Subversive Sounds probes New Orleans’s history, uncovering a web of racial interconnections and animosities that was instrumental to the creation of a vital American art form—jazz. Drawing on oral histories, police reports, newspaper accounts, and vintage recordings, Charles Hersch brings to vivid life the neighborhoods and nightspots where jazz was born. This volume shows how musicians such as Jelly Roll Morton, Nick La Rocca, and Louis Armstrong negotiated New Orleans’s complex racial rules to pursue their craft and how, in order to widen their audiences, they became fluent in a variety of musical traditions from diverse ethnic sources. These encounters with other music and races subverted their own racial identities and changed the way they played—a musical miscegenation that, in the shadow of Jim Crow, undermined the pursuit of racial purity and indelibly transformed American culture. “More than timely . . . Hersch orchestrates voices of musicians on both sides of the racial divide in underscoring how porous the music made the boundaries of race and class.”—New Orleans Times-Picayune
This book draws from a rich history of scholarship about the relations between music and cities, and the global flows between music and urban experience.
This French singer may even have introduced the story of Parsifal, knight of the Round Table, into Germany, setting the stage for its transformation into a national epic under the auspices of Wolfram von Eschenbach and Richard Wagner.
... as if they were news bulletins read over and over on the radio: “Word falling— Photo falling— Time falling—Break through in Grey Room” (104); “Shift linguals —Cut word lines—Vibrate tourists —Free doorways—Pinball led streets—Word ...
A radically new reading of the origins of recorded music Noise Uprising brings to life the moment and sounds of a cultural revolution.
From the beginnings of recording in Thomas Edison's factories to Bruce Springsteen's early years at the Upstage Club, and beyond, the book examines the sounds, sights and textures of music scenes in New Jersey.
Ross Brown, Sound (Basingstoke: Palgrave Macmillan, 2010). 5. In dark and lit productions, such as David Rosenberg's Ring, 2013, and Complicite's The Encounter, 2015. 6. Ross Brown, Sound; Ross Brown, “Sound Design: the Scenography of ...
In this two-volume Handbook, contributors shift the focus of imagination away from the visual by addressing the topic of sonic imagination and expanding the field beyond musical compositional creativity and performance technique into other ...
as it funcdouble edge that makes a “scene”20 that “can put people on edge”21 tions by way of a doubleness of meaning.22 ... 29 Thus, as with metal, irony has a socio-political force, a public cutting edge: “Unlike metaphor or metonymy, ...
... 93, 101, 114, 166 Stallybrass, Peter, 94 Starks, Jabo, 65 Stokes, Martin, 11 Storyville, 27, 156 Stovall, Dartanian (MC Dart), 48 Strauss, Neil, 109, 158 Sublette, Ned, 2, 80 Sugar Hill Gang, 48 The Super MCs, 57 Superdome Records, ...
Sounds Like Helicopters corrects this oversight through close interpretations of classical music works in key modernist films by Francis Ford Coppola, Werner Herzog, Luis Buñuel, Stanley Kubrick, Jean-Luc Godard, Michael Haneke, and ...