New Books in Music

The First World War poet and composer Ivor Gurney (1890–1937) spent the last fifteen years of his life confined in a Kent mental hospital before dying prematurely of tuberculosis. How good was Gurney's war poetry, and has his music stood the test of time? Why did try to re-write Shakespeare's plays? How far do recently uncovered archives transform our understandings both of Ivor Gurney's troubled life and his remarkable work? Kate Kennedy of the Oxford Centre for Life-Writing discusses her ground-breaking biography of Ivor Gurney Dweller in Shadows (Princeton 2021) with Duncan McCargo, in an unusual podcast that includes readings of his poetry, and two specially recorded examples of his music. The podcast opens and closes with Kate Kennedy (cello) and Simon Over (piano) performing Gurney's song Sleep. We also hear Simon accompany Dominic Bevan as he sings Severn Meadows, a rare example of Gurney setting his own words to music. Rare treats lie in store for the listener.  Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Brooke McCorkle Okazaki’s Shonen Knife’s Happy Hour, part of the 33 1/3 music history and culture series, is a joyful romp through the career of the internationally successful Japanese trio, Shonen Knife. The book focuses on the intersection of food, gender, and music for these pioneers of what Okazaki calls “josei rock,” in other words, music by women in the Japanese scene that does not fit into heavily produced and marketed categories such as “girls bands” and “idols.” The book combines history, musical and lyrical exegesis, visual analysis, and interviews to create a layered portrait of an influential and important artist. What we learn is that Shonen Knife is in many ways a study in contrasts and deliberately clashing aesthetics, mixing cute and cool, playing with gender roles and consumerism, bending genres, appropriating Orientalist stereotypes, and singing in English. As Okazaki shows, Shonen Knife’s music, videos, and on-stage personality manage to be subversive and, in a word, punk. As the title of chapter 5 indicates, this is a book about “food, music, and transnational flow.”Nathan Hopson is an associate professor of Japanese and East Asian history in the Graduate School of Humanities, Nagoya University. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

We live in a networked world. Online social networking platforms and the World Wide Web have changed how society thinks about connectivity. Because of the technological nature of such networks, their study has predominantly taken place within the domains of computer science and related scientific fields. But arts and humanities scholars are increasingly using the same kinds of visual and quantitative analysis to shed light on aspects of culture and society hitherto concealed. Written by Ruth Ahnert, Sebastian Ahnert, Nicole Coleman, and Scott Weingart, The Network Turn: Changing Perspectives in the Humanities (Cambridge UP, 2021) contends that networks are a category of study that cuts across traditional academic barriers, uniting diverse disciplines through a shared understanding of complexity in our world. Moreover, we are at a moment in time when it is crucial that arts and humanities scholars join the critique of how large-scale network data and advanced network analysis are being harnessed for the purposes of power, surveillance, and commercial gain.Ruth Ahnert is Professor of Literary History and Digital Humanities, Queen Mary University of London.Sebastian Ahnert is University Lecturer, Department of Chemical Engineering and Biotechnology, University of Cambridge.Nicole Coleman is Digital Research Architect, Stanford University Libraries.Scott Weingart is Director of the Navari Family Center for Digital Scholarship at the University of Notre Dame.Katie McDonough is Senior Research Associate, The Alan Turing Institute. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Southern women of all classes, races, and walks of life practiced music during and after the Civil War. Dr. Candace Bailey examines the history of southern women through the lens of these musical pursuits, uncovering the ways that music's transmission, education, circulation, and repertory help us understand its meaning in the women's culture of the time. Bailey pays particular attention to the space between music as an ideal accomplishment—part of how people expected women to perform gentility—and a real practice—what women actually did. At the same time, her ethnographic reading of binder’s volumes, letters and diaries, and a wealth of other archival material informs new and vital interpretations of women’s places in southern culture. A fascinating collective portrait of women's artistic and personal lives, Unbinding Gentility: Women Making Music in the Nineteenth-century South (University of Illinois Press, 2021) challenges entrenched assumptions about nineteenth-century music and the experiences of the southern women who made it.Dr. Candace Bailey is professor of music at North Carolina Central University.Emily Ruth Allen (@emmyru91) is a PhD candidate in Musicology at Florida State University. She is currently working on a dissertation about parade musics in Mobile, Alabama’s Carnival celebrations. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In Punks in Peoria: Making a Scene in the American Heartland (University of Illinois, 2021) Jonathan Wright and Dawson Barret explore do-it-yourself scene built by Peoria punks, performers, and scenesters in the 1980s and 1990s. Peoria, Illinois the quintessential Midwest town, where "if it could play in Peoria, it could play anywhere," was fertile ground for the boredom- and anger-fueled fury of punk rock. From fanzines to indie record shops to renting the VFW hall for an all-ages show, Peoria's punk culture reflected the movement elsewhere, but the region's conservatism and industrial decline offered a richer-than-usual target environment for rebellion. Eyewitness accounts take readers into hangouts and long-lost venues, while interviews with the people who were there trace the ever-changing scene and varied fortunes of local legends like Caustic Defiance, Dollface, and Planes Mistaken for Stars. What emerges is a sympathetic portrait of a youth culture in search of entertainment but just as hungry for community—the shared sense of otherness that, even for one night only, could unite outsiders and discontents under the banner of music. Punks in Peoria examines the rich history of this punk scene, including a soundtrack to listen along. Rebekah Buchanan is an Associate Professor of English and Director of English Education at Western Illinois University. Her research focuses on feminism, activism, and literacy practices in youth culture, specifically through zines and music. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

“What are we thinking about when we think about music in non-naturalistic terms?” asks Benjamin Steege—Associate Professor of Music Theory, Columbia University—in his new book An Unnatural Attitude: Phenomenology in Weimar Musical Thought (University of Chicago Press, 2021). This deceptively subtle question exercised the minds of some of Europe's most delicate musical thinkers at a time of great social and political upheaval, and continues to be of interest to musicologists today. Putting a little-discussed set of German-language primary sources into historical context (among others, the writing of Günther Anders (né Stern), Gustav Güldenstein, and Herbert Eimert) and expertly introducing them to an Anglophone audience, Steege explains the shared interests of a post–World War I constellation of musical thinkers whose disinterest in psychological and music-historical orthodoxy coalesces into a vital, if not entirely homogeneous, program for the phenomenology of music. Enriched by convincing music-analytical examples, careful handling of philosophical terms of art, and an ethical sensitivity not unlike that of its historical interlocutors, Steege's book—and the writers whose work it examines—is sure to draw attention from music historians and historians of philosophy alike, who will question the relative unfamiliarity of its subject matter and set out to reach out across this gap to explore the models of historical listening it offers.Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Children’s folklore is simultaneously a conservator of tradition and a site for creativity and innovation. For over five decades, Dr. Jeanne Pitre Soileau documented and collected the jokes, chants, rhymes, and games that that she observed on school playgrounds throughout her career as a public school teacher in southern Louisiana. From the early days of integration to the first decade of the 21st century, Dr. Soileau has taken note of the evolving forms in which children’s play take and its reflections of contemporary times. Her book, Yo’ Mama, Mary Mack, and Boudreaux and Thibodeaux: Lousiana Children’s Folklore and Play (University Press of Mississippi, 2016), examines forty-four years of children’s folklore and play collected in southern Louisiana schools. The book has won the 2018 Chicago Folklore Prize for excellence in folklore scholarship and the 2018 Opie Prize for the best published scholarly book on children’s folklore.In this podcast, we hear about Dr. Soileau’s early fascination with the sounds of children chanting and handclapping at Louisiana school playground and her subsequent efforts to collect and document them and mores. She shares the playground jokes she heard, the “dozens,” an African American insult ritual with specific patterns with “clean” and “dirty” versions. We also discuss chants and ring games that were played among girls, some of which had origins from the late 19th century, but still expressed expectations of womanhood. The rhymes and playing that children engaged with were often reflective of current trends and popular culture. While the 21st century saw the rise of electronic media in the play of children, traditional rings games and chants still persisted on the playground. Such inventions did not replace these familiar games, but simply added to them, allowing for a different type of creativity and play for children.Dr. Jeanne Soileau was born in New Orleans and taught public school and university classes in Louisiana for forty-seven years. Though retired, she continues to collect and study children’s folklore. Her upcoming publication What The Children Said: Child Lore of Southern Louisiana (University Press of Mississippi, 2021) will explore children’s play and its influence on learning about race, history, and sexuality.Nancy Yan received her PhD in folklore from The Ohio State University and taught First Year Writing, Comparative Studies, and Asian American studies for several years before returning to organizing work. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Theological Stains: Art Music and the Zionist Project (Oxford UP, 2020) offers the first in-depth study of the development of art music in Israel from the mid-twentieth century to the turn of the twenty-first. In a bold and deeply researched account, author Assaf Shelleg explores the theological grammar of Zionism and its impact on the art music written by emigrant and native composers. He argues that Israeli art music, caught in the tension between a bibliocentric territorial nationalism on the one hand and the histories of deterritorialized Jewish diasporic cultures on the other, often features elements of both of these competing narratives. Even as composers critically engaged with the Zionist paradigm, they often reproduced its tropes and symbols, thereby creating aesthetic hybrids with 'theological stains.'Drawing on newly uncovered archives of composers' autobiographical writings and musical sketches, Shelleg closely examines the aesthetic strategies that different artists used to grapple with established nationalist representations. As he puts the history of Israeli art music in conversation with modern Hebrew literature, he weaves a rich tapestry of Israeli culture and the ways in which it engaged with key social and political developments throughout the second half of the twentieth century. In analyzing Israeli music and literature against the backdrop of conflicts over territory, nation, and ethnicity, Theological Stains provides a revelatory look at the complex relationship between art and politics in Israel.Renee Garfinkel, Ph.D. is a psychologist, writer, Middle East television commentator and host of The New Books Network’s Van Leer Jerusalem Series on Ideas. Write her at r.garfinkel@yahoo.com. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

It is now just over a decade since protests in Cairo's Tahrir Square started Egypt's chapter in the events of the Arab Spring. Much has been made in western criticism of art and culture's role in the revolution, but the everyday cultural production of studio artists, graffiti artists, musicians, and writers since has attracted less attention. How have artists responded personally and artistically to the political transformation ? What has social role of art been in these periods of transition and uncertainty? What are the aesthetic shifts and stylistic transformations present in the contemporary Egyptian art world?Caroline Seymour-Jorn speaks with Pierre d'Alancaisez about her many years of research in Cairo that goes beyond the current understandings of creative work solely as a form of resistance or political commentary, providing a more nuanced analysis of creative production in the Arab world. Caroline suggests that young artists like Hany Rashed or The Choir Project have turned their creative focus increasingly inward, to examine issues having to do with personal relationships, belonging and inclusion, and maintaining hope in harsh social, political and economic circumstances.Caroline Seymour-Jorn is professor of comparative literature and Arabic translation at the University of Wisconsin-Milwaukee and the author of Cultural Criticism in Egyptian Women's Writing, 2011. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

George Frederick Bristow, born in 1825, was a significant musical figure in the United States from the 1850s until his death in 1898. Now, almost one hundred years after his birth, Katherine Preston has just written his first biography--George Frederick Bristow (University of Illinois Press, 2020)-- as part of the American Composers Series. Bristow led a professional life that today’s classical musicians would surely recognize. He patched together a living from performing, composing, conducting, teaching, church jobs, and even some business ventures and celebrity endorsements. He composed in every major genre of the period and wrote "Rip Van Winkle," the first grand opera by an American composer. Preston situates his life within the booming musical economy in New York and his music within the critical and artistic currents of the nineteenth century, while illuminating the little-known creative and performance culture that Bristow helped define and create.Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century. Learn more about your ad choices. Visit megaphone.fm/adchoicesSupport our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music