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Binational Indianism in James DeMars’s Guadalupe, Our Lady of the Roses Journal of the Society for American Music (IF 0.2) Pub Date : 2024-06-03 Adriana Martínez Figueroa
Since the late nineteenth century, the “Indian” as symbol has been a recurring trope in the art music of Mexico and the United States. Composers in both countries have often turned to representations of Indigenous Peoples as symbolic of nature, spirituality, and/or aspects of the national Self. This article seeks to place James DeMars's opera Guadalupe, Our Lady of the Roses (2008) in the context of
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Joshua McCarter Simpson's Songs and Mid-Nineteenth Century Antislavery Activism Journal of the Society for American Music (IF 0.2) Pub Date : 2024-06-03 Julia Chybowski
The Ohio-based Black songwriter, Joshua Simpson, published two books of antislavery songs in the mid-nineteenth century, Original Anti-Slavery Songs in 1852 and Emancipation Car in 1854. Unlike most other known songsters, which were compilations of poetry from several authors, Simpson authored original lyrics for borrowed melodies, and he did so with extraordinary care, engaging the original song to
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Opera and Land: Settler Colonialism and the Geopolitics of Music at the Carlisle Indian Industrial School Journal of the Society for American Music (IF 0.2) Pub Date : 2024-04-04 Derek Baron
This article examines the politics of music at the Carlisle Indian Industrial School, the flagship federal off-reservation boarding school for the compulsory education of Indigenous children, established in Carlisle, Pennsylvania, in 1879. By examining the music education and performance culture at the Carlisle School, this article considers the role of music both within boarding school discourses
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Heitor Villa-Lobos and the Traces of Coloniality in Andrés Segovia's Guitar Repertoire Journal of the Society for American Music (IF 0.2) Pub Date : 2024-03-14 Luis Achondo
Andrés Segovia's repertoire—the repertorio segoviano—has crucially shaped the guitar canon. Although some guitar scholars argue that these works helped rescue the instrument from the periphery of art music, others contend that, by commissioning music from minor, conservative composers, Segovia missed the chance to request pieces from the most influential twentieth-century modernists. This article questions
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Bernice Johnson Reagon's Musical Coalition Politics, 1966–81 Journal of the Society for American Music (IF 0.2) Pub Date : 2024-02-26 Stephen Stacks
In 1981, Bernice Johnson Reagon gave a talk at the West Coast Women's Festival, challenging the group of mainly white feminists to embrace coalition politics—a political praxis theorized and advocated by Black and Israeli feminists that sought to build coalitions only after distinct group identities were embraced and nurtured. Long before she articulated this concept as the future of the Movements
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Televising Talent: Musicality, Meritocracy, and the Aesthetics of Exclusion Journal of the Society for American Music (IF 0.2) Pub Date : 2024-01-10 Lindsay J. Wright
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
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“I Just Told Them Like It Was”: Performance and History at Colonial Williamsburg Journal of the Society for American Music (IF 0.2) Pub Date : 2024-01-09 Philip Gentry
Since its organization in the mid-twentieth century, Colonial Williamsburg (CW) has been an important site for the consolidation of powerful narratives of American exceptionalism, patriotism, and the so-called consensus history of the American Revolution. This article looks at the role that music and performance has played in this historiography, taking as its primary texts two films produced by CW:
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The Spiritualist Ear Journal of the Society for American Music (IF 0.2) Pub Date : 2023-12-18 Codee Spinner
During the nineteenth century, many heard the afterlife before they could see it. These clairaudient forays took place in the context of spiritualism, a religious movement that facilitated communication between the living and the dead. Although the senses were important to spiritualism, sound was especially crucial for developing cosmologies of the afterlife. Sound can have powerful affective effects
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“A Much More Valuable Signature”: Gender, Factory Labor, and the Mythology of Builder-Signed Amplifiers from Fender's “Tweed” Era, 1948–60 Journal of the Society for American Music (IF 0.2) Pub Date : 2023-11-16 Erik Broess
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
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Remembering the Cotton Screwmen: Inter-racial Waterfront Labor and the Development of Sailors’ Chanties Journal of the Society for American Music (IF 0.2) Pub Date : 2023-11-16 Gibb Schreffler
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
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Home is Together: Sounds of Belonging in the Correspondence of Two Japanese American Families Separated by Wartime Incarceration Journal of the Society for American Music (IF 0.2) Pub Date : 2023-10-20 Alecia D. Barbour
During World War II, Japanese nationals and U.S. residents Shigezo Iwata and Masaru Ben Akahori were arrested and interned while their wives and children were incarcerated separately. Though wartime correspondence sent from Mr. Akahori to his wife and daughter and from Mrs. Iwata to her husband clearly identifies the United States as “home,” the primary emphasis on home is as a marker of familial reunification
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Sonic Domination and the Politics of Race in Southern Antebellum Hymnody Journal of the Society for American Music (IF 0.2) Pub Date : 2023-10-18 Chase Castle
Religious music served a political function in the southern United States during the antebellum period. This article examines catechisms and hymnbooks used by white evangelical missionaries and slaveowners in the antebellum South, arguing that the planter elite deployed hymns as a medium to assert white supremacy. The term sonic domination identifies processes whereby sound functioned as a social tool
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Capturing the Zeitgeist: Preserving American Music and Culture in the Mashups of DJ Earworm Journal of the Society for American Music (IF 0.2) Pub Date : 2023-07-17 Jeffrey Scott Yunek
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
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“I'm Workin’ on My Buildin”: Freedom and Foundation-Building in Florence Price's Two Violin Fantasies Journal of the Society for American Music (IF 0.2) Pub Date : 2023-07-04 Katharina Uhde, R. Larry Todd
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
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Affective Interruptions: Political Collectivity in Halftime Journal of the Society for American Music (IF 0.2) Pub Date : 2023-07-03 Craig Jennex
In this article, I analyze a rhythmic device in musical theater performance that is often used but rarely discussed: The sudden break into halftime. Breaking into halftime—a rhythmic shift that is performed and perceived as occurring at half the tempo (or speed) of the groove in preceding and subsequent sections—has the effect of abruptly stretching out and slowing down musical temporality. With a
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Private Equity Blues: Warner Music Group, Nonesuch Records, and Jazz in the Era of Financialization Journal of the Society for American Music (IF 0.2) Pub Date : 2023-07-03 Dale Chapman
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
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More Than One “Double Life”: Artistic Conceptions, Networks, and Negotiations in Benny Goodman's Commissions to Paul Hindemith and Darius Milhaud Journal of the Society for American Music (IF 0.2) Pub Date : 2023-05-12 Elisabeth Reisinger
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
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The Court as Concert Hall: Music at the U.S. Supreme Court Journal of the Society for American Music (IF 0.2) Pub Date : 2023-03-23 James M. Doering, Lauren C. Bell
The U.S. Supreme Court has for decades served as an unlikely venue for the performance of music. Between 1988 and 2020, more than 125 musicians, including some of the country's most prominent performers, appeared for intimate audiences in the Supreme Court's East Conference Room. The concerts were officially “off the record,” but details survive in records kept by the U.S. Supreme Court, papers of
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Ginger Smock: Narratives of Perpetual Discovery, Jazz Historiography, and the “Swinging Lady of the Violin” Journal of the Society for American Music (IF 0.2) Pub Date : 2023-03-23 Laura Risk
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
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Historical Records: Reissuing as Curatorial Practice in Harry Smith's Anthology of American Folk Music Journal of the Society for American Music (IF 0.2) Pub Date : 2023-03-23 Dan Blim
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
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What We Talk about When We Talk about Live Smooth Jazz: Sonic Suburbanization, Multipurpose Places of Assembly, and Collective Memory in Regional Cleveland Journal of the Society for American Music (IF 0.2) Pub Date : 2023-02-07 George Blake
Writing about jazz often emphasizes urbanity and focuses on a geographically bounded scene. This can obscure what people do with jazz to affirm community across distances, in the context of Black suburbanization. Likewise, the construction of jazz as an art music oriented around a canonical past does not allow a full understanding of what musicians do with commercial culture to construct community
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Against the Grain Theatre's Messiah/Complex and Indigenous Sovereignty Journal of the Society for American Music (IF 0.2) Pub Date : 2023-02-03 Nina Penner
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
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Joni Mitchell's Urges for Going, 1965–67: Coffeehouses, Counterculture, and Care Journal of the Society for American Music (IF 0.2) Pub Date : 2023-02-01 Adam Behan
Joni Mitchell's life was completely transformed in 1965–67: She became pregnant, was abandoned by the child's father, gave birth to her daughter, placed her baby for adoption, married and subsequently divorced Chuck Mitchell, and moved between several cities in North America. In this article, I center this often overlooked period of Joni's life—which she herself has referred to as “this three-year
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Theory on the South Side: Muhal Richard Abrams's Engagement with Joseph Schillinger's System of Musical Composition Journal of the Society for American Music (IF 0.2) Pub Date : 2023-01-18 Marc E. Hannaford
Muhal Richard Abrams's ground-breaking work as a composer, improviser, and cofounder of the Association for the Advancement of Creative Musicians (AACM) is far reaching and multifaceted. Russian composer, theorist, and polymath Joseph Schillinger appears repeatedly in discussions of Abrams and the AACM, suggesting that music theory played a generative role in Abrams's creative practice and pedagogy
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Dancers on a Grid: Musical Minimalism Arrives at New York City Ballet in 1983 Journal of the Society for American Music (IF 0.2) Pub Date : 2022-10-25 Anne Searcy
On May 12, 1983, New York City Ballet became the first major ballet company to perform a work to minimalist music: Jerome Robbins's Glass Pieces, titled after its score by Philip Glass. The premiere came at a turning point for both minimalism and ballet. The dance world was reeling in the wake of the death of choreographer George Balanchine. Simultaneously, minimalist music was in the process of moving
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Max Lifchitz: A Transmodern Composer in American Music? Journal of the Society for American Music (IF 0.2) Pub Date : 2022-10-25 Hermann Hudde
Latin American and Latinx composers continue to contribute to music by bringing a subtle universe of sounds shaped by their agency and cultural history. Composer Max Lifchitz (b. 1948) bridges his artistic output with entrepreneurship and pedagogy. Since migrating from Mexico to the United States, Lifchitz has constructed a multifaceted persona as a cultural broker. As a composer, Lifchitz's self-defined
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Hearing Epistemic Sound in Experimental (Music) Systems, 1958–73 Journal of the Society for American Music (IF 0.2) Pub Date : 2022-10-17 Drake Andersen
From the late 1950s to the mid-1970s, American experimental musicians like Pauline Oliveros, David Tudor, and Gordon Mumma employed complex and idiosyncratic technological systems to produce and capture acoustic resonance for aesthetic appreciation. Although this shared exploration exhibited many of the hallmarks of a genuine research project, scholars of experimental music have long been wary of claims
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“A Most Valuable Curiosity”: Music Manuscripts, Authorship, Composition, and Gender at the Ephrata Cloister in Eighteenth-Century Pennsylvania Journal of the Society for American Music (IF 0.2) Pub Date : 2022-10-17 Christopher Herbert
The 1746 Ephrata Codex, a 972-page music manuscript in the Library of Congress, is the central document of this study, which locates and identifies several eighteenth-century composers who were solitary sisters and brothers of the Ephrata Cloister in Lancaster County, Pennsylvania. Ephrata was an insular, mainly celibate, Pietist, Sabbatarian, ascetic community, which, at its height in the 1740s and
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Sell a Song of Safety: Children, Radio, and the Safety Patrol Journal of the Society for American Music (IF 0.2) Pub Date : 2022-08-24 Alexandra Krawetz
Amid nationwide discussion on the importance of accident prevention and safety education, Tin Pan Alley songwriters Irving Caesar and Gerald Marks wrote and advertised Sing a Song of Safety (1937), a book of songs that taught children domestic, playtime, and traffic safety lessons, illustrated by Rose O'Neill. Caesar secured a recurring guest segment to perform the songs on the variety program The
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All Rights Reserved: Behind the Strategic Copyright of “We Shall Overcome” Journal of the Society for American Music (IF 0.2) Pub Date : 2022-07-13 Lizzy Cooper Davis
In 2015, musician and non-profit director Isaías Gamboa and filmmaker Lee Butler sued The Richmond Organization (TRO) and its offshoot Ludlow Music over their copyright to the anthem of the civil rights movement, “We Shall Overcome.” The copyright had initially been registered in 1960 and named four white folksingers: Guy Carawan, Frank Hamilton, Zilphia Horton, and Pete Seeger. Suspicious of the white
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Fostering the “Art of Forceful Speech”: Music in the Century Club of California, 1888–1920 Journal of the Society for American Music (IF 0.2) Pub Date : 2022-07-08 Leta E. Miller
The Century Club of California (CCC), founded in 1888, was San Francisco's most prestigious women's club in the early twentieth century. The club's aim was to promote intellectual growth and amplify female voices to help women enter the public domain with confidence. Weekly presentations featured renowned public figures and women who had achieved success in traditionally male fields. Rather than raising
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“The Silent Partner”: Tonearms and Modular Masculinities in U.S. Midcentury Hi-Fi Culture Journal of the Society for American Music (IF 0.2) Pub Date : 2022-06-20 Kelli Smith-Biwer
Advertisements for audio equipment in midcentury magazines, such as High Fidelity and HiFi Review, shaped the constructions that determined how masculinity was modeled, embodied, and fashioned in the United States at midcentury. A hi-fi setup was a material expression of self and masculinity that could be ever tweaked, refashioned, and adjusted. Tonearms, however, were (and still are) delicate, troublesome
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Blending the Popular and the Profound: Organ Concerts at the 1893 World's Columbian Exposition Journal of the Society for American Music (IF 0.2) Pub Date : 2022-05-24 Anne Laver
The 1893 World's Columbian Exposition in Chicago was a watershed moment in U.S. organ culture. Over the course of four months, twenty-one of the finest organists in the country, along with Alexandre Guilmant of Paris, performed sixty-two solo organ recitals on a large new organ built by Farrand and Votey, paving the way for the rise of the solo organ concert in the United States. Although this was
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“To Speak As an Oracle of Christ”: Bishop G. E. Patterson and the Afterlives of Ecstasy Journal of the Society for American Music (IF 0.2) Pub Date : 2022-05-02 Braxton Shelley
This article attends to the musical afterlife of the late Bishop Gilbert Earl Patterson, a Pentecostal minister who, at the time of his death, served as presiding bishop of the largest African American Pentecostal denomination, the Church of God in Christ. In it, I theorize the nexus of faith, media, and sound that lifted Bishop Patterson to the heights of ecclesial power during his lifetime, while
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Hillbilly Maidens, Okies, and Cowgirls: Women's Country Music, 1930–1960 By Stephanie Vander Wel. Urbana: University of Illinois Press, 2020. Journal of the Society for American Music (IF 0.2) Pub Date : 2022-04-11 Phoebe E. Hughes
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Leonard Bernstein and Washington, D.C.: Works, Politics, Performances Edited by Daniel Abraham, Alicia Kopfstein-Penk, and Andrew H. Weaver. Eastman Studies in Music. Rochester, NY: University of Rochester Press, 2020. Journal of the Society for American Music (IF 0.2) Pub Date : 2022-04-11 Ann Glazer Niren
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Music and Deafness in the Nineteenth-Century U.S. Imagination Journal of the Society for American Music (IF 0.2) Pub Date : 2022-04-11 Anabel Maler
This article argues that deaf musical knowledge became epistemically excluded from systems of musical thought in the United States as the result of a battle between two competing philosophies of deaf education in the nineteenth century: manualism and oralism. It reveals how oralist educators explicitly framed music as exclusively involving “normal hearing”—and thus as outside of deaf knowledge except
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Met Opera on Demand https://www.metopera.org/season/on-demand/ Journal of the Society for American Music (IF 0.2) Pub Date : 2022-04-08 Ryan Ebright
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A Multiplicity of Stories: Reading Feminist Orientalism in Scheherazade.2 Journal of the Society for American Music (IF 0.2) Pub Date : 2022-04-08 Rebecca Anna Schreiber
In the folktale collection One Thousand and One Nights, the narrator Scheherazade escapes the Sultan's physical and sexual brutality through her storytelling; in the dramatic symphony Scheherazade.2, composed by John Adams (2014), the music and its programmatic commentary evoke modern images of women facing violence and oppression. Through a musical story of empowerment and a construction of gender
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George C. Wolfe. Ma Rainey's Black Bottom Netflix, 2020. 1 hr, 34 min - Dee Rees. Bessie HBO Films, 2015. 1 hr, 55 min. Journal of the Society for American Music (IF 0.2) Pub Date : 2022-04-07 Sarah Suhadolnik
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Leslie Uggams, Sing Along with Mitch (1961–64), and the Reverberations of Minstrelsy Journal of the Society for American Music (IF 0.2) Pub Date : 2022-03-16 Esther M. Morgan-Ellis
In his television program Sing Along with Mitch (1961–1964), Mitch Miller employed the talents of African American singer Leslie Uggams in ways that explicitly countered the legacy of minstrelsy. Although the program can be criticized as reactionary on other grounds, the fact that Sing Along with Mitch presented older, white viewers with a nostalgic vision of American identity realized through collective
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“I'd Rather [Sound] Blue”: Listening to Agency, Hybridity, and Intersectionality in the Vocal Recordings of Fanny Brice and Barbra Streisand Journal of the Society for American Music (IF 0.2) Pub Date : 2022-02-21 Samantha M. Cooper
This article locates intersectionality, agency, and hybridity within the singing voices of Fanny Brice and Barbra Streisand by comparing recordings of “I'd Rather Be Blue,” “Second Hand Rose,” and “My Man” from the surviving Vitaphone reels of Brice's My Man (1928) with the audio from the Digital Versatile Disc (DVD) of Streisand's Funny Girl (1968). Brice and Streisand's virtuosic stylized vocal performances
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Defining the Songs of Incarceration: The Lomax Prison Project at a Critical Juncture Journal of the Society for American Music (IF 0.2) Pub Date : 2022-02-15 Velia Ivanova
This article illuminates an underexplored moment in the formation of the well-known archive of recordings of incarcerated people collected by the folklorists John and Alan Lomax. In 1934, John Lomax wrote to 350 correctional institutions across the country, asking officials to transcribe the texts of songs “current and popular among prisoners or ‘made up’ by them.” Despite contacting institutions incarcerating
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Dashon Burton's Song Sermon: Corporeal Liveness and the Solemnizing Breath Journal of the Society for American Music (IF 0.2) Pub Date : 2022-02-14 Richard Beaudoin
American bass-baritone Dashon Burton's 2015 recording of the song sermon “He Never Said a Mumberlin’ Word” provides a case study of the interaction between sung melodies and audible breaths in the expression of a lyric. Acknowledging the relationship between Burton's performance and earlier notated arrangements by Roland Hayes, J. Rosamond Johnson, William Arms Fischer, and John W. Work, this study
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Duke Ellington, El Rey del Jazz and the Mexico City Massacre of 1968 Journal of the Society for American Music (IF 0.2) Pub Date : 2022-02-14 León F. García Corona
From September 24 to October 2, 1968, two apparently unrelated events took place in an area of less than two square miles in downtown Mexico City: Duke Ellington performed in the Palacio de Bellas Artes, and the Mexican army massacred hundreds of protesting students. The student-driven movement of 1968 attracted people from different backgrounds in Mexican society. Their desire for freedom of speech
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Leonard Bernstein and the Language of Jazz By Katherine A. Baber. Urbana: University of Illinois Press, 2019. Journal of the Society for American Music (IF 0.2) Pub Date : 2022-02-01 Lee Caplan
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The Karl Muck Scandal: Classical Music and Xenophobia in World War I America by Melissa D. Burrage, Rochester: University of Rochester Press, 2019. Journal of the Society for American Music (IF 0.2) Pub Date : 2022-02-01 Imani Danielle Mosley
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Mahalia Jackson and the Black Gospel Field By Mark Burford. New York, NY: Oxford University Press, 2019. Journal of the Society for American Music (IF 0.2) Pub Date : 2022-02-01 Birgitta J. Johnson
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Los Rurales Y Los Amigos de Buena Vista. Ocotitia. Released February 26, 2021. Cugate Clásicos Latinos, LC 08867, 2021. CD. Journal of the Society for American Music (IF 0.2) Pub Date : 2022-02-01 Katia Lanuza
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Charles Ives, Complete Symphonies Los Angeles Philharmonic, Gustavo Dudamel, conductor. Deutsche Grammophon, 2 CDs, B0033369-02, 2020. Journal of the Society for American Music (IF 0.2) Pub Date : 2022-02-01 David Thurmaier
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Listen But Don't Ask Question: Hawaiian Slack Key Guitar Across the TransPacific By Kevin Fellezs. Durham: Duke University Press, 2019. Journal of the Society for American Music (IF 0.2) Pub Date : 2022-02-01 Sunaina Keonaona Kale
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“All I See Is Your Booty and Cleavage”: Sex and the Contemporary Gospel Song (1988–2017) Journal of the Society for American Music (IF 0.2) Pub Date : 2021-12-22 Deborah Smith Pollard
Gospel songs traditionally feature lyrics that glorify God. However, there is music by contemporary gospel artists that addresses pre-marital sex, homosexuality, and pornography. The fact that these topics are being lyrically confronted by some of the genre's most recognized performers invites exploration into the content, purpose, and impact of the songs.This article places these lyrics into categories:
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Music is a Place: Oprys and the Rural Working-Class Constitution of Public Space Journal of the Society for American Music (IF 0.2) Pub Date : 2021-12-22 Liza Sapir Flood
“Oprys” are public musicking events found in Appalachia and beyond. They facilitate regular embodied sociality between strangers and friends in a region often characterized by the social fallout of neoliberal economic trends. Drawing on ethnographic research in Tennessee and elsewhere, I show that oprys constitute rural working-class public space where participants negotiate a precarious cultural order
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Conjured from Fragments: KMD's Mr. Hood and the Transformative Poetics of the Golden Age Rap Album Journal of the Society for American Music (IF 0.2) Pub Date : 2021-12-22 James G. McNally
Between 1988 and 1991, the rap album took flight. Under the dual impetus of innovations in sampling, and of the album form itself, an explosion of youthful creativity ensured the rap album, mined for more self-consciously artistic potential, emerged as a multi-layered artform that revealed a similarly multi-layered Black genius. For innovators like the Bomb Squad (Public Enemy, Ice Cube, Son of Bazerk)
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“Very Female, with the Allure of a Foreign Aura”: Vocality, Gender, and European Exoticism in the US Careers of Alice Babs and Caterina Valente Journal of the Society for American Music (IF 0.2) Pub Date : 2021-12-22 Mikkel Vad
“How can America import ‘American’ jazz?,” asked the music editor of Good Housekeeping, George Marek, in 1956. Marek answered, “Singers, particularly if they are very female, give the home-grown music the allure of a foreign aura.” Taking these statements as a starting point, this article gives an account of the US careers of Alice Babs and Caterina Valente. Gender, class, and ethnicity were key elements
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Are Popular Music Curricula Antiracist?: The CCNY Music Department as a Case Study Journal of the Society for American Music (IF 0.2) Pub Date : 2021-12-22 Matthew K. Carter
In a recent virtual talk at the Hitchcock Institute for Studies in American Music, music theorist Philip Ewell considered how music educators and researchers might begin to “undo the exclusionist framework of our contemporary music academy.” Ewell's enterprise resonated with me not only as one who teaches undergraduate courses in music theory, history, performance, and ear training, but also as an
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Curricular Reform and a Culture of Listening: Lessons from the Rosedale Freedom Project Journal of the Society for American Music (IF 0.2) Pub Date : 2021-12-22 Monica A. Hershberger
I was formally introduced to antiracist pedagogy in the spring of 2016, several months before I traveled for the first time to the Rosedale Freedom Project (RFP) in Rosedale, Mississippi, to teach a course on music and politics to high school students. Oft romanticized as the place where blues guitarist Robert Johnson sold his soul to the devil at the crossroads, Rosedale is a small town in the Delta
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Whose History?: The Americas and Music Curricula in the United States Journal of the Society for American Music (IF 0.2) Pub Date : 2021-12-22 M. Leslie Santana
One moment from the much-discussed 2017 curriculum reform in the Music Department at Harvard University has stuck with me and transformed the way I approach teaching music in higher education. In one of the meetings leading up to the revision, graduate students in the department led an activity in which attendees—who included undergraduate students, graduate students, and faculty alike—got into small