Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.17
K. Leonard
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Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.15
Alisha Lola Jones
Black love and hiphop brought Calvin Taylor Skinner and me together in 2018 as we nurtured a commuter relationship between Knoxville and Bloomington, Indiana. During our fiveto sixhour drives, I talked about my research on musical masculinity, while my theologianactivist guy shared provocative YouTube videos and podcasts facilitated by hiphop sages to stir conversation.1 The sages selfidentify variously as PanAfrican, American descendants of slaves (ADOS) or Foundational Black Americans (FBA), among other Blackcentered/Africancentered terms. The ADOS/FBA experts probed a constellation of obscure discourses: extraterrestrial encounters, Dr. Sebi, erased ancient African histories, reparations, Black love, and “conscious” hiphop.2 Discussing these topics with Calvin afforded me familiarity with Black men’s curation of complex creativeintellectual space irrespective of dominant culture’s understanding of their discourses. Central to this enigmatic genre of orality is speculation, inspecting structural barriers in an idiom their people recognize. From Tidal.com to BlackMagikUniversity.com to 4BiddenKnowledge.com, controlling one’s virtual presence is an essential facet of agency in the hiphop tradition. Our conversations inspired me to return to a juxtaposition I offered my students of esotericism performed in Bone ThugsNHarmony’s
2018年，我和卡尔文·泰勒·斯金纳(Calvin Taylor Skinner)在诺克斯维尔(Knoxville)和印第安纳州布卢明顿(Bloomington)之间建立了通勤关系，黑人爱情和嘻哈音乐让我们走到了一起。在我们五六个小时的车程中，我谈到了我对音乐男性气质的研究，而我的神学家激进主义者则分享了由嘻哈圣贤提供的煽动性YouTube视频和播客，以引发对话这些圣人自称为泛非人、美国奴隶后裔(ADOS)或基础美国黑人(FBA)，以及其他以黑人为中心/以非洲为中心的术语。ADOS/FBA的专家们探讨了一系列晦涩的话语:外星人遭遇、塞比博士、被抹去的古代非洲历史、赔偿、黑人之爱和“有意识的”嘻哈与加尔文讨论这些话题让我熟悉了黑人对复杂的创造性知识空间的管理，而不管主流文化对他们话语的理解。这种神秘的口语流派的核心是猜测，用他们的人民认识的习语检查结构障碍。从Tidal.com到BlackMagikUniversity.com到4BiddenKnowledge.com，控制一个人的虚拟存在是嘻哈传统中代理的一个重要方面。我们的谈话启发了我回到我给我的学生在骨暴徒和谐表演的神秘主义的并和
{"title":"\"The Music Industry Funds Private Prisons\": Analyzing Hip-Hop Urban Legend","authors":"Alisha Lola Jones","doi":"10.5406/19452349.40.4.15","DOIUrl":"https://doi.org/10.5406/19452349.40.4.15","url":null,"abstract":"Black love and hiphop brought Calvin Taylor Skinner and me together in 2018 as we nurtured a commuter relationship between Knoxville and Bloomington, Indiana. During our fiveto sixhour drives, I talked about my research on musical masculinity, while my theologianactivist guy shared provocative YouTube videos and podcasts facilitated by hiphop sages to stir conversation.1 The sages selfidentify variously as PanAfrican, American descendants of slaves (ADOS) or Foundational Black Americans (FBA), among other Blackcentered/Africancentered terms. The ADOS/FBA experts probed a constellation of obscure discourses: extraterrestrial encounters, Dr. Sebi, erased ancient African histories, reparations, Black love, and “conscious” hiphop.2 Discussing these topics with Calvin afforded me familiarity with Black men’s curation of complex creativeintellectual space irrespective of dominant culture’s understanding of their discourses. Central to this enigmatic genre of orality is speculation, inspecting structural barriers in an idiom their people recognize. From Tidal.com to BlackMagikUniversity.com to 4BiddenKnowledge.com, controlling one’s virtual presence is an essential facet of agency in the hiphop tradition. Our conversations inspired me to return to a juxtaposition I offered my students of esotericism performed in Bone ThugsNHarmony’s","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43397877","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.12
Paula Harper
When asked to pinpoint the date that the full seriousness of the COVID19 pandemic dawned for me, personally, I tend to use the March 17, 2020, launch of Music Scholarship at a Distance (MSaaD or #MusicColloq for short)—a virtual daily colloquium series that I coorganized with fellow musicologist Will Robin. While just a few days prior I had been negotiating springbreak travel plans, the cascading announcements of institutional closures, travel and other restrictions, and conference cancelations led us to set up the series in just a few (frantic) days. MSaaD—though relatively small in scope and casual in tone—thus became an early harbinger and prototype for the myriad virtual conferences and other professional events that would be undertaken across the next few years. Music Scholarship at a Distance was an early instance of a wave of virtual programming that arose in the wake of the pandemic’s shutdown effects. It was originally envisioned as a replacement venue for scholarship that would have been presented at canceled spring 2020 conferences, like the annual Society for American Music conference. All told, it ran for seven weeks that spring and early summer, with 35 papers and presentations given, and a daily audience ranging from 30 to 100 scholars. Presenters ranged across the subdisciplines of music scholarship and included veteran senior scholars as well as earlycareer scholars
{"title":"\"Let me just share my screen\": Perspectives on the Discipline through the Prism of Pandemic Online Conferences","authors":"Paula Harper","doi":"10.5406/19452349.40.4.12","DOIUrl":"https://doi.org/10.5406/19452349.40.4.12","url":null,"abstract":"When asked to pinpoint the date that the full seriousness of the COVID19 pandemic dawned for me, personally, I tend to use the March 17, 2020, launch of Music Scholarship at a Distance (MSaaD or #MusicColloq for short)—a virtual daily colloquium series that I coorganized with fellow musicologist Will Robin. While just a few days prior I had been negotiating springbreak travel plans, the cascading announcements of institutional closures, travel and other restrictions, and conference cancelations led us to set up the series in just a few (frantic) days. MSaaD—though relatively small in scope and casual in tone—thus became an early harbinger and prototype for the myriad virtual conferences and other professional events that would be undertaken across the next few years. Music Scholarship at a Distance was an early instance of a wave of virtual programming that arose in the wake of the pandemic’s shutdown effects. It was originally envisioned as a replacement venue for scholarship that would have been presented at canceled spring 2020 conferences, like the annual Society for American Music conference. All told, it ran for seven weeks that spring and early summer, with 35 papers and presentations given, and a daily audience ranging from 30 to 100 scholars. Presenters ranged across the subdisciplines of music scholarship and included veteran senior scholars as well as earlycareer scholars","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47617072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.05
Naomi André
I am thinking about belonging, displacement, and liberation. Rather than a linear narrative, these comments present a trio of contrapuntally interlocking themes: American music, African American musicologists, and the American nation more broadly. I am writing this as we approach Independence Day 2022, a holiday that says a lot about Americanness in the United States as it celebrates the signing of the Declaration of Independence. This suggests a point of freedom for the nation: a late eighteenthcentury liberation from their colonial status to the British. I was a child when this country celebrated its 200th anniversary in 1976 and, like other 4th of July celebrations in my family, this time marked a moment in the summer that meant a festive holiday, yet also felt a bit disembodied: how did I fit into this independence and liberation given our nation’s history? As I grew up, the meaning of the nation’s freedom became more convoluted. What had given us the right to fight for this land to make it ours? As former British citizens, when the founding fathers took this country and declared freedom, who were we now colonizing as there were indigenous communities practicing sophisticated cultures already here on this land? How did enslaved people brought from other countries fit in, who got to belong? Who was displaced? What does liberation mean?
{"title":"Interlocking Themes: American Music, Race, and Music Scholarship","authors":"Naomi André","doi":"10.5406/19452349.40.4.05","DOIUrl":"https://doi.org/10.5406/19452349.40.4.05","url":null,"abstract":"I am thinking about belonging, displacement, and liberation. Rather than a linear narrative, these comments present a trio of contrapuntally interlocking themes: American music, African American musicologists, and the American nation more broadly. I am writing this as we approach Independence Day 2022, a holiday that says a lot about Americanness in the United States as it celebrates the signing of the Declaration of Independence. This suggests a point of freedom for the nation: a late eighteenthcentury liberation from their colonial status to the British. I was a child when this country celebrated its 200th anniversary in 1976 and, like other 4th of July celebrations in my family, this time marked a moment in the summer that meant a festive holiday, yet also felt a bit disembodied: how did I fit into this independence and liberation given our nation’s history? As I grew up, the meaning of the nation’s freedom became more convoluted. What had given us the right to fight for this land to make it ours? As former British citizens, when the founding fathers took this country and declared freedom, who were we now colonizing as there were indigenous communities practicing sophisticated cultures already here on this land? How did enslaved people brought from other countries fit in, who got to belong? Who was displaced? What does liberation mean?","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43625023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.07
C. Bailey
{"title":"Women's Work in Music","authors":"C. Bailey","doi":"10.5406/19452349.40.4.07","DOIUrl":"https://doi.org/10.5406/19452349.40.4.07","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42645633","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.06
Jacqueline A. Avila
{"title":"New Currents in Film Music, Television Music, and Streaming Media Music Studies","authors":"Jacqueline A. Avila","doi":"10.5406/19452349.40.4.06","DOIUrl":"https://doi.org/10.5406/19452349.40.4.06","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48150481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.10
Luis Díaz-Santana Garza
{"title":"The Music of the Accordion and Bajo Sexto: Cultural Heritage at the U.S.–Mexico Border","authors":"Luis Díaz-Santana Garza","doi":"10.5406/19452349.40.4.10","DOIUrl":"https://doi.org/10.5406/19452349.40.4.10","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45711529","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.16
Loren Kajikawa
{"title":"Significant Difference in American Music Studies","authors":"Loren Kajikawa","doi":"10.5406/19452349.40.4.16","DOIUrl":"https://doi.org/10.5406/19452349.40.4.16","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43271691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.26
Y. Wang
{"title":"Doing Tai Chi with \"American Music\"","authors":"Y. Wang","doi":"10.5406/19452349.40.4.26","DOIUrl":"https://doi.org/10.5406/19452349.40.4.26","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48023811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.13
Eileen M. Hayes
This is a story of my complicity in corporate silence but also one of recognition and intervention. Simply put, here, I address manifestations of racism toward Asians and Asian Americans in music schools/departments and at meetings of our professional societies. Reports of antiAsian incidents have increased since the former U.S. President’s reference to the virus with a racist moniker.1 In response, cultural, industry, and political leaders, including President Obama, expressed outrage, and warned against a possible rise in antiAsian sentiment. A BBC News Report in May 2020 referenced incidents that posed threats to the safety and dignity of Asians, in the aftermath of the thenpresident’s feckless remark.2 More recently, the online ecosystem has also been the site of antiAsian racism. My story is told through a very personal lens and engages in more selfdisclosure than is customary for Society presidents. At times, I have remained silent in my role as bystander to the incivility I have witnessed
{"title":"Silent No More: Anti-Asian Racism in Music","authors":"Eileen M. Hayes","doi":"10.5406/19452349.40.4.13","DOIUrl":"https://doi.org/10.5406/19452349.40.4.13","url":null,"abstract":"This is a story of my complicity in corporate silence but also one of recognition and intervention. Simply put, here, I address manifestations of racism toward Asians and Asian Americans in music schools/departments and at meetings of our professional societies. Reports of antiAsian incidents have increased since the former U.S. President’s reference to the virus with a racist moniker.1 In response, cultural, industry, and political leaders, including President Obama, expressed outrage, and warned against a possible rise in antiAsian sentiment. A BBC News Report in May 2020 referenced incidents that posed threats to the safety and dignity of Asians, in the aftermath of the thenpresident’s feckless remark.2 More recently, the online ecosystem has also been the site of antiAsian racism. My story is told through a very personal lens and engages in more selfdisclosure than is customary for Society presidents. At times, I have remained silent in my role as bystander to the incivility I have witnessed","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45493502","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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