The Beautiful Music All around Us: Field Recordings and the American Experience

IF 0.1 4区 社会学 0 FOLKLORE WESTERN FOLKLORE Pub Date : 2013-07-01 DOI:10.5860/choice.50-3184
Jessica A. Schwartz
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引用次数: 7

Abstract

The Beautiful Music All Around Us: Field Recordings and the American Experience. By Stephen Wade. (Urbana: University of Illinois Press, 2012. Music in American Life Series. Pp. xvii + 477, preface, acknowledgments, introduction, photographs, music examples, notes, works cited, a note on the recording, index. 13-track CD included. $24.95 cloth.)Stephen Wade's The Beautiful Music All Around Us is a collection of musical histories that animates thirteen field recordings made for the Library of Congress between 1934 and 1942. These field recordings, collected by such folklorists as John and Alan Lomax, are included on the accompanying CD. Combining multisited ethnographic work, archival research, and oral histories from surviving musicians, family members, friends, and community members, Wade details his investigative process that led him to places such as Appalachia, Huntsville, and the Mississippi Delta in pursuit of the backstories of the recordings. He shares with readers the diverse life stories of the individual performers whose unique iterations of folk songs have shaped American musical culture, from the local to national level. The musicians (seven black and five white) featured in this book span a wide range of personalities and include a "charismatic" convict, Mississippi schoolchildren, housewives and mothers.The book is organized into twelve chapters that bear the names of "the twelve singers and instrumentalists," who, according to Wade, "show us the irrepressible admixture of music in America" (4). He notes, "Their stories are metaphors for how this country has lived" (4). Their stories, it seems, are metaphors for perseverance amidst adversity, often relying on creative methods of "getting by," such as using song as support, archive, and a performance of renewal. We hear these themes in the uncovering of often-silent histories of familiar songs, both as sonorous texts and cultural productions. While these stories resound the striking diversity and talent of the folk, Wade is careful to contextualize the songs within America's complex socio-economic milieu. He draws from the musical textures strands of concrete historical issues that find resonance today, such as slavery, racism, poverty, hunger, unsafe working conditions, and lack of access to education.In Chapter 3, for example, Wade explores the racial past of "Shortenin' Bread," performed by Ora Dell Graham and her classmates as a call and response style playground song in 1940. The song, known to many Americans as a nursery rhyme or lullaby, is posited to have its roots in blackface minstrelsy when performers would often mock the diets of slaves. While there is no historical documentation of this origin from the early nineteenth century, "Shortenin' Bread" audibly extends back to minstrelsy with lyrics in an exaggerated style of black vernacular that have become softened over time given commercial pressures. Wade traces the song's evolution as "community lore" and as "a commercial project" by connecting the piece to its namesake cuisine and the sustenance, which at times was scarce, it provided (91). The song has meant much to many people, and it has been a celebration of freedom as well as appropriated by a white theatrical composer who failed to credit his sources. Following the presentation of its backstory, Wade writes that Ora Dell Graham's bluesy rendition, "expresses a symbolic reversal, turning poverty into plenty . . . Ora Dell takes a plain but desired food, rooted in subsistence, and converts it into strength" (98-9). He then poignantly connects this functional musicality with other "ceremonials of the poor," such as the Pinkster celebrations, in which African Americans are freed from work and revel in eating, drinking, and enjoying games and music.Accounts that champion "the folk," rejoice in a pluralistic American society, or aggrandize the plight and victories of the working or underclasses are indeed prevalent in American scholarship and literature. …
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美丽的音乐在我们身边:现场录音和美国的经验
美丽的音乐在我们身边:现场录音和美国的经验。斯蒂芬·韦德著。厄巴纳:伊利诺伊大学出版社,2012。美国生活中的音乐系列。第xvii + 477页,序言,致谢,介绍,照片,音乐例子,注释,引用的作品,记录注释,索引。包括13轨CD。布24.95美元。)斯蒂芬·韦德的《美丽的音乐在我们身边》是一部音乐历史的合集,它将1934年至1942年间为美国国会图书馆制作的13张现场录音动画化。这些由民俗学家John和Alan Lomax等人收集的现场录音收录在随附的CD中。结合多地点的民族志工作、档案研究和幸存音乐家、家庭成员、朋友和社区成员的口述历史,Wade详细介绍了他的调查过程,这使他前往阿巴拉契亚、亨茨维尔和密西西比三角洲等地,追寻录音的背景故事。他与读者分享了每位表演者不同的生活故事,他们独特的民歌迭代塑造了从地方到国家层面的美国音乐文化。书中提到的音乐家(7名黑人和5名白人)有着广泛的个性,包括一个“有魅力的”罪犯、密西西比州的学童、家庭主妇和母亲。这本书被组织成十二章,以“十二位歌手和乐器演奏家”的名字命名,根据韦德的说法,他们“向我们展示了美国音乐不可抑制的混合”(4)。他指出,“他们的故事隐喻了这个国家是如何生活的”(4)。他们的故事似乎隐喻了逆境中的毅力,往往依靠创造性的方法来“度过难关”,比如用歌曲作为支持、档案和更新的表演。我们在揭开熟悉的歌曲往往沉默的历史时听到了这些主题,这些歌曲既是铿锵的文本,也是文化产物。虽然这些故事反映了民间惊人的多样性和才华,但韦德小心翼翼地将这些歌曲置于美国复杂的社会经济环境中。他从具体的历史问题的音乐纹理中汲取灵感,这些问题在今天得到了共鸣,比如奴隶制、种族主义、贫困、饥饿、不安全的工作条件和缺乏受教育的机会。例如,在第三章中,韦德探讨了1940年由奥拉·戴尔·格雷厄姆(Ora Dell Graham)和她的同学们演唱的《Shortenin' Bread》(Shortenin' Bread)的种族历史,这首歌是一首呼吁和回应风格的操场歌曲。这首歌被许多美国人称为童谣或摇篮曲,据推测它起源于黑脸吟唱,当时表演者经常嘲笑奴隶的饮食。虽然从19世纪早期开始就没有关于这一起源的历史文献,但“Shortenin' Bread”可以追溯到说唱,歌词采用了夸张的黑人方言风格,随着时间的推移,这种风格在商业压力下变得软化了。韦德将这首歌与同名的美食和食物联系起来,将其演变为“社区的爱”和“商业项目”,而这些食物有时是稀缺的。这首歌对很多人来说意义重大,它是对自由的庆祝,同时也被一位未注明出处的白人戏剧作曲家挪用。在介绍了它的背景故事之后,韦德写道,奥拉·戴尔·格雷厄姆的蓝调演奏“表达了一种象征性的逆转,把贫穷变成了富足……奥拉·戴尔将一种普通但令人渴望的食物,根植于生存,并将其转化为力量”(98-9)。然后,他尖锐地将这种功能性音乐与其他“穷人的仪式”联系起来,比如平克斯特庆祝活动,在这个活动中,非裔美国人从工作中解脱出来,尽情地吃喝玩乐,享受游戏和音乐。在美国学术和文学中,拥护“民间”、为多元化的美国社会感到高兴、或夸大工人阶级或下层阶级的困境和胜利的报道确实很普遍。…
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WESTERN FOLKLORE
WESTERN FOLKLORE FOLKLORE-
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