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Titel: The Creolization of American Culture: ...
Verlag: University of Illinois Press
This Book is in Good Condition. Clean Copy With Light Amount of Wear. 100% Guaranteed. Summary: Offers a sophisticated interrogation and reinterpretation of minstrelsy, significantly broadening historical views of black-white musical exchange. Buchnummer des Verkäufers ABE_book_usedgood_0252037766
Inhaltsangabe: The Creolization of American Culture examines the artworks, letters, sketchbooks, music collection, and biography of the painter William Sidney Mount (1807?1868) as a lens through which to see the multiethnic antebellum world that gave birth to blackface minstrelsy. As a young man living in the multiethnic working-class community of New York's Lower East Side, Mount took part in the black-white musical interchange his paintings depict. An avid musician and tune collector as well as an artist, he was the among the first to depict vernacular fiddlers, banjo players, and dancers precisely and sympathetically. His close observations and meticulous renderings provide rich evidence of performance techniques and class-inflected paths of musical apprenticeship that connected white and black practitioners. Looking closely at the bodies and instruments Mount depicts in his paintings as well as other ephemera, Christopher J. Smith traces the performance practices of African American and Anglo-European music-and-dance traditions while recovering the sounds of that world. Further, Smith uses Mount's depictions of black and white music-making to open up fresh perspectives on cross-ethnic cultural transference in Northern and urban contexts, showing how rivers, waterfronts, and other sites of interracial interaction shaped musical practices by transporting musical culture from the South to the North and back. The "Africanization" of Anglo-Celtic tunes created minstrelsy's musical "creole synthesis," a body of melodic and rhythmic vocabularies, repertoires, tunes, and musical techniques that became the foundation of American popular music. Reading Mount's renderings of black and white musicians against a background of historical sites and practices of cross-racial interaction, Smith offers a sophisticated interrogation and reinterpretation of minstrelsy, significantly broadening historical views of black-white musical exchange.
Vom Autor: CREDO "I want to recover the sound, the look, the improvisation, the participation, the humor, the rhythmic "cutting", the body, the defiance--in short, the funk--of the street musics, the music before blackface, that Rice and Dixon, Sweeney and Emmett saw, and by which they were entranced, and out of which entrancement--an old, old and yet still current story in American music (just ask Eminem)--they began to observe and imitate and emulate and evolve. Because I believe that it is there--on the salt-crusted, foul-smelling, Tower-of-Babel-multilingual, elbow-jostling, sideburns-wearing, crowded liminal urban wharves and street corners and back alleys and newsboys clubs and young men's coffeerooms and variety theatres--but also at the hay-baled rural harvest dances, and horse-smelling post-road taverns, and sweaty young-person's cotillions, and in the twisting and sashaying ears and hands and bodies of fiddlers and dancers and juba-patters and curious youngsters cutting the latest figures and first discovering the bodily pleasure that polyrhythm could provide and which came back from the City in the steps of the eel-spearers and clam-diggers and and wandering laborers and fiddle-playing coachmen and itinerant bones-players and hardshoe dancers--that the Anglos Sweeney and Emmett, Dixon and Rice, and before them the African-Americans Bobolink Bob and Old Corn Meal and William Henry Lane, and before them the un-named creole street-peddlers of "Dancing for Eels 1820 Catharine Market," and back before them the black drummers and fifers in the Continental and King's armies of the American Revolution, first glimpsed both the artistic possibilities and the raw social-economic opportunities, the "wheeling and turning", that the American popular music synthesis might somehow provide. Most remarkable of all? They were right."
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