Pub Date : 2022-10-20DOI: 10.1017/s1752196322000372
Eric Weisbard
tunes and new hymn texts in Native languages that combined Christian theology with images from Native cultures and traditions. Eyerly notes that it is difficult to be certain of performance practices of Native Moravians in the eighteenth century, and she offers informed conjectures about what their music making might have sounded like. The use of historical imagination found inMoravian Soundscapes and in its digital contributions, as well as the book’s departures from some academic norms in its form and style, forge possibilities for musicology that are, in many ways, groundbreaking. Indeed, I recommend this book to all musicologists and historians, regardless of their areas of expertise, as a model of work that comingles a personal voice with a critical one, and imaginative story telling with archival evidence.
{"title":"Record Cultures: The Transformation of the U.S. Record Industry By Kyle Barnett. Ann Arbor: University of Michigan Press, 2020.","authors":"Eric Weisbard","doi":"10.1017/s1752196322000372","DOIUrl":"https://doi.org/10.1017/s1752196322000372","url":null,"abstract":"tunes and new hymn texts in Native languages that combined Christian theology with images from Native cultures and traditions. Eyerly notes that it is difficult to be certain of performance practices of Native Moravians in the eighteenth century, and she offers informed conjectures about what their music making might have sounded like. The use of historical imagination found inMoravian Soundscapes and in its digital contributions, as well as the book’s departures from some academic norms in its form and style, forge possibilities for musicology that are, in many ways, groundbreaking. Indeed, I recommend this book to all musicologists and historians, regardless of their areas of expertise, as a model of work that comingles a personal voice with a critical one, and imaginative story telling with archival evidence.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48255610","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 : 2022-10-20DOI: 10.1017/s1752196322000359
Kyle Gann
{"title":"George Frederick Bristow By Katherine K. Preston. Urbana, IL: University of Illinois Press, 2020.","authors":"Kyle Gann","doi":"10.1017/s1752196322000359","DOIUrl":"https://doi.org/10.1017/s1752196322000359","url":null,"abstract":"","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44507808","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 : 2022-10-19DOI: 10.1017/S1752196322000311
Julia K. Kuhlman
makes space for these contradictions inherent in hip-hop, the ways it can both speak to oppression and be itself oppressive, especially along gender lines. A critical, feminist approach to its history would celebrate these artists’ contributions while also honestly acknowledging the harm they may have caused. To downplay these complexities is yet another way to marginalize women and LGBTQ+ practitioners in the genre. If an instructor were to use episodes of this series to introduce students to topics related to the history and development of the genre, I would strongly recommend supplementing them with additional materials. Readings that I incorporate in my own hip-hop courses to decenter the otherwise male(and hetero-) centric narratives include Kyra Gaunt’s repositioning of Black girl culture within hip-hop, Tricia Rose’s foundational anthropological study of rap, Shanté Smalls’s historiography of queer hip-hop, and Cheryl L. Keyes’s work on archetypes of women rappers. Hip-Hop Evolution might be a useful tool for introducing students to the genre, but when curating materials for teaching this subject, we must be mindful of not only content but also framing. We should avoid a process of canonization that tokenizes a few women, or worse, writes them out of the story altogether.
{"title":"Caroline Shaw and Sō Percussion. Let the Soil Play its Simple Part Released June 25, 2021. Nonesuch Records, SKU#075597915891, 2021. CD","authors":"Julia K. Kuhlman","doi":"10.1017/S1752196322000311","DOIUrl":"https://doi.org/10.1017/S1752196322000311","url":null,"abstract":"makes space for these contradictions inherent in hip-hop, the ways it can both speak to oppression and be itself oppressive, especially along gender lines. A critical, feminist approach to its history would celebrate these artists’ contributions while also honestly acknowledging the harm they may have caused. To downplay these complexities is yet another way to marginalize women and LGBTQ+ practitioners in the genre. If an instructor were to use episodes of this series to introduce students to topics related to the history and development of the genre, I would strongly recommend supplementing them with additional materials. Readings that I incorporate in my own hip-hop courses to decenter the otherwise male(and hetero-) centric narratives include Kyra Gaunt’s repositioning of Black girl culture within hip-hop, Tricia Rose’s foundational anthropological study of rap, Shanté Smalls’s historiography of queer hip-hop, and Cheryl L. Keyes’s work on archetypes of women rappers. Hip-Hop Evolution might be a useful tool for introducing students to the genre, but when curating materials for teaching this subject, we must be mindful of not only content but also framing. We should avoid a process of canonization that tokenizes a few women, or worse, writes them out of the story altogether.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"57042484","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 : 2022-10-19DOI: 10.1017/S175219632200030X
L. Kehrer
In the spring of 2019, the second time I offered the undergraduate course Music and Culture of Hip-Hop at the College of William and Mary, the waitlist was more than three times the capacity of the course, demonstrating students’ overwhelming interest in the material. At the end of the first class meeting, in which I introduced students to early hip-hop culture and the context surrounding its development, a student who was on the waitlist came up to me to express his disappointment that he couldn’t enroll, but he also marveled at how closely my narrative had followed one he had seen on television: “This is exactly what they talked about in Hip-Hop Evolution!” I was a bit miffed that a student would compare my class to a television docuseries, but indeed, he was in some ways correct. The first episode of Hip-Hop Evolution follows a familiar narrative, tracing the beginnings of the genre as a youth party culture in 1970s Bronx in which early DJs developed new turntable techniques in a symbiotic relationship with b-boys (with no mention of b-girls or dancers of other genders). The show touches on many of the same themes and events that I introduce in my opening lecture, but it also contributes to the problematic framing that many retellings of hip-hop’s origins tend to reinscribe—it fails to position women and girls and LGBTQ+ practitioners as central to the genre’s development. As hip-hop courses have become increasingly prevalent in universities, especially in undergraduate music curricula, a hip-hop canon has developed. Loren Kajikawa reminds us that the incorporation of hip-hop within the academy is not always as inclusive as it may seem. In adding this music culture into our curricula, we must ask: What narratives are told, and from whose perspective? Hip-Hop Evolution falls into the familiar trap of utilizing a Great Man approach to the canonization of a farreaching genre at the expense of women and other marginalized practitioners. Hip-Hop Evolution is a four-season Canadian docuseries that originally aired on HBO Canada in 2016 before it was added to the streaming platform Netflix. Hosted by Canadian rapper Shad (Shadrach Kabango), the series features in-depth interviews with artists, journalists, and other industry professionals and seeks to tell the story of the genre as it evolved in the United States. Each season consists of four episodes ranging from 36 to 51 minutes in length, each with a focused theme. Season 1 focuses on the genre’s development in broad strokes from the 1970s to the early 1990s. Seasons 2 through 4 expand on this narrative with emphasis on specific regions (such as New York City, the Bay Area, and the South more generally; more specifically, there are also individual episodes on Atlanta and New Orleans).
{"title":"Darby Wheeler, dir. Hip-Hop Evolution Banger Films, 2016. Streaming","authors":"L. Kehrer","doi":"10.1017/S175219632200030X","DOIUrl":"https://doi.org/10.1017/S175219632200030X","url":null,"abstract":"In the spring of 2019, the second time I offered the undergraduate course Music and Culture of Hip-Hop at the College of William and Mary, the waitlist was more than three times the capacity of the course, demonstrating students’ overwhelming interest in the material. At the end of the first class meeting, in which I introduced students to early hip-hop culture and the context surrounding its development, a student who was on the waitlist came up to me to express his disappointment that he couldn’t enroll, but he also marveled at how closely my narrative had followed one he had seen on television: “This is exactly what they talked about in Hip-Hop Evolution!” I was a bit miffed that a student would compare my class to a television docuseries, but indeed, he was in some ways correct. The first episode of Hip-Hop Evolution follows a familiar narrative, tracing the beginnings of the genre as a youth party culture in 1970s Bronx in which early DJs developed new turntable techniques in a symbiotic relationship with b-boys (with no mention of b-girls or dancers of other genders). The show touches on many of the same themes and events that I introduce in my opening lecture, but it also contributes to the problematic framing that many retellings of hip-hop’s origins tend to reinscribe—it fails to position women and girls and LGBTQ+ practitioners as central to the genre’s development. As hip-hop courses have become increasingly prevalent in universities, especially in undergraduate music curricula, a hip-hop canon has developed. Loren Kajikawa reminds us that the incorporation of hip-hop within the academy is not always as inclusive as it may seem. In adding this music culture into our curricula, we must ask: What narratives are told, and from whose perspective? Hip-Hop Evolution falls into the familiar trap of utilizing a Great Man approach to the canonization of a farreaching genre at the expense of women and other marginalized practitioners. Hip-Hop Evolution is a four-season Canadian docuseries that originally aired on HBO Canada in 2016 before it was added to the streaming platform Netflix. Hosted by Canadian rapper Shad (Shadrach Kabango), the series features in-depth interviews with artists, journalists, and other industry professionals and seeks to tell the story of the genre as it evolved in the United States. Each season consists of four episodes ranging from 36 to 51 minutes in length, each with a focused theme. Season 1 focuses on the genre’s development in broad strokes from the 1970s to the early 1990s. Seasons 2 through 4 expand on this narrative with emphasis on specific regions (such as New York City, the Bay Area, and the South more generally; more specifically, there are also individual episodes on Atlanta and New Orleans).","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41402398","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 : 2022-10-17DOI: 10.1017/s1752196322000281
E. Bomberger
The history of American industry may be told as a succession of manufacturers who each managed to turn a luxury product for the rich into a necessity for the masses. Fifty years before Henry Ford achieved this goal with the automobile, and a century before Steve Jobs and Bill Gates achieved it with the personal computer, Joseph P. Hale accomplished this with the upright piano in the late nineteenth century. Hale and his fellow manufacturers based their business model on the principle of interchangeable parts, thus establishing a practice that would be embraced by the automobile industry but not the personal computer industry. William E. Hettrick ’ s new book on the American piano industry in the nineteenth century chronicles in extensive detail the inner workings of an industry that was transformed by the technological and marketing innovations of Hale and his contemporaries. Hettrick ’ s study builds on a solid foundation of previous studies of the piano as a technological and marketing achievement. Daniel Spillane ’ s and Alfred Dolge ’ s books (1890 and 1911 – 13, respectively) covered the topic of manufacturing during the same period chronicled by Hettrick. 1 Arthur Loesser ’ s 1954 book used a lively narrative style to make an otherwise dry topic humorous and engaging, while Edwin M. Good took an evolutionary approach to the subject in 1982. 2 James Parakilas ’ s more recent co-authored volume expanded on these earlier studies to provide an accessible and lavishly illustrated book, encompassing technology, education, and portrayals of the piano in popular media. 3 Each of these foundational studies is cited repeatedly throughout Hettrick ’ s book, and their emphasis on methods of social history is reflected in his narrative. The
{"title":"The American Piano Industry: Episodes in the History of a Great Enterprise By William E. Hettrick. Hillsdale, NY: Pendragon Press, 2020.","authors":"E. Bomberger","doi":"10.1017/s1752196322000281","DOIUrl":"https://doi.org/10.1017/s1752196322000281","url":null,"abstract":"The history of American industry may be told as a succession of manufacturers who each managed to turn a luxury product for the rich into a necessity for the masses. Fifty years before Henry Ford achieved this goal with the automobile, and a century before Steve Jobs and Bill Gates achieved it with the personal computer, Joseph P. Hale accomplished this with the upright piano in the late nineteenth century. Hale and his fellow manufacturers based their business model on the principle of interchangeable parts, thus establishing a practice that would be embraced by the automobile industry but not the personal computer industry. William E. Hettrick ’ s new book on the American piano industry in the nineteenth century chronicles in extensive detail the inner workings of an industry that was transformed by the technological and marketing innovations of Hale and his contemporaries. Hettrick ’ s study builds on a solid foundation of previous studies of the piano as a technological and marketing achievement. Daniel Spillane ’ s and Alfred Dolge ’ s books (1890 and 1911 – 13, respectively) covered the topic of manufacturing during the same period chronicled by Hettrick. 1 Arthur Loesser ’ s 1954 book used a lively narrative style to make an otherwise dry topic humorous and engaging, while Edwin M. Good took an evolutionary approach to the subject in 1982. 2 James Parakilas ’ s more recent co-authored volume expanded on these earlier studies to provide an accessible and lavishly illustrated book, encompassing technology, education, and portrayals of the piano in popular media. 3 Each of these foundational studies is cited repeatedly throughout Hettrick ’ s book, and their emphasis on methods of social history is reflected in his narrative. The","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45034634","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 : 2022-10-17DOI: 10.1017/S1752196322000347
Christopher Herbert
Abstract The 1746 Ephrata Codex, a 972-page music manuscript in the Library of Congress, is the central document of this study, which locates and identifies several eighteenth-century composers who were solitary sisters and brothers of the Ephrata Cloister in Lancaster County, Pennsylvania. Ephrata was an insular, mainly celibate, Pietist, Sabbatarian, ascetic community, which, at its height in the 1740s and 1750s, was home to approximately 300 individuals. Like many German diaspora societies in colonial Pennsylvania, it produced devotional prints and manuscripts. Ephrata is unique because most of its spiritual texts and music were written by and for its inhabitants. More than 130 extant Ephrata music manuscripts in libraries, archives, and collections in the United States and United Kingdom comprise a corpus of over 1,500 hymns, composed according to rules mandated in an original music theory treatise. The concept of authorship at Ephrata was complicated: Communal creative activity frequently existed alongside calls for individual recognition, evidenced by name attributions found in printed hymnals and music manuscripts. The solitary sisters’ agency and creative activity at Ephrata brings an added nuance to the discussion of authorship and credit, drawing attention to the contributions of women as creators, a notable exception to the male-dominated sieve of music history. The 2020 release of Voices in the Wilderness, an album of new Ephrata hymn transcriptions, is connected to this article. Recorded in the Ephrata Meetinghouse, or “Saal,” the room for which the music was composed, it provides a new perspective on Ephrata's composers, compositional methods, and performance practice.
{"title":"“A Most Valuable Curiosity”: Music Manuscripts, Authorship, Composition, and Gender at the Ephrata Cloister in Eighteenth-Century Pennsylvania","authors":"Christopher Herbert","doi":"10.1017/S1752196322000347","DOIUrl":"https://doi.org/10.1017/S1752196322000347","url":null,"abstract":"Abstract The 1746 Ephrata Codex, a 972-page music manuscript in the Library of Congress, is the central document of this study, which locates and identifies several eighteenth-century composers who were solitary sisters and brothers of the Ephrata Cloister in Lancaster County, Pennsylvania. Ephrata was an insular, mainly celibate, Pietist, Sabbatarian, ascetic community, which, at its height in the 1740s and 1750s, was home to approximately 300 individuals. Like many German diaspora societies in colonial Pennsylvania, it produced devotional prints and manuscripts. Ephrata is unique because most of its spiritual texts and music were written by and for its inhabitants. More than 130 extant Ephrata music manuscripts in libraries, archives, and collections in the United States and United Kingdom comprise a corpus of over 1,500 hymns, composed according to rules mandated in an original music theory treatise. The concept of authorship at Ephrata was complicated: Communal creative activity frequently existed alongside calls for individual recognition, evidenced by name attributions found in printed hymnals and music manuscripts. The solitary sisters’ agency and creative activity at Ephrata brings an added nuance to the discussion of authorship and credit, drawing attention to the contributions of women as creators, a notable exception to the male-dominated sieve of music history. The 2020 release of Voices in the Wilderness, an album of new Ephrata hymn transcriptions, is connected to this article. Recorded in the Ephrata Meetinghouse, or “Saal,” the room for which the music was composed, it provides a new perspective on Ephrata's composers, compositional methods, and performance practice.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42667057","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 : 2022-10-17DOI: 10.1017/S1752196322000323
Drake Andersen
Abstract From the late 1950s to the mid-1970s, American experimental musicians like Pauline Oliveros, David Tudor, and Gordon Mumma employed complex and idiosyncratic technological systems to produce and capture acoustic resonance for aesthetic appreciation. Although this shared exploration exhibited many of the hallmarks of a genuine research project, scholars of experimental music have long been wary of claims that there is anything particularly scientific about this music, frequently comparing its informality unfavorably with the rigor and empiricism of the individual scientific experiment. However, historian of science Hans-Jörg Rheinberger has long held that the fundamental working unit of scientific research is not the individual experiment, but what he terms the experimental system: The loose coherence of objects, instruments, and technologies through which research questions are materialized over time. I argue that Rheinberger's framework of the experimental system offers a compelling way of understanding the experimentation that catalyzed the emergence of what has come to be known as “resonance aesthetics” in American experimental music. By focusing on the material links of musicians’ activities, the experimental system illuminates how knowledge was produced and circulated within and between vastly different musical performances. Rheinberger's characterization of successful research also informs a more nuanced conception of virtuosity in experimental music. Finally, this framework is an opportunity to re-evaluate the status of sound as an object of epistemological inquiry, akin to what Rheinberger describes as an “epistemic thing.” In theorizing epistemic sound as both contextual and emergent, I re-evaluate musicians’ approaches to spontaneity and improvisation in musical performance.
{"title":"Hearing Epistemic Sound in Experimental (Music) Systems, 1958–73","authors":"Drake Andersen","doi":"10.1017/S1752196322000323","DOIUrl":"https://doi.org/10.1017/S1752196322000323","url":null,"abstract":"Abstract From the late 1950s to the mid-1970s, American experimental musicians like Pauline Oliveros, David Tudor, and Gordon Mumma employed complex and idiosyncratic technological systems to produce and capture acoustic resonance for aesthetic appreciation. Although this shared exploration exhibited many of the hallmarks of a genuine research project, scholars of experimental music have long been wary of claims that there is anything particularly scientific about this music, frequently comparing its informality unfavorably with the rigor and empiricism of the individual scientific experiment. However, historian of science Hans-Jörg Rheinberger has long held that the fundamental working unit of scientific research is not the individual experiment, but what he terms the experimental system: The loose coherence of objects, instruments, and technologies through which research questions are materialized over time. I argue that Rheinberger's framework of the experimental system offers a compelling way of understanding the experimentation that catalyzed the emergence of what has come to be known as “resonance aesthetics” in American experimental music. By focusing on the material links of musicians’ activities, the experimental system illuminates how knowledge was produced and circulated within and between vastly different musical performances. Rheinberger's characterization of successful research also informs a more nuanced conception of virtuosity in experimental music. Finally, this framework is an opportunity to re-evaluate the status of sound as an object of epistemological inquiry, akin to what Rheinberger describes as an “epistemic thing.” In theorizing epistemic sound as both contextual and emergent, I re-evaluate musicians’ approaches to spontaneity and improvisation in musical performance.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41710769","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 : 2022-08-01DOI: 10.1017/s1752196322000256
{"title":"SAM volume 16 issue 3 Cover and Front matter","authors":"","doi":"10.1017/s1752196322000256","DOIUrl":"https://doi.org/10.1017/s1752196322000256","url":null,"abstract":"","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46266396","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 : 2022-08-01DOI: 10.1017/S1752196322000207
Jeongwon Joe
(established in 1977). “Part 4: Transmission” effectively eulogizes Coleman’s work and ideas on music and the evocative koans he used to express them. It features summaries and direct quotes from Golia’s interviews with musicians who knew and worked with him, including Kenny Wessel (who collaborated with him for over a decade), Bobby Bradford, fine art gallery owners Skoto Aghahowa and Alix du Serech, visual artist Todd Siler, John Snyder, John Giordano, composer and musician Matt Lavelle, and others. Ornette Coleman’s life’s work, the reader learns by the monograph’s end, was indeed recognized and celebrated despite the grumblings by jazz critics early in his career—he won a Grammy lifetime achievement award, a Kennedy Center award, a medal of arts from the Texas Cultural Trust Council, and a Pulitzer Prize for his 2005 live concert album Sound Grammar. Ultimately, it was triumph instead of tragedy for Coleman the proud autodidact, unflinching self-advocate, and sound alchemist. There are moments in the text where Golia provides very specific historical details without any citation in the bibliography, which opens her historiography to critique—a setback that also profoundly impoverished the authority of John Litweiler’s 1992 biography. For instance, when seeking to contextualize Coleman within the subversive counterculture of the mid-1950s, she names writer/poet Allen Ginsburg and photographer Robert Frank, situating the musician within this movement and implying that he was ideologically aligned with it (112). But, without any explicit and direct quotations, Coleman’s specific political beliefs cannot be assumed. Nevertheless, Golia’s monograph is a solid addition to the literature on the artist, one that highlights an original thinker, born and reared in Texas, and shaped by New York and a world’s-worth of travel and collaborations across the globe. Ornette Coleman, Golia insists, held steadfast to his creative vision until the very end.
{"title":"The Passions of Peter Sellars: Staging the Music By Susan McClary. Ann Arbor, MI: University of Michigan Press, 2019.","authors":"Jeongwon Joe","doi":"10.1017/S1752196322000207","DOIUrl":"https://doi.org/10.1017/S1752196322000207","url":null,"abstract":"(established in 1977). “Part 4: Transmission” effectively eulogizes Coleman’s work and ideas on music and the evocative koans he used to express them. It features summaries and direct quotes from Golia’s interviews with musicians who knew and worked with him, including Kenny Wessel (who collaborated with him for over a decade), Bobby Bradford, fine art gallery owners Skoto Aghahowa and Alix du Serech, visual artist Todd Siler, John Snyder, John Giordano, composer and musician Matt Lavelle, and others. Ornette Coleman’s life’s work, the reader learns by the monograph’s end, was indeed recognized and celebrated despite the grumblings by jazz critics early in his career—he won a Grammy lifetime achievement award, a Kennedy Center award, a medal of arts from the Texas Cultural Trust Council, and a Pulitzer Prize for his 2005 live concert album Sound Grammar. Ultimately, it was triumph instead of tragedy for Coleman the proud autodidact, unflinching self-advocate, and sound alchemist. There are moments in the text where Golia provides very specific historical details without any citation in the bibliography, which opens her historiography to critique—a setback that also profoundly impoverished the authority of John Litweiler’s 1992 biography. For instance, when seeking to contextualize Coleman within the subversive counterculture of the mid-1950s, she names writer/poet Allen Ginsburg and photographer Robert Frank, situating the musician within this movement and implying that he was ideologically aligned with it (112). But, without any explicit and direct quotations, Coleman’s specific political beliefs cannot be assumed. Nevertheless, Golia’s monograph is a solid addition to the literature on the artist, one that highlights an original thinker, born and reared in Texas, and shaped by New York and a world’s-worth of travel and collaborations across the globe. Ornette Coleman, Golia insists, held steadfast to his creative vision until the very end.","PeriodicalId":42557,"journal":{"name":"Journal of the Society for American Music","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49583262","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 : 2022-08-01DOI: 10.1017/S1752196322000220
Juan Eduardo Wolf
Rios ’ s book documents the development and rise of Andean conjuntos in Bolivia from the 1920s to the 1970s. Many scholars refer to these groups as pan-Andean ensembles to recognize how this way of making music has become dominant in the region. Rios, however, focuses on the development of these groups in La Paz, Bolivia, which is particularly valuable because the country is a primary site of Indigeneity in the Andean imaginary. Rios carefully details how Bolivian national ideologies and governmental policies contributed to the formation of these groups. He also explains the inclusion of different Bolivian regional music genres in these ensembles ’ repertoires as well as the role of the international recording industry in shaping their sound. Rios has already become well-known as a key historian in this area, and although he integrates material from his previous articles into the book, this monograph complements that earlier work by including a greater variety of artists, recordings, and events over a broader period of time.
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