LEADER 00000cam a2200637 i 4500
001 on1163964026
003 OCoLC
005 20210616040117.0
008 210114t20212021ncua b 001 0 eng
010 2020032092
015 GBC150571|2bnb
016 7 020146294|2Uk
019 1163957713
020 9781478011941|qhardcover
020 1478011947|qhardcover
020 9781478014089|qpaperback
020 1478014083|qpaperback
020 |z9781478021391|qelectronic book
035 (OCoLC)1163964026|z(OCoLC)1163957713
040 NcD/DLC|beng|erda|cDLC|dOCLCO|dOCLCF|dUKMGB|dERASA|dYDX
|dQX7
042 pcc
043 n-us---
049 CKEA
050 00 ML3477|b.W457 2021
082 00 782.421640973|223
100 1 Weisbard, Eric,|eauthor.
245 10 Songbooks :|bthe literature of American popular music /
|cEric Weisbard.
264 1 Durham :|bDuke University Press,|c2021.
264 4 |c©2021
300 xxii, 530 pages :|billustrations ;|c24 cm.
336 text|btxt|2rdacontent
337 unmediated|bn|2rdamedia
338 volume|bnc|2rdacarrier
490 1 Refiguring American music
504 Includes bibliographical references and index.
505 0 Setting the Scene -- The Jazz Age -- Midcentury Icons --
Vernacular Counterculture -- After the Revolution -- New
Voices, New Methods -- Topics in Progress.
505 0 Part I: Setting the scene -- First writer, of music and
music: William Billings, The New-England Psalm-Singer,
1770 -- Blackface minstrelsy extends its twisted roots:
T.D. Rice, "Jim Crow," c. 1832 -- Shape-note singing and
early country: B. F. White and E. J. King, The Sacred Harp,
1844 -- Music in captivity: Solomon Northup, Twelve Years
a Slave, 1853 -- Champion of the white male vernacular:
Walt Whitman, Leaves of Grass, 1855 -- Notating spirituals
: William Francis Allen, Charles Pickard Ware, and Lucy
McKim Garrison, eds., Slave Songs of the United States,
1867 -- First Black music historian: James Trotter, Music
and Some Highly Musical People: The Lives of Remarkable
Musicians of the Colored RAce, 1878 -- Child ballads and
folklore: Francis James Child, The English and Scottish
Popular Ballads, 1882-1898 -- Women not inventing
ethnomusicology: Alice C. Fletcher, A Study of Omaha
Indian Music, 1893 -- First hist songwriter, from pop to
folk and back again: Morrison Foster, Biography, Songs and
Musical Compositions of Stephen C. Foster, 1896 --
Novelist of urban pop longings: Theodore Dreiser, Sister
Carrie, 1900 -- Americana emerges: Emma Bell Miles, The
Spirit of the Mountains, 1905 -- Documenting the story: O.
G. Sonneck, Bibliography of Early Secular American Music,
1905 -- Tin Pan Alley's sheet music biz: Charles K. Harris,
How to Write a Popular song, 1906 -- First family of folk
collecting: John A. Lomax, Cowboy Songs and Other Frontier
Ballads, 1910 -- Proclaiming Black modernity: James Weldon
Johnson, The Autobiography of an Ex-Colored Man, 1912 --
Songcatching in the mountains: Olive Dame Campbell and
Cecil J. Sharp, English Folk Songs from the Southern
Appalachians, 1917.
505 0 Part II: The jazz age -- Stories for the slicks: F. Scott
Fitzgerald, Flappers and Philosophers, 1920 -- Remembering
the first Black star: Mabel Rowland, ed., Bert Williams,
Son of Laughter, 1923 -- Magazine criticism across popular
genres: Gilbert Seldes, The Seven Lively Arts, 1924 --
Harlem Renaissance: Alain Locke, ed., The New Negro: An
Interpretation, 1925 -- Tin Pan Alley's standards setter:
Alexander Woollcott, The Story of Irving Berlin, 1925 --
Broadway musical as supertext: Edna Ferber, Show Boar,
1926 -- Father of the blues in Print: W. C. Handy, Ed.,
Blues: An Anthology, 1926 -- Poet of the blare and racial
mountain: Langston Hughes, The Weary Blues, 1926 --
Blessed immortal, forgotten songwriter: Carrie Jacobs-Bond,
The Roads of Melody, 1927 -- Tune detective and expert
explainer: Sigmund Spaeth, Read 'Em and Weep: The Songs
You Forgot to Remember, 1927 -- Pop's first history lesson
: Isaac Goldberg, Tin Pan Alley: A Chronicle of the
American Popular Music Racket, 1930 -=- Roots intellectual
: Constance Rourke, American Humor: A Study of the
National Character, 1931 -- Jook ethnography, inventing
Black music studies: Zora Neal Hurston, Mules and Men,
1935 -- What he played came first: Louis Armstrong, Swing
That Music, 1936 -- Jazz's original novel: Dorothy Baker,
Young Man with a Horse -- Introducing jazz critics:
Frederic Ramsey Jr. and Charles Edward Smith, eds.,
Jazzmen, 1939.
505 0 Part III: Midcentury icons -- Folk embodiment: Woody
Guthrie, Bound for Glory, 1942 -- A hack story soldiers
took to war: David Ewen, Man of Popular Music, 1944 --
From immigrant Jew to red hot mama: Sophie Tucker, Some of
These Days, 1945 -- White Negro drug dealer: Mezz Mezzrow
and Bernard Wolfe, Really the blues, 1946 -- Composer of
tone parallels: Barry Ulanov, Duke Ellington, 1946 --
Jazz's precursor as pop and art: Rudi Blesh and Harriet
Janis, They All Played Ragtime: The True Story of an
American Music, 1950 -- Field Recording in the Library of
Congress: Alan Lomax, Mister Jelly Roll: The Fortunes of
Jelly Roll Morton, New Orleans Creole and "Inventor" of
Jazz, 1950 -- Dramatizing Blackness from a distance: Ethel
Waters with Charles Samuels, His Eye Is on the Sparrow,
1951 -- Centering vernacular song: Gilbert Chase,
America's Music, 1955 -- Writing about records: Roland
Gelart, The Fabulous Phonograph: From Tin Foil to High
Fidelity, 1955 -- Collective oral history to document
scenes: Nat Shapiro and Nat Hentoff, eds., Hear Me Talkin'
to Ya: The Story of Jazz as Told by the Men Who Made It,
1955 -- The greatest jazz singer's star text: Billie
Holiday with William Dufty, Lady Sings the Blues, 1956 --
Beat generation: Jack Kerouac, On the Road, 1957 --
Borderlands folklore and transnational imaginaries:
Americo Paredes, "With His Pistol in His Hands": A Border
Ballad and Its Hero, 1958 -- New Yorker critic of a genre
becoming middlebrow: Whitney Balliett, The Sound of
Surprise: 46 Pieces on Jazz, 1959.
520 "Songbooks, a critical guide to American popular music
writing, unfolds chronologically, with entries on authors,
artists, and topics beginning with William Billings's 1770
New-England Psalm-Singer. Outsiders proliferate in these
pages: women and/or writers of color, authors displaced by
sexuality, self-educated scholars, elites deviating from
norms. Their work routinely took non-academic shapes:
compilations of songs, memoirs and biographies, fiction
and magazine essays. Others fought within the academy to
establish fields like ethnomusicology and jazz studies.
Drawing on his background as a Village Voice music critic
and as the longtime organizer of the Pop Conference, Eric
Weisbard offers an important corrective to a fragmented
field"--|cProvided by publisher.
650 0 Popular music|zUnited States|xHistory and criticism.
650 0 Popular music|zUnited States|xHistoriography.
650 7 Popular music.|2fast|0(OCoLC)fst01071422
650 7 Popular music|xHistoriography.|2fast|0(OCoLC)fst01920673
651 7 United States.|2fast|0(OCoLC)fst01204155
655 7 Criticism, interpretation, etc.|2fast|0(OCoLC)fst01411635
776 08 |iOnline version:|aWeisbard, Eric|tSongbooks|dDurham :
Duke University Press, 2021.|z9781478021391|w(DLC)
2020032093
830 0 Refiguring American music.
994 C0|bCKE
