Pub Date : 2020-07-22DOI: 10.7916/CM.V106ISPRING.6753
M. Woolsey
There is very little scholarship that considers questions of queerness in relation to film music, and the scholarship that does (Paulin, 1997; Haworth et. al., 2012; Buhler, 2014; Dubowsky, 2016) tends to approach the subject from a representational standpoint, identifying instances in which the soundtrack participates in the representation of queerness in film. The role that the soundtrack plays in fostering queer engagement with film has been left relatively underexplored. In this essay, I assert that the theories of counteridentification and disidentification as articulated by Jose Esteban Munoz in his groundbreaking queer of color critique text Disidentifications: Queers of Color and the Performance of Politics (Munoz; 1999) have much to offer scholars of film music interested in exploring questions of identification and auditory and/or emotional spectatorship. I will begin by laying out Munoz’s formulation of these theories and then briefly sketch counteridentification’s long history within film music criticism, an academic orientation that sets up Hollywood’s musical norms as the product of an oppressive “culture industry” and the disruption of those norms through modernist European musical practices as liberatory counteridentification (Adorno/Eisler; 1947). With these understandings in place, I will move to a discussion of two U.S. films from the 1970s whose soundtracks present Black audiences with audiovisual experiences that invite counteridentification and disidentification respectively: Blacula (William Crain; 1972) and Ganja and Hess (Bill Gunn; 1973).
很少有学者考虑与电影音乐有关的古怪问题，而且有学者这样做（Paulin，1997；Haworth等人，2012；Buhler，2014；Dubowsky，2016）倾向于从表征的角度来处理这个主题，确定配乐参与电影中古怪表现的实例。原声音乐在促进酷儿参与电影方面所扮演的角色相对来说还没有得到充分的探索。在这篇文章中，我断言Jose Esteban Munoz在其开创性的色彩酷儿批判文本《色彩酷儿与政治表现》（Disidentifications:Queers of color and the Performance of Politics）（Munoz；1999）中阐述的反认同和非认同理论，对探索认同、听觉和/或情感观众问题感兴趣的电影音乐学者有很大帮助。我将首先阐述穆尼奥斯对这些理论的阐述，然后简要概述反身份主义在电影音乐批评中的悠久历史，一种学术取向，将好莱坞的音乐规范确立为压迫性“文化产业”的产物，并通过现代主义欧洲音乐实践作为解放性的反身份来破坏这些规范（Adorno/Eisler；1947）。有了这些理解，我将开始讨论20世纪70年代的两部美国电影，它们的配乐分别为黑人观众带来了引起反身份认同和非身份认同的视听体验：Blacula（William Crain；1972）和Ganja and Hess（Bill Gunn；1973）。
{"title":"Hearing and Feeling the Black Vampire: Queer Affects in the Film Soundtrack","authors":"M. Woolsey","doi":"10.7916/CM.V106ISPRING.6753","DOIUrl":"https://doi.org/10.7916/CM.V106ISPRING.6753","url":null,"abstract":"There is very little scholarship that considers questions of queerness in relation to film music, and the scholarship that does (Paulin, 1997; Haworth et. al., 2012; Buhler, 2014; Dubowsky, 2016) tends to approach the subject from a representational standpoint, identifying instances in which the soundtrack participates in the representation of queerness in film. The role that the soundtrack plays in fostering queer engagement with film has been left relatively underexplored. In this essay, I assert that the theories of counteridentification and disidentification as articulated by Jose Esteban Munoz in his groundbreaking queer of color critique text Disidentifications: Queers of Color and the Performance of Politics (Munoz; 1999) have much to offer scholars of film music interested in exploring questions of identification and auditory and/or emotional spectatorship. I will begin by laying out Munoz’s formulation of these theories and then briefly sketch counteridentification’s long history within film music criticism, an academic orientation that sets up Hollywood’s musical norms as the product of an oppressive “culture industry” and the disruption of those norms through modernist European musical practices as liberatory counteridentification (Adorno/Eisler; 1947). With these understandings in place, I will move to a discussion of two U.S. films from the 1970s whose soundtracks present Black audiences with audiovisual experiences that invite counteridentification and disidentification respectively: Blacula (William Crain; 1972) and Ganja and Hess (Bill Gunn; 1973).","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"106 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41883115","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.6760
Louise Barrière
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Pub Date : 2020-07-22DOI: 10.7916/CM.V106ISPRING.6764
Blair Black
Within electronic dance music cultures (EDMCs), musicality and experimentation have been indebted to black and Latinx DJs of color since its inception in the 1980s. Even today, queer DJs of color continue to push the envelope of experimental EDM by showcasing dance music from the “global south,” centering remix styles that border between hip hop and EDM, and sampling cultural references popular in queer communities of color. This article explores music’s complex entanglements with identity and community for queer people of color in underground electronic dance music scenes. To be specific, the individuals within these communities self-identify as racial/ethnic minorities on the genderqueer spectrum of non-normative gender and sexual identities (gay/lesbian, trans, nonbinary, etc.). Moreover, I argue that these socio-economic positions act as an impetus of a sound economy – the shared system of socio-cultural aesthetics – for queer communities of color in EDM. The first section discusses the identity politics that underlie this sound economy by tracing how intertextuality allows DJs to display these minoritarian1 perspectives. I then highlight why (re)centering racialized queer identities is radical by tracing EDM’s political shifts. Specifically, I highlight how narratives surrounding EDM changed due to the demographic turn in Europe during the 1990s. The last section explores the re-emergence of pivotal queer DJs of color and the scenes they founded in Los Angeles, Chicago, and New York by focusing on the flows of culture and people between cities to point to a more extensive global network of racialized queer communities in constant musical and political dialogue. This section also examines how the intercity networks of social media, identity-based collectives, independent records labels, and social activist organizations coalesced into an “underground” music culture and industry that focuses on the care and the pursuit of equity for queer people of color. Lastly, I argue that this industry disrupts the cultural and musical hegemony of unmarked whiteness in the power structures that gatekeeping in mainstream EDM.
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Pub Date : 2020-07-22DOI: 10.7916/CM.V106ISPRING.6757
D. Farrow
In the Brooklyn Do-It-Yourself noise music scene, the distinction between subculture and family blurs. Drawing from ethnographic research at Brooklyn Do-It-Yourself venues conducted between February 2018-December 2019, this article explores the formation of queer kinship as material and emotional support for queer life within this scene. Pain in mosh pits, grief over the death of a musician, and love for each other organize obligations, dependencies, and concern amongst strangers. At the same time, real estate developers exploit DIY artistic labor to facilitate gentrification. Queer kinship networks within DIY communities must stand in solidarity with their neighbors, but DIY venues and scenes must first end their complicity in gentrification.
{"title":"Feeling Pain/Making Kin in the Brooklyn Noise Music Scene","authors":"D. Farrow","doi":"10.7916/CM.V106ISPRING.6757","DOIUrl":"https://doi.org/10.7916/CM.V106ISPRING.6757","url":null,"abstract":"In the Brooklyn Do-It-Yourself noise music scene, the distinction between subculture and family blurs. Drawing from ethnographic research at Brooklyn Do-It-Yourself venues conducted between February 2018-December 2019, this article explores the formation of queer kinship as material and emotional support for queer life within this scene. Pain in mosh pits, grief over the death of a musician, and love for each other organize obligations, dependencies, and concern amongst strangers. At the same time, real estate developers exploit DIY artistic labor to facilitate gentrification. Queer kinship networks within DIY communities must stand in solidarity with their neighbors, but DIY venues and scenes must first end their complicity in gentrification.","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":"44361996","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 paper analyzes the life and work of Julius Eastman (1940–1990), namely his 1980 Northwestern Concert Series and Grammy-nominated Eight Songs for A Mad King (1973) alongside anti-black state violence in the United States as sites of black sonority made legible through and against, what Christina Sharpe calls, “the wake” of chattel slavery (2016). The mouth, stifled breath, and voice, I have argued, all persist through the reiterative scene of state-sanctioned violence against black and brown people. I am interested in the historicized phenomenology of sounds produced in radically different scenes of performance and murder. That is, the history of black and brown folx in America is, in part, produced out of, “[t]he ‘very dangerous evil’ of slavery and the ‘agonizing groans of suffering humanity’ [that] had been made music” (Saidiya Hartman 1997, 17). The paper departs from the scene of black sonority processed under duress to query: what are the effects of racialized aesthetic production, as evident in the Eastman’s musical groan or shriek that is eerily similar to the foreclosure of black breath, that emerge at the impasse between virtuosic sound and historicized dispossession? I offer an alternative reading of sound production by way of what Ashon T. Crawley who crafts a hermeneutics of the sound of blackness offers a consideration of black sound making “otherwise.” The breath of black and brown folx that persists in spite of antiblackness must flow into putatively apolitical disciplines like Musicology in an effort to render (il)legible life sonorous otherwise.
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Pub Date : 2020-07-22DOI: 10.7916/CM.V106ISPRING.6768
Steven Moon
{"title":"Queer Theory, Ethno/Musicology, and the Disorientation of the Field","authors":"Steven Moon","doi":"10.7916/CM.V106ISPRING.6768","DOIUrl":"https://doi.org/10.7916/CM.V106ISPRING.6768","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":"43000474","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.6759
I. Wilson
This paper considers the representational role of music in theatre, and how music can help to communicate complex elements of ‘lived time’. I extract case studies from Jeremy O. Harris’ Slave Play (2019), a recent Broadway production which explores the impact in contemporary America of inherited trauma from slavery, by interrogating the sexual power imbalances within three interracial couples. Both characters exhibit musical hallucinations associated with their obsessive-compulsive disorder. I theorize how the musical examples emerge as an indirect emotional and temporal byproduct of the struggles facing two of the characters. I argue that their hallucinations ‘suspend’ lived time, and are an attempt to overcome “restriction, uncertainty, and blockage,” with regard to their intimate relationships (Sara Ahmed 2006, p.139). I consider much of the music in Slave Play to perform a metadiegetic function. The secondary narration, constructed by ‘queer time’, is represented through the two popular musical examples, Rihanna’s “Work” (2016) and Unknown Mortal Orchestra’s “Multi-Love.” Both songs are ridden with intertextual significance, and are integrated meaningfully into the temporality of the play through Harris’ autofictional approach to writing. Slave Play stands at the forefront of a budding genre of theatre, one which largely does away with traditional theatrical convention by blending the distinction between musical and traditional theatre. This requires a novel academic approach—drawing from both musical and traditional theatre scholarship, queer theory, and philosophies of time and music.
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The academic study of music and sound is facing an array of political and intellectual challenges, prompting a pointed moment of critical self-reflection, what Stuart Hall might call a break—a conjuncture in which “old lines of thought are disrupted, older constellations displaced, and elements, old and new, are regrouped around a different set of premises and themes” (1980, 57). Chief among contemporary challenges is a chorus of increasingly urgent calls to reveal and contest structures of power and inequality, to theorize potent, sincere, and comprehensive paradigms of diversity and inclusion (or to move beyond diversity and inclusion altogether), and to challenge ideologies that shape what are recognized as acceptable objects, subjects, subjectivities, discourses, and methods in scholarship on music and sound. Beyond debates over the contents of Western canons, or the inclusion of “non-canonical” musics and musicians to the array of suitable objects of study, these challenges demand an interrogation of the core values, political investments, and material ramifications at the heart of music scholarship. This special issue, Sounding the Break: Music Studies and the Political, embraces this moment of institutional and intellectual reflexivity, endeavoring to contribute to an interdisciplinary critical examination of formations of the political embedded within musical thinking in the academy. The issue begins with three articles that aim directly at political structures within institutional contexts, followed by two empirical studies that point toward new ways of engaging with sonic materials outside more conventional academic frameworks. The first section features Tamara Levitz’s “The Musicological Elite” while the second features William Cheng’s “Black Noise, White Ears: Resilience, Rap, and the Killing of Jordan Davis.” A third section comprises a transdisciplinary collection of writings on voice, gender, and race inspired by readings of Licia Fiol-Matta’s (2017) The Great Woman Singer. A stimulating set of book reviews edited by Velia Ivanova adjourns the proceedings. Tamara Levitz’s opening article, emphasizing that “musicologists need to know which actions were undertaken, and on what material basis, in building their elite, white, exclusionary, patriarchal profession before they can undo them” (43), offers an incisive archival examination of the early institutional history of US musicology. Levitz shows how contestations over musicological objects of study and professional norms have been conditioned by geopolitical relations, competition with related subdisciplines, and dependence on wealthy patrons, granting institutions, and personal capital. Expressing wariness about a contemporary tendency to “confuse decolonization with liberal critique” (47), Levitz gestures toward a more radical restructuring of scholarly inquiry and a more fundamental rethinking of the ontological foundations of the university itself. In her article, “Power and
{"title":"Editor’s Note: Sounding the Break: Music Studies and the Political","authors":"Tom Wetmore","doi":"10.7916/CM.V0I102.5362","DOIUrl":"https://doi.org/10.7916/CM.V0I102.5362","url":null,"abstract":"The academic study of music and sound is facing an array of political and intellectual challenges, prompting a pointed moment of critical self-reflection, what Stuart Hall might call a break—a conjuncture in which “old lines of thought are disrupted, older constellations displaced, and elements, old and new, are regrouped around a different set of premises and themes” (1980, 57). Chief among contemporary challenges is a chorus of increasingly urgent calls to reveal and contest structures of power and inequality, to theorize potent, sincere, and comprehensive paradigms of diversity and inclusion (or to move beyond diversity and inclusion altogether), and to challenge ideologies that shape what are recognized as acceptable objects, subjects, subjectivities, discourses, and methods in scholarship on music and sound. Beyond debates over the contents of Western canons, or the inclusion of “non-canonical” musics and musicians to the array of suitable objects of study, these challenges demand an interrogation of the core values, political investments, and material ramifications at the heart of music scholarship. This special issue, Sounding the Break: Music Studies and the Political, embraces this moment of institutional and intellectual reflexivity, endeavoring to contribute to an interdisciplinary critical examination of formations of the political embedded within musical thinking in the academy. \u0000The issue begins with three articles that aim directly at political structures within institutional contexts, followed by two empirical studies that point toward new ways of engaging with sonic materials outside more conventional academic frameworks. The first section features Tamara Levitz’s “The Musicological Elite” while the second features William Cheng’s “Black Noise, White Ears: Resilience, Rap, and the Killing of Jordan Davis.” A third section comprises a transdisciplinary collection of writings on voice, gender, and race inspired by readings of Licia Fiol-Matta’s (2017) The Great Woman Singer. A stimulating set of book reviews edited by Velia Ivanova adjourns the proceedings. \u0000Tamara Levitz’s opening article, emphasizing that “musicologists need to know which actions were undertaken, and on what material basis, in building their elite, white, exclusionary, patriarchal profession before they can undo them” (43), offers an incisive archival examination of the early institutional history of US musicology. Levitz shows how contestations over musicological objects of study and professional norms have been conditioned by geopolitical relations, competition with related subdisciplines, and dependence on wealthy patrons, granting institutions, and personal capital. Expressing wariness about a contemporary tendency to “confuse decolonization with liberal critique” (47), Levitz gestures toward a more radical restructuring of scholarly inquiry and a more fundamental rethinking of the ontological foundations of the university itself. \u0000In her article, “Power and ","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48699331","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":"Dialectics of Debate: Reflections on Three Pedagogical Scenes in Chinese Music History","authors":"Gavin Lee","doi":"10.7916/D8-8C8K-TY33","DOIUrl":"https://doi.org/10.7916/D8-8C8K-TY33","url":null,"abstract":"","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"104 1","pages":"69-76"},"PeriodicalIF":0.0,"publicationDate":"2020-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45441419","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}
Hip-hop has become a popular subject of academic discourse, serving as a medium through which members of several disciplinary communities can engage issues of race, representation, aesthetic, gender, class, and performance, to list some of the most frequently evoked topics. This discussion explores the aims and procedures of contemporary ethnographies in conjunction with those of traditional hip-hop studies, thus highlighting the potential a more ethnographically driven branch of hip-hop scholarship would have on the field as a whole.
{"title":"Emcee Ethnographies: A Brief Sketch of U.S. Hip-Hop Ethnography","authors":"Kevin C. Holt","doi":"10.7916/CM.V0I105.5400","DOIUrl":"https://doi.org/10.7916/CM.V0I105.5400","url":null,"abstract":"Hip-hop has become a popular subject of academic discourse, serving as a medium through which members of several disciplinary communities can engage issues of race, representation, aesthetic, gender, class, and performance, to list some of the most frequently evoked topics. This discussion explores the aims and procedures of contemporary ethnographies in conjunction with those of traditional hip-hop studies, thus highlighting the potential a more ethnographically driven branch of hip-hop scholarship would have on the field as a whole.","PeriodicalId":34202,"journal":{"name":"Current Musicology","volume":"104 1","pages":"6-20"},"PeriodicalIF":0.0,"publicationDate":"2020-04-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43499524","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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