{"title":"Stockton, Will and D. Gilson (eds.). 2020. The 33 1/3 B-Sides: New Essays by 33 1/3 Authors on Beloved and Underrated Albums. New York: Bloomsbury","authors":"R. Davila","doi":"10.52214/CM.V107I.7204","DOIUrl":"https://doi.org/10.52214/CM.V107I.7204","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"226-233"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44473196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Edwards, Brent Hayes. 2017. Epistrophies: Jazz and the Literary Imagination. Cambridge, MA: Harvard University Press","authors":"Jacob Reed","doi":"10.52214/CM.V107I.7208","DOIUrl":"https://doi.org/10.52214/CM.V107I.7208","url":null,"abstract":"-\u0000 ","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"190-196"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48585019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Redmond, Shana. 2020. Everything Man: The Form and Function of Paul Robeson. Durham, NC: Duke University Press","authors":"Aldwyn Hogg","doi":"10.52214/CM.V107I.7187","DOIUrl":"https://doi.org/10.52214/CM.V107I.7187","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"219-225"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46264781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fulcher, Jane F. 2018. Renegotiating French Identity: Musical Culture and Creativity in France during Vichy and the German Occupation. Oxford: Oxford University Press","authors":"Zachary Stewart","doi":"10.52214/CM.V107I.7196","DOIUrl":"https://doi.org/10.52214/CM.V107I.7196","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"181-189"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46463612","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars. Tekla Babyak asks us to re-imagine what is on the other side of the pipeline. In her colloquy contribution, she shares her advocacy experience in fighting for both independent scholars’ and disabled scholars’ seat at the proverbial table. She imagines an academic discipline that would readily accept, acknowledge, and uplift independent scholars—instead of considering them half- or failed scholars for their lack of institutional affiliation. And she imagines an academic discipline that would readily include disabled scholars, not for their exceptionality in achieving scholarship, but for their ability to contribute to a more diverse and inclusive intellectual milieu. She critiques the ableism endemic to the academic pipeline, an ableism that veils the physical and also emotional, mental, and spiritual obstructions in our discipline’s path to so-called success.
{"title":"My Intersecting Quests as a Disabled Independent Scholar","authors":"Tekla Babyak","doi":"10.52214/CM.V107I.7844","DOIUrl":"https://doi.org/10.52214/CM.V107I.7844","url":null,"abstract":"This colloquy, by graduate-student-led collective Project Spectrum, attempts to map out existing discussions around inclusion and equity in music academia, with a specific focus on identifying and analyzing the structures in academia that work against minoritized and historically excluded scholars. \u0000Tekla Babyak asks us to re-imagine what is on the other side of the pipeline. In her colloquy contribution, she shares her advocacy experience in fighting for both independent scholars’ and disabled scholars’ seat at the proverbial table. She imagines an academic discipline that would readily accept, acknowledge, and uplift independent scholars—instead of considering them half- or failed scholars for their lack of institutional affiliation. And she imagines an academic discipline that would readily include disabled scholars, not for their exceptionality in achieving scholarship, but for their ability to contribute to a more diverse and inclusive intellectual milieu. She critiques the ableism endemic to the academic pipeline, an ableism that veils the physical and also emotional, mental, and spiritual obstructions in our discipline’s path to so-called success.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"158-162"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42257488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Fischlin, Daniel and Eric Porter (eds). 2020. Playing for Keeps: Improvisation in the Aftermath. Durham: Duke University Press.","authors":"Mike Ford","doi":"10.52214/CM.V107I.6886","DOIUrl":"https://doi.org/10.52214/CM.V107I.6886","url":null,"abstract":"<jats:p>-</jats:p>","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"210-218"},"PeriodicalIF":0.0,"publicationDate":"2021-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48993413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Song form in North American hip-hop music has evolved along the genre’s journey from its origins as a live musical practice, through its commercial ascent in the 1980s and 1990s, to its dominance of mainstream popular music in the 21st century. This paper explores the nature and evolution of song form in hip-hop music and uses them as a musical lens to view the gradual and ongoing mainstreaming of this genre. With the help of a corpus of 160 hip-hop songs released since 1979, I describe and unpack section types common to hip-hop music—verses, hooks, and instrumentals—illustrating how these sections combine in different formal paradigms, such as strophic and verse-hook. I evaluate the extent to which formal structures in hip-hop music can be understood as products of the genre’s live performance culture; one with roots in African American oral vernacular traditions such as toasting. Finally, I discuss how form in hip-hop music has increasingly foregrounded the hook (chorus): the emergence of the verse-hook song form, an increase in sung hooks (often by singers outside the hip-hop genre), the earlier arrival of hook sections in songs, and the greater share of a song’s duration occupied by hooks. Viewing hip-hop music’s evolution through this increasing importance of the hook provides a clear representation of the genre’s roots outside of, and assimilation into, mainstream popular music; one of many Black musical genres to have traversed this path (George, 1988).
{"title":"Song Form and the Mainstreaming of Hip-Hop Music","authors":"B. Duinker","doi":"10.52214/CM.V107I.7177","DOIUrl":"https://doi.org/10.52214/CM.V107I.7177","url":null,"abstract":"Song form in North American hip-hop music has evolved along the genre’s journey from its origins as a live musical practice, through its commercial ascent in the 1980s and 1990s, to its dominance of mainstream popular music in the 21st century. This paper explores the nature and evolution of song form in hip-hop music and uses them as a musical lens to view the gradual and ongoing mainstreaming of this genre. With the help of a corpus of 160 hip-hop songs released since 1979, I describe and unpack section types common to hip-hop music—verses, hooks, and instrumentals—illustrating how these sections combine in different formal paradigms, such as strophic and verse-hook. I evaluate the extent to which formal structures in hip-hop music can be understood as products of the genre’s live performance culture; one with roots in African American oral vernacular traditions such as toasting. Finally, I discuss how form in hip-hop music has increasingly foregrounded the hook (chorus): the emergence of the verse-hook song form, an increase in sung hooks (often by singers outside the hip-hop genre), the earlier arrival of hook sections in songs, and the greater share of a song’s duration occupied by hooks. Viewing hip-hop music’s evolution through this increasing importance of the hook provides a clear representation of the genre’s roots outside of, and assimilation into, mainstream popular music; one of many Black musical genres to have traversed this path (George, 1988).","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"107 1","pages":"93-135"},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70832927","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-22DOI: 10.7916/CM.V106ISPRING.6771
J. Churchill
{"title":"Knapp. Raymond. 2018. Making Light: Haydn, Musical Camp, and the Long Shadow of German Idealism. Durham: Duke University Press.","authors":"J. Churchill","doi":"10.7916/CM.V106ISPRING.6771","DOIUrl":"https://doi.org/10.7916/CM.V106ISPRING.6771","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43841118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-22DOI: 10.7916/CM.V106ISPRING.6770
Runchao Liu
{"title":"Fast, Susan and Craig Jennex. 2019. Popular Music and the Politics of Hope: Queer and Feminist Interventions. New York: Routledge.","authors":"Runchao Liu","doi":"10.7916/CM.V106ISPRING.6770","DOIUrl":"https://doi.org/10.7916/CM.V106ISPRING.6770","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44281984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-07-22DOI: 10.7916/CM.V106ISPRING.6761
Jesse Chevan
{"title":"Crawley, Ashon. 2020. The Lonely Letters. Durham: Duke University Press.","authors":"Jesse Chevan","doi":"10.7916/CM.V106ISPRING.6761","DOIUrl":"https://doi.org/10.7916/CM.V106ISPRING.6761","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47935274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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