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Mediating Sounds : = Race, Musical Appropriation, and Literary Intervention in the Cold War.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Mediating Sounds :/
Reminder of title:	Race, Musical Appropriation, and Literary Intervention in the Cold War.
Author:	Schuster, Adam.
Description:	1 online resource (242 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-03, Section: A.
Contained By:	Dissertations Abstracts International84-03A.
Subject:	American literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29321481click for full text (PQDT)
ISBN:	9798841719045

Mediating Sounds : = Race, Musical Appropriation, and Literary Intervention in the Cold War.
Schuster, Adam.

Mediating Sounds :Race, Musical Appropriation, and Literary Intervention in the Cold War. - 1 online resource (242 pages)

Source: Dissertations Abstracts International, Volume: 84-03, Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2022.

Includes bibliographical references

This dissertation explores how postwar black artists turned to literature to intervene on the racial scripts that redefined and coopted black music during the mid-twentieth century. I argue that artists like Big Bill Broonzy, Langston Hughes, Louis Armstrong, and Sun Ra intervened on these musico-racial discourses and responded to appropriation of the blues and jazz by turning to literary forms like poetry, the musical, and autobiography. By embracing forms of aesthetic border crossing-what I term intermediality-these artists refashioned responses to appropriation, neither entrenching themselves in essence nor closing off aesthetic exchange across racial divides. Instead, they reimagined and redefined this music and exceeded prescriptive understandings of racial belonging. My project intervenes on Cold War logics that occlude alternative forms of political engagement and imagination, offering an alternative account of appropriation's effects wherein new aesthetic forms were developed and new political and social attachments pursued.Chapter one examines Big Bill Broonzy's alternative constructions of the growing 1950s blues archive. Analyzing archived recordings and Broonzy's autobiography, I reveal Broonzy's counterarchival approach, which indulges romantic recastings of the blues while simultaneously undermining those stereotypes fashioned at this time. Chapter two analyzes Louis Armstrong's musical The Real Ambassadors to show how artists touring for the US government distanced themselves from the state's imperial interests. I reveal how the musical's narration and music intersect and re-envision the songs' discursive power, modeling a form of intervention that interrogates and reconfigures the state's mobilization of jazz. Chapter three examines Langston Hughes's Ask Your Mama, arguing that the text's intersection of music and poetry invoke a form of cosmopolitanism that negotiates alterity and re-examines inherited attachments, whether cultural, racial, or national. The final chapter focuses on the 1970s sound poetry of musician Sun Ra. Conceiving of bodies as vibration, Ra translates the newly-invented analog synthesizer into a relational model whereby bodies might be better coordinated to fit a collective, non-identitarian "sound." Through a turn to literary forms, these artists expanded what this music could mean, who it could speak to and how, and what other possibilities for belonging might lie beyond liberal integration and racial consolidation.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798841719045Subjects--Topical Terms:

523234
American literature.
Subjects--Index Terms:

AppropriationIndex Terms--Genre/Form:

542853
Electronic books.

Mediating Sounds : = Race, Musical Appropriation, and Literary Intervention in the Cold War.
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520 $a This dissertation explores how postwar black artists turned to literature to intervene on the racial scripts that redefined and coopted black music during the mid-twentieth century. I argue that artists like Big Bill Broonzy, Langston Hughes, Louis Armstrong, and Sun Ra intervened on these musico-racial discourses and responded to appropriation of the blues and jazz by turning to literary forms like poetry, the musical, and autobiography. By embracing forms of aesthetic border crossing-what I term intermediality-these artists refashioned responses to appropriation, neither entrenching themselves in essence nor closing off aesthetic exchange across racial divides. Instead, they reimagined and redefined this music and exceeded prescriptive understandings of racial belonging. My project intervenes on Cold War logics that occlude alternative forms of political engagement and imagination, offering an alternative account of appropriation's effects wherein new aesthetic forms were developed and new political and social attachments pursued.Chapter one examines Big Bill Broonzy's alternative constructions of the growing 1950s blues archive. Analyzing archived recordings and Broonzy's autobiography, I reveal Broonzy's counterarchival approach, which indulges romantic recastings of the blues while simultaneously undermining those stereotypes fashioned at this time. Chapter two analyzes Louis Armstrong's musical The Real Ambassadors to show how artists touring for the US government distanced themselves from the state's imperial interests. I reveal how the musical's narration and music intersect and re-envision the songs' discursive power, modeling a form of intervention that interrogates and reconfigures the state's mobilization of jazz. Chapter three examines Langston Hughes's Ask Your Mama, arguing that the text's intersection of music and poetry invoke a form of cosmopolitanism that negotiates alterity and re-examines inherited attachments, whether cultural, racial, or national. The final chapter focuses on the 1970s sound poetry of musician Sun Ra. Conceiving of bodies as vibration, Ra translates the newly-invented analog synthesizer into a relational model whereby bodies might be better coordinated to fit a collective, non-identitarian "sound." Through a turn to literary forms, these artists expanded what this music could mean, who it could speak to and how, and what other possibilities for belonging might lie beyond liberal integration and racial consolidation.
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653 $a Blues
653 $a Cold War
653 $a Intermediality
653 $a Jazz
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710 2 $a The University of Wisconsin - Madison. $b English. $3 2049862
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