東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Rank Strangers: Performing the Blueg...

Grimm, Heather,

FindBook

Google Book

Amazon

博客來

Rank Strangers: Performing the Bluegrass Repertoire in the Contemporary Midwest /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Rank Strangers: Performing the Bluegrass Repertoire in the Contemporary Midwest // Heather Grimm.
作者:	Grimm, Heather,
面頁冊數:	1 electronic resource (351 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-02, Section: A.
Contained By:	Dissertations Abstracts International86-02A.
標題:	Theater. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31488965
ISBN:	9798384019602

Rank Strangers: Performing the Bluegrass Repertoire in the Contemporary Midwest /
Grimm, Heather,

Rank Strangers: Performing the Bluegrass Repertoire in the Contemporary Midwest /Heather Grimm. - 1 electronic resource (351 pages)

Source: Dissertations Abstracts International, Volume: 86-02, Section: A.

How do performance and reception change when a commercial popular music genre, ever-changing in response to audience taste, gets re-framed as a traditional, static one? This dissertation addresses this question using bluegrass music, an acoustic subgenre of country music created in the 1940s. Through revisionist readings of the writings of early non-southern advocates of bluegrass music, this dissertation demonstrates how the tastemakers of the 1960s folk revival re-coded bluegrass as a genre born of isolated white, male, working-class, rural southerners making music outside of capitalist production systems--not of diversely influenced modern people on the move. This altered conception excludes performers who don't fit this mold, and freezes those who do in an ever-present past. As scholars of the folklore movement and the folk revival have previously shown, these fantasies of authenticity crumble with sufficient familiarity with the cultural product at hand. So, although those early advocates of bluegrass music eventually became familiar enough with bluegrass' production to no longer espouse those fantasies of authenticity, the effects of their re-coding of bluegrass music reached a wide audience in the 1960s and 70s, and continue to shape public perception today. Instead of an easily debunkable blip in the music's reception history, I argue that folk revival era expectations of bluegrass have come to shape its contemporary reception, as evidenced by the development of the content and context of bluegrass performance. To do so, I investigate three bluegrass venues across the Midwest, attending to multiple aspects of bluegrass performance: performer's self-presentation, most often through stage talk and costuming, performers' song repertoire, and the physical spaces in which performances happen, which allow for ample interaction between audience and performer. I encompass all these elements under the theoretical category of the bluegrass repertoire. While there is a current movement in the bluegrass world to appreciate a more expansive history of bluegrass, it has so far been unsuccessful in re-coding the genre to include those outside of the narrow normative regional, class, race, and gender conception of bluegrass musicians. This dissertation shows how the performance of bluegrass music sustains these narrow expectations, preventing broad uptake of a more inclusive understanding of the genre."Rank Strangers" draws from participant-observation conducted in ticketed concerts, rehearsals, and jam sessions, as well as interviews with fans and performers. In Chapter 1, I examine how the folk revival re-coding of bluegrass altered its performance and framing in the early years of Bill Monroe's Bluegrass Festival in Bean Blossom, Indiana, and in Chapter 2, I demonstrate the legacy of that history on contemporary performance at that same site. Chapter 3 investigates regional origin (one of the defining identity categories of normatively conceptualized bluegrass musicians) and how it is contested through performance at the local level at a concert series outside of Chicago. Lastly, Chapter 4 examines the American Roots Music Ensemble at Denison University in Granville, Ohio, a program attempting to change that normative conception, documenting the barriers it encounters at the institutional, community, and individual levels. I conclude by offering practical suggestions for musicians based on these findings to create performances that encourage audiences to read them outside of romantic paradigms.

English

ISBN: 9798384019602Subjects--Topical Terms:

522973
Theater.
Subjects--Index Terms:

Bluegrass music

Rank Strangers: Performing the Bluegrass Repertoire in the Contemporary Midwest /
LDR:04996nmm a22004453i 4500 001 2436875
005 20251117053642.5
006 m o d
007 cr|nu||||||||
008 261011s2024 miu||||||m |||||||eng d
020 $a 9798384019602
035 $a (MiAaPQD)AAI31488965
035 $a AAI31488965
040 $a MiAaPQD $b eng $c MiAaPQD $e rda
100 1 $a Grimm, Heather, $e author. $0 (orcid)0000-0003-1053-1270 $3 3827689
245 1 0 $a Rank Strangers: Performing the Bluegrass Repertoire in the Contemporary Midwest / $c Heather Grimm.
264 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2024
300 $a 1 electronic resource (351 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 86-02, Section: A.
500 $a Advisors: Manning, Susan Committee members: Asare, Masi; Benzecry, Claudio; Bidgood, Lee.
502 $b Ph.D. $c Northwestern University $d 2024.
520 $a How do performance and reception change when a commercial popular music genre, ever-changing in response to audience taste, gets re-framed as a traditional, static one? This dissertation addresses this question using bluegrass music, an acoustic subgenre of country music created in the 1940s. Through revisionist readings of the writings of early non-southern advocates of bluegrass music, this dissertation demonstrates how the tastemakers of the 1960s folk revival re-coded bluegrass as a genre born of isolated white, male, working-class, rural southerners making music outside of capitalist production systems--not of diversely influenced modern people on the move. This altered conception excludes performers who don't fit this mold, and freezes those who do in an ever-present past. As scholars of the folklore movement and the folk revival have previously shown, these fantasies of authenticity crumble with sufficient familiarity with the cultural product at hand. So, although those early advocates of bluegrass music eventually became familiar enough with bluegrass' production to no longer espouse those fantasies of authenticity, the effects of their re-coding of bluegrass music reached a wide audience in the 1960s and 70s, and continue to shape public perception today. Instead of an easily debunkable blip in the music's reception history, I argue that folk revival era expectations of bluegrass have come to shape its contemporary reception, as evidenced by the development of the content and context of bluegrass performance. To do so, I investigate three bluegrass venues across the Midwest, attending to multiple aspects of bluegrass performance: performer's self-presentation, most often through stage talk and costuming, performers' song repertoire, and the physical spaces in which performances happen, which allow for ample interaction between audience and performer. I encompass all these elements under the theoretical category of the bluegrass repertoire. While there is a current movement in the bluegrass world to appreciate a more expansive history of bluegrass, it has so far been unsuccessful in re-coding the genre to include those outside of the narrow normative regional, class, race, and gender conception of bluegrass musicians. This dissertation shows how the performance of bluegrass music sustains these narrow expectations, preventing broad uptake of a more inclusive understanding of the genre."Rank Strangers" draws from participant-observation conducted in ticketed concerts, rehearsals, and jam sessions, as well as interviews with fans and performers. In Chapter 1, I examine how the folk revival re-coding of bluegrass altered its performance and framing in the early years of Bill Monroe's Bluegrass Festival in Bean Blossom, Indiana, and in Chapter 2, I demonstrate the legacy of that history on contemporary performance at that same site. Chapter 3 investigates regional origin (one of the defining identity categories of normatively conceptualized bluegrass musicians) and how it is contested through performance at the local level at a concert series outside of Chicago. Lastly, Chapter 4 examines the American Roots Music Ensemble at Denison University in Granville, Ohio, a program attempting to change that normative conception, documenting the barriers it encounters at the institutional, community, and individual levels. I conclude by offering practical suggestions for musicians based on these findings to create performances that encourage audiences to read them outside of romantic paradigms.
546 $a English
590 $a School code: 0163
650 4 $a Theater. $3 522973
650 4 $a Music. $3 516178
650 4 $a American studies. $3 2122720
650 4 $a Musical performances. $3 3175508
653 $a Bluegrass music
653 $a Folk revival
653 $a Popular music
653 $a Reception
653 $a Repertoire
690 $a 0465
690 $a 0413
690 $a 0323
690 $a 0943
710 2 $a Northwestern University. $b Theatre and Drama. $e degree granting institution. $3 3827690
720 1 $a Manning, Susan $e degree supervisor.
773 0 $t Dissertations Abstracts International $g 86-02A.
790 $a 0163
791 $a Ph.D.
792 $a 2024
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31488965