Contents
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I The discursive space of black music I The discursive space of black music
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African-American music as a musicological subject African-American music as a musicological subject
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II Signifyin(g)—Words and Performance II Signifyin(g)—Words and Performance
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Performance/environment Performance/environment
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III Musical Signifyin(g) III Musical Signifyin(g)
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Intertextuality and fragmentation Intertextuality and fragmentation
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Timbre Timbre
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Signifyin(g) on the time-line Signifyin(g) on the time-line
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Harmonic stasis or harmonic signifyin(g)? Harmonic stasis or harmonic signifyin(g)?
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Proportional Signifyin(g) Proportional Signifyin(g)
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Four James Brown's “Superbad” and the double-voiced utterance
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Published:October 2000
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Abstract
This chapter explores the discursive space in which the concepts of “blackness” and African American music have been produced and analyzes how these concepts function in James Brown's 1970 recording Superbad. It examines African American music as a historical discourse based on anecdotal accounts and surviving musical practices, which are seen as implying a layer of transhistorical musical features. It summarizes some aspects of the discourses that have circulated about African-American music, including those on the status of the black community and its relationship with the white community, on musical aesthetics, on the impact of ethnicity on aesthetics, and on the impact of community on reception.
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