Segregating Sound
Inventing Folk and Pop Music in the Age of Jim Crow
1st Edition
Published on 11. February 2010
384 pages
978-0-8223-9270-5 (ISBN)
Description
A cultural history describing how folklore studies and the music industry helped to create a "musical color line" in the South, associating certain genres with particular racial and ethnic identities.
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02/2010
Duke University Press
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02/2010
Duke University Press
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Persons
Karl Hagstrom Miller is an Assistant Professor who teaches in the History Department and the Sarah and Ernest Butler School of Music at the University of Texas, Austin.
Content
Acknowledgments vii
Introduction 1
1. Tin Pan Alley on Tour: The Southern Embrace of Commercial Music 23
2. Making Money Making Music: The Education of Southern Musicians in Local Markets 51
3. Isolating Folk, Isolating Songs: Reimagining Southern Music as Folklore 85
4. Southern Musicians and the Lure of New York City: Representing the South from Coon Songs to the Blues 121
5. Talking Machine World: Discovering Local Music in the Global Phonograph Industry 157
6. Race Records and Old-Time Music: The Creation of Two Marketing Categories in the 1920s 187
7. Black Folk and Hillbilly Pop: Industry Enforcement of the Musical Color Line 215
8. Reimagining Pop Tunes as Folk Songs: The Ascension of the Folkloric Paradigm 241
Afterword: "All Songs is Folk Songs" 275
Notes 283
Bibliography 327
Index 351
Introduction 1
1. Tin Pan Alley on Tour: The Southern Embrace of Commercial Music 23
2. Making Money Making Music: The Education of Southern Musicians in Local Markets 51
3. Isolating Folk, Isolating Songs: Reimagining Southern Music as Folklore 85
4. Southern Musicians and the Lure of New York City: Representing the South from Coon Songs to the Blues 121
5. Talking Machine World: Discovering Local Music in the Global Phonograph Industry 157
6. Race Records and Old-Time Music: The Creation of Two Marketing Categories in the 1920s 187
7. Black Folk and Hillbilly Pop: Industry Enforcement of the Musical Color Line 215
8. Reimagining Pop Tunes as Folk Songs: The Ascension of the Folkloric Paradigm 241
Afterword: "All Songs is Folk Songs" 275
Notes 283
Bibliography 327
Index 351
