Pages from The Talking Machine World
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Published: 1916
Total Pages: 242
ISBN-13:
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Author:
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Published: 1916
Total Pages: 242
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DOWNLOAD EBOOKAuthor: Terri Brinegar
Publisher: Univ. Press of Mississippi
Published: 2022-04-19
Total Pages: 262
ISBN-13: 1496839269
DOWNLOAD EBOOKIn the late 1920s, Reverend A. W. Nix (1880–1949), an African American Baptist minister born in Texas, made fifty-four commercial recordings of his sermons on phonographs in Chicago. On these recordings, Nix presented vocal traditions and styles long associated with the southern, rural Black church as he preached about self-help, racial uplift, thrift, and Christian values. As southerners like Nix fled into cities in the North to escape the rampant racism in the South, they contested whether or not African American vocal styles of singing and preaching that had emerged during the slavery era were appropriate for uplifting the race. Specific vocal characteristics, like those on Nix’s recordings, were linked to the image of the “Old Negro” by many African American leaders who favored adopting Europeanized vocal characteristics and musical repertoires into African American churches in order to uplift the modern “New Negro” citizen. Through interviews with family members, musical analyses of the sounds on Nix’s recordings, and examination of historical documents and relevant scholarship, Terri Brinegar argues that the development of the phonograph in the 1920s afforded preachers like Nix the opportunity to present traditional Black vocal styles of the southern Black church as modern Black voices. These vocal styles also influenced musical styles. The “moaning voice” used by Nix and other ministers was a direct connection to the “blues moan” employed by many blues singers including Blind Willie, Blind Lemon, and Ma Rainey. Both Reverend A. W. Nix and his brother, W. M. Nix, were an influence on the “Father of Gospel Music,” Thomas A. Dorsey. The success of Nix’s recorded sermons demonstrates the enduring values African Americans placed on traditional vocal practices.
Author: Lerone A. Martin
Publisher: NYU Press
Published: 2014-11-14
Total Pages: 262
ISBN-13: 1479890952
DOWNLOAD EBOOKThe overlooked African American religious history of the phonograph industry Winner of the 2015 Frank S. and Elizabeth D. Brewer Prize for outstanding scholarship in church history by a first-time author presented by the American Society of Church History Certificate of Merit, 2015 Award for Excellence in Historical Recorded Sound Research presented by the Association for Recorded Sound Collections From 1925 to 1941, approximately one hundred African American clergymen teamed up with leading record labels such as Columbia, Paramount, Victor-RCA to record and sell their sermons on wax. While white clerics of the era, such as Aimee Semple McPherson and Charles Fuller, became religious entrepreneurs and celebrities through their pioneering use of radio, black clergy were largely marginalized from radio. Instead, they relied on other means to get their message out, teaming up with corporate titans of the phonograph industry to package and distribute their old-time gospel messages across the country. Their nationally marketed folk sermons received an enthusiastic welcome by consumers, at times even outselling top billing jazz and blues artists such as Bessie Smith and Ma Rainey. These phonograph preachers significantly shaped the development of black religion during the interwar period, playing a crucial role in establishing the contemporary religious practices of commodification, broadcasting, and celebrity. Yet, the fame and reach of these nationwide media ministries came at a price, as phonograph preachers became subject to the principles of corporate America. In Preaching on Wax, Lerone A. Martin offers the first full-length account of the oft-overlooked religious history of the phonograph industry. He explains why a critical mass of African American ministers teamed up with the major phonograph labels of the day, how and why black consumers eagerly purchased their religious records, and how this phonograph religion significantly contributed to the shaping of modern African American Christianity.
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Published: 1932
Total Pages: 258
ISBN-13:
DOWNLOAD EBOOKAuthor: John Shepherd
Publisher: A&C Black
Published: 2003-03-06
Total Pages: 833
ISBN-13: 184714473X
DOWNLOAD EBOOKThe Bloomsbury Encyclopedia of Popular Music Volume 1 provides an overview of media, industry, and technology and its relationship to popular music. In 500 entries by 130 contributors from around the world, the volume explores the topic in two parts: Part I: Social and Cultural Dimensions, covers the social phenomena of relevance to the practice of popular music and Part II: The Industry, covers all aspects of the popular music industry, such as copyright, instrumental manufacture, management and marketing, record corporations, studios, companies, and labels. Entries include bibliographies, discographies and filmographies, and an extensive index is provided.
Author: Timothy C. Fabrizio
Publisher: Schiffer Publishing
Published: 2005
Total Pages: 290
ISBN-13:
DOWNLOAD EBOOKAn incredible variety of antique record players is documented, including those with external-horns as well as internal-horn devices, collectively known as "talking machines." The authoritative text and up-to-date value guide complement hundreds of photos to provide in this one volume a veritable library on the subject.
Author: Reynold Weidenaar
Publisher: Reynold Weidenaar
Published: 1995
Total Pages: 442
ISBN-13: 9780810826922
DOWNLOAD EBOOKA valuable resource for the history of the telharmonium, a 200-ton musical behemoth that was intended to replace orchestral music at the beginning of this century.
Author: Harry Liebersohn
Publisher: University of Chicago Press
Published: 2019-09-27
Total Pages: 352
ISBN-13: 022664927X
DOWNLOAD EBOOKMusic listeners today can effortlessly flip from K-pop to Ravi Shankar to Amadou & Mariam with a few quick clicks of a mouse. While contemporary globalized musical culture has become ubiquitous and unremarkable, its fascinating origins long predate the internet era. In Music and the New Global Culture, Harry Liebersohn traces the origins of global music to a handful of critical transformations that took place between the mid-nineteenth and early twentieth century. In Britain, the arts and crafts movement inspired a fascination with non-Western music; Germany fostered a scholarly approach to global musical comparison, creating the field we now call ethnomusicology; and the United States provided the technological foundation for the dissemination of a diverse spectrum of musical cultures by launching the phonograph industry. This is not just a story of Western innovation, however: Liebersohn shows musical responses to globalization in diverse areas that include the major metropolises of India and China and remote settlements in South America and the Arctic. By tracing this long history of world music, Liebersohn shows how global movement has forever changed how we hear music—and indeed, how we feel about the world around us.