Songbooks : the literature of American popular music

著者

    • Weisbard, Eric

書誌事項

Songbooks : the literature of American popular music

Eric Weisbard

（Refiguring American music）

Duke University Press, 2021

  • : pbk

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注記

Includes bibliographical references (p. [446]-512) and index

内容説明・目次

内容説明

In Songbooks, critic and scholar Eric Weisbard offers a critical guide to books on American popular music from William Billings's 1770 New-England Psalm-Singer to Jay-Z's 2010 memoir Decoded. Drawing on his background editing the Village Voice music section, coediting the Journal of Popular Music Studies, and organizing the Pop Conference, Weisbard connects American music writing from memoirs, biographies, and song compilations to blues novels, magazine essays, and academic studies. The authors of these works are as diverse as the music itself: women, people of color, queer writers, self-educated scholars, poets, musicians, and elites discarding their social norms. Whether analyzing books on Louis Armstrong, the Beatles, and Madonna; the novels of Theodore Dreiser, Gayl Jones, and Jennifer Egan; or varying takes on blackface minstrelsy, Weisbard charts an alternative history of American music as told through its writing. As Weisbard demonstrates, the most enduring work pursues questions that linger across time period and genre-cultural studies in the form of notes on the fly, on sounds that never cease to change meaning.

目次

  • Introduction 1 Part I: Setting the Scene First Writer, of Music and on Music: William Billings: The New-England Psalm-Singer, 1770 20 Blackface Minstrelsy Extends Its Twisted Roots: T.D. Rice, "Jim Crow," c. 1832 22 Shape-Note Singing and Early Country: B.F. White and E.J. King, The Sacred Harp, 1944 25 Music in Captivity: Solomon Northup, Twelve Years a Slave: 1853 26 Champion of the White Male Vernacular: Walt Whitman, Leaves of Grass, 1855 28 Notating Spirituals: William Francis Allen, Charles Pickard Ware, and Lucy McKim Garrison, eds., Slave Songs of the United States, 1867 30 First Black Music Historian: James Trotter, Music and Some Highly Musical People: The Lives of Remarkable Musicians of the Colored Race, 1878 32 Child Ballads and Folklore: James Child, The English and Scottish Popular Ballads, 5 vols., 1882-1898 33 Women Not Inventing Ethnomusicology: Alice Fletcher, A Study of Omaha Indian Music, 1893 35 First Hit Songwriter, from Pop to Folk and Back Again: Morrison Foster, Biography, Songs and Musical Compositions of Stephen C. Foster, 1896 39 Americana Emerges: Emma Bell Miles, The Spirit of the Mountains, 1905 44 Documenting the Story: O.G. Sonneck, Bibliography of Early Secular American Music, 1905 45 Tin Pan Alley's Sheet Music Biz: Charles K. Harris, How to Write a Popular Song, 1906 47 First Family of Folk Collecting: John A. Lomax, Cowboy Songs and Other Frontier Ballads, 1910 50 Proclaiming Black Modernity: James Weldon Johnson, The Autobiography of an Ex-Colored Man, 1912 52 Songcatching in the Mountains: Olive Dame Campbell and Cecil Sharp, English Folk Songs from the Southern Appalachians, 1917 54 Part II: The Jazz Age Stories for the Slicks: F. Scott Fitzgerald, Flappers and Philosophers, 1920 62 Remembering the First Black Star: Mabel Rowland, ed., Bert Williams, Son of Laughter, 1923 64 Magazine Criticism across Popular Genres: Gilbert Seldes, The Seven Lively Arts, 1924 67 Harlem Renaissance: Alain Locke, ed., The New Negro: An Interpretation, 1925 69 Tin Pan Alley's Standards Setter: Alexander Woollcott, The Story of Irving Berlin, 1925 71 Broadway Musical as Supertext: Edna Ferber, Show Boat, 1926 74 Father of the Blues in Print: W.C. Handy, ed., Blues: An Anthology, 1926 76 Poet of the Blare and Racial Mountain: Langston Hughes, The Weary Blues, 1926 78 Blessed Immortal, Forgotten Songwriter: Carrie Jacobs-Bond, The Roads of Melody, 1927 80 Tune Detective and Expert Explainer: Sigmund Spaeth, Read 'Em and Weep: The Songs Your Forgot to Remember, 1927 82 Pop's First History Lesson: Isaac Goldberg: Tin Pan Alley: A Chronicle of the American Popular Music Racket, 1930 84 Roots Intellectual: Constance Rourke, American Humor: A Study of the National Character, 1931 85 Jook Ethnography, Inventing Black Music Studies: Zora Neale Hurston, Mules and Men, 1935 87 What He Played Came First: Louis Armstrong, Swing That Music, 1936 90 Jazz's Original Novel: Dorothy Baker, Young Man with a Horn, 1938 94 Introducing Jazz Critics: Frederic Ramsey Jr. and Charles Edward Smith, eds., Jazzmen, 1939 95 Part III: Midcentury Icons Folk Embodiment: Woody Guthrie, Bound for Glory, 1943 104 A Hack Story Soldiers Took to War: David Ewen, Men of Popular Music, 1944 106 From Immigrant Jew to Red Hot Mama: Sophie Tucker, Some of These Days, 1945 108 White Negro Drug Dealer: Mezz Mezzrow and Bernard Wolfe, Really the Blues, 1946 110 Composer of Tone Parallels: Barry Ulanov, Duke Ellington, 1946 111 Jazz's Precursor as Pop and Art: Rudi Blesh and Harriet Janis, They All Played Ragtime: The True Story of an American Music, 1950 114 Field Recording in the Library of Congress: Alan Lomax, Mister Jelly Roll: The Fortunes of Jelly Roll Morton, New Orleans Creole and "Inventor of Jazz," 1950 118 Dramatizing Blackness from a Distance: Ethel Waters with Charles Samuels, His Eye Is on the Sparrow, 1951 120 Centering Vernacular Song: Gilbert Chase, America's Music, 1955 122 Writing about Records: Roland Gelatt, The Fabulous Phonograph: From Tin Foil to High Fidelity, 1955 124 Collective Oral History of Document Scenes: Nat Shapiro and Nat Hentoff, eds., Hear Me Talkin' to Ya: The Story of Jazz as Told by the Men Who Made It, 1955 127 The Greatest Jazz Singer's Star Text: Billie Holiday with William Dufty, Lady Sings the Blues, 1956 129 Beat Generation: Jack Kerouac, On the Road, 1957 133 Borderlands Folklore and Transnational Imaginaries: Americo Paredes, "With His Pistol in His Hands": A Border Ballad and Its Hero, 1958 136 New Yorker Critic of a Genre Becoming Middlebrow: Whitney Balliett, The Sound of Surprise: 46 Pieces on Jazz, 1959 141 Part IV. Vernacular Counterculture Blues Revivalists: Samuel Charters, The Country Blues, 1959
  • Paul Oliver, Blues Fell This Morning: The Meaning of the Blues, 1960 148 Britpop in Fiction: Colin MacInnes, Absolute Beginners, 1959 151 Form-Exploding Indeterminacy: John Cage, Silence, 1961 153 Science Fiction Writer Pens First Rock and Roll Novel: Harlan Ellison, Rockabilly [Spider Kiss], 1961 155 Pro-Jazz Scene Sociology: Howard Becker, Outsiders: Studies in the Sociology of Deviance, 1963 159 Reclaiming Black Music: LeRoi Jones (Amiri Baraka), Blues People: Negro Music in White America, 1963 159 An Endless Lit, Limited Only in Scope: Michael Braun, "Love Me Do!": The Beatles Progress, 1964 162 Music as a Prose Master's Jagged Grain: Ralph Ellison, Shadow and Act, 1964 167 How to Succeed in . . .: M. William Krasilovsky and Sidney Schemel, This Business of Music, 1964 169 Schmaltz and Adversity: Sammy Davis Jr. and Burt Boyar, Yes I Can, 1965 171 New Journalism and Electrified Syntax: Tom Wolfe, Kandy-Kolored Tangerine-Flake Streamline Baby, 1965 173 Defining a Genre: Bill C. Malone, Country Music, U.S.A.: A Fifty-Year History, 1968 175 Swing's Movers as an Alternate History of American Pop: Marshall and Jean Stearns, Jazz Dance: The Story of American Vernacular Dance, 1968 177 Rock and Roll's Greatest Hyper: Nik Cohn, Awopbopaloobop Alopbamboom, 1969/1970 182 Ebony's Pioneering Critic of Black Pop as Black Power: Phyl Garland, The Sound of Soul: The Story of Black Music, 1969 184 Entertainment Journalism and the Power of Knowing: Lillian Roxon, Rock Encyclopedia, 1969 185 An Over-the-Top Genre's First Reliable History: Charlie Gillett, The Sound of the City: The Rise of Rock and Roll, 1970 187 Rock Critic of the Trivially Awesome: Richard Meltzer, The Aesthetics of Rock, 1970 188 Black Religious Fervor as the Core of Rock and Soul: Anthony Heilbut, The Gospel Sound: Good News and Bad Times, 1971 190 Jazz Memoir of "Rotary Perception" Multiplicity: Charles Mingus, Beneath the Underdog, 1971 193 Composing a Formal History: Eileen Southern, The Music of Black Americans, 1971 194 Krazy Kat Fiction of Viral Vernaculars: Ishmael Reed, Mumbo Jumbo, 1972 196 Derriere Garde Prose and Residual Pop Styles: Alec Wilder, American Popular Song: The Great Innovators, 1900-1950, 1972 198 Charts as a New Literature: Joel Whitburn, Top Pop Records, 1955-1972, 1973 201 Selling Platinum across Formats: Clive Davis with James Willwerth, Clive, Inside the Record Business, 1975 203 Blues Relationships and Black Women's Deep Songs: Gayl Jones, Corregidora, 1975 205 "Look a the World in a Rock 'n' Roll Sense . . . What Does That Even Mean?": Greil Marcus, Mystery Train: Images of America in Rock 'n' Roll Music, 1975 207 Cultural Studies Brings Pop from the Hallway to the Classroom: Hall and Tony Jefferson, eds., Resistance Through Rituals: Youth Subcultures in Post-War Britain, 1976 211 Life in Country for an Era of Feminism and Counterculture: Loretta Lynn with George Vecsey, Coal Miner's Daughter, 1976 214 Introducing Rock Critics: Jim Miller, ed., The Rolling Stone Illustrated History of Rock & Roll, 1976 216 Patriarchal Exegete of Black Vernacular as "Equipment for Living": Albert Murray, Stomping the Blues, 1976 219 Reading Pop Culture as Intellectual Obligation: Roland Barthes, Image-Music-Text, 1977 221 Paging through Books to Make History: Dean Epstein, Sinful Tunes and Spirituals: Black Folk Music to the Civil War, 1977 223 Historians Begin to Study Popular Music: Lawrence Levine, Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom, 1977 225 Musicking to Overturn Hierarchy: Christopher Small, Music, Society, Education, 1977 226 Drool Data and Stained Panties from a Critical Noise Boy: Nick Tosches, Country: The Biggest Music in America, 1977 229 Part V: After the Revolution Punk Negates Rock: Julie Burchill and Tony Parsons, The Boy Looked at Johnny: The Obituary of Rock and Roll, 1978 236 The Ghostwriter behind the Music Books: Ray Charles and David Ritz, Brother Ray: Ray Charles' Own Story, 1978 240 Disco Negates Rock: Andrew Holleran, Dancer from the Dance, 1978 242 Industry Schmoozer and Black Music Advocated Fills Public Libraries with Okay Overviews: Arnold Shaw, Honkers and Shouters: The Golden Years of Rhythm and Blues, 1978 245 Musicology's Greatest Tune Chronicler: Charles Hamm, Yesterdays: Popular Song in America, 1979 247 Criticism's Greatest Album Chronicler: Robert Christgau, Christgau's Record Guide: Rock Albums of the '70s, 1981 248 Rock's Frank Capra: Cameron Crowe: Fast Times at Ridgemont High: A True Story, 1981 251 Culture Studies/Rock Critic Twofer!: Simon Frith, Sound Effects: Youth, Leisure, and the Politics of Rock'n'Roll, 1981 252 A Magical Explainer of Impure Sounds: Robert Palmer, Deep Blues, 1981 255 Feminist Rock Critic, Pop-Savvy Social Critic: Ellen Willis, Beginning to See the Light: Pieces of a Decade, 1981 257 New Deal Swing Believer Revived: Otis Ferguson, In the Spirit of Jazz: The Otis Ferguson Reader, 1982 259 Ethnomusicology and Pop, Forever Fraught: Bruno Nettl, The Study of Ethnomusicology: Twenty-Nine Issues and Concepts, 1983 260 Autodidact Deviance, Modeling the Rock Generation to Come: V. Vale and Andrea Juno, eds., RE/Search #6/7: Industrial Culture Handbook, 1983 263 The Rolling Stones of Rolling Stones Books: Stanley Booth, The True Adventures of the Rolling Stones, 1984 266 Finding the Blackface in Bluegrass: Robert Cantwell, Bluegrass Breakdown: The Making of the Old Southern Sound, 1984 268 Cyberpunk Novels and Cultural Studies Futurism: William Gibson, Neuromancer, 1984 269 Glossary Magazine Features Writer Gets History's Second Draft: Gerri Hirshey, Nowhere to Run: The Story of Soul Music, 1984 272 Theorizing Sound as Dress Rehearsal for the Future: Jacques Attali, Noise: The Political Economy of Music, 1977
  • Translation 1985 274 Classic Rock, Mass Market Paperback Style: Stephen Davis, Hammer of the Gods: The Led Zepplin Saga, 1985 275 Love and Rockets, Signature Comic of Punk Los Angeles as Borderland Imaginary: Los Bros Hernandez, Music for Mechanics, 1985 277 Plays about Black American Culture Surviving the Loss of Political Will: August Wilson, Ma Rainey's Black Bottom, 1985 280 Putting Pop in the Big Books of Music: H. Wiley Hitchcock and Stanley Sadie, eds., The New Grove Dictionary of American Music, 1986 282 Popular Music's Defining Singer and Swinger: Kitty Kelley, His Way, The Unauthorized Biography of Frank Sinatra, 1986 284 Anti-Epic Lyricizing of Black Music after Black Power: Nathaniel Mackey, Bedouin Hornbook, 1986 288 Lost Icon of Rock Criticism: Lester Bangs, Psychotic Reactions and Carburetor Dung, 1987 290 Veiled Glimpses of the Songwriter Who Invented Rock and Roll as Literature: Chuck Berry, Chuck Berry: The Autobiography, 1987 292 Making "Wild-Eyed Girls" a More Complex Narrative: Pamela Des Barres, I'm with the Band: Confessions of a Groupie, 1987 294 Reporting Black Music as Art Mixed with Business, Nelson George, The Death of Rhythm & Blues, 1988 295 Sessions with the Evil Genius of Jazz: Miles Davis with Quincy Troupe, Miles: The Autobiography, 1989 298 Part VI: New Voices, New Method Literature of New World Order Americanization: Jessica Hagedorn, Dogeaters, 1990 308 Ethnic Studies of Blended Musical Identities: George Lipsitz, Time Passages: Collective Memory and American Popular Culture, 1990 310 Ballad Novels for a Baby Boomer Appalachia: Sharyn McCrumb, If Ever I Return, Pretty Peggy-O, 1990 312 Pimply, Prole, and Putrid, but with a Surprisingly Diverse Genre Literature: Chuck Eddy, Stairway to Hell: The 500 Best Heavy Metal Albums in the Universe, 1991 314 How Musicology Met Cultural Studies: Susan McClary, Feminine Endings: Music, Gender, and Sexuality, 1991 318 Idol for Academic Analysis and a Changing Public Sphere: Madonna, Sex, 1992 320 Black Bohemian Cultural Nationalism: Greg Tate, Flyboy in the Buttermilk: Essays on Contemporary America, 1992 324 From Indie to Alternative Rock: Gina Arnold, Route 666: On the Road to Nirvana, 1993 326 Musicology on Popular Music-In Pragmatic Context: Richard Crawford, The American Musical Landscape, 1993 330 Listenign, Queerly, Wayne Koestenbaum, The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire, 1993 332 Blackface as Stolen Vernacular: Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class, 1993 334 Media Studies of Girls Listening to Top 40: Susan Douglas, Where the Girls Are: Growing Up Female with the Mass Media, 1994 338 Ironies of a Contested Identity: Peter Guralnick, Last Train to Memphis: The Rise of Elvis Presley, 1994 339 Two Generations of Leading Ethnomusicologists Debate the Popular: Charles Keil and Steven Feld: Music Grooves: Essays and Dialogues, 1944 344 Defining Hip-Hop as Flow, Layering, Rupture, and Postindustrial Resistance: Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America, 1994 346 Regendering Music Writing, with the Deadly Art of Attitude: Evelyn McDonnell and Ann Powers, eds., Rock She Wrote: Women Write about Rock, Pop, and Rap, 1995 348 Soundscaping References, Immersing Trauma: David Toop, Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds, 1995 348 Sociologist Gives Country Studies a Soft-Shell Contrast to the Honky-Tonk: Richard Peterson, Creating Country Music: Fabricating Authenticity, 1997 354 All That Not-Quite Jazz: Gary Giddins, Visions of Jazz: The First Century, 1998 355 Jazz Studies Conquers the Academy: Robert G. O'Meally, ed., The Jazz Cadence of American Culture, 1998 357 Part VII: Topics in Progress Paradigms of Club Culture, House and Techno to Rave and EDM: Simon Reynolds, Energy Flash: A Journey through Rave Music and Dance Culture, 1998 368 Performance Studies, Minoritarian Identity, and Academic Wildness: Jose Esteban Munoz, Disidentification: Queers of Color and the Performance of Politics, 1999 372 Left of Black: Networking a New Discourse: Mark Anthony Neal, What the Music Said: Black Popular Music and Black Public Culture, 1999 375 Aerobics as Genre, Managing Emotions: Tia DeNora, Music in Everyday Life, 2000 377 Confronting Globalization: Thomas Turino, Nationalists, Cosmopolitans, and Popular Music in Zimbabwe, 2000 378 Evocations of Cultural Migration Centered on Race, Rhythm, and Eventually Sexuality: Alejo Carpentier, Music in Cuba, 2001 (1946) 382 Digging Up the Pre-Recordings Creation of a Black Pop Paradigm: Lynn Abbott and Doug Seroff, Out of Sight: The Rise of African American Popular Music, 1889-1895, 2002 386 When Faith in Popular Sound Wavers, He's Waiting: Theodor Adorno, Essays on Music, ed. Richard Leppert, 2002 388 Codifying a Precarious but Global Academic Field: David Hesmondhalgh and Keith Negus, eds., Popular Music Studies, 2002 391 Salsa and the Mixings of Global Culture: Lise Waxer, City of Musical Memory: Salsa, Record Grooves, and Popular Culture in Cali, Colombia, 2002 393 Musicals as Pop, Nationalism, and Changing Identity: Stacy Wolf, A Problem Like Maria: Gender and Sexuality in the American Musical, 2002 396 Musical Fiction and Criticism by the Greatest Used Bookstore Clerk of All Time: Jonathan Lethem, Fortress of Solitude, 2003 399 Poetic Ontologies of Black Musical Style: Fred Moten, In the Break: The Aesthetics of the Black Radical Tradition, 2003 401 Rescuing the Afromodern Vernacular: Guthrie Ramsey Jr., Race Music: Black Cultures from Bebop to Hip-Hop, 2003 402 Sound Studies and the Songs Question: Jonathan Sterne: The Audible Past: Cultural Origins of Sound Reproduction, 2003 404 Dylanologist Conventions: Bob Dylan, Chronicles: Volume One, 2004 405 Two Editions of a Field Evolving Faster Than a Collection Could Contain: Murray Forman and Mark Anthony Neal, eds., That's the Joint! The Hip-Hop Studies Reader, 2004, 2012 410 Revisionist Bluesology and Tangled Intellectual History: Elijah Wald, Escaping the Delta: Robert Johnson and the Invention of the Blues, 2004 412 Trying to Tell the Story of a Dominant Genre: Jeff Chang, Can't Stop, Won't Stop: A History of the Hip-Hop Generation, 2005 415 Refiguring American Music-And Its Institutionalizations: Josh Kun, Audiotopia: Music, Race, and America, 2005 419 Country Music Scholars Pioneer Gender and Industry Analysis: Diane Pecknold, The Selling Sound: The Rise of the Country Music Industry, 2007 423 Where Does Classical Music Fit In?: Alex Ross, The Rest Is Noise: Listening to the Twentieth Century, 2007 426 Poptimism, 33 1/3 Books, and the Struggles of Music Critics: Carl Wilson, Let's Talk about Love: A Journey to the End of Taste, 2007 429 Novelists Collegial with Indie Music: Jennifer Egan, A Visit from the Goon Squad, 2010 432 YouTube, Streaming, and the Popular Music Performance Archive: Will Friedwald, A Biographical Guide to the Great Jazz and Pop Singers, 2010 437 Idiosyncratic Musician Memoirs-Performer as Writer in the Era of the Artist as Brand: Jay-Z, Decoded, 2010 438 Acknowledgments 443 Works Cited 447 Index 513

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