Segregating Sound , livre ebook

386

pages

English

Ebooks

2010

Écrit par
Miller Karl Hagstrom Miller

Publié par
Duke University Press

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386

pages

English

Ebooks

2010

Lire un extrait

Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus

Publié par

Duke University Press

Date de parution

11 février 2010

EAN13

9780822392705

Langue

English

Poids de l'ouvrage

2 Mo

In Segregating Sound, 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.

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Publié par

Duke University Press

Date de parution

11 février 2010

EAN13

9780822392705

Langue

English

Poids de l'ouvrage

2 Mo

R e f i g u r i n g A m e r i c a n M u s i c

Segregating Sound

Ā SEIES EdITEd by ONàd àdàNO àNd JOSh kûN ChàES çGOvEN, çONTIbûTIN EdITO

Inventing Folk and Pop Music

in the Age of Jim Crow

Segregating Sound

Karl Hagstrom Miller

DûE UNIvESITy PESS Dûhà àNd LONdON 200

∫2010 Duke University Press

Printed in the United States of America on acid-free paper$

Typeset in Minion Pro by Keystone Typesetting, Inc.

Library of Congress Cataloging-in-Publication Data appear on the last printed page of this book.

Chapter 5 is reproduced with permission of Palgrave Macmillan. It was originally published as ‘‘Talking Machine World: Selling the Local in the Global Music Industry, 1900–1920,’’ in A. G. Hopkins, ed.,lalGboinalocLhetndaalsrevinUehT History(Hampshire: Palgrave, 2006), 160–90.

CONTENTS

ACKNOWLEDGMENTS

INTRODUCTION

1.TIN PAN ALLEY ON TOUR TheSouthernEmbraceofCommercialMusic

2.MAKING MONEY MAKING MUSIC TheEducationofSouthernMusiciansinLocalMarkets

3.ISOLATING FOLK, ISOLATING SONGS ReimaginingSouthernMusicasFolklore

4.SOUTHERN MUSICIANS AND THE LURE OF NEW YORK CITY RepresentingtheSouthfromCoonSongstotheBlues

5.TALKING MACHINE WORLD DiscoveringLocalMusicintheGlobalPhonographIndustry

6.RACE RECORDS AND OLD-TIME MUSIC TheCreationofTwoMarketingCategoriesinthe1920s

7.BLACK FOLK AND HILLBILLY POP IndustryEnforcementoftheMusicalColorLine

8.REIMAGINING POP TUNES AS FOLK SONGS TheAscensionoftheFolkloricParadigm

AFTERWORD

‘‘AllSongsisFolkSongs’’

NOTES

BIBLIOGRAPHY

INDEX

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351

ACKNOWLEDGMENTS

This book grew out of my doctoral dissertation but the seeds of the work began to germinate long before I entered the graduate school classroom. Growing up, I imagined myself as a working guitarist. Much that I know about music and money, I absorbed from hang-ing out with those that were making my dream their reality. I thank them for their patience, wit, and excitement: from Dow Daggett, my childhood guitar teacher in San Antonio, whose ﬂeet-ﬁngered lessons veered between the Carter Family and the Jazz Messengers to the pianist who deadpanned, ‘‘Son, you want to be a professional musician? Don’t play for free.’’ My parents gave me constant en-couragement to follow my interests in music and history (even when they heard me play). Without their love and example I never could have begun this project, let alone ﬁnish it. I also thank the late Oliver Williams, Mike Weatherly, and everyone in the Lafayette Inspiration Ensemble. At a crucial point of grad school despair they took me in and reminded me of the power and beauty of song. Many scholars and friends lent a hand as I worked on this proj-ect. I thank them all for their criticism and encouragement. Robin Kelley and Daniel Walkowitz wrestled over early drafts and helped push the dissertation toward its ﬁnal form. Ellen Noonan gra-ciously read multiple drafts of every chapter and never failed to tell me they were good despite her list of incisive criticisms. I thank her and John Spencer for their friendship and fellowship from day one. I also thank David Suisman for the endless talk about history and music. Others critiqued portions of the dissertation or helped me work out particular problems while lingering over co√ee. The work

is better for the e√orts of Thomas Bender and the sta√ and fellows at the International Center for Advanced Studies, Tricia Rose, Walter Johnson, Liz Cohen, Pete Daniel, Lawrence Levine, Judith Jackson Fossett, David Nasaw, John Troutman, Norman Kelley, Hal Barton, Molly Mitchell, David Voor-hees, Martin Miller, and Sonja Miller. Crucial ﬁnancial support was provided by New York University, the University of Texas, the Smithsonian Institution, the International Center for Advanced Studies atnyu, the Humanities Institute at the University of Texas, and several Fortune 500 companies whose managers didn’t notice their temp was spending most of his time reading Stuart Hall. Seth Kauf-man and the folks at barnesandnoble.com actually paid me money while teaching me how to write, and Tom Wilcox, friend, muse, and evolutionary biologist, came through in the ﬁnal stretch. Thanks for having faith in a historian’s skills as a lab tech and extending my conception of the longue durée. My friends and colleagues at the University of Texas have been very supportive. I could not have ﬁnished the book without their help, encour-agement, and criticism. David Oshinsky and Michael Sto√ have provided advice and encouragement throughout my time here. Many others have o√ered helpful comments on all or portions of the manuscript, including Julia Mickenberg, Shirley Thompson, Dan Birkholtz, Cole Hutchinson, Tracie Matysik, Erika Bsumek, Robin Moore, Jim Sidbury, Carolyn East-man and the Wednesday night crew—it’s hard to complain about the quality of free pizza. I especially thank Evan Carton and the participants in the Humanities Institute Faculty Fellowship Program, as well as Tony Hopkins and the contributors to the history and globalization workshops that culmi-nated with the publication ofalHGlobryistoalocnitndLhesrevalaehTinU. They provided the intense, smart, and loving intellectual communities that I imagined joining back when I was ﬁlling out grad school applications. I also have to give it up to Howard Miller and Alan Tully, supporters from day one, who by their examples have taught me more about teaching politics and the politics of teaching than I ever imagined possible. My deep thanks go to Emily and Norm Rosenberg, the dyamic duo whose dazzling lectures transformed me into an undergrad history major, for pitching Duke University Press and introducing me to my editor Valerie Millholland. Valerie and the team at Duke have improved the book each step of the way. Thanks go to Valerie, Miriam Angress, Ken Wissoker, Neal

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McTighe, Amanda Sharp, Lynn Walterick, the outside readers, and every-one else who lent a hand. A special nod goes to Ronald Radano and Charlie McGovern. Friends and inspirations long before they began work on this series, their support and informed critiques delivered in myriad conversations helped make the book better—and much more fun to write. Finally, Amy Hagstrom Miller provided more encouragement, inspira-tion, criticism, and ﬁnancial help than everyone else combined. I thank her for her love and her life. This book is for Amy and our beautiful boys Lucas and Henry.

a c k n o w l e d g m e n t s

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