Segregating Sound: Inventing Folk and Pop Music in the Age of Jim Crow
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 so...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2010]
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| Schriftenreihe: | Refiguring American Music
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| Schlagworte: | |
| Online-Zugang: | FAB01 FAW01 FHA01 FKE01 FLA01 UBG01 UPA01 FCO01 Volltext |
| Zusammenfassung: | 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 |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) |
| Beschreibung: | 1 online resource (384 pages) |
| ISBN: | 9780822392705 |
| DOI: | 10.1515/9780822392705 |
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| index_date | 2024-07-03T16:07:30Z |
| indexdate | 2024-07-10T09:01:09Z |
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| spelling | Miller, Karl Hagstrom Verfasser aut Segregating Sound Inventing Folk and Pop Music in the Age of Jim Crow Karl Hagstrom Miller; Josh Kun, Ronald Radano Durham Duke University Press [2010] © 2010 1 online resource (384 pages) txt rdacontent c rdamedia cr rdacarrier Refiguring American Music Description based on online resource; title from PDF title page (publisher's Web site, viewed 28. Okt 2020) 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 In English MUSIC / Genres & Styles / Blues bisacsh African Americans Segregation Folk music Southern States History 19th century Folk music Southern States History 20th century Music and race Southern States History 19th century Music and race Southern States History 20th century Popular music Southern States History 19th century Popular music Southern States History 20th century Popular music Southern States 19th century Popular music Southern States 20th century Kun, Josh edt Radano, Ronald edt https://doi.org/10.1515/9780822392705 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Miller, Karl Hagstrom Segregating Sound Inventing Folk and Pop Music in the Age of Jim Crow MUSIC / Genres & Styles / Blues bisacsh African Americans Segregation Folk music Southern States History 19th century Folk music Southern States History 20th century Music and race Southern States History 19th century Music and race Southern States History 20th century Popular music Southern States History 19th century Popular music Southern States History 20th century Popular music Southern States 19th century Popular music Southern States 20th century |
| title | Segregating Sound Inventing Folk and Pop Music in the Age of Jim Crow |
| title_auth | Segregating Sound Inventing Folk and Pop Music in the Age of Jim Crow |
| title_exact_search | Segregating Sound Inventing Folk and Pop Music in the Age of Jim Crow |
| title_exact_search_txtP | Segregating Sound Inventing Folk and Pop Music in the Age of Jim Crow |
| title_full | Segregating Sound Inventing Folk and Pop Music in the Age of Jim Crow Karl Hagstrom Miller; Josh Kun, Ronald Radano |
| title_fullStr | Segregating Sound Inventing Folk and Pop Music in the Age of Jim Crow Karl Hagstrom Miller; Josh Kun, Ronald Radano |
| title_full_unstemmed | Segregating Sound Inventing Folk and Pop Music in the Age of Jim Crow Karl Hagstrom Miller; Josh Kun, Ronald Radano |
| title_short | Segregating Sound |
| title_sort | segregating sound inventing folk and pop music in the age of jim crow |
| title_sub | Inventing Folk and Pop Music in the Age of Jim Crow |
| topic | MUSIC / Genres & Styles / Blues bisacsh African Americans Segregation Folk music Southern States History 19th century Folk music Southern States History 20th century Music and race Southern States History 19th century Music and race Southern States History 20th century Popular music Southern States History 19th century Popular music Southern States History 20th century Popular music Southern States 19th century Popular music Southern States 20th century |
| topic_facet | MUSIC / Genres & Styles / Blues African Americans Segregation Folk music Southern States History 19th century Folk music Southern States History 20th century Music and race Southern States History 19th century Music and race Southern States History 20th century Popular music Southern States History 19th century Popular music Southern States History 20th century Popular music Southern States 19th century Popular music Southern States 20th century |
| url | https://doi.org/10.1515/9780822392705 |
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