FOLKLORE
2020
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UNLIKELY ANGEL
The Songs of Dolly Parton
LYDIA R. HAMESSLEY Foreword by Steve Buckingham The creative process of a great American songwriter “Lydia Hamessley invites us on a deep dive into the world of Dolly Parton as songwriter. The book weaves together insightful analyses of the musical forms, cultural roots, and meanings found in Parton’s vast catalog, with Parton’s own accounts of her music. Hamessley unveils these songs as the heart and substance of Parton’s contributions to popular culture, and will inspire every reader to take yet another listen.” —JOCELYN R. NEAL, author of Country Music: A Cultural and Stylistic History Dolly Parton’s success as a performer and pop culture phenomenon has overshadowed her achievements as a songwriter. But she sees herself as a songwriter first, and with good reason. Parton’s compositions like “I Will Always Love You” and “Jolene” have become American standards with an impact far beyond country music.
296 PAGES. 6.125 X 9.25 INCHES 31 BLACK & WHITE PHOTOGRAPHS, 1 MUSIC EXAMPLE, 5 TABLES
HARDCOVER, 978-0-252-04352-9 $125.00x £100.00
Lydia R. Hamessley’s expert analysis and Parton’s characteristically straightforward input inform this comprehensive look at the process, influences, and themes that have shaped the superstar’s songwriting artistry. Hamessley reveals how Parton’s loving, hardscrabble childhood in the Smoky Mountains provided the musical language, rhythms, and memories of old-time music that resonate in so many of her songs. Hamessley further provides an understanding of how Parton combines her cultural and musical heritage with an artisan’s sense of craft and design to compose eloquent, painfully honest, and gripping songs about women’s lives, poverty, heartbreak, inspiration, and love.
PAPER, 978-0-252-08542-0 $19.95 £14.99 E-BOOK, 978-0-252-05240-8 A volume in the series Women Composers All rights: University of Illinois
Filled with insights on hit songs and less familiar gems, Unlikely Angel covers the full arc of Dolly Parton’s career and offers an unprecedented look at the creative force behind the image. LYDIA R. HAMESSLEY is a professor of music at Hamilton College.
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INDUSTRIAL STRENGTH BLUEGRASS
Southwestern Ohio’s Musical Legacy
Edited by FRED BARTENSTEIN and CURTIS W. ELLISON Foreword by Neil V. Rosenberg High lonesome in the heartland “A new urban folk music, nurtured and shaped by a folk community in an industrial setting, has made the world familiar with southwestern Ohio’s bluegrass. Many facets of the region’s rich musical heritage are explored and celebrated in this book, a welcome addition to the literature on bluegrass.” —NEIL V. ROSENBERG, from the foreword In the twentieth century, Appalachian migrants seeking economic opportunities relocated to southwestern Ohio, bringing their music with them. Between 1947 and 1989, they created an internationally renowned capital for the thriving bluegrass music genre, centered on the industrial region of Cincinnati, Dayton, Hamilton, Middletown, and Springfield. Fred Bartenstein and Curtis W. Ellison edit a collection of eyewitness narratives and in-depth analyses that explore southwestern Ohio’s bluegrass musicians, radio broadcasters, recording studios, record labels, and performance venues, along with the music’s contributions to religious activities, community development, and public education. As the bluegrass scene grew, southwestern Ohio’s distinctive sounds reached new fans and influenced those everywhere who continue to play, produce, and love roots music.
272 PAGES. 6.125 X 9.25 INCHES 112 BLACK & WHITE PHOTOGRAPHS, 1 CHART
HARDCOVER, 978-0-252-04364-2 $110.00x £88.00 PAPER, 978-0-252-08560-4 $29.95s £22.99 E-BOOK, 978-0-252-05253-8 A volume in the series Music in American Life
Revelatory and multifaceted, Industrial Strength Bluegrass shares the inspiring story of a bluegrass hotbed and the people who created it.
Publication supported by a grant from the Judith McCulloh Endowment for American Music.
Contributors: Fred Bartenstein, Curtis W. Ellison, Jon Hartley Fox, Rick Good, Lily Isaacs, Ben Krakauer, Mac McDivitt, Nathan McGee, Daniel Mullins, Joe Mullins, Larry Nager, Phillip J. Obermiller, Bobby Osborne, and Neil V. Rosenberg.
All rights: University of Illinois
FRED BARTENSTEIN is an adjunct instructor in music at the University of Dayton. He is the editor of Bluegrass Bluesman, The Bluegrass Hall of Fame, and two anthologies of writings by folk arts impresario Joe Wilson. CURTIS W. ELLISON is a professor emeritus of history and American studies at Miami University. He is the author of Country Music Culture: From Hard Times to Heaven and editor of Donald Davidson’s The Big Ballad Jamboree.
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STORYTELLING IN SIBERIA
The Olonkho Epic in a Changing World
ROBIN P. HARRIS How the Sakha revived a nearly extinct art form “A most welcome contribution to the analysis of the problems facing traditional art forms in the modern world.” —JOURNAL OF AMERICAN FOLKLORE Olonkho, the epic narrative and song tradition of Siberia’s Sakha people, declined to the brink of extinction during the Soviet era. In 2005, UNESCO’s Masterpiece Proclamation sparked a resurgence of interest in olonkho by recognizing its important role in humanity’s oral and intangible heritage. Drawing on her ten years of living in the Russian North, Robin P. Harris documents how the Sakha have used the Masterpiece program to revive olonkho and strengthen their cultural identity. Harris’s personal relationships with and primary research among Sakha people provide vivid insights into understanding olonkho and the attenuation, revitalization, transformation, and sustainability of the Sakha’s cultural reemergence. Her interdisciplinary analysis considers the nature of folklore alongside ethnomusicology, anthropology, comparative literature, and cultural studies to shed light on how marginalized peoples are revitalizing their own cultural heritage.
256 PAGES. 6 X 9 INCHES 14 BLACK & WHITE PHOTOGRAPHS, 1 LINE DRAWING, 1 MAP, 3 CHARTS, 3 MUSIC EXAMPLES, 15 TABLES
PAPER, 978-0-252-08552-9 $30.00x £22.99 E-BOOK, 978-0-252-09988-5 A volume in the series Folklore Studies in a Multicultural World
ROBIN P. HARRIS is an associate professor at Dallas International University and serves as the director of DIU’s Center for Excellence in World Arts.
Publication of this book was supported by grants from the Andrew W. Mellon Foundation and the L. J. and Mary C. Skaggs Folklore Fund. All rights: University of Illinois
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DEGREES OF DIFFERENCE
Reflections of Women of Color on Graduate School
Edited by KIMBERLY D. McKEE and DENISE A. DELGADO Foreword by Karen J. Leong A go-to resource for helping women of color survive, and thrive, in grad school “The personal and the political are addressed in this multi faceted collection, which is a blanket of resources for graduate students and tenure-track academics, as well as for seasoned and tenured committee members, serving on university rank and tenure committees. Bravas! This is a great addition to a collection of groundbreaking literature in this area.” —GABRIELLA GUTIÉRREZ Y MUHS, editor of Presumed Incompetent: The Intersections of Race and Class for Women in Academia 232 PAGES 6 X 9 INCHES
University commitments to diversity and inclusivity have yet to translate into support for women of color graduate students. Sexism, classism, homophobia, racial microaggressions, alienation, disillusionment, a lack of institutional and departmental support, limited help from family and partners, imposter syndrome, narrow reading lists—all remain commonplace. Indifference to the struggles of women of color in graduate school and widespread dismissal of their work further poison an atmosphere that suffocates not only ambition but a person’s quality of life.
HARDCOVER, 978-0-252-04318-5 $110.00x £91.00 PAPER, 978-0-252-08505-5 $19.95s £15.99 E-BOOK, 978-0-252-05206-4
In Degrees of Difference, women of color from diverse backgrounds give frank, unapologetic accounts of their battles—both internal and external—to navigate grad school and fulfill their ambitions. At the same time, the authors offer strategies for surviving the grind via stories of their own hard-won successes with self-care, building supportive communities, finding like-minded mentors, and resisting racism and unsupportive faculty and colleagues.
All rights: University of Illinois
Contributors: Aeriel A. Ashlee, Denise A. Delgado, Nwadiogo I. Ejiogu, Delia Fernández, Regina Emily Idoate, Karen J. Leong, Kimberly D. McKee, Délice Mugabo, Carrie Sampson, Arianna Taboada, Jenny Heijun Wills, and Soha Youssef KIMBERLY D. MCKEE is an associate professor in the Integrative, Religious, and Intercultural Studies Department at Grand Valley State University and the author of Disrupting Kinship: Transnational Politics of Korean Adoption in the United States. DENISE A. DELGADO received her Ph.D. from the Ohio State University and works as an analyst and trainer.
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AFRICAN ART REFRAMED
Reflections and Dialogues on Museum Culture
BENNETTA JULES-ROSETTE and J.R. OSBORN Foreword by Simon Njami New ideas on display and diffusion “This book is nothing less than a major breakthrough in museum studies. It is the first to systematically connect museum display practice to the recalibration of ‘ethnic identity’ that happens after colonialism. Its focus is on the global display of art and crafts from Africa and the African diaspora. But it is essential reading for anyone who wonders about what we want to hear from our forebears as we compel them to speak from behind glass, standing on plinths, and hanging on walls.” —DEAN MacCANNELL, author of The Tourist: A New Theory of the Leisure Class 392 PAGES 6.125 X 9.25 INCHES 23 COLOR PHOTOGRAPHS, 42 BLACK & WHITE PHOTOGRAPHS, 8 CHARTS, 3 TABLES
Once seen as a collection of artifacts and ritual objects, African art now commands respect from museums and collectors. Bennetta Jules-Rosette and J.R. Osborn explore the reframing of African art through case studies of museums and galleries in the United States, Europe, and Africa. The authors take a three-pronged approach. Part One ranges from curiosity cabinets to virtual websites to offer a history of ethnographic and art museums and look at their organization and methods of reaching out to the public. In Part Two, the authors examine museums as ecosystems and communities within communities, and they use semiotic methods to analyze images, signs, and symbols drawn from the experiences of curators and artists. Part Three introduces innovative strategies for displaying, disseminating, and reclaiming African art.
HARDCOVER, 978-0-252-04327-7 $125.00x £103.00 PAPER, 978-0-252-08519-2 $24.95s £19.99 E-BOOK, 978-0-252-05215-6 Publication of this book was supported in part by a grant from the University of Illinois Press Fund for Anthropology.
Drawing on extensive conversations with curators, collectors, and artists, African Art Reframed is an essential guide to building new exchanges and connections in the dynamic worlds of African and global art.
All rights: University of Illinois
BENNETTA JULES-ROSETTE is Distinguished Professor of Sociology and director of the African and African-American Studies Research Center at the University of California, San Diego. Her books include Josephine Baker in Art and Life: The Icon and Image, Black Paris: The African Writers’ Landscape, and The Messages of Tourist Art. J.R. OSBORN is an associate professor of communication, culture, and technology at Georgetown University. He is the author of Letters of Light: Arabic Script in Calligraphy, Print, and Digital Design.
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NEW IN PAPER
PEGGY SEEGER
A Life of Music, Love, and Politics
JEAN R. FREEDMAN A full-length biography of the folk music legend “O, how I love this book! It gives me everything I wanted to know about my friend, the salty and sweet Peggy Seeger and her unique and prolific family. All the pain is there, but so are the achievements and the joys. This book goes on my shelf next to The Mayor of MacDougal Street, and I can offer no higher praise than that.” —TOM PAXTON Born into folk music’s first family, Peggy Seeger has blazed her own trail artistically and personally. Jean R. Freedman draws on a wealth of research and conversations with Seeger to tell the life story of one of music’s most charismatic performers and tireless advocates. Here is the story of Seeger’s multifaceted career from her youth to her pivotal role in the American and British folk revivals, from her instrumental virtuosity to her tireless work on behalf of environmental and feminist causes. Freedman also delves into Seeger’s fruitful partnership with Ewan MacColl, including their creation of the renowned Festival of Fools, their legendary Radio Ballads series, their many projects with the young folksingers of the Critics Group, and their recording company Blackthorne Records.
408 PAGES 6.125 X 9.25 INCHES 19 BLACK & WHITE PHOTOGRAPHS
JEAN R. FREEDMAN earned a Ph.D. in folklore from Indiana University. She is the author of Whistling in the Dark: Memory and Culture in Wartime London.
A volume in the series Music in American Life
PAPERBACK 978-0-252-08513-0 $19.95 £15.95 E-BOOK, 978-0-252-09921-2
Publication of this book was supported by grants from the Manfred Bukofzer Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and from the L. J. and Mary C. Skaggs Folklore Fund. All rights: University of Illinois
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EARL SCRUGGS AND FOGGY MOUNTAIN BREAKDOWN
The Making of an American Classic
THOMAS GOLDSMITH The breakneck banjo tune that became a song for the ages “The Bluegrass Reader successfully manages to appeal to both the bluegrass insider and the newcomer to the genre, and in the process has given well-deserved new life to some masterful bits of writing.” —BLUEGRASS UNLIMITED
“An enormous contribution to the history of bluegrass and a fascinating read, well organized and well told. Goldsmith’s lengthy interview with Earl is a treasure trove of information not only about ‘Foggy Mountain Breakdown’ but about the early days of bluegrass and specifically Earl’s working relationship with Bill Monroe, which has long been clouded in mystery.” —MURPHY HICKS HENRY, author of Pretty Good for a Girl: Women in Bluegrass 200 PAGES. 6 X 9 INCHES 12 BLACK & WHITE PHOTOGRAPHS
Recorded in 1949, “Foggy Mountain Breakdown” changed the face of American music. Earl Scruggs’s instrumental essentially transformed the folk culture that came before it while helping to energize bluegrass’s entry into the mainstream in the 1960s. The song has become a gateway to bluegrass for musicians and fans alike as well as a happily inescapable track in film and television.
HARDCOVER, 978-0-252-04296-6 $99.00x £79.00 PAPER, 978-0-252-08478-2 $19.95 £14.99
Thomas Goldsmith explores the origins and influence of “Foggy Mountain Break down” against the backdrop of Scruggs’s legendary career. Interviews with Scruggs, his wife Louise, disciple Béla Fleck, and sidemen like Curly Seckler, Mac Wiseman, and Jerry Douglas shed light on topics like Scruggs’s musical evolution and his working relationship with Bill Monroe. As Goldsmith shows, the captivating sound of “Foggy Mountain Breakdown” helped bring back the banjo from obscurity and distinguished the low-key Scruggs as a principal figure in American acoustic music.
E-BOOK, 978-0-252-05182-1 A volume in the series Music in American Life Publication of this book was supported in part by a grant from the Judith McCulloh Endowment for American Music.
THOMAS GOLDSMITH is a music journalist. For more than thirty years, he has worked both in daily newspapers in North Carolina and Tennessee and as a freelance writer. He is the editor of The Bluegrass Reader and was the International Bluegrass Music Association’s Print Media Person of the Year.
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DIRTY JOKES AND BAWDY SONGS
The Uncensored Life of Gershon Legman
SUSAN G. DAVIS Laughing in the gutter with the larger-than-life dean of blue humor “A vigorous. . . intellectual biography of [Legman’s] peculiar, relentless career.” —TIMES LITERARY SUPPLEMENT
“A more difficult subject is hard to imagine—a self- taught, little-known, irascible scholar who with little support and great opposition delved into some of the darkest corners of culture. Yet this remarkable and utterly engaging biography is the epic story of an unlikely hero as well as a lesson in just how much one person can accomplish in one lifetime. It also evokes an era, one uncomfortably like our own, in which scholars, theologians, politicians, and police wrestle with the unresolved issues of love and death.” —JOHN SZWED, author of Billie Holiday: The Musician and the Myth 332 PAGES. 6.125 X 9.25 INCHES 14 BLACK & WHITE PHOTOGRAPHS
Collector of sexual folklore. Cataloger of erotica. Tireless social critic. Gershon Legman’s singular, disreputable resume made him a counter-cultural touchstone during his forty-year exile in France. Despite his obscurity today, Legman’s prescient work and passion for the prurient laid the groundwork for our contemporary study of the forbidden.
HARDCOVER, 978-0-252-04261-4 $110.00x £88.00 PAPER, 978-0-252-08444-7 $27.95s £20.99
Susan G. Davis follows the life and times of the figure driven to share what he found in civilization’s secret libraries. Self-taught and fiercely unaffiliated, Legman collected the risqué on street corners and in theaters and dug it out of little-known archives. If the sexual humor he uncovered often used laughter to disguise hostility and fear, he still believed it indispensable to the human experience. Davis reveals Legman in all his prickly, provocative complexity as an outrageous nonconformist thundering at a wrong-headed world while reveling in conflict, violating laws and boundaries with equal abandon, and pursuing love and improbable adventures. Through it all, he maintained a kaleidoscopic network of friends, fellow intellectuals, celebrity admirers, and like-minded obsessives.
E-BOOK, 978-0-252-05145-6 A volume in the series Folklore Studies in a Multicultural World Publication of this book was supported in part by a grant from the L. J. and Mary C. Skaggs Folklore Fund. All rights: University of Illinois
SUSAN G. DAVIS is a professor emerita of Communication and Library and Information Science at the University of Illinois at Urbana-Champaign. She is the author of Parades and Power: Street Theatre in Nineteenth-Century Philadelphia.
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HOT FEET AND SOCIAL CHANGE
African Dance and Diaspora Communities
Edited by KARIAMU WELSH, ESAILAMA G. A. DIOUF, and YVONNE DANIEL Foreword by Thomas F. DeFrantz Preface by Danny Glover, Harry Belafonte, and James Counts Early Indelible stories of living African dance within the African diaspora “Many of the authors are themselves the sources of both dance traditions created within the last decades and of significant studies about them. This work is unprecedented and, thanks to its insider perspectives, only possible as the editors have constructed it.” —SHEILA S. WALKER, editor of African Roots, American Cultures: Africa in the Creation of the Americas
328 PAGES. 6 X 9 INCHES 11 COLOR PHOTOGRAPHS, 5 BLACK & WHITE PHOTOGRAPHS, 2 LINE DRAWINGS, 2 MAPS, 2 CHARTS, 1 MUSIC EXAMPLE
The popularity and profile of African dance have exploded across the African diaspora in the last fifty years. Hot Feet and Social Change presents traditionalists, neo-traditionalists, and contemporary artists, teachers, and scholars telling some of the thousands of stories lived and learned by people in the field. Concentrating on eight major cities in the United States, the essays explode myths about African dance while demonstrating its power to awaken identity, self-worth, and community respect. These voices of experience share personal accounts of living African traditions, their first encounters with and ultimate embrace of dance, and what teaching African-based dance has meant to them and their communities. Throughout, the editors alert readers to established and ongoing research and provide links to critical contributions by African and Caribbean dance experts.
HARDCOVER, 978-0-252-04295-9 $125.00x £79.00 PAPER, 978-0-252-08477-5 $30.00x £20.99 E-BOOK, 978-0-252-05181-4 Publication of this book was supported in part by the University of Illinois Press Fund for Anthropology.
Contributors: Ausettua Amor Amenkum, Abby Carlozzo, Steven Cornelius, Yvonne Daniel, Charles “Chuck” Davis, Esailama G. A. Diouf, Indira Etwaroo, Habib Iddrisu, Julie B. Johnson, C. Kemal Nance, Halifu Osumare, Amaniyea Payne, William SerranoFranklin, and Kariamu Welsh
All rights: University of Illinois
KARIAMU WELSH is a professor emerita of dance at Temple University. Her books include Umfundalai: An African Dance Technique. ESAILAMA G. A. DIOUF is the founding director of Bisemi Foundation Inc. and the Arts and Culture Consultant at the San Francisco Foundation. YVONNE DANIEL is a professor emerita of dance and Afro-American studies at Smith College. Her books include Dancing Wisdom: Embodied Knowledge in Haitian Vodou, Cuban Yoruba, and Bahian Candomblé and Caribbean and Atlantic Diaspora Dance: Igniting Citizenship. www.press.uillinois.edu
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A GURU’S JOURNEY
Pandit Chitresh Das and Indian Classical Dance in Diaspora
SARAH MORELLI The work and art of a dance master in America “Morelli has crafted a narrative filled with powerful historical, biographical, and musical insights while also capturing the human dimensions of musical performance and transmission. An exciting contribution to the ethno musicological literature and a striking study of issues surrounding migration, ethnicity, and gender.” —KAY KAUFMAN SHELEMAY, author of Soundscapes: Exploring Music in a Changing World, third edition An important modern exponent of Asian dance, Pandit Chitresh Das brought kathak to the United States in 1970. The North Indian classical dance has since become an important art form within the greater Indian diaspora. Yet its adoption outside of India raises questions about what happens to artistic practices when we separate them from their broader cultural contexts.
270 PAGES. 6.125 X 9.25 INCHES 38 BLACK & WHITE PHOTOGRAPHS, 32 MUSIC EXAMPLES, 3 TABLES
A Guru’s Journey provides an ethnographic study of the dance form in the San Francisco Bay Area community formed by Das. Sarah Morelli, a kathak dancer and former Das student, investigates issues in teaching, learning, and performance that developed around Das during his time in the United States. In modifying kathak’s form and teaching for Western students, Das negotiates questions of Indianness and non-Indianness, gender, identity, and race. Morelli lays out these discussions for readers with the goal of deepening their knowledge of kathak aesthetics, technique, and theory. She also shares the intricacies of footwork, facial expression in storytelling, and other aspects of kathak while tying them to the cultural issues that inform the dance.
HARDCOVER, 978-0-252-04286-7 $110.00x £88.00 PAPER, 978-0-252-08468-3 $28.00x £20.99 E-BOOK, 978-0-252-05172-2 A volume in the series Music in American Life Publication of this book is supported by grants from the University of Denver’s Lamont School of Music and the AHSS Book Publication Support Fund and from the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
SARAH MORELLI is an associate professor of ethnomusicology at the University of Denver and a performing kathak artist.
All rights: University of Illinois
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GAMELAN GIRLS
Gender, Childhood, and Politics in Balinese Music Ensembles
SONJA LYNN DOWNING The girls and young women reshaping gamelan in Bali “Downing effectively grounds her main argument and supporting points through analysis of her rich ethnographic data. Not only am I convinced, but I felt like I was in Bali with her, meeting her consultants, hearing them speak, getting a sense of their personalities, and watching them grow and mature.” —CHRISTINA SUNARDI, author of Stunning Males and Powerful Females: Gender and Tradition in East Javanese Dance In recent years, girls’ and mixed-gender ensembles have challenged the tradition of male-dominated gamelan performance. The change heralds a fundamental shift in how Balinese think about gender roles and the gender behavior taught in children’s music education. It also makes visible a national reorganization of the arts taking place within debates over issues like women’s rights and cultural preservation.
254 PAGES. 6 X 9 INCHES 21 BLACK & WHITE PHOTOGRAPHS, 1 LINE DRAWING, 2 MAPS, 1 TABLE
Sonja Lynn Downing draws on over a decade of immersive ethnographic work to analyze the ways Balinese musical practices have influenced the processes behind these dramatic changes. As Downing shows, girls and young women assert their agency within the gamelan learning process to challenge entrenched notions of performance and gender. One dramatic result is the creation of new combinations of femininity, musicality, and Balinese identity that resist messages about gendered behavior from the Indonesian nation-state and beyond. Such experimentation expands the accepted gender aesthetics of gamelan performance but also sparks new understanding of the role children can and do play in ongoing debates about identity and power.
HARDCOVER, 978-0-252-04271-3 $99.00x £79.00 PAPER, 978-0-252-08455-3 $28.00x £20.99 E-BOOK, 978-0-252-05157-9 A volume in the series New Perspectives on Gender in Music, edited by Suzanne Cusick and Henry Spiller
SONJA LYNN DOWNING is an associate professor of ethnomusicology at Lawrence University.
Publication of this book is supported by a grant from the Bruno Nettl Endowment for Ethnomusicology. All rights: University of Illinois
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DANCING REVOLUTION
Bodies, Space, and Sound in American Cultural History
CHRISTOPHER J. SMITH Using dance as a political language to unite and resist “A respected musicologist and vernacular musician, Smith offers a sprawling overview of vernacular dance in the US as evidence of people’s ‘contesting, constructing, and reinventing social orders’. Highly recommended.” —CHOICE
“A very ambitious and impressive study. The breadth and scope of the book are remarkable. It is highly engaging and readable and expands our understanding of the potential of dance (and music/sound) to serve as a potent force for social engagement.” —JULIE MALNIG, editor of Ballroom, Boogie, Shimmy Sham, Shake: A Social and Popular Dance Reader
280 PAGES. 6.125 X 9.25 INCHES 20 BLACK & WHITE PHOTOGRAPHS, 5 MUSIC EXAMPLES
Throughout American history, patterns of political intent and impact have linked the wide range of dance movements performed in public places. Groups diverse in their cultural or political identities, or in both, long ago seized on street dancing, marches, open-air revival meetings, and theaters, as well as in dance halls and nightclubs, as a tool for contesting, constructing, or reinventing the social order.
HARDCOVER, 978-0-252-04239-3 $110.00x £88.00 PAPER, 978-0-252-08418-8 $27.95s £20.99
Dancing Revolution presents richly diverse case studies to illuminate these patterns of movement and influence in movement and sound in the history of American public life. Christopher J. Smith spans centuries, geographies, and cultural identities as he delves into a wide range of historical moments. These include the Godintoxicated public demonstrations of Shakers and Ghost Dancers in the First and Second Great Awakenings; creolized antebellum dance in cities from New Orleans to Bristol; the modernism and racial integration that imbued twentieth-century African American popular dance; the revolutionary connotations behind images of dance from Josephine Baker to the Marx Brothers; and public movement’s contributions to hip hop, antihegemonic protest, and other contemporary transgressive communities’ physical expressions of dissent and solidarity.
E-BOOK, 978-0-252-05123-4 A volume in the series Music in American Life All rights: University of Illinois
Multidisciplinary and wide-ranging, Dancing Revolution examines how Americans turned the rhythms of history into the movement behind the movements. CHRISTOPHER J. SMITH is a professor, chair of musicology, and founding director of the Vernacular Music Center at the Texas Tech University School of Music. He is the author of the award-winning book The Creolization of American Culture: William Sidney Mount and the Roots of Blackface Minstrelsy. www.press.uillinois.edu
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CULTURAL SUSTAINABILITIES Music, Media, Language, Advocacy
Edited by TIMOTHY J. COOLEY Foreword by Jeff Todd Titon A daring interdisciplinary journey into the nexus of the humanities and ecological science “Written to introduce the reader to the universal practice of ‘musicking’ and the influence of real-time environmental upheaval on its conception and performance, and the physical and technological systems that support and maintain its integrity, the scope and scale of the literature illuminates the immense challenges of survival in a time of climatic upheaval.” —ENVIRONMENTAL VALUES
“Cultural Sustainabilities is a must-read for those interested in ecomusicology and will serve as a valuable resource for scholars in the environmental humanities writ large. . . . Students encountering Cultural Sustainabilities will be inspired to explore, advocate, and create a more equitable and pleasurable ‘sound commons.’ ” —MARK PEDELTY, author of A Song to Save the Salish Sea: Musical Performance as Environmental Activism
364 PAGES. 6.125 X 9.25 INCHES 19 BLACK & WHITE PHOTOGRAPHS, 3 CHARTS, 1 MUSIC EXAMPLE
Environmental sustainability and human cultural sustainability are inextricably linked. Reversing damaging human impact on the global environment is ultimately a cultural question, and as with politics, the answers are often profoundly local. Timothy J. Cooley presents twenty-three essays by musicologists and ethnomusicologists, anthropologists, folklorists, ethnographers, documentary filmmakers, musicians, artists, and activists, each asking a particular question or presenting a specific local case study about cultural and environmental sustainability. Contributing to the environmental humanities, the authors embrace and even celebrate human engagement with ecosystems, though with a profound sense of collective responsibility created by the emergence of the Anthropocene.
HARDCOVER, 978-0-252-04236-2 $110.00x £88.00 PAPER, 978-0-252-08415-7 $32.00x £24.99 E-BOOK, 978-0252-05120-3 Publication supported by funding from the Division of Humanities and Fine Arts, University of California, Santa Barbara.
Contributors: Aaron S. Allen, Michael B. Bakan, Robert Baron, Daniel Cavicchi, Timothy J. Cooley, Mark F. DeWitt, Barry Dornfeld, Thomas Faux, Burt Feintuch, Nancy Guy, Mary Hufford, Susan Hurley-Glowa, Patrick Hutchinson, Michelle Kisliuk, Pauleena M. MacDougall, Margarita Mazo, Dotan Nitzberg, Jennifer C. Post, Tom Rankin, Roshan Samtani, Jeffrey A. Summit, Jeff Todd Titon, Joshua Tucker, Rory Turner, Denise Von Glahn, and Thomas Walker
All rights: University of Illinois
TIMOTHY J. COOLEY is a professor of music and global studies at the University of California, Santa Barbara. He is the author of Surfing about Music and Making Music in the Polish Tatras: Tourists, Ethnographers, and Mountain Musicians.
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LIVING ETHNOMUSICOLOGY Paths and Practices
MARGARET SARKISSIAN and TED SOLÍS Foreword by Bruno Nettl Afterthoughts by Mark Slobin The first-ever ethnography of the discipline “Living Ethnomusicology: Paths and Practices is ultimately an interesting and unique contribution to the discipline.” —JOURNAL OF FOLKLORE RESEARCH
“This is a brilliant and original idea for a volume. The book focuses on nearly all aspects of the field, including most of the possible careers. As such, it is extraordinary and makes conclusive statements about what ethnomusicology is and who ethnomusicologists are.” —DAVID HARNISH, author of Bridges to the Ancestors: Music, Myth, and Cultural Politics at an Indonesian Festival
504 PAGES. 7 X 10 INCHES 52 BLACK & WHITE PHOTOGRAPHS
Ethnomusicologists have journeyed from Bali to Morocco to the depths of Amazonia to chronicle humanity’s relationship with music. Margaret Sarkissian and Ted Solís guide us into the field’s last great undiscovered country: ethnomusicology itself. Drawing on fieldwork based on person-to-person interaction, the authors provide a first-ever ethnography of the discipline. The unique collaborations produce an ambitious exploration of ethnomusicology’s formation, evolution, practice, and unique identity. In particular, the subjects discuss their early lives and influences and trace their varied career trajectories. They also draw on their own experiences to offer reflections on all aspects of the field. Pursuing practitioners not only from diverse backgrounds and specialties but from different eras, Sarkissian and Solís illuminate the many trails ethnomusicologists have blazed in the pursuit of knowledge.
HARDCOVER, 978-0-252-04234-8 $125.00x £100.00 PAPER, 978-0-252-08413-3 $32.00x £24.99 E-BOOK, 978-0-252-05118-0 Publication of this book is supported by grants from the Quitiplás Foundation, the Provost’s Office at Smith College, Arizona State University’s Herberger Institute for Design and the Arts, and the Arizona State University School of Music.
A bountiful resource on history and practice, Living Ethnomusicology is an enlightening intellectual exploration of an exotic academic culture.
All rights: University of Illinois
MARGARET SARKISSIAN is a professor of music at Smith College. She is the author of D’Albuquerque’s Children: Performing Tradition in Malaysia’s Portuguese Settlement. TED SOLÍS is a professor of music at Arizona State University. He is the editor of Performing Ethnomusicology: Teaching and Representation in World Musics.
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RITUAL SOUNDINGS
Women Performers and World Religions
SARAH WEISS Representing women’s traditions and re-envisioning comparative practices “As I read along, I found myself smiling and nodding at the text’s cleverness and its validating evidence for women’s agency in the performance of scandalous ‘soundings’ of protest and dissent. This is a fascinating, well-written, and extraordinarily well-researched book.” —ELLEN KOSKOFF, author of A Feminist Ethnomusicology: Writings on Music and Gender
“This study is a treasure trove of marriage-rituals that women perform within the context of the world religion they are affiliated to. It is a pleasure to savour the presentation of their variety.” —RELIGION AND GENDER 198 PAGES. 6 X 9 INCHES 1 BLACK & WHITE PHOTOGRAPH, 1 TABLE
The women of communities in Hindu India and Christian Orthodox Finland alike offer lamentations and mockery during wedding rituals. Catholic women of southern Italy perform tarantella on pilgrimages while Muslim Berger girls recite poetry at Moroccan weddings. Around the world, women actively claim agency through performance during such ritual events. These moments, though brief, allow them a rare freedom to move beyond culturally determined boundaries.
HARDCOVER, 978-0-252-04229-4 $99.00x £79.00 PAPER, 978-0-252-08408-9 $25.00x £18.99
In Ritual Soundings, Sarah Weiss reads deeply into and across the ethnographic details of multiple studies while offering a robust framework for studying music and world religion. Her meta-ethnography reveals surprising patterns of similarity between unrelated cultures. Deftly blending ethnomusicology, the study of gender in religion, and sacred music studies, she invites ethnomusicologists back into comparative work, offering them encouragement to think across disciplinary boundaries. As Weiss delves into a number of less-studied rituals, she offers a forceful narrative of how women assert agency within institutional religious structures while remaining faithful to the local cultural practices the rituals represent.
E-BOOK, 978-0-252-05113-5 A volume in the series New Perspectives on Gender in Music, edited by Suzanne Cusick and Henry Spiller Publication of this book is supported by the Lloyd Hibberd Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation.
SARAH WEISS is a senior research scientist at the Institute for Ethnomusicology at the University of Music and Performing Arts in Graz (Kunst Universität Graz). She is the author of Listening to an Earlier Java: Aesthetics, Gender, and the Music of Wayang in Central Java.
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BILL MONROE
The Life and Music of the Blue Grass Man
TOM EWING From cradle to great, a chronicle of Bill Monroe’s epic life “Insightful . . . [Bill Monroe: The Life and Music of the Blue Grass Man] presents bluegrass history as it happened, as well as a fresh look at ‘this extraordinary individual.’” —WALL STREET JOURNAL
“This account bears witness to the gigantic achievement which was Bill Monroe’s music. His energy and creativity knew no bounds. This book successfully captures that.” —JIM ROONEY, Grammy-winning record producer and author of In It for the Long Run: A Musical Odyssey The Father of Bluegrass Music, Bill Monroe was a major star of the Grand Ole Opry for over fifty years, a member of the Country Music and Rock and Roll Halls of Fame, and a legendary figure in American music. This authoritative biography sets out to examine his life in careful detail—to move beyond hearsay and sensationalism to explain how and why he accomplished so much.
656 PAGES. 6.125 X 9.25 INCHES 30 BLACK & WHITE PHOTOGRAPHS
HARDCOVER, 978-0-252-04189-1 $34.95 £28.99 E-BOOK, 978-0-252-05058-9
Former Blue Grass Boy and veteran music journalist Tom Ewing draws on hundreds of interviews, his personal relationship with Monroe, and an immense personal archive of materials to separate the truth from longstanding myth. Ewing tells the story of the Monroe family’s musical household and Bill’s early career in the Monroe Brothers duo. He brings to life Monroe’s 1940s heyday with the Classic Bluegrass Band, the renewed fervor for his music sparked by the folk revival of the 1960s, and his declining fortunes in the years that followed. Throughout, Ewing deftly captures Monroe’s relationships and the personalities of an ever-shifting roster of band members while shedding light on his business dealings and his pioneering work with Bean Blossom and other music festivals.
A volume in the series Music in American Life Publication of this book is supported by the Otto Kinkeldey Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and by a grant from the L. J. and Mary C. Skaggs Folklore Fund.
Filled with a wealth of previously unknown details, Bill Monroe offers even the most devoted fan a deeper understanding of Monroe’s towering achievements and timeless music.
All rights: University of Illinois
TOM EWING was guitarist/lead singer of Bill Monroe and his Blue Grass Boys for ten years. He is the editor of The Bill Monroe Reader and wrote the “Thirty Years Ago This Month” column for Bluegrass Unlimited.
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VOICES OF DROUGHT
The Politics of Music and Environment in Northeastern Brazil
MICHAEL B. SILVERS How an environment creates popular music, and vice versa “This unique and timely work offers an important contribution to our understanding of how music and ecology are linked.” —JENNIFER C. POST, editor of Ethnomusicology: A Contemporary Reader, Volume II In Voices of Drought, Michael B. Silvers proposes a scholarship focused on environmental justice to understand key questions in the study of music and the environment. His ecomusicological perspective offers a fascinating approach to events in Ceará, a northeastern Brazilian state affected by devastating droughts. These crises have a profound impact on social difference and stratification, and thus on forró music in the sertão (backlands) of the region. At the same time, the complex interactions of popular music and social conditions also help create the environment.
212 PAGES. 6 X 9 INCHES 9 BLACK & WHITE PHOTOGRAPHS, 1 LINE DRAWING, 3 MAPS, 1 CHART
Silvers offers case studies focused on the sertão that range from the Brazilian wax harvested in Ceará for use in early wax cylinder sound recordings to the droughtand austerity-related cancellation of Carnival celebrations in 2014–16. Unearthing links between music and the environmental and social costs of drought, his daring synthesis explores ecological exile, poverty, and unequal access to water resources alongside issues like corruption, prejudice, unbridled capitalism, and expanding neoliberalism.
HARDCOVER, 978-0-252-04208-9 $99.00x £82.00 PAPER, 978-0-252-08377-8 $28.00x £22.99 E-BOOK, 978-0-252-05083-1
MICHAEL B. SILVERS is an assistant professor of musicology at the University of Illinois at Urbana-Champaign.
Publication of this book is supported by the Dragan Plamenac Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and by a grant from the University of Illinois at Urbana-Champaign College of Fine and Applied Arts. All rights: University of Illinois
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BLUEGRASS GENERATION
A Memoir
NEIL V. ROSENBERG Foreword by Gregory N. Reish Bean Blossom, banjos, and bluegrass becoming bluegrass “Bluegrass Generation: A Memoir is highly recommended to all students of bluegrass, but especially anyone who has fond memories of the Bean Blossom Festivals in the 1960s, 70s, and 80s.” —BLUEGRASS BREAKDOWN
“An ode to a time and a place when college kids and country folks bonded over a love of bluegrass.” —WALL STREET JOURNAL Neil V. Rosenberg met the legendary Bill Monroe at the Brown County Jamboree. Rosenberg’s subsequent experiences in Bean Blossom put his feet on the intertwined musical and scholarly paths that made him a preeminent scholar of bluegrass music.
304 PAGES. 6 X 9 INCHES 33 BLACK & WHITE PHOTOGRAPHS
HARDCOVER, 978-0-252-04176-1 $99.00x £82.00
Rosenberg’s memoir shines a light on the changing bluegrass scene of the early 1960s. Already a fan and aspiring musician, his appetite for banjo music quickly put him on the Jamboree stage. Rosenberg eventually played with Monroe and spent four months managing the Jamboree. Those heights gave him an eyewitness view of nothing less than bluegrass’s emergence from the shadow of country music into its own distinct art form. As the likes of Bill Keith and Del McCoury played, Rosenberg watched Monroe begin to share a personal link to the music that tied audiences to its history and his life—and helped turn him into bluegrass’s foundational figure.
PAPER, 978-0-252-08339-6 $21.95 £17.99 E-BOOK, 978-0-252-05044-2 A volume in the series Music in American Life Publication of this book is supported by grants from the Manfred Bukofzer Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and from Memorial University of Newfoundland.
An intimate look at a transformative time, Bluegrass Generation tells the inside story of how an American musical tradition came to be. NEIL V. ROSENBERG is professor emeritus of folklore at Memorial University of Newfoundland. He is the author of Bluegrass: A History and coauthor of Bluegrass Odyssey and The Music of Bill Monroe.
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RIGHT TO THE JUKE JOINT
A Personal History of American Music
PATRICK B. MULLEN Notes from a lifetime loving American music “[Mullen’s] book is well-written, insightful, and highly recommended for anyone who has found bliss through music.” —JOURNAL OF AMERICAN CULTURE
“Right to the Juke Joint is an evocative journey through music that tracks the life of its author—Patrick Mullen— from his childhood to the present. Mullen’s enduring love for music inspired his life as a folklorist. Beginning with Ray Charles’s ‘I Got a Woman,’ he moves the reader from blues, rock and roll, and rockabilly in the Fifties to jazz, country, and Tex-Mex voices. As one musician told Mullen, ‘There ain’t but one race created on earth, and that’s the human race.’ Right to the Juke Joint eloquently shows how music reveals our shared humanity.” —WILLIAM FERRIS, author of The South in Color: A Visual Journal 244 PAGES. 6 X 9 INCHES
The cowboy songs and dusty Texas car rides of his youth set Patrick B. Mullen on a lifelong journey into the sprawling Arcadia of American music. That music fused so-called civilized elements with native forms to produce everything from Zydeco to Conjunto to jazz to Woody Guthrie. The civilized/native idea, meanwhile, helped develop Mullen’s critical perspective, guide his love of music, and steer his life’s work.
HARDCOVER, 978-0-252-04164-8 $99.00x £82.00 PAPER, 978-0-252-08328-0 $29.95s £24.99 E-BOOK, 978-0-252-05031-2
Part scholar’s musings and part fan’s memoir, Right to the Juke Joint follows Mullen from his early embrace of country and folk to the full flowering of an idiosyncratic, omnivorous interest in music. Personal memory merges with a lifetime of fieldwork in folklore and anthropology to provide readers with a deeply informed analysis of American roots music. Mullen opens up on the world of ideas and his own tireless fandom to explore how his cultural identity—and ours—relates to concepts like authenticity and “folkness.” The result is a charming musical map drawn by a gifted storyteller whose boots have traveled a thousand tuneful roads.
A volume in the series Music in American Life Publication of this book was supported by a grant from the L. J. and Mary C. Skaggs Folklore Fund. All rights: University of Illinois
PATRICK B. MULLEN is professor emeritus of English and folklore at The Ohio State University. His books include The Man Who Adores the Negro: Race and American Folklore and Listening to Old Voices: Folklore, Life Stories, and the Elderly.
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BANJO ROOTS AND BRANCHES Edited by ROBERT B. WINANS West African precursors, African-Caribbean origins, North American journeys “An excellent book with plenty of material for both specialist and casual readers.” —GALPIN SOCIETY JOURNAL
“Roots and Branches collects an extraordinary amount of research into the ongoing discovery of the banjo’s Byzantine history. . . . Each essay speaks directly to all others, lending the book an unusual level of cohesion for an edited volume.” —WORLD OF MUSIC 344 PAGES. 6.125 X 9.25 INCHES 20 COLOR PHOTOGRAPHS, 20 BLACK & WHITE PHOTOGRAPHS, 2 MAPS 22 MUSIC EXAMPLES, 11 TABLES
The story of the banjo’s journey from Africa to the western hemisphere blends music, history, and a union of cultures. In Banjo Roots and Branches, Robert B. Winans presents cutting-edge scholarship that covers the instrument’s West African origins and its adaptations and circulation in the Caribbean and United States. The contributors provide detailed ethnographic and technical research on gourd lutes and ekonting in Africa and the banza in Haiti while also investigating tuning practices and regional playing styles. Other essays place the instrument within the context of slavery, tell the stories of black banjoists, and shed light on the banjo’s introduction into the African- and Anglo-American folk milieus.
HARDCOVER, 978-0-252-04194-5 $99.00x £82.00 PAPER, 978-0-252-08360-0 $32.95s £26.99
Wide-ranging and illustrated with twenty color images, Banjo Roots and Branches offers a wealth of new information to scholars of African American and folk musics as well as the worldwide community of banjo aficionados.
E-BOOK, 978-0-252-05064-0 A volume in the series Music in American Life
Contributors: Greg C. Adams, Nick Bamber, Jim Dalton, George R. Gibson, Chuck Levy, Shlomo Pestcoe, Pete Ross, Tony Thomas, Saskia Willaert, and Robert B. Winans.
Publication of this book was made possible in part through a donation from the Uncle Shlomo’s Brooklyn Kids Fund for Music, dedicated to ensuring that Shlomo Pestcoe’s generous spirit will continue to enrich us with the music he so loved to share, and by a grant from the L. J. and Mary C. Skaggs Folklore Fund.
ROBERT B. WINANS is a professor emeritus of American literature and folklore at Gettysburg College.
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