G Solis
Datos Biográficos
| ID | 24603 |
|---|---|
| NOMBRE | G Solis |
| NOMBRES | G |
| APELLIDO | Solis |
| FIRMA | SOLIS G |
| AFILIACIONES | University of Illinois Urbana-Champaign |
| ORCID | 0000-0002-7667-201X |
| VERIFICADO | Sí |
| TOTAL DE OBRAS | 18 |
| TOTAL DE CITAS | 29 |
| TOTAL COMO AUTOR | 18 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2001 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 3 |
Postscript
no abstract
Colloquy
If we open our introduction to this colloquy with a question, namely how and to what ends we might theorize global music history, it is because critical questioning seems to be at the heart of the contributions gathered here. We invited six authors to reflect on a key historical concept, process, or formation they have encountered in their globally oriented music research; as we expected, the topics and methods of their resulting contributions va…
Foxconn, Ciudad Juárez, and the Trials of Solidarity
In San Jeronimo, Chihuahua, on the outskirts of Ciudad Juárez, a beige monolith of placid architecture hovers over the newly reconstructed US-Mexico border wall. Looking like a mix between a prison and a city built entirely of suburban Walmarts, this is in fact Foxconn's largest assembly plant at the US-Mexico Border; a shrine of sorts to over fifty-five years of low-cost export manufacturing in the region. And in 2010, it was where a decade of l…
Jazz, Stuart Hall’s Critique, and the Challenge of the Aesthetic
Stuart Hall was, throughout his life, and no less in Familiar Stranger, a passionate music fan, attuned to music’s capacity to play a generative role in the history of culture at large. And yet, I’ve often been struck by a funny disconnect between his writing on music in his life and music in the life of the culture at large, whether that is black diasporic culture, British culture, or broadly transatlantic culture. A reading of Familiar Stranger…
Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions
The rise of jazz-R&B-hip hop fusions in contemporary Los Angeles offers an opportunity to reflect on the ways jazz matters to black audiences today. Drawing on recent Afrofuturist art and theory as well as on Amiri Baraka's analysis of the “changing same” in black music, this essay traces out the significance of work by artists as diverse as Kamasi Washington, Flying Lotus, Thundercat, and Robert Glasper, positing that their music tells us that j…
The "Black Pacific" and decolonisation in Melanesia
In the 19th century Melanesians were pejoratively labelled black by European maritime explorers (mela = black; nesia = islands). Emerging scholarship on the Black Pacific focuses on historical and contemporary identifications and articulations between Oceanian and African diasporic peoples, cultures and politics based upon shared Otherness to colonial occupiers. This essay contributes to such scholarship by presenting a perspective from Melanesia…
School for Cool
Timbral Virtuosity
Saxophonist, composer, and bandleader Pharoah Sanders is best known for recording a handful of meditative, cosmologically-inclined free jazz classics from the 1960s and 1970s, including “The Creator Has a Master Plan.” This article looks at the reasons for these recordings' popularity at the time, arguing that the key to understanding these works can be found in Sanders's use of timbral variation as a formal element. In considering what I call “t…
The Black Pacific
Music has been critical to the alliances and affiliations that have connected black-identified artists and activists from North America and the Caribbean with indigenous artists and activists from Australia and Papua New Guinea since as late as the end of the 19th century. This article sketches out those connections, asking what kinds of social formation this 'Black Pacific' has represented. Following Howard Winant, I argue that though affecting …
Ethnomusicology Scholarship and Teaching - Blurred Genres
Stori Tumbuna
Stori Tumbuna: Ancestors’ Tales. 2011. Produced and directed by Paul Wolffram. In English, Tok Pisin, and Lak, with English subtitles. 90 minutes. Colour, DVD. [Wellington, NZ]: Handmade Productions Aotearoa. - Volume 45
Thoughts on an Interdiscipline
Research Article| September 01 2012 Thoughts on an Interdiscipline: Music Theory, Analysis, and Social Theory in Ethnomusicology Gabriel Solis Gabriel Solis Search for other works by this author on: This Site Google Ethnomusicology (2012) 56 (3): 530-554. https://doi.org/10.5406/ethnomusicology.56.3.0530 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Gabriel Solis; Thoughts on an Interdiscipline: Music Theory, Analysis, …
I Did It My Way
When rock musicians play and record new versions of old songs—when they cover those songs—particularly other musicians' songs, they are doing something fundamental to rock as a musical culture. Covering is not simply the production of new iterations of old songs, but a versioning practice that came into being in the 1950s or 1960s in rock, and that is definitive of the genre. Covers show ideas about rock songs and recordings as texts that gain la…
"Workin' Hard, Hardly Workin'/Hey Man, You Know Me"
Avant-Gardism, the 'Long 1960s' and Jazz Historiography
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Representing African Music
Reviewed by: Representing African Music: Postcolonial Notes, Queries, Positions Gabriel Solis Representing African Music: Postcolonial Notes, Queries, Positions. By Kofi Agawu . New York; London: Routledge, 2003. [ xxvii, 266 p. ISBN 0-415-94389-2. $85 (hbk.); ISBN 0-415-94390-6. $23.95 (pbk.).] Music examples, bibliography, index. This is a strikingly original book, promising to shed new light both on music from across the African continent, and…
Jazz Cultures
Monk, Thelonious
Thoughts on an Interdiscipline
Research Article| September 01 2012 Thoughts on an Interdiscipline: Music Theory, Analysis, and Social Theory in Ethnomusicology Gabriel Solis Gabriel Solis Search for other works by this author on: This Site Google Ethnomusicology (2012) 56 (3): 530-554. https://doi.org/10.5406/ethnomusicology.56.3.0530 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Gabriel Solis; Thoughts on an Interdiscipline: Music Theory, Analysis, …
I Did It My Way
When rock musicians play and record new versions of old songs—when they cover those songs—particularly other musicians' songs, they are doing something fundamental to rock as a musical culture. Covering is not simply the production of new iterations of old songs, but a versioning practice that came into being in the 1950s or 1960s in rock, and that is definitive of the genre. Covers show ideas about rock songs and recordings as texts that gain la…
The Black Pacific
Music has been critical to the alliances and affiliations that have connected black-identified artists and activists from North America and the Caribbean with indigenous artists and activists from Australia and Papua New Guinea since as late as the end of the 19th century. This article sketches out those connections, asking what kinds of social formation this 'Black Pacific' has represented. Following Howard Winant, I argue that though affecting …
The "Black Pacific" and decolonisation in Melanesia
In the 19th century Melanesians were pejoratively labelled black by European maritime explorers (mela = black; nesia = islands). Emerging scholarship on the Black Pacific focuses on historical and contemporary identifications and articulations between Oceanian and African diasporic peoples, cultures and politics based upon shared Otherness to colonial occupiers. This essay contributes to such scholarship by presenting a perspective from Melanesia…
Avant-Gardism, the 'Long 1960s' and Jazz Historiography
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Monk, Thelonious
Jazz Cultures
Representing African Music
Reviewed by: Representing African Music: Postcolonial Notes, Queries, Positions Gabriel Solis Representing African Music: Postcolonial Notes, Queries, Positions. By Kofi Agawu . New York; London: Routledge, 2003. [ xxvii, 266 p. ISBN 0-415-94389-2. $85 (hbk.); ISBN 0-415-94390-6. $23.95 (pbk.).] Music examples, bibliography, index. This is a strikingly original book, promising to shed new light both on music from across the African continent, and…
Avant-Gardism, the 'Long 1960s' and Jazz Historiography
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
"Workin' Hard, Hardly Workin'/Hey Man, You Know Me"
I Did It My Way
When rock musicians play and record new versions of old songs—when they cover those songs—particularly other musicians' songs, they are doing something fundamental to rock as a musical culture. Covering is not simply the production of new iterations of old songs, but a versioning practice that came into being in the 1950s or 1960s in rock, and that is definitive of the genre. Covers show ideas about rock songs and recordings as texts that gain la…
Thoughts on an Interdiscipline
Research Article| September 01 2012 Thoughts on an Interdiscipline: Music Theory, Analysis, and Social Theory in Ethnomusicology Gabriel Solis Gabriel Solis Search for other works by this author on: This Site Google Ethnomusicology (2012) 56 (3): 530-554. https://doi.org/10.5406/ethnomusicology.56.3.0530 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Gabriel Solis; Thoughts on an Interdiscipline: Music Theory, Analysis, …
Stori Tumbuna
Stori Tumbuna: Ancestors’ Tales. 2011. Produced and directed by Paul Wolffram. In English, Tok Pisin, and Lak, with English subtitles. 90 minutes. Colour, DVD. [Wellington, NZ]: Handmade Productions Aotearoa. - Volume 45
Ethnomusicology Scholarship and Teaching - Blurred Genres
Timbral Virtuosity
Saxophonist, composer, and bandleader Pharoah Sanders is best known for recording a handful of meditative, cosmologically-inclined free jazz classics from the 1960s and 1970s, including “The Creator Has a Master Plan.” This article looks at the reasons for these recordings' popularity at the time, arguing that the key to understanding these works can be found in Sanders's use of timbral variation as a formal element. In considering what I call “t…
The Black Pacific
Music has been critical to the alliances and affiliations that have connected black-identified artists and activists from North America and the Caribbean with indigenous artists and activists from Australia and Papua New Guinea since as late as the end of the 19th century. This article sketches out those connections, asking what kinds of social formation this 'Black Pacific' has represented. Following Howard Winant, I argue that though affecting …
School for Cool
The "Black Pacific" and decolonisation in Melanesia
In the 19th century Melanesians were pejoratively labelled black by European maritime explorers (mela = black; nesia = islands). Emerging scholarship on the Black Pacific focuses on historical and contemporary identifications and articulations between Oceanian and African diasporic peoples, cultures and politics based upon shared Otherness to colonial occupiers. This essay contributes to such scholarship by presenting a perspective from Melanesia…
Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions
The rise of jazz-R&B-hip hop fusions in contemporary Los Angeles offers an opportunity to reflect on the ways jazz matters to black audiences today. Drawing on recent Afrofuturist art and theory as well as on Amiri Baraka's analysis of the “changing same” in black music, this essay traces out the significance of work by artists as diverse as Kamasi Washington, Flying Lotus, Thundercat, and Robert Glasper, positing that their music tells us that j…
Jazz, Stuart Hall’s Critique, and the Challenge of the Aesthetic
Stuart Hall was, throughout his life, and no less in Familiar Stranger, a passionate music fan, attuned to music’s capacity to play a generative role in the history of culture at large. And yet, I’ve often been struck by a funny disconnect between his writing on music in his life and music in the life of the culture at large, whether that is black diasporic culture, British culture, or broadly transatlantic culture. A reading of Familiar Stranger…
Foxconn, Ciudad Juárez, and the Trials of Solidarity
In San Jeronimo, Chihuahua, on the outskirts of Ciudad Juárez, a beige monolith of placid architecture hovers over the newly reconstructed US-Mexico border wall. Looking like a mix between a prison and a city built entirely of suburban Walmarts, this is in fact Foxconn's largest assembly plant at the US-Mexico Border; a shrine of sorts to over fifty-five years of low-cost export manufacturing in the region. And in 2010, it was where a decade of l…
Colloquy
If we open our introduction to this colloquy with a question, namely how and to what ends we might theorize global music history, it is because critical questioning seems to be at the heart of the contributions gathered here. We invited six authors to reflect on a key historical concept, process, or formation they have encountered in their globally oriented music research; as we expected, the topics and methods of their resulting contributions va…
Postscript
no abstract
Art (11 obras) · Literature (9 obras) · Music History and Culture (9 obras) · Jazz (8 obras) · Aesthetics (7 obras) · Musicology and Musical Analysis (7 obras) · Visual arts (7 obras) · Art history (6 obras) · History (6 obras) · Philosophy (5 obras)