Search Results for lying-up-a-nation

The phrase " lying up a nation " that gives this book its title suggests something more than literal acts of deception . As an African - American vernacular expression introduced into folklore studies by the novelist and ethnographer ...

Author: Ronald M. Radano

Publisher: University of Chicago Press

ISBN: 0226701972

Category: Music

Page: 454

View: 362

What is black music? For some it is a unique expression of the African-American experience, its soulful vocals and stirring rhythms forged in the fires of black resistance in response to centuries of oppression. But as Ronald Radano argues in this bracing work, the whole idea of black music has a much longer and more complicated history-one that speaks as much of musical and racial integration as it does of separation.
2003-11 By Ronald M. Radano

Ronald Radano, Lying Up a Nation: Race and Black Music (Chicago: University of Chicago Press, 2003), 54. Radano then expands on the universal importance of the circle: “Beyond the African correlates described above, we find in the ...

Author: Julie Malnig

Publisher: University of Illinois Press

ISBN: 9780252075650

Category: History

Page: 394

View: 960

Examining social and popular dance forms from a variety of critical and cultural perspectives
2009 By Julie Malnig

Ronald Radano, Lying Up a Nation: Race and Black Music (Chicago: University of Chicago Press, 2003), 73. 35. See the discussion of race and sound in Nina Sun Eidsheim, “Marian Anderson and 'Sonic Blackness' in American Opera,” American ...

Author: Tyina L. Steptoe

Publisher: Univ of California Press

ISBN: 9780520958531

Category: History

Page: 344

View: 516

Beginning after World War I, Houston was transformed from a black-and-white frontier town into one of the most ethnically and racially diverse urban areas in the United States. Houston Bound draws on social and cultural history to show how, despite Anglo attempts to fix racial categories through Jim Crow laws, converging migrations—particularly those of Mexicans and Creoles—complicated ideas of blackness and whiteness and introduced different understandings about race. This migration history also uses music and sound to examine these racial complexities, tracing the emergence of Houston's blues and jazz scenes in the 1920s as well as the hybrid forms of these genres that arose when migrants forged shared social space and carved out new communities and politics. This interdisciplinary book provides both an innovative historiography about migration and immigration in the twentieth century and a critical examination of a city located in the former Confederacy.
2015-11-03 By Tyina L. Steptoe

On the challenges surrounding reconstructing and analyzing the early history of black music, see Ronald Michael Radano, Lying up a Nation: Race and Black Music (Chicago: University of Chicago Press, 2003), 5.

Author: Laurent Dubois

Publisher: Harvard University Press

ISBN: 9780674968837

Category: History

Page: 374

View: 410

American slaves drew on memories of African musical traditions to construct instruments from carved-out gourds covered with animal skin. Providing a sense of rootedness, solidarity, and consolation, banjo picking became an essential part of black plantation life, and its unmistakable sound remains versatile and enduring today, Laurent Dubois shows.
2016-03-14 By Laurent Dubois

As Ronald Radano affirms in his book Lying up a Nation: Race and Black Music, “the notion of lying. . . is meant to convey the sense that stories, whether literary or musical, are always to an extent made up, and in this way they ...

Author: Ryan Raul Bañagale

Publisher: Oxford University Press, USA

ISBN: 9780199978380

Category: Music

Page: 233

View: 110

In Arranging Gershwin, author Ryan Bañagale approaches George Gershwin's iconic piece Rhapsody in Blue not as a composition but as an arrangement -- a status it has in many ways held since its inception in 1924, yet one unconsidered until now. Shifting emphasis away from the notion of the Rhapsody as a static work by a single composer, Bañagale posits a broad vision of the piece that acknowledges the efforts of a variety of collaborators who shaped the Rhapsody as we know it today. Arranging Gershwin sheds new light on familiar musicians such as Leonard Bernstein and Duke Ellington, introduces lesser-known figures such as Ferde Grofé and Larry Adler, and remaps the terrain of this emblematic piece of American music. At the same time, it expands on existing approaches to the study of arrangements -- an emerging and insightful realm of American music studies -- as well as challenges existing and entrenched definitions of composer and composition. Based on a host of newly discovered manuscripts, the book significantly alters existing historical and cultural conceptions of the Rhapsody. With additional forays into visual media, including the commercial advertising of United Airlines and Woody Allen's Manhattan, it moreover exemplifies how arrangements have contributed not only to the iconicity of Gershwin and Rhapsody in Blue, but also to music-making in America -- its people, their pursuits, and their processes.

On the politics of “partials” in the Black sound archive, see Radano, Lying Up a Nation. 55. Farah Jasmine Griffin, Harlem Nocturne: Women Artists and Progressive Politics during World War II (New York: Nation Books, 2013), 152. 56.

Author: Daphne A. Brooks

Publisher: Harvard University Press

ISBN: 9780674052819

Category: Social Science

Page: 609

View: 135

An award-winning Black feminist music critic takes us on an epic journey through radical sound from Bessie Smith to Beyoncé. Daphne A. Brooks explores more than a century of music archives to examine the critics, collectors, and listeners who have determined perceptions of Black women on stage and in the recording studio. How is it possible, she asks, that iconic artists such as Aretha Franklin and Beyoncé exist simultaneously at the center and on the fringe of the culture industry? Liner Notes for the Revolution offers a startling new perspective on these acclaimed figures—a perspective informed by the overlooked contributions of other Black women concerned with the work of their musical peers. Zora Neale Hurston appears as a sound archivist and a performer, Lorraine Hansberry as a queer Black feminist critic of modern culture, and Pauline Hopkins as America’s first Black female cultural commentator. Brooks tackles the complicated racial politics of blues music recording, song collecting, and rock and roll criticism. She makes lyrical forays into the blues pioneers Bessie Smith and Mamie Smith, as well as fans who became critics, like the record-label entrepreneur and writer Rosetta Reitz. In the twenty-first century, pop superstar Janelle Monae’s liner notes are recognized for their innovations, while celebrated singers Cécile McLorin Salvant, Rhiannon Giddens, and Valerie June take their place as cultural historians. With an innovative perspective on the story of Black women in popular music—and who should rightly tell it—Liner Notes for the Revolution pioneers a long overdue recognition and celebration of Black women musicians as radical intellectuals.
2021-02-23 By Daphne A. Brooks

Even such nationalist agendas themselves were, in the 1930s, a pronouncedly international phenomenon as nation states ... As North (The Dialect of Modernism), Gilroy (The Black Atlantic), Gubar (Racechanges), Radano (Lying Up a Nation), ...

Author: Annegret Fauser

Publisher: Routledge

ISBN: 9781351541473

Category: Music

Page: 513

View: 224

This volume explores the way in which composers, performers, and critics shaped individual and collective identities in music from Europe and the United States from the 1860s to the 1950s. Selected essays and articles engage with works and their reception by Richard Wagner, Georges Bizet (in an American incarnation), Lili and Nadia Boulanger, William Grant Still, and Aaron Copland, and with performers such as Wanda Landowska and even Marilyn Monroe. Ranging in context from the opera house through the concert hall to the salon, and from establishment cultures to counter-cultural products, the main focus is how music permits new ways of considering issues of nationality, class, race, and gender. These essays - three presented for the first time in English translation - reflect the work in both musical and cultural studies of a distinguished scholar whose international career spans the Atlantic and beyond.
2017-07-05 By Annegret Fauser

Lying Up a Nation: Race and Black Music. Chicago, IL: University of Chicago Press. Ramón y Rivera, Felipe. 1953. El joropo, baile nacional de Venezuela. Caracas: E. Armitano. Ramos, Arthur. 1937. As culturas negras no Novo Mundo.

Author: Alejandro de la Fuente

Publisher: Cambridge University Press

ISBN: 9781316832325

Category: History


View: 339

Alejandro de la Fuente and George Reid Andrews offer the first systematic, book-length survey of humanities and social science scholarship on the exciting field of Afro-Latin American studies. Organized by topic, these essays synthesize and present the current state of knowledge on a broad variety of topics, including Afro-Latin American music, religions, literature, art history, political thought, social movements, legal history, environmental history, and ideologies of racial inclusion. This volume connects the region's long history of slavery to the major political, social, cultural, and economic developments of the last two centuries. Written by leading scholars in each of those topics, the volume provides an introduction to the field of Afro-Latin American studies that is not available from any other source and reflects the disciplinary and thematic richness of this emerging field.
2018-04-26 By Alejandro de la Fuente

Lying up a Nation: Race and Black Music. Chicago: University of Chicago Press. Raeburn, Bruce Boyd. (2009). ... Secrets, Lies and Transcriptions: Revisions on Race, Black Music and Culture. In Julie Brown, ed.,Western Music and Race.

Author: Tom Perchard

Publisher: Cambridge University Press

ISBN: 9781108481984

Category: Music

Page: 495

View: 200

"Introduction Steve Reich pitched up in San Francisco in September 1961. He was a young musician, one who had been taken by the early-century work of the Hungarian composer and folklorist Béla Bartók, and he had journeyed west from New York in the hope of studying with Leon Kirchner, a composer in the rough-lyric Bartók tradition who'd been teaching at Mills College. But Kirchner had just left for Harvard, so Reich ended up working at Mills under Luciano Berio. Over the course of the previous decade, Berio had become identified as a figurehead of the European post-war avant-garde: his ultramodern serialist work was quite a different proposition to Kirchner's own"--
2022-10-06 By Tom Perchard

Radano, Ronald M. Lying Up a Nation: Race and Black Music. Chicago: U of Chicago P, 2003. Print. Ramèl, Frédéric, and Cécile Prévost-Thomas. International Relations, Music and Diplomacy: Sounds and Voices on the International Stage.

Author: Mario Dunkel

Publisher: transcript Verlag

ISBN: 9783839443583

Category: Music

Page: 328

View: 994

In the early years of the Cold War, Western nations increasingly adopted strategies of public diplomacy involving popular music. While the diplomatic use of popular music was initially limited to such genres as jazz, the second half of the 20th century saw a growing presence of various popular genres in diplomatic contexts, including rock, pop, bluegrass, flamenco, funk, disco, and hip-hop, among others. This volume illuminates the interrelation of popular music and public diplomacy from a transnational and transdisciplinary angle. The contributions argue that, as popular music has been a crucial factor in international relations, its diplomatic use has substantially impacted the global musical landscape of the 20th and 21st centuries.
2019-03-31 By Mario Dunkel