Asks how the racialized genre divisions in American commerical music came into being, and how they became so entrenched, challenging the assumption of strict musical segregation in the late-19th-century rural South.
Asks how the racialized genre divisions in American commerical music came into being, and how they became so entrenched, challenging the assumption of strict musical segregation in the late-19th-century rural South.
Karl Hagstrom Miller is an Assistant Professor who teaches in the History Department and the Sarah and Ernest Butler School of Music at the University of Texas, Austin.
Inhaltsangabe
Acknowledgments vii Introduction 1 1. Tin Pan Alley on Tour: The Southern Embrace of Commercial Music 23 2. Making Money Making Music: The Education of Southern Musicians in Local Markets 51 3. Isolating Folk, Isolating Songs: Reimagining Southern Music as Folklore 85 4. Southern Musicians and the Lure of New York City: Representing the South from Coon Songs to the Blues 121 5. Talking Machine World: Discovering Local Music in the Global Phonograph Industry 157 6. Race Records and Old-Time Music: The Creation of Two Marketing Categories in the 1920s 187 7. Black Folk and Hillbilly Pop: Industry Enforcement of the Musical Color Line 215 8. Reimagining Pop Tunes as Folk Songs: The Ascension of the Folkloric Paradigm 241 Afterword: "All Songs is Folk Songs" 275 Notes 283 Bibliography 327 Index 351
Acknowledgments vii Introduction 1 1. Tin Pan Alley on Tour: The Southern Embrace of Commercial Music 23 2. Making Money Making Music: The Education of Southern Musicians in Local Markets 51 3. Isolating Folk, Isolating Songs: Reimagining Southern Music as Folklore 85 4. Southern Musicians and the Lure of New York City: Representing the South from Coon Songs to the Blues 121 5. Talking Machine World: Discovering Local Music in the Global Phonograph Industry 157 6. Race Records and Old-Time Music: The Creation of Two Marketing Categories in the 1920s 187 7. Black Folk and Hillbilly Pop: Industry Enforcement of the Musical Color Line 215 8. Reimagining Pop Tunes as Folk Songs: The Ascension of the Folkloric Paradigm 241 Afterword: "All Songs is Folk Songs" 275 Notes 283 Bibliography 327 Index 351
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