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Blacksound : Making Race and Popular Music in the United States.
・ISBN 978-0-520-39057-7 hard US$ 85.00
￥19,915.- (税込) ※（※）価格はご注文時の参考価格となります。
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お気に入り
★★★
・ISBN 978-0-520-39059-1 paper US$ 29.95
￥7,016.- (税込) ※（※）価格はご注文時の参考価格となります。
納品価格につきましては書籍の入荷時点で確定となります。
版元の原価改定、外国為替の変動等により異なる場合がございますので、予めご了承下さい。
お気に入り
★★★
| 著者・編者 | Morrison, Matthew D., |
|---|---|
| 出版社 | (U. California Pr., US) |
| 出版年月 | 2024.03 |
| ページ数 | 320 pp. |
| 言語 | ENG |
| ニュース番号 | ＜715-1122 715-1217＞ |
解説
A new concept for understanding the history of the American popular music industry.
Blacksound explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface.
Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake-for creators and audiences alike-in revisiting the long history of American popular music.
Blacksound explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface.
Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake-for creators and audiences alike-in revisiting the long history of American popular music.