Project MUSE®: American Music - Latest Articles
https://muse.jhu.edu/journal/448
Project MUSE®: Latest articles in American Music.daily12024-03-28T00:00:00-05:00text/htmlen-USVol. 27 (2009) through current issueLatest Articles: American MusicTWOProject MUSE®American Music1945-23490734-4392Latest articles in American Music. Feed provided by Project MUSE®Editor's Introduction
https://muse.jhu.edu/article/918727
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To begin, I would like to extend my gratitude to all the editors in chief of American Music before me. It was with this journal that I published my first refereed article, solicited by then-editor Josephine Wright at a conference. Thus began my career as a theorist-musicologist. Over the years, I have continued to be inspired by the excellent scholarship published in these pages and remain in awe of the journal's brilliant and dedicated editors' endeavors in conceptualizing and redefining the elusive notion of American music. They have hosted scholarship foundational to the field, reaching for subjects at the periphery of American music studies, fostering scholarship in new research areas while shaping important
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Project MUSE®https://muse.jhu.edu/2024-03-28T00:00:00-05:00https://muse.jhu.edu/journal/448/image/coversmallEditor's Introduction2024-02-02text/htmlen-USEditor's Introduction2024-02-022024TWOProject MUSE®114022024-03-28T00:00:00-05:002024-02-02What's at Stake? Considering the Case for "Asian American Jazz"
https://muse.jhu.edu/article/918728
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This essay brings together my opening remarks as Director of the Center for Jazz Studies at Columbia University with my concluding thoughts offered as the final speaker on a panel with Hafez Modirzadeh and Jen Shyu at the Asian American Jazz: Past, Present, Future symposium held on February 17, 2023.When I wrote "Silent But Not Silenced: Asian American Jazz" sixteen years ago, there was very little published on Asian American involvement in jazz.1 I drew from Susan Asai's "Cultural Politics: The African American Connection to Asian American Jazz-based Music";2 Deborah Wong's Speak It Louder, with baritone saxophonist Fred Ho on its cover;3 George Yoshida's Reminiscing in Swingtime;4 and conversations with tenor
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Project MUSE®https://muse.jhu.edu/2024-03-28T00:00:00-05:00https://muse.jhu.edu/journal/448/image/coversmallWhat's at Stake? Considering the Case for "Asian American Jazz"2024-02-02text/htmlen-USWhat's at Stake? Considering the Case for "Asian American Jazz"2024-02-022024TWOProject MUSE®424482024-03-28T00:00:00-05:002024-02-02Im/Mobility Paradox: Jazz Making in the Incarceration Camps of World War II
https://muse.jhu.edu/article/918729
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Day of Remembrance is rarely commemorated outside the Japanese American community, so I want to thank Kevin Fellezs for acknowledging this day and celebrating it as part of this symposium. Honoring February 19 is a reminder of the injustice incurred by the signing of Executive Order 9066 on February 19, 1942, by Franklin D. Roosevelt. Allegedly for national security, the order authorized the US army to forcibly remove Japanese American civilians from the states of Washington, Oregon, California, and Hawaii during World War II. The policy unjustly separated and imprisoned 120,000 Japanese Americans, stripping them of their civil rights and cascading in the loss of jobs, businesses, homes, and farms. Racially
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Project MUSE®https://muse.jhu.edu/2024-03-28T00:00:00-05:00https://muse.jhu.edu/journal/448/image/coversmallIm/Mobility Paradox: Jazz Making in the Incarceration Camps of World War II2024-02-02text/htmlen-USIm/Mobility Paradox: Jazz Making in the Incarceration Camps of World War II2024-02-022024TWOProject MUSE®297092024-03-28T00:00:00-05:002024-02-02Transpacific Im/Mobilities: Two Movements in Nisei Musical Practice
https://muse.jhu.edu/article/918730
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To address the social and musical experiences of Japanese Americans in the first half of the twentieth century—to consider their passage across oceans, archipelagoes, urban centers, and rural outposts—is to trace a history of continuous and multifaceted mobility. At the same time, however, to do so is also to confront a certain terminological paradox. That is, if one aims to account for the centrality of movement and motion to Japanese American musical practice—or to endeavor in any way to deploy mobility as a thematic or interpretive keyword—one must acknowledge the equal importance of immobility as well. Paradoxically, one must grant that the histories of Japanese American musical practice are equally, and often
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Project MUSE®https://muse.jhu.edu/2024-03-28T00:00:00-05:00https://muse.jhu.edu/journal/448/image/coversmallTranspacific Im/Mobilities: Two Movements in Nisei Musical Practice2024-02-02text/htmlen-USTranspacific Im/Mobilities: Two Movements in Nisei Musical Practice2024-02-022024TWOProject MUSE®774582024-03-28T00:00:00-05:002024-02-02The Multimusicverse of Jon Jang
https://muse.jhu.edu/article/918731
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"I personally do not believe in the word style."2During the 1960s and 1970s, my mother singlehandedly raised my brother, my sister, and me in Palo Alto, a quiet, predominantly white middle-class suburb about 35 miles south of San Francisco. Today, the area is famous as the heart of Silicon Valley, but at the time it was known simply as the home of prestigious Stanford University. It was a difficult adjustment for our mother because she grew up in a completely different world—as part of a Chinese immigrant working-class family in segregated San Francisco's Chinatown during the era of the Chinese Exclusion Act.After my father died in a commercial airplane collision over the Grand Canyon in 1956, my mother wanted to
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Project MUSE®https://muse.jhu.edu/2024-03-28T00:00:00-05:00https://muse.jhu.edu/journal/448/image/coversmallThe Multimusicverse of Jon Jang2024-02-02text/htmlen-USThe Multimusicverse of Jon Jang2024-02-022024TWOProject MUSE®485132024-03-28T00:00:00-05:002024-02-02Moments
https://muse.jhu.edu/article/918732
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Since the beginning of the pandemic in 2020, I have been working on a memoir that reflects upon my experiences as a community worker and musician. A recurring theme is the lessons I have learned through my various personal and working relationships over the decades. I have begun to share these stories informally through a series of chapbooks. What follows are a few of the chapbook entries that explore how various influences have shaped my thoughts about a career—or rather, a life—as an independent artist.The first entry was read as part of a panel presentation with Jon Jang and Dr. Loren Kajikawa at the "Asian American Jazz: Past, Present, and Future" symposium. It discusses how I began my career under Jon's
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Project MUSE®https://muse.jhu.edu/2024-03-28T00:00:00-05:00https://muse.jhu.edu/journal/448/image/coversmallMoments2024-02-02text/htmlen-USMoments2024-02-022024TWOProject MUSE®404652024-03-28T00:00:00-05:002024-02-02Conference Report: Asian/American Jazz: Past, Present, Future
https://muse.jhu.edu/article/918733
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Scholarship on Asian American jazz is often found at the margins of academia. Jazz remains an uncommon object of inquiry in Asian American studies, and considerations of race and ethnicity in jazz studies typically remain fixed within a white/Black racial binary. To my knowledge, there is no "Center for Asian American Jazz Studies" housed in any university music department, and there is certainly not a degree that one can receive in Asian American jazz performance. Yet those who have made this music central to their lives and research have embraced its relative marginality—often letting the silences, absences, and institutional erasures of varyingly entwined "Asian American" and "jazz" mainline discourses act as an
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Project MUSE®https://muse.jhu.edu/2024-03-28T00:00:00-05:00https://muse.jhu.edu/journal/448/image/coversmallConference Report: Asian/American Jazz: Past, Present, Future2024-02-02text/htmlen-USConference Report: Asian/American Jazz: Past, Present, Future2024-02-022024TWOProject MUSE®311162024-03-28T00:00:00-05:002024-02-02Samuel "Golden Rule" Jones: Music and the Social Good in Progressive Era Toledo, Ohio
https://muse.jhu.edu/article/918734
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He was a public 'teacher' of great ability; as a speaker he was never dull nor uninteresting; the common people heard him gladly; they felt that he was one of them, and in this lay the secret of his power. He spoke to the people also in his songs, and the burden [refrain] of them was love.1Samuel Milton "Golden Rule" Jones (1846–1904), "the talk of the fin de siècle national reform community,"2 was an unconventional, rags-to-riches industrialist and mayor of Toledo, Ohio, who believed that music "had much to do with bringing about nearly every measure of reform that has thus far blessed this world."3 Like those whom Derek Valliant describes as musical progressives,4 Jones used music as both a metaphor and means for
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Project MUSE®https://muse.jhu.edu/2024-03-28T00:00:00-05:00https://muse.jhu.edu/journal/448/image/coversmallSamuel "Golden Rule" Jones: Music and the Social Good in Progressive Era Toledo, Ohio2024-02-02text/htmlen-USSamuel "Golden Rule" Jones: Music and the Social Good in Progressive Era Toledo, Ohio2024-02-022024TWOProject MUSE®1458512024-03-28T00:00:00-05:002024-02-02Composing a Nation in Crisis: Musical Americanism and US National Identity in Elie Siegmeister's Vietnam War Works
https://muse.jhu.edu/article/918735
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I make a distinction between nationalism as a political movement and nationalism as the root of art in each particular people. The greatest art comes from a writer, painter, poet or composer who responds to his own environment, people and tradition. This doesn't preclude an artist from being universal, but I think he must be rooted to a time and place.1In a 1976 interview, Elie Siegmeister proclaimed the importance of nationalism as the basis of great art. According to the US composer, great art is a response to the artist's situation and stands upon both temporal and locational foundations. This assertion is by no means surprising coming from Siegmeister, whose belief in the importance of developing a national
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Project MUSE®https://muse.jhu.edu/2024-03-28T00:00:00-05:00https://muse.jhu.edu/journal/448/image/coversmallComposing a Nation in Crisis: Musical Americanism and US National Identity in Elie Siegmeister's Vietnam War Works2024-02-02text/htmlen-USComposing a Nation in Crisis: Musical Americanism and US National Identity in Elie Siegmeister's Vietnam War Works2024-02-022024TWOProject MUSE®1248882024-03-28T00:00:00-05:002024-02-02Elite Art Worlds: Philanthropy, Latin Americanism, and Avant-garde Music by Eduardo Herrera (review)
https://muse.jhu.edu/article/918736
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In a New York Times concert review on June 23, 1968, music critic Allen Hughes wrote:
It may be a little bit early to generalize, but after hearing a second concert of avant-garde works at the Inter-American Music Festival, this listener is beginning to think that Latin American composers get along unusually well with avant-garde styles, especially with aleatory and no-holds-barred methods of creating music. In the concert by the National Chamber Orchestra at the Department of Commerce Auditorium last night, five works were performed, and although each was distinctive, all seemed free of the self-conscious, deadly serious and dogmatic airs that frequently hover over the products of European and United States
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Project MUSE®https://muse.jhu.edu/2024-03-28T00:00:00-05:00https://muse.jhu.edu/journal/448/image/coversmallElite Art Worlds: Philanthropy, Latin Americanism, and Avant-garde Music by Eduardo Herrera (review)2024-02-02text/htmlen-USElite Art Worlds: Philanthropy, Latin Americanism, and Avant-garde Music by Eduardo Herrera (review)2024-02-022024TWOProject MUSE®213262024-03-28T00:00:00-05:002024-02-02American Gamelan and the Ethnomusicological Imagination by Elizabeth Clendinning (review)
https://muse.jhu.edu/article/918737
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Elizabeth Clendinning's American Gamelan and the Ethnomusicological Imagination contributes new perspectives to a growing body of literature focused on the myriad ways gamelans have become entangled with North American ways of life. Its focus on the transnational dimensions of founding and maintaining a gamelan at an academic institution, specifically those that must be navigated to create artistic and cultural exchange that is equitable and sustainable, highlights the broader role that these institutions have played in shaping relations between Indonesian and American musicians. Despite what the title suggests, the book should not be mistaken for a comprehensive interrogation of the complex and diverse
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Project MUSE®https://muse.jhu.edu/2024-03-28T00:00:00-05:00https://muse.jhu.edu/journal/448/image/coversmallAmerican Gamelan and the Ethnomusicological Imagination by Elizabeth Clendinning (review)2024-02-02text/htmlen-USAmerican Gamelan and the Ethnomusicological Imagination by Elizabeth Clendinning (review)2024-02-022024TWOProject MUSE®166002024-03-28T00:00:00-05:002024-02-02