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La course du son : écoute, timbre et vocalité dans la musique afro-américaine -
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- Achat immédiatLa course du son : écoute, timbre et vocalité dans la musique afro-américaine
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Lieu où se trouve l'objet : Calgary, Alberta, Canada
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Estimé entre le mar. 25 juin et le mar. 2 juil. à 43230
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Numéro de l'objet eBay :364705907093
Dernière mise à jour le 18 mai 2024 01:33:13 Paris. Afficher toutes les modificationsAfficher toutes les modifications
Caractéristiques de l'objet
- État
- ISBN-13
- 9780822368687
- Book Title
- The Race of Sound
- ISBN
- 9780822368687
- Subject Area
- Music, Language Arts & Disciplines, Social Science
- Publication Name
- Race of Sound : Listening, Timbre, and Vocality in African American Music
- Publisher
- Duke University Press
- Item Length
- 9 in
- Subject
- Philosophy & Social Aspects, Instruction & Study / Voice, Recording & Reproduction, Ethnomusicology, Speech, Instruction & Study / Theory, Ethnic, Ethnic Studies / African American Studies
- Publication Year
- 2019
- Series
- Refiguring American Music Ser.
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.8 in
- Item Weight
- 13.6 Oz
- Item Width
- 6 in
- Number of Pages
- 288 Pages
À propos de ce produit
Product Identifiers
Publisher
Duke University Press
ISBN-10
0822368684
ISBN-13
9780822368687
eBay Product ID (ePID)
27038762144
Product Key Features
Number of Pages
288 Pages
Language
English
Publication Name
Race of Sound : Listening, Timbre, and Vocality in African American Music
Publication Year
2019
Subject
Philosophy & Social Aspects, Instruction & Study / Voice, Recording & Reproduction, Ethnomusicology, Speech, Instruction & Study / Theory, Ethnic, Ethnic Studies / African American Studies
Type
Textbook
Subject Area
Music, Language Arts & Disciplines, Social Science
Series
Refiguring American Music Ser.
Format
Trade Paperback
Dimensions
Item Height
0.8 in
Item Weight
13.6 Oz
Item Length
9 in
Item Width
6 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2018-022952
Reviews
This book should be required reading for faculty members everywhere. . . . By asking listeners to reflect on their assumptions . . . The Race of Sound seeks greater freedom for Black musicians and people, opening the door to new possibilities for us all., Should be required reading in music education--and no doubt it will become required reading in many academic disciplines that touch on voice studies., The Race of Sound is brimming with insight and originality. Not every chapter contributes new knowledge (e.g., Eidsheim is not the first to note that black classical singers were constrained by listener expectations), but in tandem they constitute a groundbreaking argument that should inform all listeners and be part of all music courses. If enough readers take Eidsheim's work to heart, we can begin to counter the effect of institutions that create and perpetuate the racialized voice., Eidsheim demonstrates an impressive ability to weave together different critical modes and diverse topics without faltering in her project.... New and established scholars interested in the study of race, gender, voice, and/or African American musics will find much to engage with in Eidsheim's push toward nonessentializing listening., Eidsheim provides an elaborate and powerful addition to music scholarship and sound studies as well as to humanities disciplines more broadly. . . . In exposing the plethora of mechanisms that build cultural lenses though which we hear voice, her work serves to puncture even the most trained musical ear or the deepest listener., " The Race of Sound allows us to rethink our understanding of identities through voice and thus better understand the social construction of race and gender. Brilliantly written, as approachable as it is accurate, The Race of Sound goes beyond the framework of musicology alone to embrace all cultural studies." (Translated from French), Like Eidsheim's earlier work, The Race of Sound presents meticulously researched, compelling, and detailed accounts of reception, race, and voice throughout the careers of important historical figures. The author provides ample evidence to support her groundbreaking arguments that will give readers a new understanding of how we construct voice, race, and identity every time we engage in the act of listening., The Race of Sound is ... an insightful addition to the growing body of work on the voice.... We continue to live in a time in which Black voices struggle to be heard. The Race of Sound contributes to this struggle in recognition and joins the record of activist scholarship that centres and respects Black humanity.
Illustrated
Yes
Table Of Content
Acknowledgments xi Introduction. The Acousmatic Question: Who Is This? 1 1. Formal and Informal Pedagogies: Believing in Race, Teaching Race, Hearing Race 39 2. Phantom Genealogy: Sonic Blackness and the American Operatic Timbre 61 3. Familiarity as Strangeness: Jimmy Scott and the Question of Black Timbral Masculinity 91 4. Race as Zeros and Ones: Vocaloid Refused, Reimagined, and Repurposed 115 5. Bifurcated Listening: The Inimitable, Imitated Billie Holiday 151 6. Widening Rings of Being: The Singer as Stylist and Technician 177 Appendix 201 Notes 205 Bibliography 243 Index 259
Synopsis
In The Race of Sound Nina Sun Eidsheim traces the ways in which sonic attributes that might seem natural, such as the voice and its qualities, are socially produced. Eidsheim illustrates how listeners measure race through sound and locate racial subjectivities in vocal timbre--the color or tone of a voice. Eidsheim examines singers Marian Anderson, Billie Holiday, and Jimmy Scott as well as the vocal synthesis technology Vocaloid to show how listeners carry a series of assumptions about the nature of the voice and to whom it belongs. Outlining how the voice is linked to ideas of racial essentialism and authenticity, Eidsheim untangles the relationship between race, gender, vocal technique, and timbre while addressing an undertheorized space of racial and ethnic performance. In so doing, she advances our knowledge of the cultural-historical formation of the timbral politics of difference and the ways that comprehending voice remains central to understanding human experience, all the while advocating for a form of listening that would allow us to hear singers in a self-reflexive, denaturalized way., Examining singers Marian Anderson, Billie Holiday, and Jimmy Scott as well as vocal synthesis technology, Nina Sun Eidsheim traces the ways in which the voice and its qualities are socially produced and how listeners assign a series of racialized and gendered set of assumptions to a singing voice.
LC Classification Number
ML3917.U6E35 2018
ebay_catalog_id
4
Copyright Date
2018
Description de l'objet fournie par le vendeur
Informations sur le vendeur professionnel
Premier Books LLC
David Taylor
26C Trolley Sq
19806-3356 Wilmington, DE
United States
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Le vendeur assume l'entière responsabilité de cette annonce.
Numéro de l'objet eBay :364705907093
Dernière mise à jour le 18 mai 2024 01:33:13 Paris. Afficher toutes les modificationsAfficher toutes les modifications
Livraison et expédition
Lieu où se trouve l'objet :
Calgary, Alberta, Canada
Destination :
Monde entier
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