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Soundworks: Race, Sound, and Poetry in Production by Anthony Reed: New
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Specificaties
- Objectstaat
- Book Title
- Soundworks: Race, Sound, and Poetry in Production
- Publication Date
- 2021-01-08
- Pages
- 280
- ISBN
- 9781478011279
- Subject Area
- Music, Social Science
- Publication Name
- Soundworks : Race, Sound, and Poetry in Production
- Publisher
- Duke University Press
- Item Length
- 8.9 in
- Subject
- Genres & Styles / Jazz, Ethnic Studies / African American Studies
- Publication Year
- 2021
- Series
- Refiguring American Music Ser.
- Type
- Textbook
- Format
- Trade Paperback
- Language
- English
- Item Height
- 0.7 in
- Item Weight
- 14.1 Oz
- Item Width
- 6 in
- Number of Pages
- 280 Pages
Over dit product
Product Identifiers
Publisher
Duke University Press
ISBN-10
1478011270
ISBN-13
9781478011279
eBay Product ID (ePID)
27050381324
Product Key Features
Number of Pages
280 Pages
Publication Name
Soundworks : Race, Sound, and Poetry in Production
Language
English
Subject
Genres & Styles / Jazz, Ethnic Studies / African American Studies
Publication Year
2021
Type
Textbook
Subject Area
Music, Social Science
Series
Refiguring American Music Ser.
Format
Trade Paperback
Dimensions
Item Height
0.7 in
Item Weight
14.1 Oz
Item Length
8.9 in
Item Width
6 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
2020-027632
Reviews
Anthony Reed adds his instrument to the slowly swelling chorus of intently listening, jazzed readers and critics. We've gone from the veritable whisper to a scream, and now is the time to consider the black media concept we have been inhabiting. Reed argues for an 'overhearing,' a phonographic mode of what he terms disalienation. Baraka called it 'word-music' form. Whatever we term it, it remains Black soundwork. Give it a listen., Anthony Reed adds his instrument to the slowly swelling chorus of intently listening, jazzed readers and critics. We've gone from the veritable whisper to a scream, and now is the time to consider the Black Media Concept we have been inhabiting. Reed argues for an 'overhearing,' a phonographic mode of what he terms disalienation. Baraka called it 'word-music' form. Whatever we term it, it remains Black soundwork. Give it a listen., Offering a new way of thinking about black soundwork as an understanding of text, Anthony Reed makes a deep theoretical intervention in black studies by opening up the role of recordings in the black aesthetic avant-garde. The beauty and appeal of Soundworks lies in Reed's fresh focus on the records that allow us to hear the more ephemeral and unrecordable situation of blackness., A critical contribution to music, jazz, and Black studies in particular. . . . A richly poetic text, whose depth and subtlety rewards patient, repeated engagement., The conceptualization of soundwork as both a textual and auditory practice is perhaps the most revelatory contribution made by Reed's book, for it is a concept whose salience extends beyond phonographic poetry or black radical performance. . . . Across the book, Reed balances heady theoretical imaginings of contingent practices of freedom with attentive close listening to mediated forms of black sound., The most satisfying aspects of Soundworks are found in Reed's analysis of the recordings and performances he examines. Moreover, it is these sections that contain Reed's best writing. He seems able to match the tone of his analysis and description of the musical and poetic personalities of these artists, and his enthusiasm for their art is evident., Reed's work . . . clears needed space to think through Black creative production on its own terms, and likewise, to see its revolutionary and radical ambitions as immanent expressions of Black soundwork. Overall, Soundworks offers a rich and nuanced account of media and materiality that will aid scholars in rethinking the conceptual tools and labor with which we approach Black music., It is significant that Reed describes this work as re creation, and that he highlights the significance of remediation in Black soundwork. One of this book's key innovations is that it is a media history of poetry, and an examination of poetry's work as mediation., [T]his book is a vital addition to the growing secondary literature about the jazz-poetry interface. . . . Reed is certainly qualified to address this topic, because in addition to being an established scholar he writes poetry and is a musician. Highly recommended. Upper-division undergraduates through faculty.
Dewey Edition
23
Dewey Decimal
811.009896073
Table Of Content
Acknowledgments ix Introduction. Black Sonic: Textuality 1 1. Voice Prints: Toward a Black Media Concept 23 2. Communities in Transition: A Poetics of Black Communism 61 3. Tomorrow is the Question! Amiri Baraka's Poetics for a Post-Revolutionary Age 103 4. Body/Language: The Semiotics and Poetics of Improvisation and Black Embodiment 143 Coda. No Simple Explanations 181 Notes 195 Bibliography 235 Index 251
Synopsis
In Soundworks Anthony Reed argues that studying sound requires conceiving it as process and as work. Since the long Black Arts era (ca. 1958-1974), intellectuals, poets, and musicians have defined black sound as radical aesthetic practice. Through their recorded collaborations as well as the accompanying interviews, essays, liner notes, and other media, they continually reinvent black sound conceptually and materially. Soundwork is Reed's term for that material and conceptual labor of experimental sound practice framed by the institutions of the culture industry and shifting historical contexts. Through analyses of Langston Hughes's collaboration with Charles Mingus, Amiri Baraka's work with the New York Art Quartet, Jayne Cortez's albums with the Firespitters, and the multimedia projects of Archie Shepp, Matana Roberts, Cecil Taylor, and Jeanne Lee, Reed shows that to grasp black sound as a radical philosophical and aesthetic insurgence requires attending to it as the product of material, technical, sensual, and ideological processes., Anthony Reed takes the recorded collaborations between African American poets and musicians such as Amiri Baraka, Jayne Cortez, Cecil Taylor, and Charles Mingus to trace the overlaps between experimental music and poetry and the ways in which intellectuals, poets, and musicians define black sound as a radical aesthetic practice.
LC Classification Number
PN56.M87R443 2021
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