Blacksound : making race and popular music in the United States /

Soumis par Joseph Hafner le 22 Avril, 2025 - 21:30

Type de publication:

Book

Auteurs:

Morrison, Matthew D.,

Source:

University of California Press,, Oakland, California, United States, p.xviii, 304 pages : (2024)

Numéro d'appel:

ML3479

Autre numéro:

9780520390591

Mots-clés:

19e siècle., 19th century., African American influences., African American musicians, Blackface minstrel music, Conditions sociales., États-Unis, États-Unis., fast, Histoire, Histoire et critique., History, History and criticism., History., Minstrel music, Minstrel shows, Music and race, Musiciens noirs américains, Musique de ménestrels (Théâtre américain), Musique et race, Musique populaire, Popular music, Racism in popular culture, Racisme dans la culture populaire, Social conditions., Spectacles de ménestrels (Théâtre américain), United States, United States.

Notes:

"Roth Family Foundation imprint in music."Includes bibliographical references (pages 269-287) and index.Introduction : the origins of Blacksound -- Slavery and blackface in the making of blacksound -- William Henry "Master Juba" Lane and Antebellum blacksound -- Stephen Foster and the composition of Americana -- The house that blackface built : M. Witmark & Sons and the birth of Tin Pan Alley -- Intellectual (performance) property : ragtime goes pop -- Conclusion : Blacksound and the legacies of blackface."Blacksound explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States took shape during slavery out of blackface. "Blacksound" as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into the making of popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake - and for whom - in revisiting the long history of American popular music"--