Skip to content
Back to outputs

African American film sound: scoring blackness

Research output: Chapter in Book/Report/Conference proceedingChapter (peer-reviewed)peer-review

Standard

African American film sound: scoring blackness. / Doughty, Ruth.

Sound and music in film and visual media. ed. / G. Harper; J. Eisentraut; Ruth Doughty. London : Continuum International Publishing, 2008. p. 325-339.

Research output: Chapter in Book/Report/Conference proceedingChapter (peer-reviewed)peer-review

Harvard

Doughty, R 2008, African American film sound: scoring blackness. in G Harper, J Eisentraut & R Doughty (eds), Sound and music in film and visual media. Continuum International Publishing, London, pp. 325-339.

APA

Doughty, R. (2008). African American film sound: scoring blackness. In G. Harper, J. Eisentraut, & R. Doughty (Eds.), Sound and music in film and visual media (pp. 325-339). Continuum International Publishing.

Vancouver

Doughty R. African American film sound: scoring blackness. In Harper G, Eisentraut J, Doughty R, editors, Sound and music in film and visual media. London: Continuum International Publishing. 2008. p. 325-339

Author

Doughty, Ruth. / African American film sound: scoring blackness. Sound and music in film and visual media. editor / G. Harper ; J. Eisentraut ; Ruth Doughty. London : Continuum International Publishing, 2008. pp. 325-339

Bibtex

@inbook{36b820feae3e480ba5ebad851e285f04,
title = "African American film sound: scoring blackness",
abstract = "The term {\textquoteleft}black music{\textquoteright} has long been a cause for contention. What do we mean by music being {\textquoteleft}black{\textquoteright}, or more specifically in the case of this chapter, African American? The music industry has typically marketed products via the categorization of specific genres: for example, jazz, blues, soul, funk and rap. These generic types are often classified as {\textquoteleft}black music{\textquoteright}. Philip Tagg vehemently debates the suitability of such an essentializing label, as he correctly argues that aesthetic practice is not linked to biology: 'Very rarely is any musical evidence given for the specific skin colour or continental origin of the music being talked about [namely black music in this instance] and when evidence is presented, it usually seems pretty fl imsy to me from a musicological view point.' While Tagg{\textquoteright}s position is admirable and sensitive to multi-cultural society, he fails to address that {\textquoteleft}black music{\textquoteright} is systematically deployed by the film industry to gain swift entrance into the African American condition.",
author = "Ruth Doughty",
year = "2008",
language = "English",
isbn = "9780826458247",
pages = "325--339",
editor = "G. Harper and J. Eisentraut and Ruth Doughty",
booktitle = "Sound and music in film and visual media",
publisher = "Continuum International Publishing",

}

RIS

TY - CHAP

T1 - African American film sound: scoring blackness

AU - Doughty, Ruth

PY - 2008

Y1 - 2008

N2 - The term ‘black music’ has long been a cause for contention. What do we mean by music being ‘black’, or more specifically in the case of this chapter, African American? The music industry has typically marketed products via the categorization of specific genres: for example, jazz, blues, soul, funk and rap. These generic types are often classified as ‘black music’. Philip Tagg vehemently debates the suitability of such an essentializing label, as he correctly argues that aesthetic practice is not linked to biology: 'Very rarely is any musical evidence given for the specific skin colour or continental origin of the music being talked about [namely black music in this instance] and when evidence is presented, it usually seems pretty fl imsy to me from a musicological view point.' While Tagg’s position is admirable and sensitive to multi-cultural society, he fails to address that ‘black music’ is systematically deployed by the film industry to gain swift entrance into the African American condition.

AB - The term ‘black music’ has long been a cause for contention. What do we mean by music being ‘black’, or more specifically in the case of this chapter, African American? The music industry has typically marketed products via the categorization of specific genres: for example, jazz, blues, soul, funk and rap. These generic types are often classified as ‘black music’. Philip Tagg vehemently debates the suitability of such an essentializing label, as he correctly argues that aesthetic practice is not linked to biology: 'Very rarely is any musical evidence given for the specific skin colour or continental origin of the music being talked about [namely black music in this instance] and when evidence is presented, it usually seems pretty fl imsy to me from a musicological view point.' While Tagg’s position is admirable and sensitive to multi-cultural society, he fails to address that ‘black music’ is systematically deployed by the film industry to gain swift entrance into the African American condition.

M3 - Chapter (peer-reviewed)

SN - 9780826458247

SP - 325

EP - 339

BT - Sound and music in film and visual media

A2 - Harper, G.

A2 - Eisentraut, J.

A2 - Doughty, Ruth

PB - Continuum International Publishing

CY - London

ER -

ID: 59821