Editor’s Introduction

Kenneth Bilby
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Abstract

The genesis of this special issue of the Black Music Research Journal can be traced back to a number of discussions between Samuel Floyd Jr. and myself in 2007. What, we asked ourselves, were some of the prominent theoretical concerns in recent interdisciplinary scholarship that connected current research on black music most clearly with ongoing work in a broad variety of other fields? Near the top of the list was the concept of diaspora and its theorization. This topic, we agreed, was more than substantial enough to merit not just an entire conference, but a series of conferences and/or conference sessions designed to stimulate further thinking and writing about the intersection between black music research and the theorization of “diaspora.” With this in view, Dr. Floyd and I crafted a one-paragraph statement (actually, a series of questions), giving it the title, “Reassessing the Black Music Diaspora: What Is It, Why Is It Important, and How Should It Be Understood?” Among the questions posed was the following: “Is it worth the effort to define the black music diaspora in a way that sets it apart from its semantic neighbors [e.g., “migration,” “Pan-Africanism,” “transnationalism,” and “globalization”] and allows it to become a true field of intellectual study, rather than the empty designator that it now sometimes appears to be?” Another question centered on the importance of distinctly “musical” concerns: “If we attempt to theorize the concept of diaspora from a specifically musical perspective, how might our understandings differ from, or converge with, those emerging in other contexts and disciplines?” This brief document served as the point of departure for a projected series of conferences and sessions meant to address the theme of “black music diaspora” from multiple perspectives, to be held in a number of musically important diasporal locations. During 2008–09, the Center for Black Music Research brought this projected series of events to fruition, assigning several special sessions in
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《黑人音乐研究杂志》这期特刊的起源可以追溯到2007年小塞缪尔·弗洛伊德和我之间的一些讨论。我们问自己,在最近的跨学科学术研究中,有哪些突出的理论问题将当前的黑人音乐研究与其他广泛领域的正在进行的工作最明显地联系起来?排在最前面的是侨民的概念及其理论化。我们一致认为,这个话题不仅值得举办一个完整的会议,而且值得举办一系列的会议和/或会议会议,旨在激发人们对黑人音乐研究与“流散”理论之间的交集的进一步思考和写作。考虑到这一点,弗洛伊德博士和我起草了一份一段话的声明(实际上是一系列问题),标题为“重新评估黑人音乐的流散:它是什么,为什么重要,以及应该如何理解它?”提出的问题如下:“是否值得努力定义黑人音乐散居,将其与语义上的邻居(例如,“移民”、“泛非主义”、“跨国主义”和“全球化”)区分开来,并允许它成为一个真正的智力研究领域,而不是现在有时看起来是空洞的标志?”另一个问题集中在明显的“音乐”关注的重要性上:“如果我们试图从一个特定的音乐角度来理论化侨民的概念,我们的理解与其他背景和学科中出现的理解有何不同,或者有何趋同?”这份简短的文件是一系列会议和会议的出发点,旨在从多个角度讨论“黑人音乐散居”的主题,这些会议和会议将在一些重要的音乐散居地举行。在2008年至2009年期间,黑人音乐研究中心将这一系列计划付诸实践,安排了几次特别会议
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