Phonographies: Grooves in Sonic Afro-Modernity
Phonographies explores the numerous links and relays between twentieth-century black cultural production and sound technologies from the phonograph to the Walkman. Highlighting how black authors, filmmakers, and musicians have actively engaged with recorded sound in their work, Alexander G. Weheliye...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Durham
Duke University Press
[2005]
|
| Schlagworte: | |
| Online-Zugang: | DE-1043 DE-1046 DE-858 DE-859 DE-860 DE-739 DE-473 URL des Erstveröffentlichers |
| Zusammenfassung: | Phonographies explores the numerous links and relays between twentieth-century black cultural production and sound technologies from the phonograph to the Walkman. Highlighting how black authors, filmmakers, and musicians have actively engaged with recorded sound in their work, Alexander G. Weheliye contends that the interplay between sound technologies and black music and speech enabled the emergence of modern black culture, of what he terms "sonic Afro-modernity." He shows that by separating music and speech from their human sources, sound-recording technologies beginning with the phonograph generated new modes of thinking, being, and becoming. Black artists used these new possibilities to revamp key notions of modernity-among these, ideas of subjectivity, temporality, and community. Phonographies is a powerful argument that sound technologies are integral to black culture, which is, in turn, fundamental to Western modernity.Weheliye surveys literature, film, and music to focus on engagements with recorded sound. He offers substantial new readings of canonical texts by W. E. B. Du Bois and Ralph Ellison, establishing dialogues between these writers and popular music and film ranging from Louis Armstrong's voice to DJ mixing techniques to Darnell Martin's 1994 movie I Like It Like That. Looking at how questions of diasporic belonging are articulated in contemporary black musical practices, Weheliye analyzes three contemporary Afro-diasporic musical acts: the Haitian and African American rap group the Fugees, the Afro- and Italian-German rap collective Advanced Chemistry, and black British artist Tricky and his partner Martina. Phonographies imagines the African diaspora as a virtual sounding space, one that is marked, in the twentieth century and twenty-first, by the circulation of culture via technological reproductions-records and tapes, dubbing and mixing, and more |
| Beschreibung: | Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) |
| Beschreibung: | 1 online resource (304 pages) |
| ISBN: | 9780822386933 |
| DOI: | 10.1515/9780822386933 |
Internformat
MARC
| LEADER | 00000nam a2200000zc 4500 | ||
|---|---|---|---|
| 001 | BV047114035 | ||
| 003 | DE-604 | ||
| 007 | cr|uuu---uuuuu | ||
| 008 | 210129s2005 xx o|||| 00||| eng d | ||
| 020 | |a 9780822386933 |9 978-0-8223-8693-3 | ||
| 024 | 7 | |a 10.1515/9780822386933 |2 doi | |
| 035 | |a (ZDB-23-DGG)9780822386933 | ||
| 035 | |a (OCoLC)1235887826 | ||
| 035 | |a (DE-599)BVBBV047114035 | ||
| 040 | |a DE-604 |b ger |e rda | ||
| 041 | 0 | |a eng | |
| 049 | |a DE-1043 |a DE-1046 |a DE-858 |a DE-859 |a DE-860 |a DE-473 |a DE-739 | ||
| 082 | 0 | |a 781.64/089/96073 | |
| 100 | 1 | |a Weheliye, Alexander G. |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Phonographies |b Grooves in Sonic Afro-Modernity |c Alexander G. Weheliye |
| 264 | 1 | |a Durham |b Duke University Press |c [2005] | |
| 264 | 4 | |c © 2005 | |
| 300 | |a 1 online resource (304 pages) | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b c |2 rdamedia | ||
| 338 | |b cr |2 rdacarrier | ||
| 500 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) | ||
| 520 | |a Phonographies explores the numerous links and relays between twentieth-century black cultural production and sound technologies from the phonograph to the Walkman. Highlighting how black authors, filmmakers, and musicians have actively engaged with recorded sound in their work, Alexander G. Weheliye contends that the interplay between sound technologies and black music and speech enabled the emergence of modern black culture, of what he terms "sonic Afro-modernity." He shows that by separating music and speech from their human sources, sound-recording technologies beginning with the phonograph generated new modes of thinking, being, and becoming. Black artists used these new possibilities to revamp key notions of modernity-among these, ideas of subjectivity, temporality, and community. Phonographies is a powerful argument that sound technologies are integral to black culture, which is, in turn, fundamental to Western modernity.Weheliye surveys literature, film, and music to focus on engagements with recorded sound. He offers substantial new readings of canonical texts by W. E. B. Du Bois and Ralph Ellison, establishing dialogues between these writers and popular music and film ranging from Louis Armstrong's voice to DJ mixing techniques to Darnell Martin's 1994 movie I Like It Like That. Looking at how questions of diasporic belonging are articulated in contemporary black musical practices, Weheliye analyzes three contemporary Afro-diasporic musical acts: the Haitian and African American rap group the Fugees, the Afro- and Italian-German rap collective Advanced Chemistry, and black British artist Tricky and his partner Martina. Phonographies imagines the African diaspora as a virtual sounding space, one that is marked, in the twentieth century and twenty-first, by the circulation of culture via technological reproductions-records and tapes, dubbing and mixing, and more | ||
| 546 | |a In English | ||
| 650 | 7 | |a MUSIC / Genres & Styles / Pop Vocal |2 bisacsh | |
| 650 | 4 | |a African Americans |v Music |y 20th century |x History and criticism | |
| 650 | 4 | |a African Americans |x Music |x History and criticism | |
| 650 | 4 | |a Blacks |v Music |y 20th century |x History and criticism | |
| 650 | 4 | |a Blacks |x Music |y 20th century |x History and criticism | |
| 650 | 4 | |a Music and literature |x History |y 20th century | |
| 650 | 4 | |a Popular music |x Social aspects |x History |y 20th century | |
| 650 | 4 | |a Sound |x Recording and reproducing |x Social aspects | |
| 856 | 4 | 0 | |u https://doi.org/10.1515/9780822386933 |x Verlag |z URL des Erstveröffentlichers |3 Volltext |
| 912 | |a ZDB-23-DGG | ||
| 943 | 1 | |a oai:aleph.bib-bvb.de:BVB01-032520464 | |
| 966 | e | |u https://doi.org/10.1515/9780822386933 |l DE-1043 |p ZDB-23-DGG |q FAB_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822386933 |l DE-1046 |p ZDB-23-DGG |q FAW_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822386933 |l DE-858 |p ZDB-23-DGG |q FCO_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822386933 |l DE-859 |p ZDB-23-DGG |q FKE_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822386933 |l DE-860 |p ZDB-23-DGG |q FLA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822386933 |l DE-739 |p ZDB-23-DGG |q UPA_PDA_DGG |x Verlag |3 Volltext | |
| 966 | e | |u https://doi.org/10.1515/9780822386933 |l DE-473 |p ZDB-23-DGG |q UBG_PDA_DGG |x Verlag |3 Volltext | |
Datensatz im Suchindex
| _version_ | 1824507775509594112 |
|---|---|
| adam_text | |
| adam_txt | |
| any_adam_object | |
| any_adam_object_boolean | |
| author | Weheliye, Alexander G. |
| author_facet | Weheliye, Alexander G. |
| author_role | aut |
| author_sort | Weheliye, Alexander G. |
| author_variant | a g w ag agw |
| building | Verbundindex |
| bvnumber | BV047114035 |
| collection | ZDB-23-DGG |
| ctrlnum | (ZDB-23-DGG)9780822386933 (OCoLC)1235887826 (DE-599)BVBBV047114035 |
| dewey-full | 781.64/089/96073 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 781 - General principles and musical forms |
| dewey-raw | 781.64/089/96073 |
| dewey-search | 781.64/089/96073 |
| dewey-sort | 3781.64 289 596073 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| discipline_str_mv | Musikwissenschaft |
| doi_str_mv | 10.1515/9780822386933 |
| format | Electronic eBook |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>00000nam a2200000zc 4500</leader><controlfield tag="001">BV047114035</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="007">cr|uuu---uuuuu</controlfield><controlfield tag="008">210129s2005 xx o|||| 00||| eng d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9780822386933</subfield><subfield code="9">978-0-8223-8693-3</subfield></datafield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.1515/9780822386933</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(ZDB-23-DGG)9780822386933</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)1235887826</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV047114035</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rda</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">eng</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-1043</subfield><subfield code="a">DE-1046</subfield><subfield code="a">DE-858</subfield><subfield code="a">DE-859</subfield><subfield code="a">DE-860</subfield><subfield code="a">DE-473</subfield><subfield code="a">DE-739</subfield></datafield><datafield tag="082" ind1="0" ind2=" "><subfield code="a">781.64/089/96073</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Weheliye, Alexander G.</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Phonographies</subfield><subfield code="b">Grooves in Sonic Afro-Modernity</subfield><subfield code="c">Alexander G. Weheliye</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Durham</subfield><subfield code="b">Duke University Press</subfield><subfield code="c">[2005]</subfield></datafield><datafield tag="264" ind1=" " ind2="4"><subfield code="c">© 2005</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">1 online resource (304 pages)</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020)</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">Phonographies explores the numerous links and relays between twentieth-century black cultural production and sound technologies from the phonograph to the Walkman. Highlighting how black authors, filmmakers, and musicians have actively engaged with recorded sound in their work, Alexander G. Weheliye contends that the interplay between sound technologies and black music and speech enabled the emergence of modern black culture, of what he terms "sonic Afro-modernity." He shows that by separating music and speech from their human sources, sound-recording technologies beginning with the phonograph generated new modes of thinking, being, and becoming. Black artists used these new possibilities to revamp key notions of modernity-among these, ideas of subjectivity, temporality, and community. Phonographies is a powerful argument that sound technologies are integral to black culture, which is, in turn, fundamental to Western modernity.Weheliye surveys literature, film, and music to focus on engagements with recorded sound. He offers substantial new readings of canonical texts by W. E. B. Du Bois and Ralph Ellison, establishing dialogues between these writers and popular music and film ranging from Louis Armstrong's voice to DJ mixing techniques to Darnell Martin's 1994 movie I Like It Like That. Looking at how questions of diasporic belonging are articulated in contemporary black musical practices, Weheliye analyzes three contemporary Afro-diasporic musical acts: the Haitian and African American rap group the Fugees, the Afro- and Italian-German rap collective Advanced Chemistry, and black British artist Tricky and his partner Martina. Phonographies imagines the African diaspora as a virtual sounding space, one that is marked, in the twentieth century and twenty-first, by the circulation of culture via technological reproductions-records and tapes, dubbing and mixing, and more</subfield></datafield><datafield tag="546" ind1=" " ind2=" "><subfield code="a">In English</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">MUSIC / Genres & Styles / Pop Vocal</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">African Americans</subfield><subfield code="v">Music</subfield><subfield code="y">20th century</subfield><subfield code="x">History and criticism</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">African Americans</subfield><subfield code="x">Music</subfield><subfield code="x">History and criticism</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Blacks</subfield><subfield code="v">Music</subfield><subfield code="y">20th century</subfield><subfield code="x">History and criticism</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Blacks</subfield><subfield code="x">Music</subfield><subfield code="y">20th century</subfield><subfield code="x">History and criticism</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Music and literature</subfield><subfield code="x">History</subfield><subfield code="y">20th century</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Popular music</subfield><subfield code="x">Social aspects</subfield><subfield code="x">History</subfield><subfield code="y">20th century</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Sound</subfield><subfield code="x">Recording and reproducing</subfield><subfield code="x">Social aspects</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="u">https://doi.org/10.1515/9780822386933</subfield><subfield code="x">Verlag</subfield><subfield code="z">URL des Erstveröffentlichers</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-23-DGG</subfield></datafield><datafield tag="943" ind1="1" ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-032520464</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822386933</subfield><subfield code="l">DE-1043</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAB_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822386933</subfield><subfield code="l">DE-1046</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FAW_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822386933</subfield><subfield code="l">DE-858</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FCO_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822386933</subfield><subfield code="l">DE-859</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FKE_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822386933</subfield><subfield code="l">DE-860</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">FLA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822386933</subfield><subfield code="l">DE-739</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UPA_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="966" ind1="e" ind2=" "><subfield code="u">https://doi.org/10.1515/9780822386933</subfield><subfield code="l">DE-473</subfield><subfield code="p">ZDB-23-DGG</subfield><subfield code="q">UBG_PDA_DGG</subfield><subfield code="x">Verlag</subfield><subfield code="3">Volltext</subfield></datafield></record></collection> |
| id | DE-604.BV047114035 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T16:26:56Z |
| indexdate | 2025-02-19T17:30:05Z |
| institution | BVB |
| isbn | 9780822386933 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-032520464 |
| oclc_num | 1235887826 |
| open_access_boolean | |
| owner | DE-1043 DE-1046 DE-858 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 |
| owner_facet | DE-1043 DE-1046 DE-858 DE-859 DE-860 DE-473 DE-BY-UBG DE-739 |
| physical | 1 online resource (304 pages) |
| psigel | ZDB-23-DGG ZDB-23-DGG FAB_PDA_DGG ZDB-23-DGG FAW_PDA_DGG ZDB-23-DGG FCO_PDA_DGG ZDB-23-DGG FKE_PDA_DGG ZDB-23-DGG FLA_PDA_DGG ZDB-23-DGG UPA_PDA_DGG ZDB-23-DGG UBG_PDA_DGG |
| publishDate | 2005 |
| publishDateSearch | 2005 |
| publishDateSort | 2005 |
| publisher | Duke University Press |
| record_format | marc |
| spelling | Weheliye, Alexander G. Verfasser aut Phonographies Grooves in Sonic Afro-Modernity Alexander G. Weheliye Durham Duke University Press [2005] © 2005 1 online resource (304 pages) txt rdacontent c rdamedia cr rdacarrier Description based on online resource; title from PDF title page (publisher's Web site, viewed 12. Dez 2020) Phonographies explores the numerous links and relays between twentieth-century black cultural production and sound technologies from the phonograph to the Walkman. Highlighting how black authors, filmmakers, and musicians have actively engaged with recorded sound in their work, Alexander G. Weheliye contends that the interplay between sound technologies and black music and speech enabled the emergence of modern black culture, of what he terms "sonic Afro-modernity." He shows that by separating music and speech from their human sources, sound-recording technologies beginning with the phonograph generated new modes of thinking, being, and becoming. Black artists used these new possibilities to revamp key notions of modernity-among these, ideas of subjectivity, temporality, and community. Phonographies is a powerful argument that sound technologies are integral to black culture, which is, in turn, fundamental to Western modernity.Weheliye surveys literature, film, and music to focus on engagements with recorded sound. He offers substantial new readings of canonical texts by W. E. B. Du Bois and Ralph Ellison, establishing dialogues between these writers and popular music and film ranging from Louis Armstrong's voice to DJ mixing techniques to Darnell Martin's 1994 movie I Like It Like That. Looking at how questions of diasporic belonging are articulated in contemporary black musical practices, Weheliye analyzes three contemporary Afro-diasporic musical acts: the Haitian and African American rap group the Fugees, the Afro- and Italian-German rap collective Advanced Chemistry, and black British artist Tricky and his partner Martina. Phonographies imagines the African diaspora as a virtual sounding space, one that is marked, in the twentieth century and twenty-first, by the circulation of culture via technological reproductions-records and tapes, dubbing and mixing, and more In English MUSIC / Genres & Styles / Pop Vocal bisacsh African Americans Music 20th century History and criticism African Americans Music History and criticism Blacks Music 20th century History and criticism Music and literature History 20th century Popular music Social aspects History 20th century Sound Recording and reproducing Social aspects https://doi.org/10.1515/9780822386933 Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Weheliye, Alexander G. Phonographies Grooves in Sonic Afro-Modernity MUSIC / Genres & Styles / Pop Vocal bisacsh African Americans Music 20th century History and criticism African Americans Music History and criticism Blacks Music 20th century History and criticism Music and literature History 20th century Popular music Social aspects History 20th century Sound Recording and reproducing Social aspects |
| title | Phonographies Grooves in Sonic Afro-Modernity |
| title_auth | Phonographies Grooves in Sonic Afro-Modernity |
| title_exact_search | Phonographies Grooves in Sonic Afro-Modernity |
| title_exact_search_txtP | Phonographies Grooves in Sonic Afro-Modernity |
| title_full | Phonographies Grooves in Sonic Afro-Modernity Alexander G. Weheliye |
| title_fullStr | Phonographies Grooves in Sonic Afro-Modernity Alexander G. Weheliye |
| title_full_unstemmed | Phonographies Grooves in Sonic Afro-Modernity Alexander G. Weheliye |
| title_short | Phonographies |
| title_sort | phonographies grooves in sonic afro modernity |
| title_sub | Grooves in Sonic Afro-Modernity |
| topic | MUSIC / Genres & Styles / Pop Vocal bisacsh African Americans Music 20th century History and criticism African Americans Music History and criticism Blacks Music 20th century History and criticism Music and literature History 20th century Popular music Social aspects History 20th century Sound Recording and reproducing Social aspects |
| topic_facet | MUSIC / Genres & Styles / Pop Vocal African Americans Music 20th century History and criticism African Americans Music History and criticism Blacks Music 20th century History and criticism Music and literature History 20th century Popular music Social aspects History 20th century Sound Recording and reproducing Social aspects |
| url | https://doi.org/10.1515/9780822386933 |
| work_keys_str_mv | AT weheliyealexanderg phonographiesgroovesinsonicafromodernity |