Pub Date : 2022-05-01DOI: 10.1017/S1752196322000098
B. Shelley
Abstract 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 laying the groundwork for a pervasive posthumous presence: broadcast religion. Placing Patterson's life-long preoccupation with various modes of technical mediation in conversation with his extremely musical approach to preaching, I will show that Bishop Patterson's technophilic Pentecostalism takes an enchanted view of devices like microphones, radios, televisions, and cameras, understanding each as a channel through which spiritual power can flow. As Patterson's voice and broadcasting infrastructure produce intimacy with countless scriptural scenes, they commingle mediation and immediacy, cultivating an enduring affect that I refer to as afterliveness. Transcending any single homiletic event, afterliveness depends on sermonic sound reproduction, effected by Patterson through both the practice of recording and through ecstatic acts of musical repetition, a set of recurring musical procedures that endow the bishop's ministry with an eternal pitch.
{"title":"“To Speak As an Oracle of Christ”: Bishop G. E. Patterson and the Afterlives of Ecstasy","authors":"B. Shelley","doi":"10.1017/S1752196322000098","DOIUrl":"https://doi.org/10.1017/S1752196322000098","url":null,"abstract":"Abstract 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 laying the groundwork for a pervasive posthumous presence: broadcast religion. Placing Patterson's life-long preoccupation with various modes of technical mediation in conversation with his extremely musical approach to preaching, I will show that Bishop Patterson's technophilic Pentecostalism takes an enchanted view of devices like microphones, radios, televisions, and cameras, understanding each as a channel through which spiritual power can flow. As Patterson's voice and broadcasting infrastructure produce intimacy with countless scriptural scenes, they commingle mediation and immediacy, cultivating an enduring affect that I refer to as afterliveness. Transcending any single homiletic event, afterliveness depends on sermonic sound reproduction, effected by Patterson through both the practice of recording and through ecstatic acts of musical repetition, a set of recurring musical procedures that endow the bishop's ministry with an eternal pitch.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43056550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/S1752196322000013
A. Laver
Abstract 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 a seminal event in the organ world, it has largely been overlooked in modern musicological scholarship. This article contextualizes the series within the wider program of the fair's Bureau of Music and compares the programming strategies between Bureau of Music director Theodore Thomas and organ series director Clarence Eddy. Thomas chose to promote a hierarchical programming model that ultimately failed, but the organists endeavored to offer programs that appealed to both the uninitiated and the connoisseur. A detailed analysis of organ concert programs at the fair using a new database reveals the way in which organists embraced a mixture of “popular” and “profound” elements in their programming that was later disseminated in magazines, pamphlets, and performing editions after the event.
{"title":"Blending the Popular and the Profound: Organ Concerts at the 1893 World's Columbian Exposition","authors":"A. Laver","doi":"10.1017/S1752196322000013","DOIUrl":"https://doi.org/10.1017/S1752196322000013","url":null,"abstract":"Abstract 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 a seminal event in the organ world, it has largely been overlooked in modern musicological scholarship. This article contextualizes the series within the wider program of the fair's Bureau of Music and compares the programming strategies between Bureau of Music director Theodore Thomas and organ series director Clarence Eddy. Thomas chose to promote a hierarchical programming model that ultimately failed, but the organists endeavored to offer programs that appealed to both the uninitiated and the connoisseur. A detailed analysis of organ concert programs at the fair using a new database reveals the way in which organists embraced a mixture of “popular” and “profound” elements in their programming that was later disseminated in magazines, pamphlets, and performing editions after the event.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44848781","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/S1752196322000141
Rebecca Anna Schreiber
{"title":"A Multiplicity of Stories: Reading Feminist Orientalism in Scheherazade.2 – CORRIGENDUM","authors":"Rebecca Anna Schreiber","doi":"10.1017/S1752196322000141","DOIUrl":"https://doi.org/10.1017/S1752196322000141","url":null,"abstract":"","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44164647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1017/S1752196322000116
{"title":"SAM volume 16 issue 2 Cover and Front matter","authors":"","doi":"10.1017/S1752196322000116","DOIUrl":"https://doi.org/10.1017/S1752196322000116","url":null,"abstract":"","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43256550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-11DOI: 10.1017/S1752196322000062
Jesse P. Karlsberg
example, he shows how Slava! A Political Overture takes its themes almost entirely from 1600 Pennsylvania Avenue. In the final chapter, Mari Yoshihara investigates Bernstein’s complex opera, A Quiet Place, and its approach to gender, sexuality, and family. The Houston Grand Opera, La Scala, and the Kennedy Center teamed up to produce this provocative work. After poor reviews, Bernstein made numerous changes to it. Yoshihara notes that, despite some obvious biographical similarities to the composer’s life, the piece is important for its psychological character development and its “political and moral message” about the importance of AIDS treatments when the disease was not yet well known (290). Barry Seldes sums up the volume’s essence by noting that Bernstein was “. . . a political man in the highest and best sense of that term, convinced of the need to exercise good democratic citizenship in a public sphere rife with contention and vulnerable to mean-spirited and demagogic power” (81). This book does a wonderful job situating both Bernstein and many of his works in the nation’s capital. A few chapters, especially the last three, are more technical than others, and therefore will likely appeal more to scholars. Moreover, some of these have a rather tenuous connection to the book’s setting beyond the fact that the pieces they discuss had premiered there. Although all the chapters were interesting and well-written, chapter 2’s focus on Bernstein’s associations with various presidents was especially engaging and chock-full of information. Both the academic community and general readers will hail Leonard Bernstein and Washington DC for its solid scholarship, clear writing, and focus on a subject who remains revered by the American populace more than thirty years after his death.
{"title":"American Harmony: Inspired Choral Miniatures from New England, Appalachia, the Mid-Atlantic, the South, and the Midwest Edited by Nym Cooke. Boston: David R. Godine, 2017.","authors":"Jesse P. Karlsberg","doi":"10.1017/S1752196322000062","DOIUrl":"https://doi.org/10.1017/S1752196322000062","url":null,"abstract":"example, he shows how Slava! A Political Overture takes its themes almost entirely from 1600 Pennsylvania Avenue. In the final chapter, Mari Yoshihara investigates Bernstein’s complex opera, A Quiet Place, and its approach to gender, sexuality, and family. The Houston Grand Opera, La Scala, and the Kennedy Center teamed up to produce this provocative work. After poor reviews, Bernstein made numerous changes to it. Yoshihara notes that, despite some obvious biographical similarities to the composer’s life, the piece is important for its psychological character development and its “political and moral message” about the importance of AIDS treatments when the disease was not yet well known (290). Barry Seldes sums up the volume’s essence by noting that Bernstein was “. . . a political man in the highest and best sense of that term, convinced of the need to exercise good democratic citizenship in a public sphere rife with contention and vulnerable to mean-spirited and demagogic power” (81). This book does a wonderful job situating both Bernstein and many of his works in the nation’s capital. A few chapters, especially the last three, are more technical than others, and therefore will likely appeal more to scholars. Moreover, some of these have a rather tenuous connection to the book’s setting beyond the fact that the pieces they discuss had premiered there. Although all the chapters were interesting and well-written, chapter 2’s focus on Bernstein’s associations with various presidents was especially engaging and chock-full of information. Both the academic community and general readers will hail Leonard Bernstein and Washington DC for its solid scholarship, clear writing, and focus on a subject who remains revered by the American populace more than thirty years after his death.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47888717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-11DOI: 10.1017/S1752196322000104
Ann Glazer Niren
{"title":"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.","authors":"Ann Glazer Niren","doi":"10.1017/S1752196322000104","DOIUrl":"https://doi.org/10.1017/S1752196322000104","url":null,"abstract":"","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44773291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-11DOI: 10.1017/S1752196322000050
Anabel Maler
Abstract 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 through technological intervention—by drawing on ideas about eugenics, race, and authenticity. Ideas about morality and technology also colored views of deaf musicality in the United States, shaping the reception of deaf music-making throughout the twentieth century until today. This article tells the story of how deaf music-making came to be forgotten and discovered, again and again, in the U.S. consciousness. By way of conclusion, I suggest that in order to address the epistemic exclusion of deaf musical knowers, we must carefully attend to what deaf epistemologies bring to music studies.
{"title":"Music and Deafness in the Nineteenth-Century U.S. Imagination","authors":"Anabel Maler","doi":"10.1017/S1752196322000050","DOIUrl":"https://doi.org/10.1017/S1752196322000050","url":null,"abstract":"Abstract 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 through technological intervention—by drawing on ideas about eugenics, race, and authenticity. Ideas about morality and technology also colored views of deaf musicality in the United States, shaping the reception of deaf music-making throughout the twentieth century until today. This article tells the story of how deaf music-making came to be forgotten and discovered, again and again, in the U.S. consciousness. By way of conclusion, I suggest that in order to address the epistemic exclusion of deaf musical knowers, we must carefully attend to what deaf epistemologies bring to music studies.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47669707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-11DOI: 10.1017/S1752196322000049
Susan C. Cook
ship, which tends to disassociate country music (and especially rockabilly) from its roots in the musical practices of Black Americans. Part 3 turns to Nashville in the 1940s and 1950s, focusing on Kitty Wells and the rise of women’s honky-tonk. Chapter 6 details how performers such as Wells, Goldie Hill, and Jean Shepard musically “destabilized the ideals of the private sphere” and voiced “the yearnings of working-class women,” thus contending with class prejudice against the dominant framework of domesticity (154). Vander Wel draws attention to ideological divisions between the masculine honky-tonk and feminine home, framing narratives about women in honky-tonk and emphasizing that Wells and her peers “complicated the constraints of working-class womanhood” by leveraging performances of feminine identity with agency (163–64). Chapter 7 focuses on marketing in country music, fleshing out how the industry’s ongoing “pursuit of respectability” was shaped by female musicians beginning in the 1950s (175). The country music industry has continually strived for commercial acceptance, and the women who participate have required what Vander Wel describes as a “model of propriety” to succeed (179). Kitty Wells’s publicity materials serve as an example of this, portraying her both as a “good woman” and a good musician (180). Vander Wel chronicles how the industry began selling itself to a white middle-class audience through these marketing practices, shifting away from the poor, working-class, low-brow status it had gained from its days of barn dance radio programming and honky-tonk styles in the 1930s and 1940s. The book concludes by outlining country music’s attachment to female domesticity and propriety in the present day, describing how the vocal parodies of Lulu Belle, Maddox, and even Kitty Wells have continued with performers like Loretta Lynn, Dolly Parton, The Chicks, Miranda Lambert, and Gretchen Wilson. Vander Wel indicates that women in country music today use their voices to offer audiences insight into the contested spheres of class and gender that shape the “shifting demographics of the twentieth-first century” (197). Well written and deeply insightful, Vander Wel’s study sheds light on how women in country music have used their voices to represent the intricate relationships between class, gender, and region in the United States.
{"title":"Noble Sissle and Eubie Blake: Shuffle Along Music of the United States Volume 29. Recent Researches in American Music Volume 85. Edited by Lyn Schenbeck and Lawrence Schenbeck. Middleton, WI: A-R Editions, 2018.","authors":"Susan C. Cook","doi":"10.1017/S1752196322000049","DOIUrl":"https://doi.org/10.1017/S1752196322000049","url":null,"abstract":"ship, which tends to disassociate country music (and especially rockabilly) from its roots in the musical practices of Black Americans. Part 3 turns to Nashville in the 1940s and 1950s, focusing on Kitty Wells and the rise of women’s honky-tonk. Chapter 6 details how performers such as Wells, Goldie Hill, and Jean Shepard musically “destabilized the ideals of the private sphere” and voiced “the yearnings of working-class women,” thus contending with class prejudice against the dominant framework of domesticity (154). Vander Wel draws attention to ideological divisions between the masculine honky-tonk and feminine home, framing narratives about women in honky-tonk and emphasizing that Wells and her peers “complicated the constraints of working-class womanhood” by leveraging performances of feminine identity with agency (163–64). Chapter 7 focuses on marketing in country music, fleshing out how the industry’s ongoing “pursuit of respectability” was shaped by female musicians beginning in the 1950s (175). The country music industry has continually strived for commercial acceptance, and the women who participate have required what Vander Wel describes as a “model of propriety” to succeed (179). Kitty Wells’s publicity materials serve as an example of this, portraying her both as a “good woman” and a good musician (180). Vander Wel chronicles how the industry began selling itself to a white middle-class audience through these marketing practices, shifting away from the poor, working-class, low-brow status it had gained from its days of barn dance radio programming and honky-tonk styles in the 1930s and 1940s. The book concludes by outlining country music’s attachment to female domesticity and propriety in the present day, describing how the vocal parodies of Lulu Belle, Maddox, and even Kitty Wells have continued with performers like Loretta Lynn, Dolly Parton, The Chicks, Miranda Lambert, and Gretchen Wilson. Vander Wel indicates that women in country music today use their voices to offer audiences insight into the contested spheres of class and gender that shape the “shifting demographics of the twentieth-first century” (197). Well written and deeply insightful, Vander Wel’s study sheds light on how women in country music have used their voices to represent the intricate relationships between class, gender, and region in the United States.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45780217","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-11DOI: 10.1017/S1752196322000025
Phoebe E. Hughes
Stephanie Vander Wel ’ s study of women ’ s country music between 1930 and 1960 unpacks how female country performers negotiated the relationship between the politics of class, migration, and regional-ism during the early twentieth century. Vander Wel ’ s study connects “ women ’ s performances in a range of media (radio, film, television, and recordings) to [various] geographic locales ” and “ imagined places and spaces, ” such as the “ symbolic western frontier ” and an idealized southern past (2). Vander Wel addresses how country music shaped these spaces through female musical expression, identifying the home, dance hall, and honky-tonk as part of the “ real or imaged lives of women striving for upward mobility and/or resisting the rigidity of middle-class codes of behavior ” (3). This study thus builds deep connections between class and gender norms, extending the work of prominent historians, feminist scholars, and music scholars on these topics, and offering new insights into the study of female performers in U.S. country music. 1 Although directed toward an academic audience, the book is accessible to general audiences with varying degrees of knowledge about country and U.S. popular music history. Vander Wel ’ s use of interdisciplinary methods ensures the book will appeal to scholars in various fields, including academics in gender and American studies, as well as those interested in the intersections between vocality and demographic markers of race and class. The book is divided into three sections that are organized chronologically and geographically. Each chapter offers a case study focusing on a single artist and relevant peripheral characters and contexts that attend to the roles of gender and class as expressed through female vocal production in country music, broadly defined. Indeed, a key component of Vander Wel ’ s contributions to the study of women in country music is her attention to the female voice and vocality. She weaves deep analysis of female performing voices throughout the text, attending to the styles, techniques, and production qualities that have ’ s study sheds light on how women in country music have used their voices to represent the intricate relationships between class, gender, and region in the United States. Phoebe Hughes holds a Ph.D. in musicology from Ohio State University (2022). Her research interests include gender, sexuality, identity, and genre in country and other popular musics. Her dissertation project investigated race, gender, and genre in country music, focusing specifically on female crossover artists from the 1960s to the present day. Hughes also holds degrees in music and history from Northern Arizona University and an M.A. in musicology from West Virginia University.
{"title":"Hillbilly Maidens, Okies, and Cowgirls: Women's Country Music, 1930–1960 By Stephanie Vander Wel. Urbana: University of Illinois Press, 2020.","authors":"Phoebe E. Hughes","doi":"10.1017/S1752196322000025","DOIUrl":"https://doi.org/10.1017/S1752196322000025","url":null,"abstract":"Stephanie Vander Wel ’ s study of women ’ s country music between 1930 and 1960 unpacks how female country performers negotiated the relationship between the politics of class, migration, and regional-ism during the early twentieth century. Vander Wel ’ s study connects “ women ’ s performances in a range of media (radio, film, television, and recordings) to [various] geographic locales ” and “ imagined places and spaces, ” such as the “ symbolic western frontier ” and an idealized southern past (2). Vander Wel addresses how country music shaped these spaces through female musical expression, identifying the home, dance hall, and honky-tonk as part of the “ real or imaged lives of women striving for upward mobility and/or resisting the rigidity of middle-class codes of behavior ” (3). This study thus builds deep connections between class and gender norms, extending the work of prominent historians, feminist scholars, and music scholars on these topics, and offering new insights into the study of female performers in U.S. country music. 1 Although directed toward an academic audience, the book is accessible to general audiences with varying degrees of knowledge about country and U.S. popular music history. Vander Wel ’ s use of interdisciplinary methods ensures the book will appeal to scholars in various fields, including academics in gender and American studies, as well as those interested in the intersections between vocality and demographic markers of race and class. The book is divided into three sections that are organized chronologically and geographically. Each chapter offers a case study focusing on a single artist and relevant peripheral characters and contexts that attend to the roles of gender and class as expressed through female vocal production in country music, broadly defined. Indeed, a key component of Vander Wel ’ s contributions to the study of women in country music is her attention to the female voice and vocality. She weaves deep analysis of female performing voices throughout the text, attending to the styles, techniques, and production qualities that have ’ s study sheds light on how women in country music have used their voices to represent the intricate relationships between class, gender, and region in the United States. Phoebe Hughes holds a Ph.D. in musicology from Ohio State University (2022). Her research interests include gender, sexuality, identity, and genre in country and other popular musics. Her dissertation project investigated race, gender, and genre in country music, focusing specifically on female crossover artists from the 1960s to the present day. Hughes also holds degrees in music and history from Northern Arizona University and an M.A. in musicology from West Virginia University.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-04-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49421007","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-08DOI: 10.1017/s1752196322000074
R. Ebright
{"title":"Met Opera on Demand https://www.metopera.org/season/on-demand/","authors":"R. Ebright","doi":"10.1017/s1752196322000074","DOIUrl":"https://doi.org/10.1017/s1752196322000074","url":null,"abstract":"","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-04-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47181254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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