Loading…
File Under: American Spaces
(In America- of the 1920s and 1930s, for example, it took 50,000 watts of radio power and an entire telephone system to throw a single National Barn Dance.)60 Space versus place The notion that place (the physical environment though which we move) and space (the practice and lived experience of plac...
Saved in:
Published in: | Journal of the American Musicological Society 2011-10, Vol.64 (3), p.708 |
---|---|
Main Author: | |
Format: | Article |
Language: | English |
Subjects: | |
Online Access: | Get full text |
Tags: |
Add Tag
No Tags, Be the first to tag this record!
|
cited_by | |
---|---|
cites | |
container_end_page | |
container_issue | 3 |
container_start_page | 708 |
container_title | Journal of the American Musicological Society |
container_volume | 64 |
creator | Fink, Robert |
description | (In America- of the 1920s and 1930s, for example, it took 50,000 watts of radio power and an entire telephone system to throw a single National Barn Dance.)60 Space versus place The notion that place (the physical environment though which we move) and space (the practice and lived experience of place) should be primary constituents in a musicology of the Americas is hardly one for which I can take credit; the seminal meoretical work of Adam Krims, model analyses of hip-hop by Tricia Rose and Murray Forman, and an increasing body of paradigmshifting work from younger scholars provide abundant evidence of that.61 It might be somewhat more original to note that a focus on - and a clear distinction between- space and place can help clarify at least one nagging issue that still troubles many scholars of North American musics: how can we explore our intuitive sense that music as made and consumed in this hemisphere is different from the classical traditions of Europe and Asia, and not faU into the manifold historiographie traps often lumped together as "American exceptionalism"? |
format | article |
fullrecord | <record><control><sourceid>proquest</sourceid><recordid>TN_cdi_proquest_journals_916923316</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><sourcerecordid>2565593581</sourcerecordid><originalsourceid>FETCH-proquest_journals_9169233163</originalsourceid><addsrcrecordid>eNpjYuA0NDUx1zW2MLFgYeA0MDAw1jUwNLbkYOAqLs4Cck2NzS05GaTdMnNSFULzUlKLrBQcc1OLMpMT8xSCCxKTU4t5GFjTEnOKU3mhNDeDkptriLOHbkFRfmFpanFJfFZ-aVEeUCre0tDM0sjY2NDMmChFABocK2U</addsrcrecordid><sourcetype>Aggregation Database</sourcetype><iscdi>true</iscdi><recordtype>article</recordtype><pqid>916923316</pqid></control><display><type>article</type><title>File Under: American Spaces</title><source>Art, Design and Architecture Collection</source><source>JSTOR Archival Journals and Primary Sources Collection</source><source>ProQuest One Literature</source><source>Humanities Index</source><creator>Fink, Robert</creator><creatorcontrib>Fink, Robert</creatorcontrib><description>(In America- of the 1920s and 1930s, for example, it took 50,000 watts of radio power and an entire telephone system to throw a single National Barn Dance.)60 Space versus place The notion that place (the physical environment though which we move) and space (the practice and lived experience of place) should be primary constituents in a musicology of the Americas is hardly one for which I can take credit; the seminal meoretical work of Adam Krims, model analyses of hip-hop by Tricia Rose and Murray Forman, and an increasing body of paradigmshifting work from younger scholars provide abundant evidence of that.61 It might be somewhat more original to note that a focus on - and a clear distinction between- space and place can help clarify at least one nagging issue that still troubles many scholars of North American musics: how can we explore our intuitive sense that music as made and consumed in this hemisphere is different from the classical traditions of Europe and Asia, and not faU into the manifold historiographie traps often lumped together as "American exceptionalism"?</description><identifier>ISSN: 0003-0139</identifier><identifier>EISSN: 1547-3848</identifier><language>eng</language><publisher>Richmond: University of California Press Books Division</publisher><subject>Hip hop culture ; Musical performances ; Musicology ; Postmodernism ; Radio ; Scholars ; Social activism ; Space ; Telephones</subject><ispartof>Journal of the American Musicological Society, 2011-10, Vol.64 (3), p.708</ispartof><rights>Copyright University of California Press Fall 2011</rights><lds50>peer_reviewed</lds50><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Tsyndetics_thumb_exl</thumbnail><linktopdf>$$Uhttps://www.proquest.com/docview/916923316/fulltextPDF?pq-origsite=primo$$EPDF$$P50$$Gproquest$$H</linktopdf><linktohtml>$$Uhttps://www.proquest.com/docview/916923316?pq-origsite=primo$$EHTML$$P50$$Gproquest$$H</linktohtml><link.rule.ids>315,786,790,12175,12888,33884,34810,44235,63018,63019,63034,74553,75085</link.rule.ids></links><search><creatorcontrib>Fink, Robert</creatorcontrib><title>File Under: American Spaces</title><title>Journal of the American Musicological Society</title><description>(In America- of the 1920s and 1930s, for example, it took 50,000 watts of radio power and an entire telephone system to throw a single National Barn Dance.)60 Space versus place The notion that place (the physical environment though which we move) and space (the practice and lived experience of place) should be primary constituents in a musicology of the Americas is hardly one for which I can take credit; the seminal meoretical work of Adam Krims, model analyses of hip-hop by Tricia Rose and Murray Forman, and an increasing body of paradigmshifting work from younger scholars provide abundant evidence of that.61 It might be somewhat more original to note that a focus on - and a clear distinction between- space and place can help clarify at least one nagging issue that still troubles many scholars of North American musics: how can we explore our intuitive sense that music as made and consumed in this hemisphere is different from the classical traditions of Europe and Asia, and not faU into the manifold historiographie traps often lumped together as "American exceptionalism"?</description><subject>Hip hop culture</subject><subject>Musical performances</subject><subject>Musicology</subject><subject>Postmodernism</subject><subject>Radio</subject><subject>Scholars</subject><subject>Social activism</subject><subject>Space</subject><subject>Telephones</subject><issn>0003-0139</issn><issn>1547-3848</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2011</creationdate><recordtype>article</recordtype><sourceid>AIMQZ</sourceid><sourceid>C18</sourceid><sourceid>K50</sourceid><sourceid>M1D</sourceid><recordid>eNpjYuA0NDUx1zW2MLFgYeA0MDAw1jUwNLbkYOAqLs4Cck2NzS05GaTdMnNSFULzUlKLrBQcc1OLMpMT8xSCCxKTU4t5GFjTEnOKU3mhNDeDkptriLOHbkFRfmFpanFJfFZ-aVEeUCre0tDM0sjY2NDMmChFABocK2U</recordid><startdate>20111001</startdate><enddate>20111001</enddate><creator>Fink, Robert</creator><general>University of California Press Books Division</general><scope>3V.</scope><scope>7XB</scope><scope>8FK</scope><scope>8G5</scope><scope>A3D</scope><scope>ABUWG</scope><scope>AFKRA</scope><scope>AIMQZ</scope><scope>AVQMV</scope><scope>AZQEC</scope><scope>BENPR</scope><scope>C18</scope><scope>CCPQU</scope><scope>DJMCT</scope><scope>DWQXO</scope><scope>GNUQQ</scope><scope>GUQSH</scope><scope>K50</scope><scope>LIQON</scope><scope>M1D</scope><scope>M2O</scope><scope>MBDVC</scope><scope>PQEST</scope><scope>PQQKQ</scope><scope>PQUKI</scope><scope>PRINS</scope><scope>Q9U</scope><scope>S0X</scope></search><sort><creationdate>20111001</creationdate><title>File Under: American Spaces</title><author>Fink, Robert</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-proquest_journals_9169233163</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng</language><creationdate>2011</creationdate><topic>Hip hop culture</topic><topic>Musical performances</topic><topic>Musicology</topic><topic>Postmodernism</topic><topic>Radio</topic><topic>Scholars</topic><topic>Social activism</topic><topic>Space</topic><topic>Telephones</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Fink, Robert</creatorcontrib><collection>ProQuest Central (Corporate)</collection><collection>ProQuest Central (purchase pre-March 2016)</collection><collection>ProQuest Central (Alumni) (purchase pre-March 2016)</collection><collection>Research Library (Alumni Edition)</collection><collection>ProQuest Music Periodicals Database</collection><collection>ProQuest Central (Alumni)</collection><collection>ProQuest Central</collection><collection>ProQuest One Literature</collection><collection>Arts Premium Collection</collection><collection>ProQuest Central Essentials</collection><collection>AUTh Library subscriptions: ProQuest Central</collection><collection>Humanities Index</collection><collection>ProQuest One Community College</collection><collection>Music & Performing Arts Collection</collection><collection>ProQuest Central Korea</collection><collection>ProQuest Central Student</collection><collection>Research Library Prep</collection><collection>Art, Design and Architecture Collection</collection><collection>ProQuest One Literature - U.S. Customers Only</collection><collection>ProQuest Arts & Humanities Database</collection><collection>ProQuest_Research Library</collection><collection>Research Library (Corporate)</collection><collection>ProQuest One Academic Eastern Edition (DO NOT USE)</collection><collection>ProQuest One Academic</collection><collection>ProQuest One Academic UKI Edition</collection><collection>ProQuest Central China</collection><collection>ProQuest Central Basic</collection><collection>SIRS Editorial</collection><jtitle>Journal of the American Musicological Society</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Fink, Robert</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>File Under: American Spaces</atitle><jtitle>Journal of the American Musicological Society</jtitle><date>2011-10-01</date><risdate>2011</risdate><volume>64</volume><issue>3</issue><spage>708</spage><pages>708-</pages><issn>0003-0139</issn><eissn>1547-3848</eissn><abstract>(In America- of the 1920s and 1930s, for example, it took 50,000 watts of radio power and an entire telephone system to throw a single National Barn Dance.)60 Space versus place The notion that place (the physical environment though which we move) and space (the practice and lived experience of place) should be primary constituents in a musicology of the Americas is hardly one for which I can take credit; the seminal meoretical work of Adam Krims, model analyses of hip-hop by Tricia Rose and Murray Forman, and an increasing body of paradigmshifting work from younger scholars provide abundant evidence of that.61 It might be somewhat more original to note that a focus on - and a clear distinction between- space and place can help clarify at least one nagging issue that still troubles many scholars of North American musics: how can we explore our intuitive sense that music as made and consumed in this hemisphere is different from the classical traditions of Europe and Asia, and not faU into the manifold historiographie traps often lumped together as "American exceptionalism"?</abstract><cop>Richmond</cop><pub>University of California Press Books Division</pub></addata></record> |
fulltext | fulltext |
identifier | ISSN: 0003-0139 |
ispartof | Journal of the American Musicological Society, 2011-10, Vol.64 (3), p.708 |
issn | 0003-0139 1547-3848 |
language | eng |
recordid | cdi_proquest_journals_916923316 |
source | Art, Design and Architecture Collection; JSTOR Archival Journals and Primary Sources Collection; ProQuest One Literature; Humanities Index |
subjects | Hip hop culture Musical performances Musicology Postmodernism Radio Scholars Social activism Space Telephones |
title | File Under: American Spaces |
url | http://sfxeu10.hosted.exlibrisgroup.com/loughborough?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2024-09-22T08%3A42%3A14IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-proquest&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=File%20Under:%20American%20Spaces&rft.jtitle=Journal%20of%20the%20American%20Musicological%20Society&rft.au=Fink,%20Robert&rft.date=2011-10-01&rft.volume=64&rft.issue=3&rft.spage=708&rft.pages=708-&rft.issn=0003-0139&rft.eissn=1547-3848&rft_id=info:doi/&rft_dat=%3Cproquest%3E2565593581%3C/proquest%3E%3Cgrp_id%3Ecdi_FETCH-proquest_journals_9169233163%3C/grp_id%3E%3Coa%3E%3C/oa%3E%3Curl%3E%3C/url%3E&rft_id=info:oai/&rft_pqid=916923316&rft_id=info:pmid/&rfr_iscdi=true |