Merging scholarly insight with a professional guitarist's keen sense of the musical life, Yankee Twang delves into the rich tradition of country & western music that is played and loved in the mill towns and cities of the American northeast. Clifford R. Murphy draws on a wealth of ethnographic material, interviews, and encounters with recorded and live music to reveal the central role of country and western in the social lives and musical activity of working-class New Englanders.
As Murphy shows, an extraordinary multiculturalism informed by New England's kaleidoscope of ethnic groups created a distinctive country and western music style. But the music also gave--and gives--voice to working-class feeling. Yankee country and western emphasizes the western, reflecting the longing for the mythical cowboy's life of rugged but fulfilling individualism. Indeed, many New Englanders use country and western to comment on economic disenfranchisement and express their resentment of a mass media, government, and Nashville music establishment they believe neither reflects nor understands their life experiences.
A comprehensive study of jazz great Charlie Parker, including details of record dates, more than 200 musical illustrations, and biographical material arranged chronologically and linked with Parker’s recordings. The “Bird Stories” are all here, from Parker’s Kansas City roots to his untimely death, as well as the seminal journal article on Parker’s music, “Ornithology” that appeared in the Journal of Jazz Studies.
Yellow Music is the first history of the emergence of Chinese popular music and urban media culture in early-twentieth-century China. Andrew F. Jones focuses on the affinities between "yellow” or “pornographic" music—as critics derisively referred to the "decadent" fusion of American jazz, Hollywood film music, and Chinese folk forms—and the anticolonial mass music that challenged its commercial and ideological dominance. Jones radically revises previous understandings of race, politics, popular culture, and technology in the making of modern Chinese culture. The personal and professional histories of three musicians are central to Jones's discussions of shifting gender roles, class inequality, the politics of national salvation, and emerging media technologies: the American jazz musician Buck Clayton; Li Jinhui, the creator of "yellow music"; and leftist Nie Er, a former student of Li’s whose musical idiom grew out of virulent opposition to this Sinified jazz. As he analyzes global media cultures in the postcolonial world, Jones avoids the parochialism of media studies in the West. He teaches us to hear not only the American influence on Chinese popular music but the Chinese influence on American music as well; in so doing, he illuminates the ways in which both cultures were implicated in the unfolding of colonial modernity in the twentieth century.
This dynamic collection explores the life, work, and persona of saxophonist Fred Ho, an unabashedly revolutionary artist whose illuminating and daring work redefines the relationship between art and politics. Scholars, artists, and friends give their unique takes on Ho's career, articulating his artistic contributions, their joint projects, and personal stories. Exploring his musical and theatrical work, his political theory and activism, and his personal life as it relates to politics, Yellow Power, Yellow Soul offers an intimate appreciation of Fred Ho's irrepressible and truly original creative spirit.
Contributors are Roger N. Buckley, Peggy Myo-Young Choy, Jayne Cortez, Kevin Fellezs, Diane C. Fujino, Magdalena Gómez, Richard Hamasaki, Esther Iverem, Robert Kocik, Genny Lim, Ruth Margraff, Bill V. Mullen, Tamara Roberts, Arthur J. Sabatini, Kalamu ya Salaam, Miyoshi Smith, Arthur Song, and Salim Washington.
Music and performance provide a unique window into the ways that cultural information is circulated and perceptions are constructed. Because they both require listening, are inherently ephemeral, and most often involve collaboration between disparate groups, they inform cultural perceptions differently from literary or visual art forms, which tend to be more tangible and stable.
In Yellowface, Krystyn R. Moon explores the contributions of writers, performers, producers, and consumers in order to demonstrate how popular music and performance has played an important role in constructing Chinese and Chinese American stereotypes. The book brings to life the rich musical period of the late nineteenth and early twentieth centuries. During this time, Chinese and Chinese American musicians and performers appeared in a variety of venues, including museums, community theaters, and world’s fairs, where they displayed their cultural heritage and contested anti-Chinese attitudes. A smaller number crossed over into vaudeville and performed non-Chinese materials. Moon shows how these performers carefully navigated between racist attitudes and their own artistic desires.
While many scholars have studied both African American music and blackface minstrelsy, little attention has been given to Chinese and Chinese American music. This book provides a rare look at the way that immigrants actively participated in the creation, circulation, and, at times, subversion of Chinese stereotypes through their musical and performance work.
Yodel in Hi-Fi explores the vibrant and varied traditions of yodelers around the world. Far from being a quaint and dying art, yodel is a thriving vocal technique that has been perennially renewed by singers from Switzerland to Korea, from Colorado to Iran. Bart Plantenga offers a lively and surprising tour of yodeling in genres from opera to hip-hop and in venues from cowboy campfires and Oktoberfests to film soundtracks and yogurt commercials. Displaying an extraordinary versatility, yodeling crosses all borders and circumvents all language barriers to assume its rightful place in the world of music.
“If Wisconsin wasn’t on the yodel music map before, this book puts it there.”—Wisconsin State Journal
Responding to growing international interest in the Yorùbá culture of southwestern Nigeria, practitioners of bàtá—a centuries-old drumming, dancing, and singing tradition—have recast themselves as traditional performers in a global market. As the Nigerian market for ritual bàtá has been declining, international opportunities for performance have grown. Debra L. Klein’s lively ethnography explores this disjunction, revealing the world of bàtá artists and the global culture market that helps to sustain their art.
Yorùbá Bàtá Goes Global describes the dramatic changes and reinventions of traditional bàtá performance in recent years, showing how they are continually recreated, performed, and sold. Klein delves into the lives of Yorùbá musicians, focusing on their strategic collaborations with artists, culture brokers, researchers, and entrepreneurs worldwide. And she explores how reinvigorated performing ensembles are beginning to parlay success on the world stage into increased power and status within Nigeria. Klein’s study of the interwoven roles of innovation and tradition will interest scholars of African, global, and cultural studies, anthropology, and ethnomusicology alike.
As the 1960s ended, Herbie Hancock embarked on a grand creative experiment. Having just been dismissed from the celebrated Miles Davis Quintet, he set out on the road, playing with his first touring group as a leader until he eventually formed what would become a revolutionary band. Taking the Swahili name Mwandishi, the group would go on to play some of the most innovative music of the 1970s, fusing an assortment of musical genres, American and African cultures, and acoustic and electronic sounds into groundbreaking experiments that helped shape the American popular music that followed. In You’ll Know When You Get There, Bob Gluck offers the first comprehensive study of this influential group, mapping the musical, technological, political, and cultural changes that they not only lived in but also effected.
Beginning with Hancock’s formative years as a sideman in bebop and hard bop ensembles, his work with Miles Davis, and the early recordings under his own name, Gluck uncovers the many ingredients that would come to form the Mwandishi sound. He offers an extensive series of interviews with Hancock and other band members, the producer and engineer who worked with them, and a catalog of well-known musicians who were profoundly influenced by the group. Paying close attention to the Mwandishi band’s repertoire, he analyzes a wide array of recordings—many little known—and examines the group’s instrumentation, their pioneering use of electronics, and their transformation of the studio into a compositional tool.
From protofunk rhythms to synthesizers to the reclamation of African identities, Gluck tells the story of a highly peculiar and thrillingly unpredictable band that became a hallmark of American genius.