Frederick J Schenker
Biographic Data
| ID | 2743996 |
|---|---|
| NAME | Frederick J Schenker |
| GIVEN NAMES | Frederick J |
| FAMILY NAME | Schenker |
| SIGNATURE | SCHENKER F J |
| AFFILIATIONS | Lawrence University |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 4 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Saysay Himig
Reviewed by: Saysay Himig: A Sourcebook on Philippine Music History, 1880–1921 ed. by Arwin Q. Tan, and: Saysay Himig: An Anthology of Transcultural Filipino Music (1880–1941) ed. by Arwin Q. Tan Frederick J. Schenker (bio) Saysay Himig: A Sourcebook on Philippine Music History, 1880–1921. Edited by Arwin Q. Tan. Music and Culture Book Series. Quezon City: The University of the Philippines Press, 2018. xxiv + 396 pp., illustrations, index. ISBN:9…
Filipino Seekers of Fortune”
Filipino musicians were critical for the spread of jazz throughout Asia yet their place in histories of the music remains peripheral. I argue that the emergence of the Filipino jazz musician was based on contradictions central to a new imperial jazz economy: the possibilities of jazz as a form of labor in colonial Asia have to be paired with the devastating impact of U.S. imperial policies. Furthermore, the Filipino semimonopoly on musical labor …
A Circuit Tour of the Globe
Between 1903 and 1904, the two-step "Hiawatha" spread rapidly throughout much of the colonial world. The travels of "Hiawatha" reveal both what Stuart Hall calls the "double-stake" of popular culture as well as what Amy Kaplan describes as the "anarchic" nature of empire: through its circulation and repeated hearings, "Hiawatha" became both a kind of colonizing force and also a medium that disturbed ideas about racial hierarchies and nationhood t…
Jazz Freedoms
In the late 1980s, a group of young, well-educated white jazz musicians invoked a legacy of jazz freedom in their experiments with Balkan music. Yet they were not embracing a timeless, unchanging concept. Instead, they employed an incipient mode of freedom, one that was deeply informed by a broader political discourse that emerged in the 1980s. This form of freedom, which emphasized individual consumption amidst a world of newly commodified ethni…
A Circuit Tour of the Globe
Between 1903 and 1904, the two-step "Hiawatha" spread rapidly throughout much of the colonial world. The travels of "Hiawatha" reveal both what Stuart Hall calls the "double-stake" of popular culture as well as what Amy Kaplan describes as the "anarchic" nature of empire: through its circulation and repeated hearings, "Hiawatha" became both a kind of colonizing force and also a medium that disturbed ideas about racial hierarchies and nationhood t…
Jazz Freedoms
In the late 1980s, a group of young, well-educated white jazz musicians invoked a legacy of jazz freedom in their experiments with Balkan music. Yet they were not embracing a timeless, unchanging concept. Instead, they employed an incipient mode of freedom, one that was deeply informed by a broader political discourse that emerged in the 1980s. This form of freedom, which emphasized individual consumption amidst a world of newly commodified ethni…
A Circuit Tour of the Globe
Between 1903 and 1904, the two-step "Hiawatha" spread rapidly throughout much of the colonial world. The travels of "Hiawatha" reveal both what Stuart Hall calls the "double-stake" of popular culture as well as what Amy Kaplan describes as the "anarchic" nature of empire: through its circulation and repeated hearings, "Hiawatha" became both a kind of colonizing force and also a medium that disturbed ideas about racial hierarchies and nationhood t…
Saysay Himig
Reviewed by: Saysay Himig: A Sourcebook on Philippine Music History, 1880–1921 ed. by Arwin Q. Tan, and: Saysay Himig: An Anthology of Transcultural Filipino Music (1880–1941) ed. by Arwin Q. Tan Frederick J. Schenker (bio) Saysay Himig: A Sourcebook on Philippine Music History, 1880–1921. Edited by Arwin Q. Tan. Music and Culture Book Series. Quezon City: The University of the Philippines Press, 2018. xxiv + 396 pp., illustrations, index. ISBN:9…
Filipino Seekers of Fortune”
Filipino musicians were critical for the spread of jazz throughout Asia yet their place in histories of the music remains peripheral. I argue that the emergence of the Filipino jazz musician was based on contradictions central to a new imperial jazz economy: the possibilities of jazz as a form of labor in colonial Asia have to be paired with the devastating impact of U.S. imperial policies. Furthermore, the Filipino semimonopoly on musical labor …
Art (3 works) · Law (3 works) · Literature (3 works) · Music History and Culture (3 works) · Musical (3 works) · Political science (3 works) · Politics (3 works) · Asian Culture and Media Studies (2 works) · Colonialism (2 works) · Gender Studies (2 works)