Shadow Culture Narratives: Race, Gender, and American Music Historiography.

Citation metadata

Date: Fall 2020
Publisher: University of California Press
Document Type: Article
Length: 30,494 words
Lexile Measure: 1690L

Document controls

Main content

Article Preview :
Contents Introduction 711 NAOMI ANDRE and DENISE VON GLAHN US Slave Music through the Lens of the Civil War Press Corps 718 JOSEPHINE R. B. WRIGHT "Like die Light of Liberty": Art, Music, and Politics at the 1897 724 Tennessee State Fair, and the Long Century of African American Music AYANA SMITH Faust and the Power of Operatic Performance by African Americans 741 KRISTEN M. TURNER Atlanta's Ebenezer Choir Signifies at the Gone with the Wind Premiere 748 MARVA GRIFEIN CARTER Gender in the Life and Legacy of William Levi Dawson 754 GWYNNE KUHNER BROWN Zenobia Powell Perry's Homage for William Levi Dawson 763 HORACE J. MAXILE JR. "When and Where I Enter": Black Women Composers and the 770 Advancement of a Black Postmodern Concert Aesthetic in Cold War-Era America TAMMY L. KERNODLE Works Cited 778

Introduction

NAOMI ANDRE and DENISE VON GLAHN

On August 18,2019, the New York Times published "The 1619 Project," a multifaceted and far-reaching initiative to retell the nation's history starting not with the revolutionary events at the end of the eighteenth century but with the year the first African slaves arrived in the British colonies at the beginning of the seventeenth. The authors were all African Americans: Pulitzer Prize winners, MacArthur Fellows, writers, artists, poets, professors, and photographers. The Times devoted the entire Sunday magazine to the project, printed related stories in other sections of the paper, and provided a link to free educational resources that are available to teachers interested in bringing the ideas and materials to their classrooms. With the support of individual and foundation donors, the newspaper printed "hundreds of thousands of additional copies" of the issue to get the message out. (1) It appeared that something had changed nationally.

Indeed, we feel that something is also changing in music scholarship. In this colloquy we add to the growing discussions and concerns about music that privileges whiteness at the expense of nonwhite racial, ethnic, and other wide-ranging identities. Educators in the disciplines of musicology, ethnomusicology, and music theory have begun to raise questions not only about what is included in music canons, but also about the way such formations are constructed. With calls to decolonize the music history curriculum and to include narratives about music that were and are suppressed in much historical writing, both our textbooks and our scholarship are being queried. (2) We recognize the ground-shifting changes these efforts signify and see the work presented here as forming a coalition with these new initiatives.

The essays in this colloquy constitute a microcosm of our vision of music-related studies concerning Blackness in the United States. We aim not for a comprehensive study, but rather a series of short articles offering a range of experiences and perspectives. Some of us remember Jim Crow and the Civil Rights Movement firsthand and incorporate our memories of being Black--or non-Black--during these times. Some of us came of age in the 1980s and 1990s when we believed in equality, yet still had so far to go...

Source Citation

Source Citation   

Gale Document Number: GALE|A653624376