Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.25
Denise von Glahn
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Pub Date : 2022-12-01DOI: 10.5406/19452349.40.4.23
A. Sewell
Since 2019, I have served as the music director of Interlochen Public Radio. I oversee everything related to Classical IPR, a 24hour classical music FM station at Interlochen Center for the Arts. My role involves everything from how we sound on the air to what initiatives we’re undertaking in the local community to how on earth our little FM station in the woods of northern Michigan can compete in a crowded field of music services from all over the globe. In this piece, I’ll provide an overview of how some American classical music radio stations are approaching diversity, equity, and inclusion (DEI) and then turn to some of the ways my team at Classical IPR addresses DEI on the air. Classical stations around the country have taken different approaches to DEI. Many stations are trying to program more music composed and performed by people from historically underrepresented groups in daily broadcasts. Others have created specific programs focusing on music by and issues pertaining to historically underrepresented groups. Examples of these specific programs include The Sound of 13: Celebrating Black Achievement in Classical Music and Feminine Fusion, the stated goal of which is to “highlight the influence of women in classical music.” These approaches, goals, and outcomes are unique to individual stations, music directors, and even hosts. There are no industrywide best practices for
{"title":"Public Musicology, Public Radio: Some Approaches to Diversity, Equity, and Inclusion from Classical Radio","authors":"A. Sewell","doi":"10.5406/19452349.40.4.23","DOIUrl":"https://doi.org/10.5406/19452349.40.4.23","url":null,"abstract":"Since 2019, I have served as the music director of Interlochen Public Radio. I oversee everything related to Classical IPR, a 24hour classical music FM station at Interlochen Center for the Arts. My role involves everything from how we sound on the air to what initiatives we’re undertaking in the local community to how on earth our little FM station in the woods of northern Michigan can compete in a crowded field of music services from all over the globe. In this piece, I’ll provide an overview of how some American classical music radio stations are approaching diversity, equity, and inclusion (DEI) and then turn to some of the ways my team at Classical IPR addresses DEI on the air. Classical stations around the country have taken different approaches to DEI. Many stations are trying to program more music composed and performed by people from historically underrepresented groups in daily broadcasts. Others have created specific programs focusing on music by and issues pertaining to historically underrepresented groups. Examples of these specific programs include The Sound of 13: Celebrating Black Achievement in Classical Music and Feminine Fusion, the stated goal of which is to “highlight the influence of women in classical music.” These approaches, goals, and outcomes are unique to individual stations, music directors, and even hosts. There are no industrywide best practices for","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":"43791197","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: 10.5406/19452349.40.4.14
Nadine Hubbs
A phrase that arises repeatedly in relation to country music characterizes it as “quintessentially American.” In 2019 this characterization got a fresh boost from Ken Burns, who positioned it prominently in his Country Music documentary series. The words give voice to an established truism, but is there any truth to them? In what sense, if any, is country music quintessentially American music? With this question in mind, I will explore the meanings of country music and quintessential Americanness in the light of country music’s history, its longstanding reputation as a white genre, and recent work that is rewriting the story of country and other American music. Twentiethcentury conventional wisdom held that commercial country, known as “hillbilly” music until after World War II, originated in old English ballads and ScotsIrish fiddle tunes. Throughout the century, however, there were people on the ground who knew a different, more complex story, some through scholarship and others by direct experience. Research by Patrick Huber shows that nearly fifty Black musicians played on early hillbilly records in 1924–32.1 Those musicians knew that country was not simply “white music.” Likewise Lesley Riddle and Rufus ‘Tee Tot’ Payne, two southern Black musicians who shaped country music, respectively, through crucial collaborations with country music’s “first family,” the Carter Family, and by mentoring Hank Williams, the
一个反复出现的与乡村音乐有关的短语将其描述为“典型的美国人”。2019年，肯·伯恩斯（Ken Burns）对这一描述给予了新的推动，他在他的乡村音乐系列纪录片中突出了这一点。这些话表达了一个既定的真理，但它们有什么真理吗？乡村音乐在什么意义上（如果有的话）是典型的美国音乐？考虑到这个问题，我将根据乡村音乐的历史、其作为白人流派的长期声誉，以及最近改写乡村音乐和其他美国音乐故事的作品，探讨乡村音乐和典型美国性的含义。20世纪的传统观点认为，商业国家，直到第二次世界大战后才被称为“乡巴佬”音乐，起源于古老的英国民谣和苏格兰爱尔兰小提琴曲调。然而，在整个世纪里，当地有些人知道一个不同的、更复杂的故事，有些人是通过学术，有些人则是通过直接经验。帕特里克·胡贝尔（Patrick Huber）的研究表明，1924年至32.1年间，近50名黑人音乐家在早期的乡巴佬唱片上演奏。这些音乐家知道这个国家不仅仅是“白人音乐”。同样，莱斯利·里德尔（Lesley Riddle）和鲁弗斯·T·佩恩（Rufus‘Tee Tot’Payne）这两位南方黑人音乐家通过与乡村音乐的“第一家族”卡特家族（Carter family）的关键合作，分别塑造了乡村音乐，通过指导Hank Williams
{"title":"Is Country Music Quintessentially American?","authors":"Nadine Hubbs","doi":"10.5406/19452349.40.4.14","DOIUrl":"https://doi.org/10.5406/19452349.40.4.14","url":null,"abstract":"A phrase that arises repeatedly in relation to country music characterizes it as “quintessentially American.” In 2019 this characterization got a fresh boost from Ken Burns, who positioned it prominently in his Country Music documentary series. The words give voice to an established truism, but is there any truth to them? In what sense, if any, is country music quintessentially American music? With this question in mind, I will explore the meanings of country music and quintessential Americanness in the light of country music’s history, its longstanding reputation as a white genre, and recent work that is rewriting the story of country and other American music. Twentiethcentury conventional wisdom held that commercial country, known as “hillbilly” music until after World War II, originated in old English ballads and ScotsIrish fiddle tunes. Throughout the century, however, there were people on the ground who knew a different, more complex story, some through scholarship and others by direct experience. Research by Patrick Huber shows that nearly fifty Black musicians played on early hillbilly records in 1924–32.1 Those musicians knew that country was not simply “white music.” Likewise Lesley Riddle and Rufus ‘Tee Tot’ Payne, two southern Black musicians who shaped country music, respectively, through crucial collaborations with country music’s “first family,” the Carter Family, and by mentoring Hank Williams, the","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":"42430342","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 : 2022-10-01DOI: 10.5406/19452349.40.3.06
D. Wu
One evening in October 2004, about one hundred miles east of Fresno, California, 79yearold Mary Kageyama Nomura returned to the concentration camp where she had been illegally imprisoned as a teenager, and to the stage where she had earned the moniker “the songbird of Manzanar.” Now an elder in the Japanese American community, Nomura had returned to the site of her imprisonment to perform the popular songs of her youth once more, this time as a cast member of the touring musical revue Camp Dance. For a few short hours, the auditorium at Manzanar was once again a dance hall. Manzanar National Historic Site, which is now a museum and national park, was constructed as a concentration camp where over 10,000 Japanese American people were illegally incarcerated by the United States government.1 It was one of ten such sites that, all told, imprisoned over 120,000 Japanese Americans from 1942 to 1945, most of them U.S. citizens.2 Nomura, who was born in Los Angeles and imprisoned at the age of sixteen, was one of those individuals. Playwright Soji Kashiwagi’s The Camp Dance: The Music and the Memories, with which Nomura toured in the early 2000s, revisits this dark chapter of American history from the perspective of the nisei, the show’s subject and primary audience, through the 1940s popular tunes that were frequently heard within the camps.3
{"title":"\"You Gotta Accentuate the Positive\": Japanese American Affirmation and Resilience in The Camp Dance: The Music and the Memories","authors":"D. Wu","doi":"10.5406/19452349.40.3.06","DOIUrl":"https://doi.org/10.5406/19452349.40.3.06","url":null,"abstract":"One evening in October 2004, about one hundred miles east of Fresno, California, 79yearold Mary Kageyama Nomura returned to the concentration camp where she had been illegally imprisoned as a teenager, and to the stage where she had earned the moniker “the songbird of Manzanar.” Now an elder in the Japanese American community, Nomura had returned to the site of her imprisonment to perform the popular songs of her youth once more, this time as a cast member of the touring musical revue Camp Dance. For a few short hours, the auditorium at Manzanar was once again a dance hall. Manzanar National Historic Site, which is now a museum and national park, was constructed as a concentration camp where over 10,000 Japanese American people were illegally incarcerated by the United States government.1 It was one of ten such sites that, all told, imprisoned over 120,000 Japanese Americans from 1942 to 1945, most of them U.S. citizens.2 Nomura, who was born in Los Angeles and imprisoned at the age of sixteen, was one of those individuals. Playwright Soji Kashiwagi’s The Camp Dance: The Music and the Memories, with which Nomura toured in the early 2000s, revisits this dark chapter of American history from the perspective of the nisei, the show’s subject and primary audience, through the 1940s popular tunes that were frequently heard within the camps.3","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42664432","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 : 2022-10-01DOI: 10.5406/19452349.40.3.09
Michael Iyanaga
{"title":"Bossa Mundo: Brazilian Music in Transnational Media Industries by K. E. Goldschmitt (review)","authors":"Michael Iyanaga","doi":"10.5406/19452349.40.3.09","DOIUrl":"https://doi.org/10.5406/19452349.40.3.09","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41978501","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 : 2022-10-01DOI: 10.5406/19452349.40.3.07
Ken Prouty
In his 2005 book Pioneers of Jazz, Lawrence Gushee traces the development of the Creole Band, the early touring group that helped disseminate what would eventually become known as jazz outside of New Orleans. For Gushee, the Creole Band was a critical link between the early twentiethcentury New Orleans scene and the later recording groups of the post1917 era. As he recounts in vivid detail, it was largely through the Vaudeville stage, and through an identification as a novelty band, that the group would achieve notoriety. Yet the overall sense from Gushee’s study is that the Creole Band represented something different, distinct from Vaudeville or novelty. In short, they became “pioneers of jazz.” This idea is made clear in an epigraph for the introduction, in which Jelly Roll Morton asserts in a 1938 interview that the band “really played jazz, not just novelty and show stuff.”1 Morton’s quote is telling, as is Gushee’s placement of the passage as the very first words in his text, reinforcing the idea that the Creole Band is squarely within the realm of jazz. Jazz historiography has long been occupied with categorizing the style in relation to and, perhaps more importantly, as distinct from other forms of early twentiethcentury popular music. Within this discourse, the
{"title":"Smears, Laughs, and Barnyard Hokum: Early Jazz Trombone and the Problem of Novelty","authors":"Ken Prouty","doi":"10.5406/19452349.40.3.07","DOIUrl":"https://doi.org/10.5406/19452349.40.3.07","url":null,"abstract":"In his 2005 book Pioneers of Jazz, Lawrence Gushee traces the development of the Creole Band, the early touring group that helped disseminate what would eventually become known as jazz outside of New Orleans. For Gushee, the Creole Band was a critical link between the early twentiethcentury New Orleans scene and the later recording groups of the post1917 era. As he recounts in vivid detail, it was largely through the Vaudeville stage, and through an identification as a novelty band, that the group would achieve notoriety. Yet the overall sense from Gushee’s study is that the Creole Band represented something different, distinct from Vaudeville or novelty. In short, they became “pioneers of jazz.” This idea is made clear in an epigraph for the introduction, in which Jelly Roll Morton asserts in a 1938 interview that the band “really played jazz, not just novelty and show stuff.”1 Morton’s quote is telling, as is Gushee’s placement of the passage as the very first words in his text, reinforcing the idea that the Creole Band is squarely within the realm of jazz. Jazz historiography has long been occupied with categorizing the style in relation to and, perhaps more importantly, as distinct from other forms of early twentiethcentury popular music. Within this discourse, the","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48679789","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 : 2022-10-01DOI: 10.5406/19452349.40.3.02
J. Henry
Recent scholarship contesting notions of “legitimate” knowledge in musicological discourse reveals the deeply ingrained and exclusionary structures of white supremacy in the discipline. Notably, musicologists Rachel Mundy and Matthew D. Morrison show how musicology’s grounding in racist biological determinisms profoundly shapes the discipline and its membership and discourses.1 Music scholars Danielle Brown and William Cheng note how the discipline’s epistemologically violent histories and practices inflict emotional and psychological harm upon music scholars of color and their research subjects.2 Many of these same scholars have made explicit calls to dismantle these problematic structures of knowledge production and the broader institutions that support them. I contend that public musicology has the potential to respond meaningfully to these epistemological issues; however, many of the field’s initiatives inadequately seek to promote “the results of recent research and discovery in the field of musicology. . .”3 Accordingly, musicologists most frequently engage the public through preconcert lectures, mainstream broadcasts, popular publications, social media platforms, and other public media. While these initiatives make music histories
{"title":"Reparative Public Musicology: Empowering and Centering Community Knowledge Production through Counter-Storytelling Practice","authors":"J. Henry","doi":"10.5406/19452349.40.3.02","DOIUrl":"https://doi.org/10.5406/19452349.40.3.02","url":null,"abstract":"Recent scholarship contesting notions of “legitimate” knowledge in musicological discourse reveals the deeply ingrained and exclusionary structures of white supremacy in the discipline. Notably, musicologists Rachel Mundy and Matthew D. Morrison show how musicology’s grounding in racist biological determinisms profoundly shapes the discipline and its membership and discourses.1 Music scholars Danielle Brown and William Cheng note how the discipline’s epistemologically violent histories and practices inflict emotional and psychological harm upon music scholars of color and their research subjects.2 Many of these same scholars have made explicit calls to dismantle these problematic structures of knowledge production and the broader institutions that support them. I contend that public musicology has the potential to respond meaningfully to these epistemological issues; however, many of the field’s initiatives inadequately seek to promote “the results of recent research and discovery in the field of musicology. . .”3 Accordingly, musicologists most frequently engage the public through preconcert lectures, mainstream broadcasts, popular publications, social media platforms, and other public media. While these initiatives make music histories","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45489978","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 : 2022-10-01DOI: 10.5406/19452349.40.3.05
B. V. Sengdala
{"title":"Cambodian American Listening as Memory Work","authors":"B. V. Sengdala","doi":"10.5406/19452349.40.3.05","DOIUrl":"https://doi.org/10.5406/19452349.40.3.05","url":null,"abstract":"","PeriodicalId":43462,"journal":{"name":"AMERICAN MUSIC","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48779417","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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