Pub Date : 2023-07-03DOI: 10.1017/S1752196323000160
D. Chapman
Abstract Since the 1980s, the Nonesuch label, a longstanding subsidiary of the Warner Music Group (WMG), has become noteworthy for its steady market performance during a period of volatility for media multinationals. Nonesuch Records, having once been an adventurous boutique classical label under Teresa Sterne, has developed over the last three decades as a creatively idiosyncratic and commercially successful “adult” imprint under Robert Hurwitz, the erstwhile director of the Munich-based Edition of Contemporary Music jazz label. Nonesuch has not historically been understood as a jazz label, though it has served as a home for a few jazz acts, including Bill Frisell, Fred Hersch, and the World Saxophone Quartet. By the early years of the new millennium, though, Nonesuch had become one of the few major label subsidiaries willing to maintain an active roster of jazz instrumentalists, harnessing its diversified roster as a source of strength. This paper examines the Nonesuch label's cultivation of a distinctive jazz niche and situates this development against the backdrop of a period of structural turbulence for the WMG. The leveraged buyout of WMG in 2004, which precipitated the dissolution of the Warner Jazz subsidiary and the transfer of much of its jazz roster to Nonesuch, reflects a contemporary logic of financialization, where value extraction has become the overriding goal of corporate restructuring. Mergers and acquisitions enacted at the uppermost reaches of major label corporate hierarchies pass along significant costs to the label subsidiaries and their artist rosters, installing precarity at the core of the music industry's creative ecologies.
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Pub Date : 2023-05-01DOI: 10.1017/s1752196323000111
Sebastián Wanumen Jiménez
Launched in 2018, the Institute for Composer Diversity (ICD) emerged as an initiative that aimed to challenge the canonical repertoire, advocating for diversity, equity, and inclusion (DEI) in Western-composed classical music. Although the ICD is housed by the School of Music at the State University of New York at Fredonia, the enterprise is funded by individual and institutional contributors, among them the Sphinx Organization through the 2020 Sphinx Venture Fund and New Music USA through its 2022 Organizational Development Fund. The ICD’s website, however, is not just an online platform for the ICD; instead, it is the Institute itself—together with the people that make it possible. Although offering a large variety of resources, the ICD’s sitemap is well-designed and easy to navigate. It requires a minimum of web browsing knowledge, which facilitates the initiative’s aim of diversity through accessibility. The ICD’s motto “Search. Program. Perform. Repeat.” gives a hint of the Institute’s purpose: “To encourage the discovery, study, and performance of music written by composers from historically excluded groups.” To that end, the ICD offers five databases: the Composer Diversity Database, the Art Song Database, the Choral Works Database, the Orchestra Database, and the Wind Band Database. Inclusion of composers and works are suggested by the public (which includes the composers themselves and third-party submitters) via an online form. To be included, two requirements should be met: Positive consent for inclusion by the composer (including verification of the information) and completeness. The Composer Diversity Database is oriented to display individual composers filtered by five advanced criteria: Gender identity and sexual/romantic orientation, demographics (ethnicities), genre (i.e., orchestra, wind band, etc.), subgenre, and the composer’s location. The other four databases revolve around works. However, the search tool combines works’ specificities criteria (for instance, the Art Song Database has as a filter for the vocal register) and composers’ identities criteria. These powerful databases include more than 2,200 composers and almost 10,000 individual works (as stated in the 2021 annual report). Nonetheless, they are far from complete, which is not necessarily undesirable. On the one hand, there are still many composers missing, especially historical composers from outside the United States that have had a presence in North America (e.g., Asian or Latin American composers). On the other, the ICD acknowledges that its databases are in permanent construction. There are always fresh composers developing their catalogs who are yet to join. This is the principle that the ICD articulates as “there is more to come!” (as stated at the top of each database webpage). Such a principle resonates well with the fact that DEI is also always under construction: As peoples and their conditions change, DEI strategies should adapt—a characteristic that i
{"title":"Institute for Composer Diversity, https://www.composerdiversity.com/","authors":"Sebastián Wanumen Jiménez","doi":"10.1017/s1752196323000111","DOIUrl":"https://doi.org/10.1017/s1752196323000111","url":null,"abstract":"Launched in 2018, the Institute for Composer Diversity (ICD) emerged as an initiative that aimed to challenge the canonical repertoire, advocating for diversity, equity, and inclusion (DEI) in Western-composed classical music. Although the ICD is housed by the School of Music at the State University of New York at Fredonia, the enterprise is funded by individual and institutional contributors, among them the Sphinx Organization through the 2020 Sphinx Venture Fund and New Music USA through its 2022 Organizational Development Fund. The ICD’s website, however, is not just an online platform for the ICD; instead, it is the Institute itself—together with the people that make it possible. Although offering a large variety of resources, the ICD’s sitemap is well-designed and easy to navigate. It requires a minimum of web browsing knowledge, which facilitates the initiative’s aim of diversity through accessibility. The ICD’s motto “Search. Program. Perform. Repeat.” gives a hint of the Institute’s purpose: “To encourage the discovery, study, and performance of music written by composers from historically excluded groups.” To that end, the ICD offers five databases: the Composer Diversity Database, the Art Song Database, the Choral Works Database, the Orchestra Database, and the Wind Band Database. Inclusion of composers and works are suggested by the public (which includes the composers themselves and third-party submitters) via an online form. To be included, two requirements should be met: Positive consent for inclusion by the composer (including verification of the information) and completeness. The Composer Diversity Database is oriented to display individual composers filtered by five advanced criteria: Gender identity and sexual/romantic orientation, demographics (ethnicities), genre (i.e., orchestra, wind band, etc.), subgenre, and the composer’s location. The other four databases revolve around works. However, the search tool combines works’ specificities criteria (for instance, the Art Song Database has as a filter for the vocal register) and composers’ identities criteria. These powerful databases include more than 2,200 composers and almost 10,000 individual works (as stated in the 2021 annual report). Nonetheless, they are far from complete, which is not necessarily undesirable. On the one hand, there are still many composers missing, especially historical composers from outside the United States that have had a presence in North America (e.g., Asian or Latin American composers). On the other, the ICD acknowledges that its databases are in permanent construction. There are always fresh composers developing their catalogs who are yet to join. This is the principle that the ICD articulates as “there is more to come!” (as stated at the top of each database webpage). Such a principle resonates well with the fact that DEI is also always under construction: As peoples and their conditions change, DEI strategies should adapt—a characteristic that i","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48197597","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 : 2023-05-01DOI: 10.1017/s1752196323000147
Kyle DeCoste
With the release of his sixth studio album, WE ARE (2021), Jon Batiste transformed from late night bandleader to center-stage popular music celebrity. The album helped secure five GRAMMY awards for Batiste and his team and garnered critical and commercial success. A multi-genre offering, WE ARE received nods in R&B, contemporary classical, and American roots awards categories. The album comes in at thirteen tracks with a 38-minute play time. There is also a nineteen-track deluxe edition that adds five remixes and the 12/8 soul jam “WORK IT OUT.” Conceptually, WE ARE is a multi-genre excavation of U.S. popular music that bridges the gap between the politics of the Civil Rights era and the summer of 2020 Black Lives Matter protests, which inspired the creation of the album’s title track. Batiste is a member of one of New Orleans’s most respected musical families. His father, Michael, is a member of the Batiste Brothers Band and played bass with Jackie Wilson and Isaac Hayes on the so-called “Chitlin’ Circuit.” Growing up, Batiste lived just outside of New Orleans in Kenner, but WE ARE leans strongly into the New Orleans aspects of Batiste’s upbringing. The ethical center of “TELL THE TRUTH” is built around Michael Batiste’s parting words before his son left for Juilliard: “I’m thinking ‘bout my papa/now that I’m a star ... before you drive off, boy/better know who you are/ He said tell it like it is.” The “Uptown” remix of the track from the deluxe album reimagines the song as a Black Masking Indian chant featuring Big Chief Romeo Bougere of the 9th Ward Hunters and the 79rs Gang on vocals and Michael Batiste on a stank-face-inducing electric bass. “BOY HOOD,” “MOVEMENT 11,” and “ADULTHOOD” make up a mini suite in the middle of the album. The intentional space between “boy” and “hood” in “BOY HOOD”’s title evokes the state of being a boy and the neighborhoods of Batiste’s childhood as he sings about No Limit soldiers, bubblegum, church on Sundays, and the pre-2008 colors of a Popeye’s bag (red, white, and blue). Joining him on the track are alumni of two of his high school music programs: PJ Morton, who is a graduate of St. Augustine High School, and Troy “Trombone Shorty” Andrews, who was classmates with Batiste at the New Orleans Center for the Creative Arts (NOCCA). “BOY HOOD” pays homage to New Orleans hip-hop with bounce-like high hats on a beat produced by Florida native Jahaan Sweet.
随着他的第六张录音室专辑《WE ARE》(2021)的发行，乔恩·巴蒂斯特从深夜乐队指挥变成了舞台中心的流行音乐名人。这张专辑帮助巴蒂斯特和他的团队获得了五项格莱美奖，并获得了评论界和商业上的成功。WE ARE是一种多流派的作品，在R&B、当代古典和美国根源奖类别中获得了提名。这张专辑共有13首曲目，播放时间为38分钟。还有一个19首歌曲的豪华版，增加了5首混音和12/8灵魂音乐jam“WORK IT OUT”。从概念上讲，WE ARE是对美国流行音乐的多类型挖掘，它弥合了民权时代的政治和2020年夏天黑人生命也是抗议活动之间的差距，这激发了专辑主打歌的创作。巴蒂斯特是新奥尔良最受尊敬的音乐家族之一的成员。他的父亲迈克尔(Michael)是巴蒂斯特兄弟乐队(Batiste Brothers Band)的成员，曾与杰基·威尔逊(Jackie Wilson)和艾萨克·海斯(Isaac Hayes)在所谓的“Chitlin’Circuit”中演奏贝斯。巴蒂斯特在新奥尔良郊外的肯纳长大，但WE ARE强烈倾向于巴蒂斯特在新奥尔良的成长经历。《TELL The TRUTH》的伦理中心围绕着迈克尔·巴蒂斯特(Michael Batiste)在儿子去茱莉亚音乐学院(Juilliard)之前的告别语展开:“我在想我的爸爸/现在我是明星了……在你开车走之前，孩子/最好知道你是谁/他说实事求是。”豪华专辑中的“Uptown”混音版将这首歌重新想象为一首黑色面具印第安颂歌，由第9区猎人和79帮的大酋长罗密欧·布格尔演唱，迈克尔·巴蒂斯特演唱一个臭脸的电贝斯。《BOY HOOD》、《MOVEMENT 11》和《ADULTHOOD》组成了专辑中间的迷你套曲。在“boy hood”的标题中，“boy”和“hood”之间有意的间隔唤起了作为一个男孩的状态和Batiste童年的邻居，因为他唱到了无限制的士兵，泡泡糖，周日的教堂，以及2008年前大力水手包的颜色(红，白，蓝)。和他一起参加比赛的还有他高中音乐课程的两个校友:毕业于圣奥古斯丁高中的PJ莫顿和在新奥尔良创意艺术中心(NOCCA)与巴蒂斯特是同班同学的特洛伊“长号矮子”安德鲁斯。《BOY HOOD》向新奥尔良嘻哈致敬，在佛罗里达本地人贾汗·斯威特(Jahaan Sweet)的伴奏下，戴上了弹跳般的高帽。
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Pub Date : 2023-05-01DOI: 10.1017/s1752196323000135
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Pub Date : 2023-05-01DOI: 10.1017/s1752196323000123
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Pub Date : 2023-05-01DOI: 10.1017/S1752196323000044
Elisabeth Reisinger
Abstract Beginning around the mid-1930s, clarinetist and bandleader Benny Goodman engaged with classical music, adding standard solo pieces to his regular performance and record portfolio. He also stimulated the emergence of a modern clarinet repertoire by granting commissions to composers, such as Béla Bartók, Paul Hindemith, Darius Milhaud, and others. In this article, I explore why and how these projects evolved and how the collaborations unfolded. My focus is on the commissions to Hindemith (1941/47) and Milhaud (1941). The newly found correspondence of Eric Simon, a Viennese-born clarinetist who advised Goodman and initiated contact with Hindemith and Milhaud, reveal Goodman's “double life” as a multilayered sphere for various actors, each with their own specific background and agenda. My analysis follows three topics that decisively shaped the investigated projects: Goodman's relationship with classical music, which I discuss in light of the intersectionally biased structures of U.S. musical life; the situation of European émigré artists experienced by Hindemith, Milhaud, and Simon; and the promotion of new music, which linked the lives, networks, and agendas of the aforementioned protagonists and even defined their relationships. By highlighting Goodman taking center stage as a performer-commissioner, I argue for more serious attention to performers’ impact on musical production and repertoire formation, given that they represent the ultimate gatekeepers to the living repertoire.
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Pub Date : 2023-03-29DOI: 10.1017/s175219632300007x
John R. Pippen
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Pub Date : 2023-03-29DOI: 10.1017/S1752196323000068
Aldona Dye
Robin presents to me overwhelming evidence of Bang on a Can’s deep embrace of neoliberalism, but he never considers the impact of neoliberalism as an ideology that shapes music. This is especially striking given composers such as Cornelius Cardew and Ivan Tcherepnin and classmates of Lang, Gordon, and Wolfe are quoted in the book voicing sincere objections to capitalism. Robin, however, never deeply engages with such critiques. Race and gender are similarly considered here only with reference to Bang on aCan’s claim that, in relation to classicalmusicmore generally, they improved the racial and gender make-up of their programs. These are important issues that continue to trouble many in the field. A lack of stated aims beyond Robin’s descriptions of the book’s contents exacerbates these omissions. The resulting arguments may thus ultimately be frustrating to those searching for ways to imagine a better future for newmusic. In summary, Robin’s work presents a compelling account of Bang on aCan. It offers useful insights for researchers of classical music, especially those interested in new music, its funding, and its position in the recording industry in the late 1980s and 1990s. The book is eminently readable at the non-specialist level, suitable for undergraduates.
Robin向我展示了Bang on a Can对新自由主义的深刻拥抱的压倒性证据，但他从未将新自由主义作为一种塑造音乐的意识形态来看待。这一点尤其引人注目，因为书中引用了科尼利厄斯·卡杜和伊万·切列普宁等作曲家以及朗、戈登和沃尔夫的同学对资本主义的真诚反对。然而，罗宾从来没有深入参与过这样的批评。种族和性别在这里被类似地考虑，只是参考Bang on aCan的说法，即与古典音乐相比，他们改善了节目的种族和性别构成。这些都是继续困扰该领域许多人的重要问题。除了罗宾对书中内容的描述之外，缺乏明确的目标加剧了这些遗漏。因此，对于那些正在寻找新音乐更美好未来的人来说，由此产生的争论最终可能会令人沮丧。总之，Robin的作品对Bang on aCan进行了令人信服的描述。它为古典音乐研究人员提供了有用的见解，尤其是那些对新音乐、新音乐的资金以及新音乐在20世纪80年代末和90年代唱片业中的地位感兴趣的人。这本书在非专业水平上可读性很强，适合本科生阅读。
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Pub Date : 2023-03-28DOI: 10.1017/s1752196323000056
A. Coddington
Although scholars recognize the U.S. South as the most influential region for hip-hop music today, there remains a dearth of academic work on it. 1 Regina N. Bradley ’ s Chronicling Stankonia: The Rise of the Hip-Hop South helps to fill that gap, to be sure; it contributes to the growing, and yet still deeply insufficient, number of histories of hip-hop in the South, such as those by journalists Roni Sarig, Ben Westhoff, and Briana Younger. 2 However the book does far more than narrate a vital strand of the history of southern hip-hop: Its analysis of music, literature, and audiovisual media makes clear the centrality of hip-hop in contemporary Black life in the U.S. South. In Bradley ’ s study, hip-hop does not just function as a musical genre, it becomes a way to understand Black Southern identity after the civil rights movement of the mid-twentieth century. The book ’ s interrogation of the cultural possibilities for the contemporary Black American South begins by acknowledging the absence of academic work in this area. As Bradley notes, scholarship on post-civil rights Black culture rarely focuses on the South, and popular representations of it all too often center the experiences of white southerners, with Black narratives typically confined to three historical moments: The antebellum era, Jim Crow, and the modern civil rights movement. This book ’ s focus on the hip-hop South — what Bradley defines as “ the experiences of black southerners who came of age in the 1980s and 1990s and use hip-hop culture to buffer themselves from the historical narrative and expectations of civil rights movement era blacks and their predecessors ” (6) — offers a necessary corrective, highlighting the complexity of Black southern life in the post-civil rights era and making plain the unrefined nature of popular representations of the South that fail to account for these experiences.
虽然学者们认为美国南部是当今嘻哈音乐最具影响力的地区，但关于它的学术研究仍然缺乏。Regina N. Bradley的《斯坦科尼亚编年史:嘻哈南方的崛起》无疑有助于填补这一空白;它为越来越多的南方嘻哈历史做出了贡献，但仍然远远不够，如记者Roni Sarig, Ben Westhoff和Briana Younger所写的那些。然而，这本书远不止叙述了南方嘻哈历史的重要部分:它对音乐，文学和视听媒体的分析清楚地表明嘻哈在当代美国南方黑人生活中的中心地位。在布拉德利的研究中，嘻哈音乐不仅仅是一种音乐类型，它在二十世纪中期的民权运动之后成为理解南方黑人身份的一种方式。这本书对当代美国南部黑人文化可能性的质疑始于承认这一领域学术工作的缺失。正如布拉德利所指出的，关于民权运动后黑人文化的学术研究很少关注南方，而大众对黑人文化的描述往往以南方白人的经历为中心，黑人的叙述通常局限于三个历史时刻:内战前时代、吉姆·克劳法和现代民权运动。这本书的重点是嘻哈南方——布拉德利将其定义为“20世纪80年代和90年代成年的南方黑人的经历，他们利用嘻哈文化来缓冲自己与民权运动时代黑人及其前辈的历史叙述和期望”(6)提供了必要的纠正，强调了后民权时代南方黑人生活的复杂性，并阐明了未能解释这些经历的南方流行表现的不精致本质。
{"title":"Chronicling Stankonia: The Rise of the Hip-Hop South By Regina N. Bradley. Chapel Hill, NC: University of North Carolina Press, 2021.","authors":"A. Coddington","doi":"10.1017/s1752196323000056","DOIUrl":"https://doi.org/10.1017/s1752196323000056","url":null,"abstract":"Although scholars recognize the U.S. South as the most influential region for hip-hop music today, there remains a dearth of academic work on it. 1 Regina N. Bradley ’ s Chronicling Stankonia: The Rise of the Hip-Hop South helps to fill that gap, to be sure; it contributes to the growing, and yet still deeply insufficient, number of histories of hip-hop in the South, such as those by journalists Roni Sarig, Ben Westhoff, and Briana Younger. 2 However the book does far more than narrate a vital strand of the history of southern hip-hop: Its analysis of music, literature, and audiovisual media makes clear the centrality of hip-hop in contemporary Black life in the U.S. South. In Bradley ’ s study, hip-hop does not just function as a musical genre, it becomes a way to understand Black Southern identity after the civil rights movement of the mid-twentieth century. The book ’ s interrogation of the cultural possibilities for the contemporary Black American South begins by acknowledging the absence of academic work in this area. As Bradley notes, scholarship on post-civil rights Black culture rarely focuses on the South, and popular representations of it all too often center the experiences of white southerners, with Black narratives typically confined to three historical moments: The antebellum era, Jim Crow, and the modern civil rights movement. This book ’ s focus on the hip-hop South — what Bradley defines as “ the experiences of black southerners who came of age in the 1980s and 1990s and use hip-hop culture to buffer themselves from the historical narrative and expectations of civil rights movement era blacks and their predecessors ” (6) — offers a necessary corrective, highlighting the complexity of Black southern life in the post-civil rights era and making plain the unrefined nature of popular representations of the South that fail to account for these experiences.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47617204","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 : 2023-03-28DOI: 10.1017/S1752196323000081
Victoria Clark
{"title":"Hungry Listening: Resonant Theory for Indigenous Sound Studies By Dylan Robinson. Minneapolis: University of Minnesota Press, 2020.","authors":"Victoria Clark","doi":"10.1017/S1752196323000081","DOIUrl":"https://doi.org/10.1017/S1752196323000081","url":null,"abstract":"","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-03-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46623027","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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