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Performances in Swing: A Cultural Hi...

Hall, Jeanette.

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Performances in Swing: A Cultural History of Women Singers of Big Bands, 1930s-1950s.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Performances in Swing: A Cultural History of Women Singers of Big Bands, 1930s-1950s./
Author:	Hall, Jeanette.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	231 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-05, Section: A.
Contained By:	Dissertations Abstracts International80-05A.
Subject:	American studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=11008583
ISBN:	9780438615151

Performances in Swing: A Cultural History of Women Singers of Big Bands, 1930s-1950s.
Hall, Jeanette.

Performances in Swing: A Cultural History of Women Singers of Big Bands, 1930s-1950s. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 231 p.

Source: Dissertations Abstracts International, Volume: 80-05, Section: A.

Thesis (Ph.D.)--University of Hawai'i at Manoa, 2018.

This item must not be sold to any third party vendors.

Although women singers of big bands from the 1930s to the 1950s claimed the microphone and the spotlight, few were taken seriously as musicians or as key players in American jazz and popular music history. This project-a cultural history-aims to shine a spotlight once again on those singers. My project examines less-known and analyzed women singers-including Helen Humes, Kay Starr, Helen Forrest, Thelma Carpenter, Louise Tobin, and Maxine Sullivan-to understand why and how these women's stories were etched into history in ways that often minimized their contributions, music, and labor. Both the mainstream press and music magazines vigorously debated these singers' authenticity, vocal talent, and ability to connect with a blues and jazz tradition, often crafting predictable narratives about singers' lives and stories. Through intersectional analysis, I demonstrate how big band singers' music performances and performances of identity complicated these predictable narratives by challenging: traditional boundaries of genre (such as categories of jazz, blues, and popular music), the black-white binary present in jazz discourse, acceptable expressions of womanhood and sexuality, and expectations of "private" issues remaining apart from the public realm. My dissertation approaches performance through an interdisciplinary research practice, utilizing cultural studies, sound studies, performances studies, music, and history to understand the social, cultural, and political effects of various performance practices found within women's jazz singing. I also conduct discourse analysis of newspapers, performance reviews, and record reviews in magazines like Down Beat, Billboard, and Metronome to gain insight into how communities received, endorsed, or scrutinized singers. Accounting for big band singers' performances of gender, race, ethnicity, sexuality, body, and voice allows us to conceptualize their life stories and music differently, showing the power of performances in conveying the limitations and constructions of societal norms to audiences. These performances highlight the significance of women's gendered labor in contrast to the often reductionist stories told in dominant discourse. This project demonstrates how past music critics worked to maintain jazz as an exclusive, masculine domain in how they wrote about women singers, but also shows how singers both shaped and contested boundaries of jazz and popular music.

ISBN: 9780438615151Subjects--Topical Terms:

2122720
American studies.

Performances in Swing: A Cultural History of Women Singers of Big Bands, 1930s-1950s.
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