10 books on music from Duke writers
This month features a collection of books written by Duke that explore historical and current aspects of American and later music.
It is often said that musicals branch out into song and dance when words alone can no longer convey emotions. “The Song is You” claims that musicals dive into song and dance when a body is unable to transmit emotions. Professor Duke Bradley rogers An episode of the musical Burlesque and Minstrel shows how each time a musical jumps into a song, it models a radical relationship that the genre creates between different bodies of performers, viewers, and creators. I am. These radical relationships, born from the musical’s obsession with “bad” performances of genre and race, are at the source of the progressive game in this identity genre and therefore of the power of its subculture. .. But this leads to an ethical dilemma. Is the progressive politics of the musical thus rooted in the acceptance of regressive entertainment such as burlesque and minstrel?
Rap and hip-hop clearly serve as a public forum for African-American cultural criticism. In this book, Professor Duke Marc Antoine Neil Black popular music claims to have always played such a role. Neil is more interested in social history than musicology, while prominent performers such as John Colt Lane and Anita Baker discuss how the “auditory landscape” can comment on the social reality of their time. His interpretation of music is closely influenced by the effects of developments such as reconstruction, large-scale migration, urbanization, civil rights movements and the rise of the black middle class on the entire Afro-community. American.
The Beatles and Duke Ellington orchestras are the two greatest examples of collaboration in the history of music. Ellington’s specialty was not the melody. His main partner was not a lyricist, but a fellow musician. His strengths lay in the arrangement, enhancing the role of the renowned soloist, track selection and packaging. He was also very good at getting credits when he wasn’t the only one, as in the case of “Mood Indigo”, but he was ultimately responsible for orchestrating Duke’s musicologist. did Thomas Brothers I call it “one of his best accomplishments.”
Lennon and McCartney’s relationship was fluid from the start, when Ellington was often reluctant to publicly acknowledge how important the collaboration was to the sound of Ellington. Lennon and McCartney “wrote for each other as major audiences.” Lennon’s preference for simpler music meant she was asking for backup, and McCartney was willing to default on his obligations. While McCartney widened the musical range of The Beatles, Lennon “did the same with the lyrics.”
This cartoon of a Duke University professor James boyle And Jennifer jenkins Presentation of the history of music in 2000. An ignored part of the history of music. Time and time again there have been attempts to crack down on music. Limit borrowing and mutual cultural fertilization. But the music is built on itself. For those who think mashups and sampling started on YouTube or DJ decks, it can be shocking that musicians have borrowed from each other, or extensively, from the beginning of music. .. So why try to stop the process? There were various reasons. Philosophy, religion, politics, race – again, race – and law. And since music has such a profound effect on us, these struggles were passionate. They are not yet.
“Africa in Stereo” analyzes how African-Americans have been involved in African-American music and its expression long ago in the 20th century (1890-2011), and is an ongoing and open Pan-Africanism. It provides a new cultural history that proves theoretical potential.Professor Duke Zizi Jaji African-American popular music appeals to the African continent as a unit of expression already encoded by cultural fame, a place of joy and, above all, a strategy of creative resistance to racial hegemony. Pretend to have done. Ghana, Senegal and South Africa are seen as three distinct places where long-standing Pan-African political and cultural alliances represent cross-border black solidarity. His book shows how such cross-border ties fostered what Jazi calls “stereo modernism”. Focusing on the peculiarities of the various media in which music is transmitted and performed, such as poetry, novels, films, recordings, festivals, live performances and websites, stereomodernism explains the role of music. cultural practice in the emergence of solidarity. Take advantage of our musical abilities to refresh us. Understanding the cross-border ties of blacks in the 20th century.
Professor at Duke University on Beethoven’s cello R. Todd Rally Co-author Mark D. Moskovitz examines the important foundations of the cello repertoire and places them in historical and cultural contexts. It also covers three sets of variations and a series of curtains on Beethoven’s cello, the changing nature of his piano, the cello-centered “triple” concerto and other arrangements for cello and piano. With a preface by the famous cellist Steven Isserlis, he concludes with a review of the composer’s cello music published throughout his life. Beethoven’s cello is an ideal companion for cellists, pianists, musicologists and chamber music enthusiasts who desire a comprehensive understanding of this beloved repertoire. ..
Professor “In the Zulu Dust” at Duke University Louise Mainties It traces the political and aesthetic importance of ngoma, a competitive form of dance and music born out of South African colonialism and the legacy of apartheid. Meintjes, who set the ngoma against the backdrop of South African violence, migrant labor, the HIV epidemic and the history of the global music market, follows the ngoma community team and its sub -groups of experts for 20 years after apartheid. I go.
She intricately combines aesthetics with politics, materialization with male voice and anger with eloquence and exploits, and combines the visceral experience of ngoma performance that embodies the breadth of southern history. African. Meintjes also shows how the ngoma can help participants build communities, foster responsible masculinity, and provide participants with a way to reconcile South Africa’s past with the post-apartheid future. “Dust of the Zulu” contains over 100 photos of ngoma’s performance taken by award-winning photojournalist TJ Lemon.
“Sweet Thing: History and Music Structure of Shared American Language Formats” explores one of the most productive and enduring shared musical resources in North American language music. Duke Music Professor Nicolas stoia A comprehensive look at the long history of the ‘Sweet Thing’ program, exploring how it went from 16th century Scotland to 18th century British Broadside ballads to 19th century American ragtime. Stoia also explores forms in a variety of contexts, including ancient blues and country music, and switches to rhythm & blues, soul and rock music, connecting these contemporary forms with ancient roots. A closer look at Sweet Thing’s ubiquitous musicals reveals how they connect listeners and musicians across genres, races, and even time boundaries.
“Tone Since 1950”, co-written by Professor Duke Philippe RuprechtDocuments the debate surrounding one of the most fundamental technical and artistic resources of late 20th century music. The prosperity of tonality over the past several decades – tonality, the center of pitch, and the return to harmony – has undermined this view of collapse or collapse. In 1910 he reinforced the discussion of the theoretical acoustic foundations of music and its broader cultural and metaphysical implications. While 20th century music historians often downplayed timbral practices, the book refocuses on a new historical continuity. A variety of musicians such as Hindemith, The Beatles, Reich and Saariaho approached the tonality from different angles. As a nostalgic figure of nostalgia, or as a universal law. As a cited artifact from the past of a writing style accumulated by music, or as a timeless harmonic resource. Essays by 15 leading researchers cover a broad repertoire of concert music and pop / rock music composed in Europe and the United States over the past half century.
The universality of musical tones has long fascinated philosophers, scientists, musicians and the average public. Why do people around the world find combinations of consonants and consonants? Why make music using only a few of the billions of possible scales? Why do different organizational scales elicit different emotions? Why are there so few notes in the scale? In “Music as Biology”, professor at Duke University Dale Perves Biology claims that traditional music theory provides answers to these and other questions that are silent.
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