A Sound History : Lawrence Gellert, Black Musical Protest, and White Denial
Book Details
Format
Hardback or Cased Book
Book Series
American Popular Music
ISBN-10
1625345291
ISBN-13
9781625345295
Publisher
University of Massachusetts Press
Imprint
University of Massachusetts Press
Country of Manufacture
GB
Country of Publication
GB
Publication Date
Oct 30th, 2020
Print length
240 Pages
Weight
490 grams
Dimensions
23.10 x 15.40 x 2.00 cms
Product Classification:
Music reviews & criticismMusic reviews and criticism20th century & contemporary classical musicFolk & traditional musicBluesArt music, orchestral and formal musicPopular musicTraditional and folk musicHistory of the Americas20th century history: c 1900 to c 2000Popular philosophyPopular cultureEthnic studies / EthnicityPopular cultureEthnic studiesHistoryHistory of the AmericasPopular philosophy
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Tells the story of an individual life, an excavation of African American musical resistance and dominant white historiography, and a cultural history of radical possibility and reversal in the defining middle decades of the US twentieth century.
Lawrence Gellert has long been a mysterious figure in American folk and blues studies, gaining prominence in the left-wing folk revival of the 1930s for his fieldwork in the U.S. South. A "lean, straggly-haired New Yorker," as Time magazine called him, Gellert was an independent music collector, without formal training, credentials, or affiliation. At a time of institutionalized suppression, he worked to introduce white audiences to a tradition of black musical protest that had been denied and overlooked by prior white collectors.
By the folk and blues revival of the 1960s, however, when his work would again seem apt in the context of the civil rights movement, Gellert and his collection of Negro Songs of Protest were a conspicuous absence. A few leading figures in the revival defamed Gellert as a fraud, dismissing his archive of black vernacular protest as a fabrication -- an example of left-wing propaganda and white interference. A Sound History is the story of an individual life, an excavation of African American musical resistance and dominant white historiography, and a cultural history of radical possibility and reversal in the defining middle decades of the U.S. twentieth century.
By the folk and blues revival of the 1960s, however, when his work would again seem apt in the context of the civil rights movement, Gellert and his collection of Negro Songs of Protest were a conspicuous absence. A few leading figures in the revival defamed Gellert as a fraud, dismissing his archive of black vernacular protest as a fabrication -- an example of left-wing propaganda and white interference. A Sound History is the story of an individual life, an excavation of African American musical resistance and dominant white historiography, and a cultural history of radical possibility and reversal in the defining middle decades of the U.S. twentieth century.
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