New Books In Music

Although largely forgotten today, elocution was a popular form of domestic and professional entertainment from the late nineteenth century until around World War II. Elocution is the dramatic reading of poetry, adapted plays, and other types of monologues by a solo performer. Dr. Marian Wilson Kimber’s new book, The Elocutionists: Women, Music, and the Spoken Word (University of Illinois Press, 2017) is the first study to examine elocutionists who recited spoken word accompanied by music and proscribed movements that reflected the emotional meaning of the piece. Informed by archival sources gathered all over the country, Wilson Kimber engages with this practice through multiple lenses, including gender, race, and class as she untangles not only how elocution was performed, but also what it meant to its practitioners and audiences. She highlights important figures that some may know from other areas such as Kitty Cheatham, an advocate for and performer of African American spirituals, and the actress Fann

When folklorist Jean Freedman first met Peggy Seeger in 1979, Freedman was an undergraduate on her junior year abroad in London, while her American compatriot had been living in the UK for two decades. Their encounter took place in the Singers’ Club, a folk music venue that Seeger and her husband Ewan MacColl founded in the early 1960s and to which Freedman returned many times during her London sojourn. After Freedman returned to the States, the pair kept in touch for a while but their contact became increasingly sporadic. However, it began again in earnest when the folklorist emailed Seeger to check some facts for a writing assignment. During their subsequent exchange, Seeger asked if Freedman might know of anyone who would be interested in writing her biography. Immediately, Freedman volunteered herself. Eight years, many interviews, and much text-based research later, Peggy Seeger: A Life of Music, Love, and Politics (University of Illinois Press, 2017) is the result. As the book’s subtitle sug

Though he never enjoyed the fame of his contemporaries Mozart and Haydn, Antonio Rosetti was a successful composer whose works received a wide audience. In his book, The Career of an Eighteenth-Century Kapellmeister: The Life and Music of Antonio Rosetti (University of Rochester Press, 2014), Sterling Murray provides readers with both an account of Rosetti’s career and a style study of his compositions. As a young man Rosetti found employment as a double bass player at the southern German court of Kraft Ernst, Prince of Oettingen-Wallerstein. There he began composing a wide range of instrumental music for the court, eventually rising to the position of kapellmeister for the courts Hofkapelle. A sojourn in Paris in 1781-82 enhanced Rosetti’s growing reputation by providing opportunities for publishing his music while exposing him to a wider range of styles, an experience which was soon reflected in his compositions. While financial concerns led to his relocation to the court of Mecklenburg-Schwerin

Sustainable Futures for Music Cultures: An Ecological Perspective (Oxford University Press, 2016), a multi-authored volume co-edited by Catherine Grant and Huib Schippers, examines a range of musical traditions from cultures around the world. The book deliberately places endangered musical practices alongside vibrant traditions like western opera and Hindustani music, each assessed along five domains: systems of learning music, musicians and communities, contexts and constructs, regulations and infrastructure, and media and the music industry. Doing so allows for both “vertical reading” (reading chapters in sequential order) and “horizontal reading” (in which one examines one or a handful of domains and focuses on these across different chapters). Beyond the book, information from the project is also available on the website soundfutures.org. Timothy Thurston is Lecturer in Chinese Studies at the University of Leeds. His research examines language at the nexus of tradition and moderni

In The Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon (Stanford University Press, 2016), Larry Wolff takes us into that distinctly European art form, the opera, to show us the reflection of European ideas of Ottoman Turkey in the modern period. Beginning in 1683 when Ottoman guns shook the walls of Vienna, through a long eighteenth century, and up to Napoleon’s military supremacy in the nineteenth, when Turkish conquest of Europe was “no longer really imaginable” (402), the singing Turk in one form or another, dazzled, terrified, and enchanted European audiences from Vienna, to Venice, to Paris. Professor Wolff’s discussion of the music—its creation, its reception, and its context—is richly entertaining and accessible to the layman. It also reveals important currents in political and cultural thought during the Enlightenment in a Europe with ever-broader horizons. Professor Wolff moves between decades

One of the most neglected areas of musicological research is art music written by nineteenth-century American composers, thus Douglas Shadle‘s book Orchestrating the Nation: The Nineteenth-Century American Symphonic Enterprise (Oxford University Press, 2015) is a welcome, and much needed, addition to the field. It is the first comprehensive survey of American nineteenth-century orchestral music. Organized chronologically, each chapter also features a detailed critical analysis of a major work. Shadle unearths, analyzes, and advocates for a repertoire that has been erased almost completely from the historical and performance record. Along the way, Shadle debunks or nuances some of the most common narratives in musicological historiography on American music. Written in a lively, approachable style, he provides contemporary assessments of the music, while also contextualizing American symphonic works within the musical, cultural, and political history of the United States. Despite focusing on nineteenth-ce

Kevin Bartig’s new book Sergei Prokofiev’s Alexander Nevsky (Oxford University Press, 2017) explores multiple facets of one of the most famous film scores of the twentieth century, as well as the cantata Prokofiev adapted from the original music. Sergei Eisenstein’s classic film Alexander Nevsky, about a thirteenth-century Russian national hero who defeated the Teutonic Knights of the Holy Roman Empire, premiered in July 1938 in the Soviet Union amid rising tensions with Nazi Germany. While Eisenstein’s film was a propaganda piece designed to encourage Soviet patriotism at a time of growing fears about the Nazi regimes aggression, it is also one of the great motion pictures of the twentieth century because of its technical mastery and climactic half-hour Battle of the Ice scene. Using extensive archival sources, Bartig recounts the unusually close collaboration between Eisenstein and Prokofiev that produced the score, the investigates the music’s reception in Russia and abroad f

Music is frequently connected to leftist politics and seen as the soundtrack to social protest movements, most notably the civil rights movement. But the far right groups use music too. Benjamin Teitelbaum‘s Lions of the North: Sounds of the New Nordic Radical Nationalism (Oxford University Press, 2017) explores how Swedish and Nordic far right parties deployed music in the 2000’s to expand the reach of their ideas. Consciously rejecting the sounds of White Power music and the image of skinheads in favor of pop music, hip-hop, and reggae, leaders of Sweden’s far right parties used the change in music to make in-roads into mainstream political discourse. In this podcast Teitelbaum discusses the shifting theoretical landscape that undergirds the radical nationalism and how this led to a variety of approaches toward music by far right parties. We explore how far right musicians and audiences came to use African-inspired musical forms in their effort to spread their ideas about Swedish nationali

Gretchen Dykstra‘s career to date has been both impressive and wide-ranging. She was the founding President of the Times Square Alliance, the former Commissioner of the NYC Department of Consumer Affairs, and the founding President of the 9/11 Memorial Foundation. She is also a writer, and in this New Books in Folklore episode, she is interviewed about her biography of her grandfather, Franz Rickaby, which features in Pinery Boys: Songs and Songcatching in the Lumberjack Era (University of Wisconsin Press, 2017) Franz Rickaby was a young folk music collector and fiddler and between 1919 and 1923, he travelled extensively around the Upper Midwest, seeking out the songs and stories of logging industry workers. Even as he embarked on his venture, the region’s lumber business was in stark decline. Most of the original pine forests that had covered the area had been clear cut by that time, but although the environment had been depleted, a rich cache of folkloric material remained. Rickaby set about pre

A city in its original state is arbitrary and has no meaning. The act of placemaking is a multifaceted process in the planning, designing, and management of public spaces. The social construction of meaning is a process that capitalizes on the assets, inspiration, and potential of a public space. This meaning is constructed from the social and emotional sentiments that people evoke from the city. The structural and physical aspects of the city are less important. Jonathan R. Wynn, the author of Music/City: American Festivals and Placemaking in Austin, Nashville, and Newport (University of Chicago, 2015) and my guest for this episode, studied the process of placemaking through observing major music festivals for the cities of Austin, Texas; Nashville, Texas; and Newport, Rhode Island. In our interview, we discuss how this study was shaped from his past study on tour guides and how community members serve as major contributors to placemaking. Wynn also shares his thoughts on the current climate of music festiva

Rebecca Tuhus-Dubrow‘s book, Personal Stereo (Bloomsbury Academic, 2017) , which is part of the Object Lessons series, offers a compelling and expertly researched study of the Sony Walkman, taking into account the device’s controversial origin story, the seismic cultural impact on society in the 1980s, the worries of diminishing social interactions, and the philosophical implications of listening to music within one’s own private bubble. All this is channeled through a personal nostalgic affection for the device. Rebecca Tuhus-Dubrow is a writer-in-residence at the University of California, Irvine. Her writing has appeared in Slate, The Nation, The New York Times Book Review, the Los Angeles Review of Books, and Dissent, where she is a contributing editor. She was previously a contributing writer for the Boston Globe’s Ideas section, a columnist for the urban affairs website Next City, and a Journalism and Media Fellow at the UCLA Institute of the Environment and Sustainability. Steph

Studio 54 opened its doors 40 years ago and since that time it has held a place in American popular culture. Studio 54 was the place to go dancing to great music, mingle with celebrities and beautiful people, and do drugs night after night. In his historical and cultural memoir as the owner of Studio 54, Mark Fleischman takes readers behind the scenes and the into the basement rooms and dark corners of the night club. Inside Studio 54: The Real Story of Sex, Drugs, and Rock ‘n Roll from Former Studio 54 Owner (Rare Bird Books, 2017) introduces readers to the Studio 54 of the 1980s which Fleischman took control over after the original owners went to jail for tax evasion. Fleischman shares stories of celebrities, drugs, and day in and day out partying. He presents how he initiated theme nights and created ways to make the night club a destination for cultural icons of the decade. Through his journey of making Studio 54 the in club of the 1980s after disco was declared dead, Fleischman also shares his stor

I Was Britpopped: The A-Z of Britpop (Valley Press, 2017) is a comprehensive guide to the people, the bands, the places, and the events that shaped British music in the mid-to-late 1990s. Taking on the form of a A-Z guide, the book doesn’t gloss over even the most remote B-Side or bands who only fleetingly played a role in the genre. Every entry is carefully researched and expertly written to paint a picture of a music scene that was at once full of some of the most creative and inspirational individuals of a generation and trendy chancers wanting a bit of fame and some quick cash. The Britpop scene flashed before our eyes, yet it still lingers in the collective souls of those that lived it. Authors Jenny Natasha and Tom Boniface-Webb grew up in the nineties and experienced the Britpop scene first hand. They met while they were both band members of the indie rock band the Requiems. Originally hailing from Wales, Jenny experienced the music of the early nineties with her group of girlfriends who saw Oasi

Richard Power Sayeed’s book, 1997: The Future that Never Happened (Zed Books, 2017), is a brilliant and exhaustively researched account of the late 1990s. The subject matter covered is broad. From music to politics, from feminism to the media, it paints a picture of an era in which those living and invested in British society never had it so good. The outlook was sunny, yet this positive future never materialised. Richard Power Sayeed is a writer and documentary maker based in London. 1997: The Future that Never Happened his first book, and he has somehow managed to finish it without losing his love for the minutiae of nineties Britain. Stephen Lee Naish is a writer and author of several books on the subjects of film and popular culture. He lives in Ontario, Canada. Follow him on Twitter @riffsandmeaning.Learn more about your ad choices. Visit megaphone.fm/adchoices

Often, poetry and punk rock are seen as distinct activities that occur in different locations with separate audiences. Many would also ascribe to them varying levels of cultural and political capital. Daniel Kane, the author of Do You Have a Band?: Poetry and Punk Rock in New York City (Columbia University Press, 2017) challenges these notions and explores the interaction between the New York Schools of Poetry and early punk music. In this podcast, we discuss how poets, such as Frank O’Hara, Ted Berrigan, and Anne Waldman, affected the writing and careers of Lou Reed, Patti Smith, and Richard Hell. We also explore how punk rock, in turn, shaped the work of Elaine Myles and Dennis Cooper. Kane’s work helps re-map the relationships between poetry and punk rock. Daniel Kane is Professor in English and American literature at the University of Sussex in Brighton. His books include We Saw the Light: Conversations Between the New American Cinema and Poetry (2009) and All Poets Welcome: The Lower East Sid

In his new book, The Origins of Cool in Postwar America (University of Chicago Press, 2017), Cultural Studies scholar Joel Dinerstein explores the cultural history of cool and the codes that defined the style and attitude of this relatively new concept. Using cultural icons such as Lester Young, Humphrey Bogart, Albert Camus, Billie Holiday, Jack Kerouac, Marlon Brando, Miles Davis, and Lorraine Hansberry to name a few, Dinerstein weaves an image of cool in the 1940s and 1950s as it intersects jazz, film noir, literature, and existentialism. Well researched and compellingly written, The Origins of Cool in Postwar America examines the ways in which popular culture works to define cool throughout the Cold War. Dinerstein’s work interrogates cool, presenting the way in which individuals show how cool is a way of rebellion and resistance against racism or other cultural and social norms. Cool brings a hope to individuals during cultural shifts that Dinerstein presents in this thorough and thoughtful explora

At the close of the nineteenth century, Europe was teeming with apocalyptic dreams of destruction and renewal. In Nietzsche’s Orphans: Music, Metaphysics, and the Twilight of the Russian Empire (Yale University Press, 2015), Rebecca Mitchell traces how in late imperial Russia, music came to be seen as a transcendent force that offered salvation from the era’s atmosphere of decadence and decline. At the turn of the century, Nietzsche’s The Birth of Tragedy became a major inspiration for cultural elites looking for a solution to the problems of modernity. Nietzsche’s Russian orphans adapted the adamantly amoral German writer to suit their context, combining his belief in the transformative power of music with the visions of Orthodox philosopher Vladimir Solovev. Russian music lovers launched a search for the national Orpheus, alternately advancing Aleksander Scriabin, Nikolai Medtner, and Sergei Rachmaninoff as the chosen one. These figures differed in their engagement with musical metap

How do women experience and participate in Metal? This question forms the core of Gender, Metal and the Media: Women Fans and the Gendered Experience of Music (Palgrave Macmillan 2016), the new book from Rosemary Lucy Hill, a lecturer in sociology at the University of Leeds. Hill’s book is both empirically detailed, drawing on analysis of Metal media, and theoretically rich, engaging with a range of work on music and gender. The book outlines the imagined community of Metal, thinking through the myths underpinning that community. By exploring myths of equality and authenticity, along with the problematic tropes of “warriors” and “groupies,” the analysis makes clear the gendered tensions of Metal fandom.The book concludes with some thoughts on how to build a new cultural vision for Metal, which will realize the promise of egalitarianism offered in much of the community and in the music. It will be essential reading across sociology, music, and media studies, as well as for all Met

What is the labor for Black soldiers of the regiment? That is the question Johari Jabir asks in his book Conjuring Freedom: Music and Masculinity in the Civil War’s “Gospel Army” (Ohio State University Press, 2017). Conjuring Freedom analyzes the songs of the 1st South Carolina Volunteers, a regiment of Black soldiers who met nightly in the performance of the ring shout the counterclockwise song, dance, drum, and story in African American history and culture. Conjuring Freedom reflects the ring shout structure. Jabir illustrates three new concepts to cultural studies to describe the practices, techniques, and implications of the troop’s performance. First, Black Communal Conservatories, borrowing from Robert Farris Thompson’s “invisible academies” to describe the structural but spontaneous quality of black music-making. Then Listening Hermeneutics that accounts for the generative and material effects of sound on meaning-making. And finally Sonic Politics, which points

Philosophers have long tried to silence the physical musicality of voice in favor of the purity of ideas without matter, souls without bodies. But voices resonate among bodies and texts; they are singular, as unique as fingerprints, but irreducibly collective too. They are material, somatic, and musical. Voices also give body to concepts that cannot exist in abstraction, essential to sense yet in excess of it. They complicate the logos of the beginning and emphasize the enfleshing of all words. Karmen MacKendrick’s The Matter of Voice: Sensual Soundings (Fordham University Press, 2016) explores all this and more through theology and philosophy, pedagogy, translation, and semiotics. It is a beautifully written and challenging book. Karmen MacKendrick is Professor of Philosophy at Le Moyne College Hillary Kaell co-hosts NBIR and is Associate Professor of Religion at Concordia University in Montreal, Canada. Learn more about your ad choices. Visit megaphone.fm/adchoices