Segregating Sound

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  • Format: Paperback
  • Copyright: 2010-01-21
  • Publisher: Duke Univ Pr
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InSegregating Sound, Karl Hagstrom Miller argues that the categories that we have inherited to think and talk about southern music bear little relation to the ways that southerners long played and heard music. Focusing on the late nineteenth century and the early twentieth, Miller chronicles how southern music-a fluid complex of sounds and styles in practice-was reduced to a series of distinct genres linked to particular racial and ethnic identities. The blues were African American. Rural white southerners played country music. By the 1920s, these depictions were touted in folk song collections and the catalogs of "race" and "hillbilly" records produced by the phonograph industry. Such links among race, region, and music were new. Black and white artists alike had played not only blues, ballads, ragtime, and string band music, but also nationally popular sentimental ballads, minstrel songs, Tin Pan Alley tunes, and Broadway hits.In a cultural history filled with musicians, listeners, scholars, and business people, Miller describes how folklore studies and the music industry helped to create a "musical color line," a cultural parallel to the physical color line that came to define the Jim Crow South. Segregated sound emerged slowly through the interactions of southern and northern musicians, record companies that sought to penetrate new markets across the South and the globe, and academic folklorists who attempted to tap southern music for evidence about the history of human civilization. Contending that peoplers"s musical worlds were defined less by who they were than by the music that they heard, Miller challenges assumptions about the relation of race, music, and the market.

Table of Contents

Acknowledgmentsp. VII
Introductionp. 1
Tin Pan Alley on tourp. 23
The Southern Embrace of Commercial Music
Making Money Making Musicp. 51
The Education of Southern Musicians in Local Markets
Isolating Folk, Isolating Songsp. 85
Reimagining Southern Music as Folklore
Southern Musicians and the Lure of New York Cityp. 121
Representing the South from Coon Songs to the Blues
Talking Machine Worldp. 157
Discovering Local Music in the Global Phonograph Industry
Race Records and old-time Musicp. 187
The Creation of Two Marketing Categories in the 1920s
Black Folk and Hillbilly Popp. 215
Industry Enforcement of the Musical Color Line
Reimagining Pop Tunes as Folk Songsp. 241
The Ascension of the Folkloric Paradigm
Afterword "All Songs is Folk Songs"p. 275
Notesp. 283
Bibliographyp. 327
Indexp. 351
Table of Contents provided by Ingram. All Rights Reserved.

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