Julia Simon
- Published in print:
- 2017
- Published Online:
- August 2017
- ISBN:
- 9780190666552
- eISBN:
- 9780190666583
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190666552.003.0005
- Subject:
- Music, Philosophy of Music, Popular
This chapter interrogates the construction of narrative out of lyrical and musical fragments and scenes. Tracing displacements and condensations in the blues reveals a metonymic structure ...
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This chapter interrogates the construction of narrative out of lyrical and musical fragments and scenes. Tracing displacements and condensations in the blues reveals a metonymic structure underpinning narrative articulations. Close examination of the contexts of reception—including the minstrel show, the juke joint, and most especially the print advertising of race record labels—unearths a system that guides listeners to construct narrative cohesion out of fragments and pieces. Analyzing Charley Patton’s “High Water Everywhere,” Blind Lemon Jefferson’s “Competition Bed Blues,” and Robert Johnson’s “Hellhound on my Trail” uncovers an unstable oscillation between synchronic and diachronic understandings of time that is foregrounded by the blues’ fundamentally fragmentary structure.Less
This chapter interrogates the construction of narrative out of lyrical and musical fragments and scenes. Tracing displacements and condensations in the blues reveals a metonymic structure underpinning narrative articulations. Close examination of the contexts of reception—including the minstrel show, the juke joint, and most especially the print advertising of race record labels—unearths a system that guides listeners to construct narrative cohesion out of fragments and pieces. Analyzing Charley Patton’s “High Water Everywhere,” Blind Lemon Jefferson’s “Competition Bed Blues,” and Robert Johnson’s “Hellhound on my Trail” uncovers an unstable oscillation between synchronic and diachronic understandings of time that is foregrounded by the blues’ fundamentally fragmentary structure.
Darren Hudson Hick
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780226460109
- eISBN:
- 9780226460383
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226460383.003.0002
- Subject:
- Philosophy, Aesthetics
This opening chapter focuses on the sorts of culture clashes that are at the core of our more interesting issues of authorship, ownership, and infringement, examining the role that copying and ...
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This opening chapter focuses on the sorts of culture clashes that are at the core of our more interesting issues of authorship, ownership, and infringement, examining the role that copying and copyright have played in artistic practice, the psychology of ownership, and what seems to be an increasingly accelerating ideological shift, fueled in part by technological advances, bringing about a widening of the gray area between artistic making and artistic taking. Case studies include Shia LaBeouf’s film HowardCantour.com, the early blues recording of Blind Lemon Jefferson, and the Amen Break.Less
This opening chapter focuses on the sorts of culture clashes that are at the core of our more interesting issues of authorship, ownership, and infringement, examining the role that copying and copyright have played in artistic practice, the psychology of ownership, and what seems to be an increasingly accelerating ideological shift, fueled in part by technological advances, bringing about a widening of the gray area between artistic making and artistic taking. Case studies include Shia LaBeouf’s film HowardCantour.com, the early blues recording of Blind Lemon Jefferson, and the Amen Break.
