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Sounding the color line : music and race in the southern imagination. Erich Nunn

Nunn, Erich cop. 2015

Disponible en mediatheque  Magasin  (N-A-034925 )(Obténgalo)

  • Título:
    Sounding the color line : music and race in the southern imagination. Erich Nunn
  • Títulos relacionados: Serie:The new southern studies Jon Smith, Riché Richardson, series editor Athens The university of Georgia Press 201X 6
  • Autor: Nunn, Erich
  • Editor: Athens London : The University of Georgia Press, cop. 2015
  • Materias: Toomer, Jean, 1894-1967 -- Cane;
    Faulkner, William, 1897-1962 -- Sanctuary;
    Cane (Toomer, Jean);
    Sanctuary (Faulkner, William);
    Musique populaire -- États-Unis (sud) -- 20e siècle;
    Musique populaire -- États-Unis (sud) -- 21e siècle;
    Folk (musique) -- États-Unis (sud) -- 20e siècle;
    Folk (musique) -- États-Unis (sud) -- 21e siècle;
    Music and race -- History -- Southern States -- 20th century;
    Music and race -- History -- Southern States -- 21st century;
    Popular music -- Southern States -- 20th century;
    Popular music -- Southern States -- 21st century;
    Folk music -- History -- Southern States -- 20th century;
    Folk music -- History -- Southern States -- 21st century;
    Southern States;
    Sydstaterna
  • Descripción: Bibliographie p. 199-209. Index
    American balladry and the anxiety of ancestry Country music and the souls of white folk Plantations, prisons, and the sounds of segregation The new Negro looks south Rethinking music and race in Jean Toomer's Cane Music and racial violence in William Faulkner's Sanctuary Coda : race, region, and the politics of hip-hop authenticity
  • lds03: American balladry and the anxiety of ancestry Country music and the souls of white folk Plantations, prisons, and the sounds of segregation The new Negro looks south Rethinking music and race in Jean Toomer's Cane Music and racial violence in William Faulkner's Sanctuary Coda : race, region, and the politics of hip-hop authenticity
  • lds04: Sounding the Color Line explores how competing understandings of the U.S. South in the first decades of the twentieth century have led us to experience musical forms, sounds, and genres in racialized contexts. Yet, though we may speak of white or black music, rock or rap, sounds constantly leak through such barriers. A critical disjuncture exists, then, between actual interracial musical and cultural forms on the one hand and racialized structures of feeling on the other. This is nowhere more apparent than in the South. Like Jim Crow segregation, the separation of musical forms along racial lines has required enormous energy to maintain. How, asks Nunn, did the protocols structuring listeners' racial associations arise? How have they evolved and been maintained in the face of repeated transgressions of the musical color line? Considering the South as the imagined ground where conflicts of racial and national identities are staged, this book looks at developing ideas concerning folk song and racial and cultural nationalism alongside the competing and sometimes contradictory workings of an emerging culture industry. Drawing on a diverse archive of musical recordings, critical artifacts, and literary texts, Nunn reveals how the musical color line has not only been established and maintained but also repeatedly crossed, fractured, and reformed. This push and pull--between segregationist cultural logics and music's disrespect of racially defined boundaries--is an animating force in twentieth-century American popular culture [Publisher description]
  • Idioma: Inglés
  • Fecha de creación: cop. 2015
  • Identificador: 978-0-8203-4736-3 ; 0-8203-4736-1 ; 978-0-8203-4737-0 ; 0-8203-4737-X
  • Formato: 1 vol. (IX-214 p.) : ill., couv. ill. en coul. ; 23 cm
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