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Essays on Readers, Writers, and Musicians in Postwar America
A highly regarded scholar in the fields of American cultural history and print culture, Joan Shelley Rubin is best known for her writings on the values, assumptions, and anxieties that have shaped American life, as reflected in both “high” culture and the experiences of ordinary people. In this volume, she continues that work by exploring processes of mediation that texts undergo as they pass from producers to audiences, while elucidating as well the shifting, contingent nature of cultural hierarchy. Focusing on aspects of American literary and musical culture in the decades after World War II, Rubin examines the contests between critics and their readers over the authority to make aesthetic judgments; the effort of academics to extend the university outward by bringing the humanities to a wide public; the politics of setting poetic texts to music; the role of ideology in the practice of commissioning and performing choral works; and the uses of reading in the service of both individualism and community. Specific topics include the 1957 attack by the critic John Ciardi on the poetry of Anne Morrow Lindbergh in the Saturday Review; the radio broadcasts of the classicist Gilbert Highet; Dwight Macdonald’s vitriolic depiction of the novelist James Gould Cozzens as a pernicious middlebrow; the composition and reception of Howard Hanson’s “Song of Democracy”; the varied career of musician Gunther Schuller; the liberal humanism of America’s foremost twentieth-century choral conductor, Robert Shaw; and the place of books in the student and women’s movements of the 1960s. What unites these essays is the author's ongoing concern with cultural boundaries, mediation, and ideology--and the contradictions they frequently entail.
Scenes of a Migrant Latin American Music Genre
The Life and Music of Tadd Dameron
Dameronia is the first authoritative biography of Tadd Dameron, an important and widely influential figure in jazz history as one of the most significant composers and arrangers of jazz, swing, bebop, and big band. He arranged for names like Count Basie, Artie Shaw, Jimmie Lunceford, and Dizzy Gillespie and played with Bull Moose Jackson and Benny Golson. This book sets out to clarify Dameron's place in the development of jazz in the post–World War II era. It also attempts to shed light on the tragedy of his retreat from the center of jazz activity in the 1950s. By tracing Dameron's career, one finds that until 1958, when he was incarcerated for drug related offenses, he was at the forefront of developments in jazz, sometimes anticipating trends that would not develop fully for several years. Dameron was also an important influence on several high-profile musicians, including Miles Davis, Benny Golson, and Frank Foster. Dameron was a very private man, and while in some aspects of his life he will probably remain an enigma, this book manages to give an intimate portrait of his life at a couple of key stages: the height of his career in 1949 and the brief but productive period between his release from prison and his death.
Popular Music and Politics in Southeast Asia
The rock era is over, according to one pop music expert. Another laments that rock music is "metamorphosed into the musical wallpaper of ten thousand lifts, hotel foyers, shopping centers, airport lounges, and television advertisements that await us in the 1990s." Whatever its current role and significance in Anglo-American society, popular music has been and remains a tremendous social and cultural force in many parts of the world. This book explores the connections between popular music genres and politics in Southeast Asia, with particular emphasis on Indonesia, the Philippines, Thailand, Malaysia, and Singapore.
From Slave Ship to Ghetto
DanceHall combines cultural geography, performance studies and cultural studies to examine performance culture across the Black Atlantic. Taking Jamaican dancehall music as its prime example, DanceHall reveals a complex web of cultural practices, politics, rituals, philosophies, and survival strategies that link Caribbean, African and African diasporic performance.
Combining the rhythms of reggae, digital sounds and rapid-fire DJ lyrics, dancehall music was popularized in Jamaica during the later part of the last century by artists such as Shabba Ranks, Shaggy, Beenie Man and Buju Banton. Even as its popularity grows around the world, a detailed understanding of dancehall performance space, lifestyle and meanings is missing. Author Sonjah Stanley Niaah relates how dancehall emerged from the marginalized youth culture of Kingston’s ghettos and how it remains inextricably linked to the ghetto, giving its performance culture and spaces a distinct identity. She reveals how dancehall’s migratory networks, embodied practice, institutional frameworks, and ritual practices link it to other musical styles, such as American blues, South African kwaito, and Latin American reggaetòn. She shows that dancehall is part of a legacy that reaches from the dance shrubs of West Indian plantations and the early negro churches, to the taxi-dance halls of Chicago and the ballrooms of Manhattan. Indeed, DanceHall stretches across the whole of the Black Atlantic’s geography and history to produce its detailed portrait of dancehall in its local, regional, and transnational performance spaces.
The Danger of Music gathers some two decades of Richard Taruskin's writing on the arts and politics, ranging in approach from occasional pieces for major newspapers such as the New York Times to full-scale critical essays for leading intellectual journals. Hard-hitting, provocative, and incisive, these essays consider contemporary composition and performance, the role of critics and historians in the life of the arts, and the fraught terrain where ethics and aesthetics interact and at times conflict. Many of the works collected here have themselves excited wide debate, including the title essay, which considers the rights and obligations of artists in the aftermath of the 9/11 terrorist attacks. In a series of lively postscripts written especially for this volume, Taruskin, America's "public" musicologist, addresses the debates he has stirred up by insisting that art is not a utopian escape and that artists inhabit the same world as the rest of society. Among the book's forty-two essays are two public addresses—one about the prospects for classical music at the end of the second millennium C. E., the other a revisiting of the performance issues previously discussed in the author's Text and Act (1995)—that appear in print for the first time.
Jazz and the Community Arts in Los Angeles
While he was still in his twenties, Horace Tapscott gave up a successful career in Lionel Hampton’s band and returned to his home in Los Angeles to found the Pan Afrikan Peoples Arkestra, a community arts group that focused on providing affordable, community-oriented jazz and jazz training. Over the course of almost forty years, the Arkestra, together with the related Union of God’s Musicians and Artists Ascension (UGMAA) Foundation, were at the forefront of the vital community-based arts movements in black Los Angeles. Some three hundred artists—musicians, vocalists, poets, playwrights, painters, sculptors, and graphic artists—passed through these organizations, many ultimately remaining within the community and others moving on to achieve international fame. Based primarily on one hundred in-depth interviews with current and former participants, The Dark Tree is the first history of the important and largely overlooked community arts movement of African American Los Angeles. Brought to life by the passionate voices of the men and women who worked to make the arts integral to everyday community life, this engrossing book completes the account began in the highly acclaimed Central Avenue Sounds, which documented the secular music history of the first half of the twentieth century and which the San Francisco Examiner called "one of the best jazz books ever compiled."
A Legacy in Music
A Living Jazz Legend, musician and composer David Baker has made a distinctive mark on the world of music in his nearly 60-year career—as player (chiefly on trombone and cello), composer, and educator. In this richly illustrated volume, Monika Herzig explores Baker's artistic legacy, from his days as a jazz musician in Indianapolis to his long-term gig as Distinguished Professor and Chairman of the Jazz Studies department at Indiana University. Baker's credits are striking: in the 1960s he was a member of George Russell's "out there" sextet and orchestra; by the 1980s he was in the jazz educator's hall of fame. His compositions have been recorded by performers as diverse as Dexter Gordon and Janos Starker, the Beaux Arts Trio, the Composer's String Quartet and the Czech Philharmonic. Featuring enlightening interviews with Baker and a CD of unreleased recordings and Baker compositions, this book brings a jazz legend into clear view.
Deaf Sharks, Hearing Jets, and a Classic American Musical
This telling book reveals the critical role played by a little-known group called the “Ducks,” a tight-knit band of six alumni determined to see a deaf president at Gallaudet. Deaf President Now! details how they urged the student leaders to ultimate success, including an analysis of the reasons for their achievement in light of the failure of many other student movements. This fascinating study also scrutinizes the lasting effects of this remarkable episode in “the civil rights movement of the deaf.” Deaf President Now! tells the full story of the insurrection at Gallaudet University, an exciting study of how deaf people won social change for themselves and all disabled people everywhere through a peaceful revolution.
Musico-Poetic Associations in Schubert's Song Cycle
Lauri Suurpää brings together two rigorous methodologies, Greimassian semiotics and Schenkerian analysis, to provide a unique perspective on the expressive power of Franz Schubert's song cycle. Focusing on the final songs, Suurpää deftly combines textual and tonal analysis to reveal death as a symbolic presence if not actual character in the musical narrative. Suurpää demonstrates the incongruities between semantic content and musical representation as it surfaces throughout the final songs. This close reading of the winter songs, coupled with creative applications of theory and a thorough history of the poetic and musical genesis of this work, brings new insights to the study of text-music relationships and the song cycle.