Hostname: page-component-cd9895bd7-gbm5v Total loading time: 0 Render date: 2024-12-26T05:07:25.202Z Has data issue: false hasContentIssue false
  • English
  • Français

The Creolization of American Culture: William Sidney Mount and the Roots of Blackface Minstrelsy. By Christopher J. Smith . Urbana: University of Illinois Press, 2013. - Ring Shout, Wheel About: The Racial Politics of Music and Dance in North American Slavery. By Katrina Dyonne Thompson . Urbana: University of Illinois Press, 2014.

Published online by Cambridge University Press:  20 October 2017

Renee Lapp Norris
Get access Rights & Permissions [Opens in a new window]

Abstract

An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Book Review
Information
Journal of the Society for American Music , Volume 11 , Issue 4 , November 2017 , pp. 502 - 507
Copyright
Copyright © The Society for American Music 2017 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

1 Lott, Eric, Love and Theft: Blackface Minstrelsy and the American Working Class (New York: Oxford University Press, 1993)Google Scholar.

2 Jonathan Sterne describes all historians as individualistic interpreters in “Rearranging the Files: On Interpretation in Media History,” The Communication Review 13 (2010), 75–87 CrossRefGoogle Scholar. I am grateful to Christina Baade for bringing this article to my attention.

3 Cockrell, Dale, Demons of Disorder: Early Blackface Minstrels and Their World (Cambridge: Cambridge University Press, 1997)Google Scholar; see also Carlin, Bob, The Birth of the Banjo: Joel Walker Sweeney and Early Minstrelsy (New York: McFarland, 2007)Google Scholar.

4 In the next chapter, Smith defines “polyrhythm” more usefully as the “simultaneous execution of several time signatures” (178).

5 Nathan, Hans, Dan Emmett and the Rise of Early Minstrelsy (Norman: University of Oklahoma Press, 1962, 1977)Google Scholar; Parrish, Lydia, Slave Songs of the Georgia Sea Islands (Athens: University of Georgia, 1992)Google Scholar.

6 Dale Cockrell, prologue to Demons of Disorder.

7 This argument was made previously by Bob Carlin in The Birth of the Banjo.

8 Miller, Karl Hagstrom, “Revisiting Minstrelsy: Love & Theft at Twenty,” American Music 33, no. 2 (2015): 277 CrossRefGoogle Scholar.

9 Toll, Robert C., Blacking Up: The Minstrel Show in Nineteenth-Century America (New York: Oxford University Press, 1974)Google Scholar; Dennison, Sam, Scandalize My Name: Black Imagery in American Popular Music (New York: Garland, 1982)Google Scholar; Leonard, William Torbert, Masquerade in Black (Metuchen, NJ: Scarecrow, 1986)Google Scholar.

10 Lott, Love and Theft, 140–41.

11 See, for example, the image of an 1854 playbill for a Christy's Minstrels show captioned as 1857 (175), and the endnotes for chapter 6, where, among a few other inconsistencies, Leonard's Masquerade in Black is cited several times in short format before the full citation is provided.