Jessica E Teague
Biographic Data
| ID | 820323 |
|---|---|
| NAME | Jessica E Teague |
| GIVEN NAMES | Jessica E |
| FAMILY NAME | Teague |
| SIGNATURE | TEAGUE J E |
| AFFILIATIONS | University of Nevada, Las Vegas |
| ORCID | 0000-0002-8620-6995 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2011 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
A Story in Sound
Journal Article A Story in Sound: The Unpublished Writings of Sidney Bechet Get access Jessica E Teague Jessica E Teague University of Nevada, Las Vegas, USA [email protected] Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 47, Issue 4, Winter 2022, Pages 49–73, https://doi.org/10.1093/melus/mlad005 Published: 10 April 2023
Black sonic space and the stereophonic poetics of Amiri Baraka'sIt's Nation Time
In the liner notes for Amiri Baraka's 1972 album It's Nation Time (Motown-Black Forum), Baraka asserts, 'This recording is an institution.' Recording on the heels of the 1970 Congress of African People , Baraka felt that the establishment of a pan-African nation was paramount, but where ought such a nation to be established? Could a recording be an institution? What does a nation sound like? The album, which received a limited release under Motow…
The Recording Studio on Stage
This essay brings jazz studies and performance studies into dialogue in order to examine the interplay between recordings and live performance in August Wilson’s Ma Rainey’s Black Bottom . Although most scholarship has tended to focus on the racial exploitation of black musicians, less explored is Wilson’s decision to locate a recording session within a play in order to perform the fraught tension in blues and jazz history between live improvised…
Black sonic space and the stereophonic poetics of Amiri Baraka'sIt's Nation Time
In the liner notes for Amiri Baraka's 1972 album It's Nation Time (Motown-Black Forum), Baraka asserts, 'This recording is an institution.' Recording on the heels of the 1970 Congress of African People , Baraka felt that the establishment of a pan-African nation was paramount, but where ought such a nation to be established? Could a recording be an institution? What does a nation sound like? The album, which received a limited release under Motow…
The Recording Studio on Stage
This essay brings jazz studies and performance studies into dialogue in order to examine the interplay between recordings and live performance in August Wilson’s Ma Rainey’s Black Bottom . Although most scholarship has tended to focus on the racial exploitation of black musicians, less explored is Wilson’s decision to locate a recording session within a play in order to perform the fraught tension in blues and jazz history between live improvised…
Black sonic space and the stereophonic poetics of Amiri Baraka'sIt's Nation Time
In the liner notes for Amiri Baraka's 1972 album It's Nation Time (Motown-Black Forum), Baraka asserts, 'This recording is an institution.' Recording on the heels of the 1970 Congress of African People , Baraka felt that the establishment of a pan-African nation was paramount, but where ought such a nation to be established? Could a recording be an institution? What does a nation sound like? The album, which received a limited release under Motow…
A Story in Sound
Journal Article A Story in Sound: The Unpublished Writings of Sidney Bechet Get access Jessica E Teague Jessica E Teague University of Nevada, Las Vegas, USA [email protected] Search for other works by this author on: Oxford Academic Google Scholar MELUS, Volume 47, Issue 4, Winter 2022, Pages 49–73, https://doi.org/10.1093/melus/mlad005 Published: 10 April 2023
Art (3 works) · History (3 works) · Art history (2 works) · History (2 works) · Jazz (2 works) · Music History and Culture (2 works) · Musicology and Musical Analysis (2 works) · Sociology (2 works) · Studio (2 works) · Visual arts (2 works)