Sweet Air: Modernism, Regionalism, and American Popular Song

Index

Index Page numbers in italics refer to illustrations. abstraction: abstraction/commoditization of labor, 10, 32, 37–38; affective performance as, 21–22; of authentic/rooted music, 4–5; Buddy Holly and, 210, 219– 20, 231; Carter Family and, 93, 103; city as space of, 44–45; clichéd phrases and, 221–22; deterritorialization and, 155; folk song and, 134, 144–45; minstrelsy as abstraction of culture, 16–17; as modernist experience of reality, 10–11; motivated forms and, 25; of musical space/time, 7–8; music performance as abstract labor, 47–48; phonograph as device for, 64–65, 69; pop music consumption and, 26–27, 235–42; progressive country music and, 75, 85, 90; studio space and production of, 170, 208–11. See also airiness ; intention/meaning Ades, Dawn, 169 Adorno, Theodor, 63–65, 250, 262–63 aesthetics: aesthetic awareness of sensual experience, 5–6; aesthetics of the readymade , 160–61, 166–72, 167, 172; blues composition/creativity and, 54–55 affective form: blues as affective history, 71; Buddy Holly as exemplar of, 21–22; distancing in progressive country music, 85–87; drives as bodily manifestation of, 181–82; Elvis Presley as affective body, 201–4; emotive force in Woody Guthrie, 119; as engine of folk sentiment, 120–21, 139–41; fan experience and, 186–202; identification in rock concerts and, 189–94; the mass public sphere and, 114–15; as political discourse, 20, 85; radio technology and, 104–5; readymade affect in Sun recordings , 175–76; technology as medium for, 52–53, 195–202 African Americans: Afro-modernism and, 14–15; blackness in Elvis Presley, 162, 164–65; Fiddlin’ John Carson racial views, 82–83; mimicry as mode of being, 65–66; minstrelsy as a “sonic republic,” 16; music as resource for agency, 17; naming tradition of, 61, 66; post-Emancipation musical agency, 16–17, 32, 45, 51; post-plantation Delta agriculture, 35–36, 41; race records, 23, 48, 49; symbolic magic as theme for, 67 Afro-modernism, 14–15, 69–70 Agamben, Giorgio, 200–201 Agee, James, 99, 121, 134–35 agency: affirmative culture and, 19–20; African American musical agency, 16– 17, 32, 45, 51; in blues performance vs. text, 39; music as surrendered agency in Native Son, 29–31; personal identity/ agency in blues, 7, 32; self-negation in vernacular modernism and, 12. See also identity; political discourse Comentale_Text.indd 265 2/19/13 4:11 PM 266 Index airiness: backup vocals and, 230–31; cultural capital of popular song and, 15; cultural dereliction in Woody Guthrie, 131–33; materialism in Woody Guthrie and, 120–21; territorialization/deterritorialization in Woody Guthrie and, 156–57. See also abstraction; intention/ meaning alienation. See capitalism; detachment; psychology Alloway, Lawrence, 235 Anderson, Benedict, 104 anechoic chambers, 213–14 Anthology of American Folk Music, 18–19 Apollinaire, Guillaume, 170 audiotopia, 5, 20–21 authenticity: acoustic realism in modern recording studios, 208–9; anti-essentialism in minstrel artifice, 16; authenticity of desire, 163–64; authenticity of race, 164–65; authenticity of region, 33–34, 162–63; in blues iconography, 34; country music roots and, 74, 84; Elvis authenticity, 162–64; grassroots labor songs and, 133–34; Marcus “invisible republic ” theory and, 19; motivated forms and, 25; in music scholarship, 1–2; myth of vernacular authenticity, 9; protest song and, 140; recordings as source vs. reproduction, 68–71; re-creative performance and, 6–7 automobile: as music theme, 148, 172–73, 182–83, 224; post-plantation Delta economy and, 41–42. See also transportation avant-garde movements, 10–11, 13–14 backup vocals, 230–31 barn dance radio programs, 24, 107–13 Barnes, Djuna, 11 Barthes, Roland, 54, 181, 190, 201–3 Baxter, James and Annette, 162–63 Benton, Thomas Hart, 134 Bergson, Henri, 145 Berry, Chuck (“Maybelline”), 228 Black, Bill, 173–75 blues music: abstraction of industrial experience in, 12, 39; Afro-modernism and, 14–15, 69–70; blues composition /creativity, 54–55; blues queens as vehicle of modernity, 43–45; country blues rediscovery performance, 57–58; Delta blues celebrated performers, 65; discursive vs. affective registers in, 53–54, 58–59; domestic vulnerability as theme in, 42; expressions of freedom in, 51; fragmentation as reflection of/ resistance to modernity, 8; generalization of despair in, 49–51; individualism in blues performance, 39; marketing as musical genre, 65; mimicry in instrumental accompaniment, 52–54, 68; personal identity/agency in, 7, 32; personal trauma as basis for, 23, 33, 59–60, 63–65, 71, 213; reenactment of violence in, 59–62, 66–67, 102; rock...