Notice bibliographique
- Notice
Type(s) de contenu et mode(s) de consultation : Texte noté : sans médiation
Auteur(s) : Miller, Karl Hagstrom (1968-....)
Titre(s) : Segregating sound [Texte imprimé] : inventing folk and pop music in the age of Jim Crow / Karl Hagstrom Miller
Publication : Durham [NC] : Duke University Press, cop. 2010
Description matérielle : ix, 372 pages ; 24 cm
Collection : Refiguring American music
Lien à la collection : Refiguring American music
Comprend : Tin Pan Alley on tour : the Southern embrace of commercial music ; Making money
making music : the education of Southern musicians in local markets ; Isolating folk,
isolating songs : reimagining Southern music as folklore ; Southern musicians and
the lure of New York City : representing the South from coon songs to the blues ;
Talking machine world : discovering local music in the global phonograph industry
; Race records and old-time music : the creation of two marketing categories in the
1920s ; Black folk and hillbilly pop : industry enforcement of the musical color
line ; Reimagining pop tunes as folk songs : the ascension of the folkloric paradigm
; Afterword : "All songs is folk songs."
Note(s) : Includes bibliographical references (pages 327-350) and index
Karl Hagstrom Miller argues that the categories that we have inherited to think and
talk about southern music bear little relation to the ways that southerners long played
and heard music. Focusing on the late nineteenth century and the early twentieth,
Miller chronicles how southern music--a fluid complex of sounds and styles in practice--was
reduced to a series of distinct genres linked to particular racial and ethnic identities.
The blues were African American. Rural white southerners played country music. By
the 1920s, these depictions were touted in folk song collections and the catalogs
of "race" and "hillbilly" records produced by the phonograph industry. Such links
among race, region, and music were new. Black and white artists alike had played not
only blues, ballads, ragtime, and string band music, but also nationally popular sentimental
ballads, minstrel songs, Tin Pan Alley tunes, and Broadway hits. In a cultural history
filled with musicians, listeners, scholars, and business people, Miller describes
how folklore studies and the music industry helped to create a "musical color line,"
a cultural parallel to the physical color line that came to define the Jim Crow South.
Segregated sound emerged slowly through the interactions of southern and northern
musicians, record companies that sought to penetrate new markets across the South
and the globe, and academic folklorists who attempted to tap southern music for evidence
about the history of human civilization. Contending that people's musical worlds were
defined less by who they were than by the music that they heard, Miller challenges
assumptions about the relation of race, music, and the market
Sujet(s) : Racisme dans la culture populaire -- États-Unis (sud) -- Histoire
Industrie de la musique et du son -- États-Unis (sud) -- 1900-1945
Folkloristes -- États-Unis -- 1900-1945
Indice(s) Dewey :
781.640 8996 (23e éd.) = Musique populaire occidentale - Étude en relation avec les africains
Identifiants, prix et caractéristiques : ISBN 9780822346890 (cloth) (alk. paper). - ISBN 0822346893 (cloth) (alk. paper). -
ISBN 9780822347002 (pbk.) (alk. paper). - ISBN 0822347008 (pbk.) (alk. paper)
Identifiant de la notice : ark:/12148/cb443301818
Notice n° :
FRBNF44330181
(notice reprise d'un réservoir extérieur)
