Eric Weisbard

Songbooks

The Literature of American Popular Music

• Broschiertes Buch

Produktbeschreibung

In Songbooks veteran music critic and popular music scholar Eric Weisbard offers a critical guide to American popular music writing, from William Billings's 1770 New-England-Psalm-Singer to Jay-Z's 2010 memoir Decoded.

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Produktdetails

• Refiguring American Music
• Verlag: Duke University Press
• Seitenzahl: 554
• Erscheinungstermin: 28. Mai 2021
• Englisch
• Abmessung: 229mm x 152mm x 30mm
• Gewicht: 794g
• ISBN-13: 9781478014089
• ISBN-10: 1478014083
• Artikelnr.: 59765858

Autorenporträt

Eric Weisbard is Associate Professor of American Studies at the University of Alabama and the author of Top 40 Democracy: The Rival Mainstreams of American Music.

Inhaltsangabe

Introduction  1 Part I: Setting the Scene First Writer
of Music and on Music: William Billings: The New-England Psalm-Singer
1770  20 Blackface Minstrelsy Extends Its Twisted Roots: T.D. Rice
"Jim Crow
" c. 1832  22 Shape-Note Singing and Early Country: B.F. White and E.J. King
The Sacred Harp
1944  25 Music in Captivity: Solomon Northup
Twelve Years a Slave: 1853  26 Champion of the White Male Vernacular: Walt Whitman
Leaves of Grass
1855  28 Notating Spirituals: William Francis Allen
Charles Pickard Ware
and Lucy McKim Garrison
eds.
Slave Songs of the United States
1867  30 First Black Music Historian: James Trotter
Music and Some Highly Musical People: The Lives of Remarkable Musicians of the Colored Race
1878  32 Child Ballads and Folklore: James Child
The English and Scottish Popular Ballads
5 vols.
1882-1898  33 Women Not Inventing Ethnomusicology: Alice Fletcher
A Study of Omaha Indian Music
1893  35 First Hit Songwriter
from Pop to Folk and Back Again: Morrison Foster
Biography
Songs and Musical Compositions of Stephen C. Foster
1896  39 Americana Emerges: Emma Bell Miles
The Spirit of the Mountains
1905  44 Documenting the Story: O.G. Sonneck
Bibliography of Early Secular American Music
1905  45 Tin Pan Alley's Sheet Music Biz: Charles K. Harris
How to Write a Popular Song
1906  47 First Family of Folk Collecting: John A. Lomax
Cowboy Songs and Other Frontier Ballads
1910  50 Proclaiming Black Modernity: James Weldon Johnson
The Autobiography of an Ex-Colored Man
1912  52 Songcatching in the Mountains: Olive Dame Campbell and Cecil Sharp
English Folk Songs from the Southern Appalachians
1917  54 Part II: The Jazz Age Stories for the Slicks: F. Scott Fitzgerald
Flappers and Philosophers
1920  62 Remembering the First Black Star: Mabel Rowland
ed.
Bert Williams
Son of Laughter
1923  64 Magazine Criticism across Popular Genres: Gilbert Seldes
The Seven Lively Arts
1924  67 Harlem Renaissance: Alain Locke
ed.
The New Negro: An Interpretation
1925  69 Tin Pan Alley's Standards Setter: Alexander Woollcott
The Story of Irving Berlin
1925  71 Broadway Musical as Supertext: Edna Ferber
Show Boat
1926  74 Father of the Blues in Print: W.C. Handy
ed.
Blues: An Anthology
1926  76 Poet of the Blare and Racial Mountain: Langston Hughes
The Weary Blues
1926  78 Blessed Immortal
Forgotten Songwriter: Carrie Jacobs-Bond
The Roads of Melody
1927  80 Tune Detective and Expert Explainer: Sigmund Spaeth
Read 'Em and Weep: The Songs Your Forgot to Remember
1927  82 Pop's First History Lesson: Isaac Goldberg: Tin Pan Alley: A Chronicle of the American Popular Music Racket
1930  84 Roots Intellectual: Constance Rourke
American Humor: A Study of the National Character
1931  85 Jook Ethnography
Inventing Black Music Studies: Zora Neale Hurston
Mules and Men
1935  87 What He Played Came First: Louis Armstrong
Swing That Music
1936  90 Jazz's Original Novel: Dorothy Baker
Young Man with a Horn
1938  94 Introducing Jazz Critics: Frederic Ramsey Jr. and Charles Edward Smith
eds.
Jazzmen
1939  95 Part III: Midcentury Icons Folk Embodiment: Woody Guthrie
Bound for Glory
1943  104 A Hack Story Soldiers Took to War: David Ewen
Men of Popular Music
1944  106 From Immigrant Jew to Red Hot Mama: Sophie Tucker
Some of These Days
1945  108 White Negro Drug Dealer: Mezz Mezzrow and Bernard Wolfe
Really the Blues
1946  110 Composer of Tone Parallels: Barry Ulanov
Duke Ellington
1946  111 Jazz's Precursor as Pop and Art: Rudi Blesh and Harriet Janis
They All Played Ragtime: The True Story of an American Music
1950  114 Field Recording in the Library of Congress: Alan Lomax
Mister Jelly Roll: The Fortunes of Jelly Roll Morton
New Orleans Creole and "Inventor of Jazz
" 1950  118 Dramatizing Blackness from a Distance: Ethel Waters with Charles Samuels
His Eye Is on the Sparrow
1951  120 Centering Vernacular Song: Gilbert Chase
America's Music
1955  122 Writing about Records: Roland Gelatt
The Fabulous Phonograph: From Tin Foil to High Fidelity
1955  124 Collective Oral History of Document Scenes: Nat Shapiro and Nat Hentoff
eds.
Hear Me Talkin' to Ya: The Story of Jazz as Told by the Men Who Made It
1955  127 The Greatest Jazz Singer's Star Text: Billie Holiday with William Dufty
Lady Sings the Blues
1956  129 Beat Generation: Jack Kerouac
On the Road
1957  133 Borderlands Folklore and Transnational Imaginaries: Américo Paredes
"With His Pistol in His Hands": A Border Ballad and Its Hero
1958  136 New Yorker Critic of a Genre Becoming Middlebrow: Whitney Balliett
The Sound of Surprise: 46 Pieces on Jazz
1959  141 Part IV. Vernacular Counterculture Blues Revivalists: Samuel Charters
The Country Blues
1959; Paul Oliver
Blues Fell This Morning: The Meaning of the Blues
1960  148 Britpop in Fiction: Colin MacInnes
Absolute Beginners
1959  151 Form-Exploding Indeterminacy: John Cage
Silence
1961  153 Science Fiction Writer Pens First Rock and Roll Novel: Harlan Ellison
Rockabilly [Spider Kiss]
1961  155 Pro-Jazz Scene Sociology: Howard Becker
Outsiders: Studies in the Sociology of Deviance
1963  159 Reclaiming Black Music: LeRoi Jones (Amiri Baraka)
Blues People: Negro Music in White America
1963  159 An Endless Lit
Limited Only in Scope: Michael Braun
"Love Me Do!": The Beatles Progress
1964  162 Music as a Prose Master's Jagged Grain: Ralph Ellison
Shadow and Act
1964  167 How to Succeed in . . .: M. William Krasilovsky and Sidney Schemel
This Business of Music
1964  169 Schmaltz and Adversity: Sammy Davis Jr. and Burt Boyar
Yes I Can
1965  171 New Journalism and Electrified Syntax: Tom Wolfe
Kandy-Kolored Tangerine-Flake Streamline Baby
1965  173 Defining a Genre: Bill C. Malone
Country Music
U.S.A.: A Fifty-Year History
1968  175 Swing's Movers as an Alternate History of American Pop: Marshall and Jean Stearns
Jazz Dance: The Story of American Vernacular Dance
1968  177 Rock and Roll's Greatest Hyper: Nik Cohn
Awopbopaloobop Alopbamboom
1969/1970  182 Ebony's Pioneering Critic of Black Pop as Black Power: Phyl Garland
The Sound of Soul: The Story of Black Music
1969  184 Entertainment Journalism and the Power of Knowing: Lillian Roxon
Rock Encyclopedia
1969  185 An Over-the-Top Genre's First Reliable History: Charlie Gillett
The Sound of the City: The Rise of Rock and Roll
1970  187 Rock Critic of the Trivially Awesome: Richard Meltzer
The Aesthetics of Rock
1970  188 Black Religious Fervor as the Core of Rock and Soul: Anthony Heilbut
The Gospel Sound: Good News and Bad Times
1971  190 Jazz Memoir of "Rotary Perception" Multiplicity: Charles Mingus
Beneath the Underdog
1971  193 Composing a Formal History: Eileen Southern
The Music of Black Americans
1971  194 Krazy Kat Fiction of Viral Vernaculars: Ishmael Reed
Mumbo Jumbo
1972  196 Derrière Garde Prose and Residual Pop Styles: Alec Wilder
American Popular Song: The Great Innovators
1900–1950
1972  198 Charts as a New Literature: Joel Whitburn
Top Pop Records
1955–1972
1973  201 Selling Platinum across Formats: Clive Davis with James Willwerth
Clive
Inside the Record Business
1975  203 Blues Relationships and Black Women's Deep Songs: Gayl Jones
Corregidora
1975  205 "Look a the World in a Rock 'n' Roll Sense . . . What Does That Even Mean?": Greil Marcus
Mystery Train: Images of America in Rock 'n' Roll Music
1975  207 Cultural Studies Brings Pop from the Hallway to the Classroom: Hall and Tony Jefferson
eds.
Resistance Through Rituals: Youth Subcultures in Post-War Britain
1976  211 Life in Country for an Era of Feminism and Counterculture: Loretta Lynn with George Vecsey
Coal Miner's Daughter
1976  214 Introducing Rock Critics: Jim Miller
ed.
The Rolling Stone Illustrated History of Rock & Roll
1976  216 Patriarchal Exegete of Black Vernacular as "Equipment for Living": Albert Murray
Stomping the Blues
1976  219 Reading Pop Culture as Intellectual Obligation: Roland Barthes
Image—Music—Text
1977  221 Paging through Books to Make History: Dean Epstein
Sinful Tunes and Spirituals: Black Folk Music to the Civil War
1977  223 Historians Begin to Study Popular Music: Lawrence Levine
Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom
1977  225 Musicking to Overturn Hierarchy: Christopher Small
Music
Society
Education
1977  226 Drool Data and Stained Panties from a Critical Noise Boy: Nick Tosches
Country: The Biggest Music in America
1977  229 Part V: After the Revolution Punk Negates Rock: Julie Burchill and Tony Parsons
The Boy Looked at Johnny: The Obituary of Rock and Roll
1978  236 The Ghostwriter behind the Music Books: Ray Charles and David Ritz
Brother Ray: Ray Charles' Own Story
1978  240 Disco Negates Rock: Andrew Holleran
Dancer from the Dance
1978  242 Industry Schmoozer and Black Music Advocated Fills Public Libraries with Okay Overviews: Arnold Shaw
Honkers and Shouters: The Golden Years of Rhythm and Blues
1978  245 Musicology's Greatest Tune Chronicler: Charles Hamm
Yesterdays: Popular Song in America
1979  247 Criticism's Greatest Album Chronicler: Robert Christgau
Christgau's Record Guide: Rock Albums of the '70s
1981  248 Rock's Frank Capra: Cameron Crowe: Fast Times at Ridgemont High: A True Story
1981  251 Culture Studies/Rock Critic Twofer!: Simon Frith
Sound Effects: Youth
Leisure
and the Politics of Rock'n'Roll
1981  252 A Magical Explainer of Impure Sounds: Robert Palmer
Deep Blues
1981  255 Feminist Rock Critic
Pop-Savvy Social Critic: Ellen Willis
Beginning to See the Light: Pieces of a Decade
1981  257 New Deal Swing Believer Revived: Otis Ferguson
In the Spirit of Jazz: The Otis Ferguson Reader
1982  259 Ethnomusicology and Pop
Forever Fraught: Bruno Nettl
The Study of Ethnomusicology: Twenty-Nine Issues and Concepts
1983  260 Autodidact Deviance
Modeling the Rock Generation to Come: V. Vale and Andrea Juno
eds.
RE/Search #6/7: Industrial Culture Handbook
1983  263 The Rolling Stones of Rolling Stones Books: Stanley Booth
The True Adventures of the Rolling Stones
1984  266 Finding the Blackface in Bluegrass: Robert Cantwell
Bluegrass Breakdown: The Making of the Old Southern Sound
1984  268 Cyberpunk Novels and Cultural Studies Futurism: William Gibson
Neuromancer
1984  269 Glossary Magazine Features Writer Gets History's Second Draft: Gerri Hirshey
Nowhere to Run: The Story of Soul Music
1984  272 Theorizing Sound as Dress Rehearsal for the Future: Jacques Attali
Noise: The Political Economy of Music
1977; Translation 1985  274 Classic Rock
Mass Market Paperback Style: Stephen Davis
Hammer of the Gods: The Led Zepplin Saga
1985  275 Love and Rockets
Signature Comic of Punk Los Angeles as Borderland Imaginary: Los Bros Hernandez
Music for Mechanics
1985  277 Plays about Black American Culture Surviving the Loss of Political Will: August Wilson
Ma Rainey's Black Bottom
1985  280 Putting Pop in the Big Books of Music: H. Wiley Hitchcock and Stanley Sadie
eds.
The New Grove Dictionary of American Music
1986  282 Popular Music's Defining Singer and Swinger: Kitty Kelley
His Way
The Unauthorized Biography of Frank Sinatra
1986  284 Anti-Epic Lyricizing of Black Music after Black Power: Nathaniel Mackey
Bedouin Hornbook
1986  288 Lost Icon of Rock Criticism: Lester Bangs
Psychotic Reactions and Carburetor Dung
1987  290 Veiled Glimpses of the Songwriter Who Invented Rock and Roll as Literature: Chuck Berry
Chuck Berry: The Autobiography
1987  292 Making "Wild-Eyed Girls" a More Complex Narrative: Pamela Des Barres
I'm with the Band: Confessions of a Groupie
1987  294 Reporting Black Music as Art Mixed with Business
Nelson George
The Death of Rhythm & Blues
1988  295 Sessions with the Evil Genius of Jazz: Miles Davis with Quincy Troupe
Miles: The Autobiography
1989  298 Part VI: New Voices
New Method Literature of New World Order Americanization: Jessica Hagedorn
Dogeaters
1990  308 Ethnic Studies of Blended Musical Identities: George Lipsitz
Time Passages: Collective Memory and American Popular Culture
1990  310 Ballad Novels for a Baby Boomer Appalachia: Sharyn McCrumb
If Ever I Return
Pretty Peggy-O
1990  312 Pimply
Prole
and Putrid
but with a Surprisingly Diverse Genre Literature: Chuck Eddy
Stairway to Hell: The 500 Best Heavy Metal Albums in the Universe
1991  314 How Musicology Met Cultural Studies: Susan McClary
Feminine Endings: Music
Gender
and Sexuality
1991  318 Idol for Academic Analysis and a Changing Public Sphere: Madonna
Sex
1992  320 Black Bohemian Cultural Nationalism: Greg Tate
Flyboy in the Buttermilk: Essays on Contemporary America
1992  324 From Indie to Alternative Rock: Gina Arnold
Route 666: On the Road to Nirvana
1993  326 Musicology on Popular Music—In Pragmatic Context: Richard Crawford
The American Musical Landscape
1993  330 Listenign
Queerly
Wayne Koestenbaum
The Queen's Throat: Opera
Homosexuality
and the Mystery of Desire
1993  332 Blackface as Stolen Vernacular: Eric Lott
Love and Theft: Blackface Minstrelsy and the American Working Class
1993  334 Media Studies of Girls Listening to Top 40: Susan Douglas
Where the Girls Are: Growing Up Female with the Mass Media
1994  338 Ironies of a Contested Identity: Peter Guralnick
Last Train to Memphis: The Rise of Elvis Presley
1994  339 Two Generations of Leading Ethnomusicologists Debate the Popular: Charles Keil and Steven Feld: Music Grooves: Essays and Dialogues
1944  344 Defining Hip-Hop as Flow
Layering
Rupture
and Postindustrial Resistance: Tricia Rose
Black Noise: Rap Music and Black Culture in Contemporary America
1994  346 Regendering Music Writing
with the Deadly Art of Attitude: Evelyn McDonnell and Ann Powers
eds.
Rock She Wrote: Women Write about Rock
Pop
and Rap
1995  348 Soundscaping References
Immersing Trauma: David Toop
Ocean of Sound: Aether Talk
Ambient Sound and Imaginary Worlds
1995  348 Sociologist Gives Country Studies a Soft-Shell Contrast to the Honky-Tonk: Richard Peterson
Creating Country Music: Fabricating Authenticity
1997  354 All That Not-Quite Jazz: Gary Giddins
Visions of Jazz: The First Century
1998  355 Jazz Studies Conquers the Academy: Robert G. O'Meally
ed.
The Jazz Cadence of American Culture
1998  357 Part VII: Topics in Progress Paradigms of Club Culture
House and Techno to Rave and EDM: Simon Reynolds
Energy Flash: A Journey through Rave Music and Dance Culture
1998  368 Performance Studies
Minoritarian Identity
and Academic Wildness: José Esteban Muñoz
Disidentification: Queers of Color and the Performance of Politics
1999  372 Left of Black: Networking a New Discourse: Mark Anthony Neal
What the Music Said: Black Popular Music and Black Public Culture
1999  375 Aerobics as Genre
Managing Emotions: Tia DeNora
Music in Everyday Life
2000  377 Confronting Globalization: Thomas Turino
Nationalists
Cosmopolitans
and Popular Music in Zimbabwe
2000  378 Evocations of Cultural Migration Centered on Race
Rhythm
and Eventually Sexuality: Alejo Carpentier
Music in Cuba
2001 (1946)  382 Digging Up the Pre-Recordings Creation of a Black Pop Paradigm: Lynn Abbott and Doug Seroff
Out of Sight: The Rise of African American Popular Music
1889–1895
2002  386 When Faith in Popular Sound Wavers
He's Waiting: Theodor Adorno
Essays on Music
ed. Richard Leppert
2002  388 Codifying a Precarious but Global Academic Field: David Hesmondhalgh and Keith Negus
eds.
Popular Music Studies
2002  391 Salsa and the Mixings of Global Culture: Lise Waxer
City of Musical Memory: Salsa
Record Grooves
and Popular Culture in Cali
Colombia
2002  393 Musicals as Pop
Nationalism
and Changing Identity: Stacy Wolf
A Problem Like Maria: Gender and Sexuality in the American Musical
2002  396 Musical Fiction and Criticism by the Greatest Used Bookstore Clerk of All Time: Jonathan Lethem
Fortress of Solitude
2003  399 Poetic Ontologies of Black Musical Style: Fred Moten
In the Break: The Aesthetics of the Black Radical Tradition
2003  401 Rescuing the Afromodern Vernacular: Guthrie Ramsey Jr.
Race Music: Black Cultures from Bebop to Hip-Hop
2003  402 Sound Studies and the Songs Question: Jonathan Sterne: The Audible Past: Cultural Origins of Sound Reproduction
2003  404 Dylanologist Conventions: Bob Dylan
Chronicles: Volume One
2004  405 Two Editions of a Field Evolving Faster Than a Collection Could Contain: Murray Forman and Mark Anthony Neal
eds.
That's the Joint! The Hip-Hop Studies Reader
2004
2012  410 Revisionist Bluesology and Tangled Intellectual History: Elijah Wald
Escaping the Delta: Robert Johnson and the Invention of the Blues
2004  412 Trying to Tell the Story of a Dominant Genre: Jeff Chang
Can't Stop
Won't Stop: A History of the Hip-Hop Generation
2005  415 Refiguring American Music—And Its Institutionalizations: Josh Kun
Audiotopia: Music
Race
and America
2005  419 Country Music Scholars Pioneer Gender and Industry Analysis: Diane Pecknold
The Selling Sound: The Rise of the Country Music Industry
2007  423 Where Does Classical Music Fit In?: Alex Ross
The Rest Is Noise: Listening to the Twentieth Century
2007  426 Poptimism
33 1/3 Books
and the Struggles of Music Critics: Carl Wilson
Let's Talk about Love: A Journey to the End of Taste
2007  429 Novelists Collegial with Indie Music: Jennifer Egan
A Visit from the Goon Squad
2010  432 YouTube
Streaming
and the Popular Music Performance Archive: Will Friedwald
A Biographical Guide to the Great Jazz and Pop Singers
2010  437 Idiosyncratic Musician Memoirs—Performer as Writer in the Era of the Artist as Brand: Jay-Z
Decoded
2010  438 Acknowledgments  443 Works Cited  447 Index  513