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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.

Book Description:  Illustrating the multiethnic performance practices that led to minstrelsy

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Buchbeschreibung UNIVERSITY OF ILLINOIS PRESS, 2013. Hardcover. Buchzustand: New. This Book is in Good Condition; Customer Satisfaction Comes First.Delivery Time 4-12 days. 100% Money back Guaranteed!!!. book. Buchnummer des Verkäufers 0252037766

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Buchbeschreibung Univ Illinois Press. Buchzustand: BRAND NEW. BRAND NEW Hardcover A Brand New Quality Book from a Full-Time Bookshop in business since 1992!. Buchnummer des Verkäufers 1242917

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Buchbeschreibung University of Illinois Press 25/10/2013, 2013. Buchzustand: New. Brand new item sourced directly from publisher. Packed securely in tight packaging to ensure no damage. Shipped from warehouse on same/next day basis. Buchnummer des Verkäufers 1111-9780252037764

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Buchbeschreibung University of Illinois Press, 2013. Hardcover. Buchzustand: New. book. Buchnummer des Verkäufers M0252037766

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Buchbeschreibung 2013. HRD. Buchzustand: New. New Book. Shipped from US within 10 to 14 business days. Established seller since 2000. Buchnummer des Verkäufers TX-9780252037764

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Buchbeschreibung University of Chicago press. Buchzustand: New. Brand New. Buchnummer des Verkäufers 0252037766

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Buchbeschreibung Univ Illinois Press. Buchzustand: BRAND NEW. BRAND NEW Hardcover A Brand New Quality Book from a Full-Time Bookshop in business since 1992!. Buchnummer des Verkäufers 2262539

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Buchbeschreibung University of Illinois Press. Buchzustand: New. pp. 352. Buchnummer des Verkäufers 58572011

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Buchbeschreibung University of Illinois Press, United States, 2013. Hardback. Buchzustand: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. 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. Buchnummer des Verkäufers BTE9780252037764

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