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Subversive Sounds: Race and the Birth of Jazz in New Orleans by Charles B Hersch
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Specificaties
- Objectstaat
- Book Title
- Subversive Sounds: Race and the Birth of Jazz in New Orleans
- Publication Date
- 2009-03-01
- Pages
- 304
- ISBN
- 9780226328683
- Subject Area
- Music, History
- Publication Name
- Subversive Sounds : Race and the Birth of Jazz in New Orleans
- Publisher
- University of Chicago Press
- Item Length
- 0.9 in
- Subject
- Philosophy & Social Aspects, Ethnomusicology, Genres & Styles / Latin, United States / General, Genres & Styles / Jazz
- Publication Year
- 2009
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.1 in
- Item Weight
- 15.1 Oz
- Item Width
- 0.6 in
- Number of Pages
- 304 Pages
Over dit product
Product Identifiers
Publisher
University of Chicago Press
ISBN-10
0226328686
ISBN-13
9780226328683
eBay Product ID (ePID)
70986707
Product Key Features
Number of Pages
304 Pages
Language
English
Publication Name
Subversive Sounds : Race and the Birth of Jazz in New Orleans
Publication Year
2009
Subject
Philosophy & Social Aspects, Ethnomusicology, Genres & Styles / Latin, United States / General, Genres & Styles / Jazz
Type
Textbook
Subject Area
Music, History
Format
Trade Paperback
Dimensions
Item Height
0.1 in
Item Weight
15.1 Oz
Item Length
0.9 in
Item Width
0.6 in
Additional Product Features
Intended Audience
Scholarly & Professional
Reviews
"[Hersch''s] argument is convincing, his writing engaging, and his musical analyses compelling and seductive."-- Perspectives on Politics, Subversive Sounds is as thoroughly researched as it is groundbreaking. In his study of New Orleans jazz, Charles Hersch is scrupulously sensitive to the music, but he has also surveyed the birthplace of jazz with the keen eye of a social historian. I was especially impressed by his willingness to consider the role of white players-as well as black and Creole musicians-in the racial politics of early jazz., This is a fresh and original analysis of the context of the birth of jazz. In addition to offering a new and intellectually stimulating interpretation of the role of race, politics, and social class in the music's origins, Hersch is the first in over a generation to delve deeply into the racial aspects of the lives and work of the earliest jazz musicians in New Orleans., "This is a fresh and original analysis of the context of the birth of jazz. In addition to offering a new and intellectually stimulating interpretation of the role of race, politics, and social class in the music's origins, Hersch is the first in over a generation to delve deeply into the racial aspects of the lives and work of the earliest jazz musicians in New Orleans."-William Howland Kenney, author of Jazz on the River, "A provocative new history. . . . Hersch illuminates how musicians of color drew from realities that few white people experienced in forging a form of dance music for people of both races. In that sense, Subversive Sounds is more than timely. . . . Tapping oral histories from the Hogan Jazz Archive at Tulane, Hersch orchestrates voices of musicians on both sides of the racial divide in underscoring how porous the music made the boundaries of race and class. He writes, too, with an edgy sense of how music functioned."--Times-Picayune, Hersch has the grasp of time and place that is the hallmark of all the most worthwhile historians. He has brought that to bear effectively here, and the results are illuminating for anyone wanting to understand how this music called jazz came to be., "A provocative new history. . . . Hersch illuminates how musicians of color drew from realities that few white people experienced in forging a form of dance music for people of both races. In that sense, Subversive Sounds is more than timely. . . . Tapping oral histories from the Hogan Jazz Archive at Tulane, Hersch orchestrates voices of musicians on both sides of the racial divide in underscoring how porous the music made the boundaries of race and class. He writes, too, with an edgy sense of how music functioned."- Times-Picayune, Exhaustive research informs [the author''s] tightly orchestrated analysis of musical performances and deft portraits of individual musicians, which stand out amid the richly textured descriptions of New Orleans life., "Subversive Soundsis as thoroughly researched as it is groundbreaking. In his study of New Orleans jazz, Charles Hersch is scrupulously sensitive to the music, but he has also surveyed the birthplace of jazz with the keen eye of a social historian. I was especially impressed by his willingness to consider the role of white players-as well as black and Creole musicians-in the racial politics of early jazz."-Krin Gabbard, author ofJammin' at the Margins: Jazz and American Cinema, " Subversive Sounds is as thoroughly researched as it is groundbreaking. In his study of New Orleans jazz, Charles Hersch is scrupulously sensitive to the music, but he has also surveyed the birthplace of jazz with the keen eye of a social historian. I was especially impressed by his willingness to consider the role of white players-as well as black and Creole musicians-in the racial politics of early jazz."-Krin Gabbard, author of Jammin' at the Margins: Jazz and American Cinema, This well-documented history contributes to the dialog on the role of race in the origins of jazz., Subversive Sounds underscores the importance of thinking in subtle, complex, and nuanced ways about the relationship between jazz and race. Engagingly written and cleverly framed, Hersch's work displays ample skill and vision while showing us how profoundly race mattered in early New Orleans jazz. This valuable and important book belongs on the top shelf of new jazz studies., A provocative new history. . . . Hersch illuminates how musicians of color drew from realities that few white people experienced in forging a form of dance music for people of both races. In that sense, Subversive Sounds is more than timely. . . . Tapping oral histories from the Hogan Jazz Archive at Tulane, Hersch orchestrates voices of musicians on both sides of the racial divide in underscoring how porous the music made the boundaries of race and class. He writes, too, with an edgy sense of how music functioned., Subversive Sounds is as thoroughly researched as it is groundbreaking. In his study of New Orleans jazz, Charles Hersch is scrupulously sensitive to the music, but he has also surveyed the birthplace of jazz with the keen eye of a social historian. I was especially impressed by his willingness to consider the role of white players--as well as black and Creole musicians--in the racial politics of early jazz., Subversive Sounds underscores the importance of thinking in subtle, complex, and nuanced ways about the relationship between jazz and race. Engagingly written and cleverly framed, Hersch's work displays ample skill and vision while showing us how profoundly race mattered in early New Orleans jazz. This valuable and important book belongs on the top shelf of new jazz studies., A provocative new history. . . . Hersch illuminates how musicians of color drew from realities that few white people experienced in forging a form of dance music for people of both races. In that sense, Subversive Sounds is more than timely. . . . Tapping oral histories from the Hogan Jazz Archive at Tulane, Hersch orchestrates voices of musicians on both sides of the racial divide in underscoring how porous the music made the boundaries of race and class. He writes, too, with an edgy sense of how music functioned., Exhaustive research informs [the author's] tightly orchestrated analysis of musical performances and deft portraits of individual musicians, which stand out amid the richly textured descriptions of New Orleans life., "[Hersch''s] argument is convincing, his writing engaging, and his musical analyses compelling and seductive."--Perspectives on Politics, "This well-documented history contributes to the dialog on the role of race in the origins of jazz."--Library Journal, [Hersch's] argument is convincing, his writing engaging, and his musical analyses compelling and seductive., "This well-documented history contributes to the dialog on the role of race in the origins of jazz."-- Library Journal, " Subversive Sounds underscores the importance of thinking in subtle, complex, and nuanced ways about the relationship between jazz and race. Engagingly written and cleverly framed, Hersch''s work displays ample skill and vision while showing us how profoundly race mattered in early New Orleans jazz. This valuable and important book belongs on the top shelf of new jazz studies."-John Gennari, author of Blowin' Hot and Cool: Jazz and Its Critics
Dewey Edition
22
Illustrated
Yes
Dewey Decimal
781.6520976335
Table Of Content
Acknowledgments New Orleans Maps Opening Riff: Jelly Roll Morton's Stars and Stripes Introduction 1 Places 2 Reaction 3 Musicians 4 Music 5 Dissemination: Morton, La Rocca, and Armstrong Conclusion Notes Bibliography Discography and Videography Index
Synopsis
Subversive Sounds probes New Orleans's history, uncovering a web of racial interconnections and animosities that was instrumental to the creation of a vital American art form-jazz. Drawing on oral histories, police reports, newspaper accounts, and vintage recordings, Charles Hersch brings to vivid life the neighborhoods and nightspots where jazz was born. This volume shows how musicians such as Jelly Roll Morton, Nick La Rocca, and Louis Armstrong negotiated New Orleans's complex racial rules to pursue their craft and how, in order to widen their audiences, they became fluent in a variety of musical traditions from diverse ethnic sources. These encounters with other music and races subverted their own racial identities and changed the way they played-a musical miscegenation that, in the shadow of Jim Crow, undermined the pursuit of racial purity and indelibly transformed American culture. "More than timely . . . Hersch orchestrates voices of musicians on both sides of the racial divide in underscoring how porous the music made the boundaries of race and class."- New Orleans Times-Picayune, Subversive Sounds probes New Orleans's history, uncovering a web of racial interconnections and animosities that was instrumental to the creation of a vital American art form--jazz. Drawing on oral histories, police reports, newspaper accounts, and vintage recordings, Charles Hersch brings to vivid life the neighborhoods and nightspots where jazz was born. This volume shows how musicians such as Jelly Roll Morton, Nick La Rocca, and Louis Armstrong negotiated New Orleans's complex racial rules to pursue their craft and how, in order to widen their audiences, they became fluent in a variety of musical traditions from diverse ethnic sources. These encounters with other music and races subverted their own racial identities and changed the way they played--a musical miscegenation that, in the shadow of Jim Crow, undermined the pursuit of racial purity and indelibly transformed American culture. "More than timely . . . Hersch orchestrates voices of musicians on both sides of the racial divide in underscoring how porous the music made the boundaries of race and class."-- New Orleans Times-Picayune
LC Classification Number
ML3508.8.N48H47 2009
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