a musical style that had imitators and influence all over the world.
The Cultural Study of Music
What is the relationship between music and culture? The first edition of The Cultural Study of Music: A Critical Introduction explored this question with groundbreaking rigor and breadth. Now this second edition refines that original analysis while examining the ways the field has developed in the years since the book’s initial publication. Including contributions from scholars of music, cultural studies, anthropology, sociology, and psychology, this anthology provides a comprehensive introduction to the study of music and culture. It includes both pioneering theoretical essays and exhaustively researched case studies on particular issues in world musics. For the second edition, the original essays have been revised and nine new chapters have been added, covering themes such as race, religion, geography, technology, and the politics of music. With an even broader scope and a larger roster of world-renowned contributors, The Cultural Study of Music is certain to remain a canonical text in the field of cultural musicology.
Genre in Popular Music
The popularity of the motion picture soundtrack O Brother, Where Art Thou? brought an extraordinary amount of attention to bluegrass, but it also drew its share of criticism from some aficionados who felt the album’s inclusion of more modern tracks misrepresented the genre. This soundtrack, these purists argued, wasn’t bluegrass, but “roots music,” a new and, indeed, more overarching category concocted by journalists and marketers. Why is it that popular music genres like these and others are so passionately contested? And how is it that these genres emerge, coalesce, change, and die out? In Genre in Popular Music, Fabian Holt provides new understanding as to why we debate music cate...
