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Music on the Move

Danielle Fosler-Lussier
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Music is a mobile art. When people move to faraway places, whether by choice or by force, they bring their music along. Music creates a meaningful point of contact for individuals and for groups; it can encourage curiosity and foster understanding; and it can preserve a sense of identity and comfort in an unfamiliar or hostile environment. As music crosses cultural, linguistic, and political boundaries, it continually changes. While human mobility and mediation have always shaped music-making, our current era of digital connectedness introduces new creative opportunities and inspiration even as it extends concerns about issues such as copyright infringement and cultural appropriation.

 

With its innovative multimodal approach, Music on the Move invites readers to listen and engage with many different types of music as they read. The text introduces a variety of concepts related to music's travels—with or without its makers—including colonialism, migration, diaspora, mediation, propaganda, copyright, and hybridity. The case studies represent a variety of musical genres and styles, Western and non-Western, concert music, traditional music, and popular music. Highly accessible, jargon-free, and media-rich, Music on the Move is suitable for students as well as general-interest readers.

 
  • Cover
  • Title Page
  • Copyright Page
  • Contents
  • Preface
  • Media Chronology
  • Introduction
  • Part 1: Migration
    • Chapter 1. Colonialism in Indonesia
    • Chapter 2. The Romani Diaspora in Europe
    • Chapter 3. The African Diaspora in the United States
  • Part 2: Mediation
    • Chapter 4. Sound Recording and the Mediation of Music
    • Chapter 5. Music and Media in the Service of the State
  • Part 3: Mashup
    • Chapter 6. Composing the Mediated Self
    • Chapter 7. Copyright, Surveillance, and the Ownership of Music
    • Chapter 8. Localizations
    • Conclusion
  • Notes
  • Selected Bibliography
  • Index
Open access version made available with the support of The Ohio State University Libraries, as part of the TOME initiative
Citable Link
Published: 2020
Publisher: University of Michigan Press
License: Creative Commons Attribution-NonCommercial 4.0 International license
ISBN(s)
  • 978-0-472-90128-9 (open access)
  • 978-0-472-07450-1 (hardcover)
  • 978-0-472-05450-3 (paper)
Subject
  • Music

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Music on the Move: Trans-Atlantic Slave Trade Voyages between 1580 and 1860

From Chapter 3

Fig. 3.1. Music on the Move: Trans-Atlantic Slave Trade Voyages. Map by Eric Fosler-Lussier. This map depicts the transportation of enslaved people from Africa as listed in The Trans-Atlantic Slave Trade Database in the decades between 1580 and 1860, grouped by regions where they arrived. White boxes and dashed lines indicate departures; black boxes and solid lines indicate arrivals. Voyages for which the major place of sale could not be imputed were removed from this visualization: the number of enslaved people who did not arrive at their destination (many died, but some possibly escaped) is represented by the difference in the number of persons leaving Africa and those arriving at destination ports. The excellent database at slavevoyages.org describes the research behind this map and more detailed visualizations. (See https://doi.org/10.3998/mpub.9853855.cmp.31)

Audio File Icon

Mississippi Matilda Powell, “Hard Working Woman”

From Chapter 3

Example 3.1. Mississippi Matilda Powell with guitarists Sonny Boy Nelson and Willie Harris, Jr., “Hard Working Woman,” recorded 1936 in New Orleans. Mississippi Blues Volume 3, 1939-1940 (Document Records DOCD-5671, 2002). Used by permission.

Audio File Icon

Big Joe Williams, Stack O'Dollars

From Chapter 3

Example 3.4. Excerpt from Big Joe Williams, “Stack O’Dollars,” played on a guitar, a one-string fiddle, and a washboard. Recorded in Chicago, 1935 (Document Records BDCD-6003, 1991). See also Youtube: https://www.youtube.com/watch?v=RkQe0HqnKyw

Audio File Icon
Open external resource at https://open.spotify.com

Blue Spring Missionary Baptist Association Delegation, “Traditional Prayer with Moans”

From Chapter 3

Audio File Icon
Open external resource at https://open.spotify.com

United Southern Prayer Band of Baltimore, “Give Me Jesus”

From Chapter 3

Audio File Icon

“Guide Me O Thou Great Jehovah,” Ike Caudill leading the Indian Bottom Old Regular Baptist Association congregation

From Chapter 3

Example 3.7. “Guide Me O Thou Great Jehovah,” Ike Caudill leading the Indian Bottom Old Regular Baptist Association congregation, Letcher County, Kentucky. From the Alan Lomax Collection at the American Folklife Center, Library of Congress. Courtesy of the Association for Cultural Equity.

Audio File Icon

Fisk Jubilee Singers, “Deep River"

From Chapter 3

Example 3.8. Fisk Jubilee Singers, “Deep River.” Fisk University Jubilee Singers, in chronological order, vol. 3, 1924-1940 (Document Records DOCD-5535, 1997). Used by permission.

Audio File Icon
Open external resource at https://open.spotify.com

Sometimes I Feel Like a Motherless Child

From Chapter 3

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Open external resource at https://open.spotify.com

Harry Burleigh, arr. “Wade in the Water”

From Chapter 3

Audio File Icon

Florence Price, "Fantasie nègre" (Black fantasy)

From Chapter 3

Example 3.11. Florence Price, "Fantasie nègre" (Black fantasy), performed by Samatha Ege. Used by permission.

Audio File Icon

Margaret Bonds, "Troubled Water"

From Chapter 3

Example 3.12. Margaret Bonds, "Troubled Water," performed by Samantha Ege. Four Women: Music for Piano by Price, Kaprálová, Bilsland, and Bonds (Wave Theory Records, 2018). Used by permission.

Audio File Icon

"Polka Wiewórka" (Squirrel Polka)

From Chapter 4

Example 4.2. Excerpt from "Polka Wiewórka" (Squirrel Polka), with Stanisław Kosiba, clarinet (Victor 80475, 1927). Youtube: https://www.youtube.com/watch?v=MDyI0WV6gEk

Fig. 4.3. Boulton, standing, works a phonograph machine; the Sikvayugak brothers, seated, hold large frame drums.

The Sikvayugak brothers perform as Laura Boulton makes a recording

From Chapter 4

Fig. 4.3. The Sikvayugak brothers perform as Laura Boulton makes a recording. Courtesy of the Archives of Traditional Music at Indiana University.

Audio File Icon

"The Sheik of Araby," performed by Sidney Bechet's One Man Band

From Chapter 4

Example 4.5. Excerpt from "The Sheik of Araby," performed by Sidney Bechet's One Man Band (Victor 27485-A, 1941). Youtube: https://www.youtube.com/watch?v=cbT3m9JcOIw

Audio File Icon

Halim El-Dabh, excerpt from “Ta’bir al-Zar” (“The Expression of Zar”)

From Chapter 4

Example 4.6. Halim El-Dabh, “Ta’bir al-Zar” (“The Expression of Zar”). Excerpt under the title “Wire Recorder Piece” on Crossing into the Electric Magnetic (Halim El-Dabh Records, LLC, 2001). Reproduced by kind permission of Deborah El-Dabh.

Audio File Icon
Open external resource at https://open.spotify.com

Steven Feld, “Making Sago”

From Chapter 4

Fig. 5.2. Robeson, a tall and dignified black man wearing a double-breasted suit, with mouth open to sing, is surrounded by a dense crowd of casually dressed men of various skin tones.

Paul Robeson leads shipyard workers in singing the Star Spangled Banner

From Chapter 5

Fig. 5.2. Paul Robeson leads shipyard workers in singing “The Star-Spangled Banner.” National Archives of the United States, via Wikimedia Commons.

Homeless

From Chapter 6

Example 6.2. Excerpt from Paul Simon and Ladysmith Black Mambazo, “Homeless,” Graceland (Warner Brothers 9 25447-2, 1986).

Diamonds on the Soles of Her Shoes, 2

From Chapter 6

Example 6.5. Second excerpt from Paul Simon and Ladysmith Black Mambazo, “Diamonds on the Soles of her Shoes,” Graceland (Warner Brothers 9 25447-2, 1986).

Fig. 6.1. Paul Simon sitting at a mixing board in a recording studio, manipulating the controls and listening intently.

Paul Simon at the mixing board

From Chapter 6

Fig. 6.1. Paul Simon at the mixing board. Still from Classic Albums: Paul Simon Graceland (DVD, Eagle Rock Entertainment/Isis Productions, 1997).

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