Ronald M Radano
Biographic Data
| ID | 222310 |
|---|---|
| NAME | Ronald M Radano |
| GIVEN NAMES | Ronald M |
| FAMILY NAME | Radano |
| SIGNATURE | RADANO R M |
| AFFILIATIONS | University of Wisconsin–Madison |
| VERIFIED | No |
| TOTAL WORKS | 18 |
| TOTAL CITATIONS | 35 |
| AUTHOR COUNT | 18 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1984 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 4 |
The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries Anna Maria Busse Berger
Anna Maria Busse Berger introduces her thoughtful new study by recounting a childhood experience that ultimately inspired her to write the book. Having recently arrived in Tanganyika as the daughter of a Moravian missionary, she witnessed nearby in the city of Mombasa, British Kenya (1888–1963), a choir singing Gregorian chant. ‘I could not believe how different [it] sounded’, she remarks, and from that moment, ‘my curiosity was aroused’ (p. 1). …
Black Music Labor and the Animated Properties of Slave Sound
While historians, musicologists, and cultural critics have long acknowledged the widespread and enduring appeal of US black music, few have grappled with the problem of its enormous cultural and aesthetic value. This essay proposes a material understanding of black musical value that locates its origins in the peculiar economy of race and capitalism under US slavery. It argues that black music's value accrues from the anomaly of musical productio…
The Sound of Racial Feeling
Critics continue to debate the value of U.S. black music according to a flawed distinction between racial authenticity and social construction. Both sides have it half-right. Black music's value arose historically as the result of a fundamental contradiction in the logic of race tracing back to the slave era. As “Negro” in form, the music was constituted as the collective property of another property, a property-in-slaves. The incongruity produce…
Jazz Cosmopolitanism in Accra: Five Musical Years in Ghana
On Ownership and Value
A key issue that continues to inform discussions of black musical value is the concept of authenticity. Authenticity is hot, of course, an idea that is peculiar to music. We look for authenticity in a number of places and in a variety of forms. Journalists debate the authenticity of political candidates; on public television, antiques experts size up the authenticity of a special object, and home contractors restore old houses to their original, …
Thornhill, Claude (jazz)
Belafonte, Harry
Saying Something: Jazz Improvisation and Interaction
How Sweet the Sound: The Golden Age of Gospel
Journal Article How Sweet the Sound: The Golden Age of Gospel. By Horace Clarence Boyer. (Washington: Elliott & Clark, 1995. 272 pp. $29.95, ISBN 1-880216-19-1.) Get access Ronald Radano Ronald Radano University of Wisconsin, Madison, Wisconsin Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 83, Issue 3, December 1996, Pages 1077–1078, https://doi.org/10.2307/2945768 Published: 01 Decem…
Denoting Difference: The Writing of the Slave Spirituals
Critical Alchemy: Anthony Braxton and the Imagined Tradition
New Musical Figurations: Anthony Braxton's Cultural Critique
Journal Article New Musical Figurations: Anthony Braxton's Cultural Critique. By Ronald M. Radano. (Chicago: University of Chicago Press, 1993. xvi, 315 pp. Cloth, $49.95, ISBN 0-226-70195-6. Paper, $16.95, ISBN 0-226-70196-4.) Get access Frank Tirro Frank Tirro Yale University, New Haven, Connecticut Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 82, Issue 1, June 1995, Pages 369–370,…
Jazz, Modernism, and the Black Creative Tradition
In the famous opening to Ralph Ellison's Invisible Man, the music-loving narrator locates jazz at the site of cultural erasure. In the acutely perceptible clamor of black music-embodied in a recording of Louis Armstrong-he discerns sound beyond white imagination, what he names a poetry out of [the] invisible.' Ellison's positioning of jazz in the realm of the unknown raises a perplexing challenge to the historian, musicologist, and critic alike. …
Jazzin' the Classics: The Aacm's Challenge to Mainstream Aesthetics
In the Moment: Jazz in the 1980s
Interpreting Muzak: Speculations on Musical Experience in Everyday Life
ion of the private world it is meant to suggest. Muzak takes a place alongside other familiar objects of our private worlds. It functions as a special blanket of security that has through transference of complex This content downloaded from 207.46.13.114 on Thu, 26 May 2016 06:03:10 UTC All use subject to http://about.jstor.org/terms Interpreting Muzak 457 personal perceptions come to represent symbolically a public transposition of domestic bour…
Noise: The Political Economy of Music
All American Music: Composition in the Late Twentieth Century
Denoting Difference: The Writing of the Slave Spirituals
Interpreting Muzak: Speculations on Musical Experience in Everyday Life
ion of the private world it is meant to suggest. Muzak takes a place alongside other familiar objects of our private worlds. It functions as a special blanket of security that has through transference of complex This content downloaded from 207.46.13.114 on Thu, 26 May 2016 06:03:10 UTC All use subject to http://about.jstor.org/terms Interpreting Muzak 457 personal perceptions come to represent symbolically a public transposition of domestic bour…
Black Music Labor and the Animated Properties of Slave Sound
While historians, musicologists, and cultural critics have long acknowledged the widespread and enduring appeal of US black music, few have grappled with the problem of its enormous cultural and aesthetic value. This essay proposes a material understanding of black musical value that locates its origins in the peculiar economy of race and capitalism under US slavery. It argues that black music's value accrues from the anomaly of musical productio…
The Sound of Racial Feeling
Critics continue to debate the value of U.S. black music according to a flawed distinction between racial authenticity and social construction. Both sides have it half-right. Black music's value arose historically as the result of a fundamental contradiction in the logic of race tracing back to the slave era. As “Negro” in form, the music was constituted as the collective property of another property, a property-in-slaves. The incongruity produce…
On Ownership and Value
A key issue that continues to inform discussions of black musical value is the concept of authenticity. Authenticity is hot, of course, an idea that is peculiar to music. We look for authenticity in a number of places and in a variety of forms. Journalists debate the authenticity of political candidates; on public television, antiques experts size up the authenticity of a special object, and home contractors restore old houses to their original, …
Jazzin' the Classics: The Aacm's Challenge to Mainstream Aesthetics
All American Music: Composition in the Late Twentieth Century
Interpreting Muzak: Speculations on Musical Experience in Everyday Life
ion of the private world it is meant to suggest. Muzak takes a place alongside other familiar objects of our private worlds. It functions as a special blanket of security that has through transference of complex This content downloaded from 207.46.13.114 on Thu, 26 May 2016 06:03:10 UTC All use subject to http://about.jstor.org/terms Interpreting Muzak 457 personal perceptions come to represent symbolically a public transposition of domestic bour…
Noise: The Political Economy of Music
In the Moment: Jazz in the 1980s
Jazzin' the Classics: The Aacm's Challenge to Mainstream Aesthetics
Jazz, Modernism, and the Black Creative Tradition
In the famous opening to Ralph Ellison's Invisible Man, the music-loving narrator locates jazz at the site of cultural erasure. In the acutely perceptible clamor of black music-embodied in a recording of Louis Armstrong-he discerns sound beyond white imagination, what he names a poetry out of [the] invisible.' Ellison's positioning of jazz in the realm of the unknown raises a perplexing challenge to the historian, musicologist, and critic alike. …
Critical Alchemy: Anthony Braxton and the Imagined Tradition
New Musical Figurations: Anthony Braxton's Cultural Critique
Journal Article New Musical Figurations: Anthony Braxton's Cultural Critique. By Ronald M. Radano. (Chicago: University of Chicago Press, 1993. xvi, 315 pp. Cloth, $49.95, ISBN 0-226-70195-6. Paper, $16.95, ISBN 0-226-70196-4.) Get access Frank Tirro Frank Tirro Yale University, New Haven, Connecticut Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 82, Issue 1, June 1995, Pages 369–370,…
How Sweet the Sound: The Golden Age of Gospel
Journal Article How Sweet the Sound: The Golden Age of Gospel. By Horace Clarence Boyer. (Washington: Elliott & Clark, 1995. 272 pp. $29.95, ISBN 1-880216-19-1.) Get access Ronald Radano Ronald Radano University of Wisconsin, Madison, Wisconsin Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 83, Issue 3, December 1996, Pages 1077–1078, https://doi.org/10.2307/2945768 Published: 01 Decem…
Denoting Difference: The Writing of the Slave Spirituals
Saying Something: Jazz Improvisation and Interaction
Belafonte, Harry
Thornhill, Claude (jazz)
On Ownership and Value
A key issue that continues to inform discussions of black musical value is the concept of authenticity. Authenticity is hot, of course, an idea that is peculiar to music. We look for authenticity in a number of places and in a variety of forms. Journalists debate the authenticity of political candidates; on public television, antiques experts size up the authenticity of a special object, and home contractors restore old houses to their original, …
The Sound of Racial Feeling
Critics continue to debate the value of U.S. black music according to a flawed distinction between racial authenticity and social construction. Both sides have it half-right. Black music's value arose historically as the result of a fundamental contradiction in the logic of race tracing back to the slave era. As “Negro” in form, the music was constituted as the collective property of another property, a property-in-slaves. The incongruity produce…
Jazz Cosmopolitanism in Accra: Five Musical Years in Ghana
Black Music Labor and the Animated Properties of Slave Sound
While historians, musicologists, and cultural critics have long acknowledged the widespread and enduring appeal of US black music, few have grappled with the problem of its enormous cultural and aesthetic value. This essay proposes a material understanding of black musical value that locates its origins in the peculiar economy of race and capitalism under US slavery. It argues that black music's value accrues from the anomaly of musical productio…
The Search for Medieval Music in Africa and Germany, 1891–1961: Scholars, Singers, Missionaries Anna Maria Busse Berger
Anna Maria Busse Berger introduces her thoughtful new study by recounting a childhood experience that ultimately inspired her to write the book. Having recently arrived in Tanganyika as the daughter of a Moravian missionary, she witnessed nearby in the city of Mombasa, British Kenya (1888–1963), a choir singing Gregorian chant. ‘I could not believe how different [it] sounded’, she remarks, and from that moment, ‘my curiosity was aroused’ (p. 1). …
Art (17 works) · Art history (10 works) · History (9 works) · Visual arts (8 works) · History (7 works) · Aesthetics (6 works) · Literature (6 works) · Music History and Culture (6 works) · Musical (6 works) · Jazz (5 works)