Read Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow (Refiguring American Music) by Karl Hagstrom Miller Online
^ Read ^ Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow (Refiguring American Music) by Karl Hagstrom Miller ↠ eBook or Kindle ePUB. Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow (Refiguring American Music) Such links among race, region, and music were new. 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. Rural white southerners played country music. Contending that people’s musical worlds were defined less by who they were than by the music that they
| Title | : | Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow (Refiguring American Music) |
| Author | : | |
| Rating | : | 4.73 (948 Votes) |
| Asin | : | 0822347008 |
| Format Type | : | paperback |
| Number of Pages | : | 384 Pages |
| Publish Date | : | 2016-10-12 |
| Language | : | English |
So when Miller occasionally puts on his critics hat and deploys anachronistic ideas like "white skin privilege" when talking abo This is a very interesting re-examination of the cultural milieu in which southern music came to be marketed by the incipient record industry and the way that Jim Crow shaped both cultural expectations of audiences and musicians. It also takes to task the expectations and assumptions of early folklorists whose classist, racist search for "authenticity" led them to distort the world and humanity of the subjects of their research. Miller is careful to portray the complexity of the subject matter. Throughout, miller paints a careful and moderate picture of southern musical culture from 1880 to around 1920. He notes the ambivalen. Intersection of Commerce, Culture and Race Fascinating discussion of the origins of the recording industry in America, its effect on what is considered "folk" music, and how "white" and "black" categories of music were emphasized for marketing purposes.The chapters in this book are separate and distinct, so you can skip the parts that are of less interest--I read about 80% of it. Some of the highlights:* the early record industry in the USA focused on selling highbrow records, but eventually expanded to more popular fare that instantly sold well--a decision in part based on their commercial experience in other countries;* early "black" music was recorded by white arti. If you enjoy misinformation Joseph Scott Karl Hagstrom Miller's _Segregating Sound_ contains some remarkable misinformation."Academic collectors were particularly slow to associate the blues with folklore." Sounds interesting, but it happens to be flatly false. John Lomax included the song "The Blues" in a list of "genuine Negro folk-songs" in print in 1912. Howard Odum published blues, such as "Frisco Rag-Time," in the _Journal Of American Folk-Lore_ in 1911. E.C. Perrow published blues lyrics in the same journal a few years later. Associating the blues with folklore is exactly what these people were doing."Prior to the mid-twenties, practically every commentator,
“The most thorough achievement thus far in a growing body of scholarship and criticism demystifying and dissecting the roots of American music, and by extension the American music industry. Miller goes several steps further than prior bodies of research, tracing back the artificial distinction to a confluence of marketing, scholarship, and music classification decisions, each driven to some degree by the prevailing racial attitudes of the late 19th and early 20th centuries.” - Mark Reynolds, PopMatters
Such links among race, region, and music were new. 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. Rural white southerners played country music. 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.. The blues were African American. 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. 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 “musica
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