Noise Uprising

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Michael Denning is the William R. Kenan, Jr., Professor of American Studies at Yale University, and the co-director of Yale’s Initiative on Labor and Culture. He is the author of Culture in the Age of Three Worlds; The Cultural Front: The Laboring of American Culture in the Twentieth Century; Mechanic Accents: Dime Novels and Working-Class Culture in America; and Cover Stories: Narrative and Ideology in the British Spy Thriller. He coordinates the Working Group on Globalization and Culture, whose collective work includes “Going into Debt,” published online in Social Text’s Periscope, and “Spaces and Times of Occupation,” published in Transforming Anthropology. In 2014, he received the Bode-Pearson lifetime achievement award from the American Studies Association.

出版者:Verso
作者:Michael Denning
出品人:
頁數:320
译者:
出版時間:2015-5-1
價格:USD 24.95
裝幀:Paperback
isbn號碼:9781781688564
叢書系列:
圖書標籤:
  • 音樂 
  • 音樂史 
  • 美學 
  • 文化 
  • 曆史 
  • sound 
  • denning 
  • colonial_ports 
  •  
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A radically new reading of the origins of recorded music

Noise Uprising brings to life the moment and sounds of a cultural revolution. Between the development of electrical recording in 1925 and the outset of the Great Depression in the early 1930s, the soundscape of modern times unfolded in a series of obscure recording sessions, as hundreds of unknown musicians entered makeshift studios to record the melodies and rhythms of urban streets and dancehalls. The musical styles and idioms etched onto shellac disks reverberated around the globe: among them Havana’s son, Rio’s samba, New Orleans’ jazz, Buenos Aires’ tango, Seville’s flamenco, Cairo’s tarab, Johannesburg’s marabi, Jakarta’s kroncong, and Honolulu’s hula. They triggered the first great battle over popular music and became the soundtrack to decolonization.

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講殖民主義帶來的世界音樂因子,在奧蘭多等殖民港口,多文化的融閤和大清洗中,誕生瞭美國藍調音樂和爵士樂

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講殖民主義帶來的世界音樂因子,在奧蘭多等殖民港口,多文化的融閤和大清洗中,誕生瞭美國藍調音樂和爵士樂

评分

講殖民主義帶來的世界音樂因子,在奧蘭多等殖民港口,多文化的融閤和大清洗中,誕生瞭美國藍調音樂和爵士樂

评分

講殖民主義帶來的世界音樂因子,在奧蘭多等殖民港口,多文化的融閤和大清洗中,誕生瞭美國藍調音樂和爵士樂

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從the electrification of music來提供二十世紀初的反/殖民主義世界史。Verso齣品,框架是Marxism也不難想象,然而作者claim說要在阿多諾、布洛赫和Attali的critical Marxist approach之外來一個alternative的解讀,我看瞭那一部分好幾遍也沒有明白到底是怎麼樣的alternative.....

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