DOCSLIB.ORG

Contemporary String Bands and the Black Roots Music Revival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contemporary String Bands and the Black Roots Music Revival EMPOWERMENT THROUGH ACKNOWLEDGEMENT: CONTEMPORARY STRING BANDS AND THE BLACK ROOTS MUSIC REVIVAL A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Maya O. Brown August 2018 Thesis written by Maya O. Brown B.A., Music, University of Mount Union, 2015 M.A., Ethnomusicology, Kent State University, 2018 Approved by _____________________________________ Jennifer Johnstone, Ph.D., Advisor _____________________________________ Jane K. Dressler, D.M.A., Interim Director, School of Music _____________________________________ John Crawford-Spinelli, Ed.D., Dean, College of the Arts BROWN, MAYA, M.A., AUGUST 2018 EMPOWERMENT THROUGH ACKNOWLEDGEMENT: CONTEMPORARY STRING BANDS AND THE BLACK ROOTS MUSIC REVIVAL (115 PP.) Director of Thesis: Jennifer Johnstone This thesis examines the ways in which contemporary black string band musicians are redefining and reclaiming black musical identity. Specifically, I draw on performance analysis and interviews with former and current members of the Carolina Chocolate Drops to explore the ways in which black string band musicians navigate predominantly white performances spaces, and I suggest that their participation in such contexts speaks to a larger issue of a black roots music revival that was inspired by the Black Banjo Gatherings of 2005 and 2010. To situate this phenomenon as an important occurrence in American music scholarship, and using a survey conducted with 148 undergraduate students, I further problematize the established canon of American music historiography by highlighting issues of tokenism, the intentional neglect of black entertainers, particularly black minstrel performers and musicians of the nineteenth century, and I reveal the effects of such bias on the general understanding of American music history. I conclude by showing that the black roots music revival is in essence a celebration of the enduring spirit of black music despite the perverse effect of white supremacy on African American life; it is a movement that acknowledges black culture’s indefatigability for survival and liberation. iv TABLE OF CONTENTS Page LIST OF FIGURES .............................................................................................................v LIST OF TABLES ............................................................................................................ vii ACKNOWLEDGEMENTS ............................................................................................. viii CHAPTER I. INTRODUCTION ............................................................................................................1 Statement of Research Problem ...............................................................................3 Methodology ............................................................................................................3 Theoretical Paradigm ...............................................................................................5 Black String Bands in Black Music Historiography ..............................................12 Goals and Significance ..........................................................................................17 II. HISTORICAL PERSPECTIVES: A REVIEW OF LITERATURE.............................20 The Banjo ...............................................................................................................21 The Fiddle .............................................................................................................28 Slave Entertainment ...............................................................................................30 Blackface in Perspective ........................................................................................34 African American Blackface Minstrelsy ...............................................................40 The Decline of the Black String Band ...................................................................44 III. BLACK ROOTS MUSIC REVIVAL ..........................................................................50 The Black Banjo Gathering of 2005 ......................................................................52 The Black Banjo Gathering of 2010 ......................................................................62 Critical Reflections ................................................................................................65 Ethnographic Analysis ...............................................................................65 Theoretical Analysis ..................................................................................70 IV. SURVEY AND ANALYSIS .......................................................................................78 Method ...................................................................................................................81 Results ....................................................................................................................82 Demographic Information ..........................................................................82 American Music History ............................................................................84 Audio Clip Recognition .............................................................................95 Blackface Minstrelsy .................................................................................98 Analysis................................................................................................................105 V. CONCLUSION AND OTHER REMARKS...............................................................107 APPENDIX ......................................................................................................................112 REFERENCES ................................................................................................................114 v LIST OF FIGURES Figure Page 1. Laemouahuma Daniel Jatta, a Jola musician from Gambia, playing a folk akonting..................................................................................................................25 2. Sir Hans Sloane’s drawings of two gourd lutes and a harp in his 1707 book, “A Voyage to the Islands of Madera, Barbados, Nieves, S. Christophers and Jamaica.” .........................................................................................................27 3. Nigerian musician, Masa dan Gado Saminaka, playing the Housa goge ..............29 4. Four “For Sale” slave advertisements, followed by three “Run Away” slave advertisements, in newspapers from the colonial period ..............................30 5. Henry Latrobe’s drawing of the gourd lute he saw being played in Congo Square ....................................................................................................................31 6. A plantation frolic on Christmas Eve .....................................................................34 7. Four Dan Emmett on the sheet music cover of, “Dandy Jim from Caroline,” published around 1844 ...........................................................................................39 8. Photo of blackface minstrel banjoist Horace Weston ............................................43 9. Depiction of a black jazz banjoist on the cover of an Okeh Race Records Catalogue ...............................................................................................................48 10. Jam Session at The 2005 Black Banjo Gathering ..................................................57 11. Members of Sankofa Strings ..................................................................................58 12. Members of the Carolina Chocolate Drops and their mentor, Joe Thompson .......60 13. Current member of the Carolina Chocolate Drops, Hubby Jenkins ......................63 14. Tin-Type Photograph of participants at the 2010 Black Banjo Gathering Reunion mentioned by Dom Flemons ...................................................................64 15. Dom Flemons and Brian Farrow performing at the 2017 Canal Jam ....................66 vi Figure Page 16. Desk with the rather small framed photos of the black musicians featured in the repertoire performed by Rhiannon Giddens and others at Cincinnati Music Hall ..............................................................................................................70 17. #FREEMRBARRON t-shirt created by angry student ..........................................79 18. Graph illustrating the racial demographics of participants ....................................81 19. Graph illustrating the participant musical experience ...........................................82 20. Word clouds of music majors’ responses to the question “Describe the music European Americans were making in the 19th and early 20th centuries.” ..............85 21. Word clouds of non-music majors’ responses to the question “Describe the music European Americans were making in the 19th and early 20th centuries.” ..............................................................................................................85 22. Word clouds of music majors’ responses to the question “Describe the music African Americans were making in the 19th and early 20th centuries.”.......87 23. Word clouds of non-music majors’ responses to the question “Describe the music African Americans were making in the 19th and early 20th centuries.”.......87 24. Music Major responses when asked where the banjo is originally from ...............89 25.
Load more

Recommended publications
  • Annabel Moynihan Was Living in Portland Oregon
    Inside the Artist - which plays mostly Irish traditional music in the style as its I started playing Irish traditional music about 25 years ago when I played here in Vermont. Locally I also teach and I love doing Annabel Moynihan was living in Portland Oregon. I studied with Kevin Burke, who that! I am inspired and learn so much from my students every February 2017 was the founding member of the Bothian Band who is an week. And I have been glad to be a part of the Suzuki teacher’s amazing and influential fiddle player with whom I was lucky community with the Burlington Vermont Suzuki Violins who have enough to study. I played out there in a band that played been really helpful and supportive for me. So I’ve been teaching traditional Irish and Scottish music with a Scottish singer. That for ten years now. I have a studio in Waterbury. I also have was a bar band and we played 4 or 5 nights a week--all Irish given classes as a part of the Vermont School of Irish Traditional music, all Scottish music, and lots of country western music. No Music, which is run by Hilary Ferrington and Benedict Kohler, English music (laughs). I also play the electric violin in a number and they’ve been teaching classes on Irish traditional music and After discussing the program she is helping to produce for a th of different experimental and electronic music bands and with Irish repertoire which has been a boon to our Irish music March 17 St.
    [Show full text]
  • Mars 2015 Brochure.Pdf
    Welcome 2014 has been a bumper year and here at Mars® Ice Cream we are incredibly proud of our continued focus delivering more fantastic results. Over the past two years Mars® Ice Cream has grown an exceptional 18% and with our plans for the future we are certain to keep this success going! We strive to keep offering consumers the unique taste and experience of the Nations’ Favourite Chocolate Brands in Ice Cream; including Mars®, Snickers®, Maltesers®, Galaxy®, Bounty®, Twix® and M&M’s® and our 2015 initiatives are sure to do just that. We’re launching our 1 in 6 on pack promotion which will give consumers a chance to instantly win more of the delicious Ice Cream they love, driving increased penetration for our brands. We are dedicated to meeting the ever changing needs of consumers and so continue to build and reformulate our portfolio. In 2015 we’re launching an exciting new product on our biggest brand Galaxy®; an Ice Cream Bar designed to offer consumers a more permissible and affordable treat. We’re also bringing out new even tastier recipes for both Twix® and Bounty®. Our aim continues to be to offer you choice within your Ice Cream range; to enable you to service more consumers and to ensure you maximise your season with our continued support and service. We’re committed to Quality Ice Cream Introducing our Ice Cream team We’re the only confectionery company with our own Ice Cream factory. Our core recipes use real milk and cream. Our range is free from artificial additives, preservatives, flavours and colours.
    [Show full text]
  • 2015 Regional Music Scholars Conference Abstracts Friday, March 27 Paper Session 1 1:00-3:05
    2015 REGIONAL MUSIC SCHOLARS CONFERENCE A Joint Meeting of the Rocky Mountain Society for Music Theory (RMSMT), Society for Ethnomusicology, Southwest Chapter (SEMSW), and Rocky Mountain Chapter of the American Musicological Society (AMS-RMC) School of Music, Theatre, and Dance, Colorado State University March 27 and 28, 2015 ABSTRACTS FRIDAY, MARCH 27 PAPER SESSION 1 1:00-3:05— NEW APPROACHES TO FORM (RMSMT) Peter M. Mueller (University of Arizona) Connecting the Blocks: Formal Continuity in Stravinsky’s Sérénade en La Phrase structure and cadences did not expire with the suppression of common practice tonality. Joseph Straus points out the increased importance of thematic contrast to delineate sections of the sonata form in the beginning of the nineteenth century. Igor Stravinsky exploited other musical elements (texture, range, counterpoint, dynamics, etc.) to delineate sections in his neoclassical works. While theorists have introduced large-scale formal approaches to Stravinsky’s works (block juxtaposition, stratification, etc.), this paper presents an examination of smaller units to determine how they combine to form coherence within and between blocks. The four movements of the Sérénade present unique variations of phrase construction and continuity between sections. The absence of clear tonic/dominant relationships calls for alternative formal approaches to this piece. Techniques of encirclement, enharmonic ties, and rebarring reveal methods of closure. Staggering of phrases, cadences, and contrapuntal lines aid coherence to formal segments. By reversing the order of phrases in outer sections, Stravinsky provides symmetrical “bookends” to frame an entire movement. Many of these techniques help to identify traditional formal units, such as phrases, periods, and small ternary forms.
    [Show full text]
  • Kosher Nosh Guide Summer 2020
    k Kosher Nosh Guide Summer 2020 For the latest information check www.isitkosher.uk CONTENTS 5 USING THE PRODUCT LISTINGS 5 EXPLANATION OF KASHRUT SYMBOLS 5 PROBLEMATIC E NUMBERS 6 BISCUITS 6 BREAD 7 CHOCOLATE & SWEET SPREADS 7 CONFECTIONERY 18 CRACKERS, RICE & CORN CAKES 18 CRISPS & SNACKS 20 DESSERTS 21 ENERGY & PROTEIN SNACKS 22 ENERGY DRINKS 23 FRUIT SNACKS 24 HOT CHOCOLATE & MALTED DRINKS 24 ICE CREAM CONES & WAFERS 25 ICE CREAMS, LOLLIES & SORBET 29 MILK SHAKES & MIXES 30 NUTS & SEEDS 31 PEANUT BUTTER & MARMITE 31 POPCORN 31 SNACK BARS 34 SOFT DRINKS 42 SUGAR FREE CONFECTIONERY 43 SYRUPS & TOPPINGS 43 YOGHURT DRINKS 44 YOGHURTS & DAIRY DESSERTS The information in this guide is only applicable to products made for the UK market. All details are correct at the time of going to press but are subject to change. For the latest information check www.isitkosher.uk. Sign up for email alerts and updates on www.kosher.org.uk or join Facebook KLBD Kosher Direct. No assumptions should be made about the kosher status of products not listed, even if others in the range are approved or certified. It is preferable, whenever possible, to buy products made under Rabbinical supervision. WARNING: The designation ‘Parev’ does not guarantee that a product is suitable for those with dairy or lactose intolerance. WARNING: The ‘Nut Free’ symbol is displayed next to a product based on information from manufacturers. The KLBD takes no responsibility for this designation. You are advised to check the allergen information on each product. k GUESS WHAT'S IN YOUR FOOD k USING THE PRODUCT LISTINGS Hi Noshers! PRODUCTS WHICH ARE KLBD CERTIFIED Even in these difficult times, and perhaps now more than ever, Like many kashrut authorities around the world, the KLBD uses the American we need our Nosh! kosher logo system.
    [Show full text]
  • 2O21-22 Season
    CELEBRATING 2O21-22 SEASON EST. 1996 2021-22 contents 5 Welcome 6 Season Calendar 8 Subscribe 10 Series 22 Performances 86 Performances for Young People 88 How to Order 89 Discounts 91 Helpful Information 92 Beyond the Footlights 94 Support On the cover: Hodgson Concert Hall 2Camerata RCO Painting: J.N. Smith 3 Welcome Back What a time it has been! Our world has experienced unprecedented disruption since we last gathered in the spring of 2020 in our beautiful venues to witness exquisite music, dance, and theatre together. Throughout these many long and painful months of separation and isolation, I have been yearning for the time when we can be together once again. It appears that time is finally now upon us! I am absolutely thrilled to share our plans for celebrating the University of Georgia Performing Arts Center’s historic 25th anniversary season throughout the fall of 2021 and spring of 2022. Our silver anniversary season will feature a variety of acclaimed guest artists—some new to us and some returning favorites—with an equally wide variety of personal life experiences. They will come to us from across the United States and several different countries. Their experiences inform their work, and we will, for a brief moment in time, commune together as the universal languages of music, spoken word, and movement unite us in hope and healing. Not only has the world changed significantly since we first opened our doors 25 years ago, it has changed dramatically in the last year as we have endured the devastating impact of a global pandemic, social injustice, political uncertainty, and any number of other things.
    [Show full text]
  • Sweets for Sweets
    Sweets for SWEETHEARTS Winter wonderland | Radiating heat | Discovering your craft February 2015 foxcitiesmagazine.com Celebrating the Place We Call Home. foxcitiesmagazine.com Publishers Marvin Murphy Ruth Ann Heeter Managing Editor Ruth Ann Heeter [email protected] Associate Editor Amy Hanson [email protected] Editorial Interns Jessica Morgan Mia Sato Reid Trier Haley Walters Art Director Jill Ziesemer Graphic Designer Julia Schnese Account Executives Courtney Martin [email protected] Maria Stevens [email protected] Administrative Assistant/Distribution Nancy D’Agostino [email protected] Printed at Spectra Print Corporation Stevens Point, WI FOX CITIES Magazine is published 11 times annually and is available for the subscription rate of $18 for one year. Subscriptions include our annual Worth the Drive publication, delivered in July. For more information or to learn about advertising opportunities, call (920) 733-7788. © 2015 FOX CITIES Magazine. Unauthorized duplication of any or all content of this publication is prohibited and may not be reproduced in any form without permission of the publisher. FOX CITIES Magazine P.O. Box 2496 Appleton, WI 54912 Facebook.com/foxcitiesmagazine Please pass along or recycle this magazine. February 2015 CONTENTS Features COVER STORY ARTS & CULTURE 14 Winter wonderland Recreation clubs make the most of the cold By Amy Hanson AT HOME 18 Radiating heat Flooring options fend off winter’s freeze 22 By Amy Hanson WEDDINGS: Sweets for sweethearts FOOD & DINING Candy bars bring confections to wedding receptions By Amy Hanson 26 Discovering your craft Local breweries offer handcrafted, flavorful options foxcitiesmagazine.com By Reid Trier Take a look at our new look Are you a fan of FOX CITIES Magazine? Well, now you can get even more of the arts, Departments culture and dining content that you look forward to each month on our brand-new website.
    [Show full text]
  • Guitarist Sharon Isbin to Star with Santa Rosa Symphony
    Guitarist Sharon Isbin to star with Santa Rosa Symphony By DIANE PETERSON THE PRESS DEMOCRAT Published: Thursday, January 20, 2011 at 3:00 a.m. WWW.SHARONISBIN.COM/ J. HENRY FAIR Sharon Isbin serves as the American ambassador of the classical guitar, performing everywhere from the concert hall to the White House. It's a job that no one else really wanted. That's because most Americans are exposed to the guitar through rock and folk music and then fall in love with classical guitar by accident. “That's changing now, but that certainly has been part of the history of classical guitar in this country,” Isbin said in a phone interview from her home in New York City. “Europe has a much longer tradition of classical guitar, going back to Spain and Italy and the U.K., so that the roots have had time to blossom and flourish.” For the Santa Rosa Symphony's fourth concert set this weekend, Isbin will whisk the audience off to the gardens of Spain during a performance of Joaquin Rodrigo's passionate “Concierto de Aranjuez.” “The Rodrigo is one of the most popular works of any works for orchestra,” she said. “The second movement is so powerfully moving and emotionally raw, with great nuances and musical inspiration. It's something that really touches people in unusual ways.” Led by guest conductor and Mexico native Enrique Arturo Diemecke, the south-of-the- border program also includes Astor Piazzolla's seductive “Tangazo, Variations on Buenos Aires” and the Fourth Symphony of composer Carlos Chavez, considered to be the founder of modern Mexican music.
    [Show full text]
  • The Place of Music, Race and Gender in Producing Appalachian Space
    University of Kentucky UKnowledge Theses and Dissertations--Geography Geography 2012 PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE Deborah J. Thompson University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Thompson, Deborah J., "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE" (2012). Theses and Dissertations--Geography. 1. https://uknowledge.uky.edu/geography_etds/1 This Doctoral Dissertation is brought to you for free and open access by the Geography at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Geography by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies.
    [Show full text]
  • The Birth of a Nation : How a Legendary Director and A
    5>.. K' •.— •*-,X DICK LEHR $26.99/$30.oo can “By telling the story of the sweeping and headline-making cultural clash between filmmaker D. W. Griffith and brave newspaperman Monroe Trotter—and telling it with brio and panache—the gifted Dick Lehr should be highly commended. This book is both timely and important.” —WIL HAYGOOD, author of In Black and White: The Life of Sammy Davis, Jr. IN 1915, TWO MEN—ONE A JOURNALIST AGITATOR, the other a technically brilliant filmmaker—incited a public confrontation that roiled America, pitting black against white, Hollywood against Boston, and free speech against civil rights. Monroe Trotter and D. W. Griffith were fighting over a film that dramatized the Civil War and Reconstruction in a post-Confederate South. Almost fifty years earlier, Monroe’s father, James, was a sergeant in an all-black Union regiment that marched into Charleston, South Carolina, just as the Kentucky cavalry—including Roaring Jack Griffith, D. W.’s father—^fled for their lives. Griffith’s film. The Birth of a Nation, included actors in blackface, heroic portraits of Knights of the Ku Klux Klan, and a depiction of Lincoln’s assassination. Freed slaves were portrayed as villainous, vengeful, slovenly, and dangerous to the sanctity of American values. It was tremendously successful, eventually seen by 25 million Americans. But violent protests against the film flared up across the country. Monroe Trotter’s titanic crusade to have the film censored became a blueprint for dissent during the 1950s and 1960s. This is the fiery story of a revolutionary moment for mass media and the nascent civil rights movement, and the men clashing over the cultural and political soul of a still-young America standing at the cusp of its greatest days.
    [Show full text]
  • Dom Flemons Bio Dom Flemons Is a GRAMMY Award Winning Musician
    Dom Flemons Bio Dom Flemons is a GRAMMY Award winning musician, singer-songwriter, and slam poet. Carrying on the songster tradition, Flemons strives to mix traditional music forms with a contemporary approach, to create new sounds that will appeal to wider audiences. In his recent solo album Prospect Hill (2014), Flemons drew from a wide range of styles, including ragtime, Piedmont blues, spirituals, southern traditional music, string band music, fife and drum music, and jug-band music. He began his career as a performer in the Arizona music scene, where he produced 25 albums for singer-songwriters and slam poets in Pheonix. In 2005, Flemons co- found the Carolina Chocolate Drops, an African-American string band that won a Grammy for its 2010 album Genuine Negro Jig. Today, he tours throughout the United States and internationally as “The American Songster. In February 2016, Dom performed at Carnegie Hall for a Tribute to Lead Belly. In September 2016, Dom performed at the opening ceremonies for the National Musuem of African American History and Culture in Washington, DC. Dom has been touring internationally and has released his latest album called “Ever Popular Favourites” with British Guitar player, Martin Simpson. The album was released on Fledg’ling recordings in October 2016. Dom’s newest album to be released through Smithsonian Folkways will be celebrating the stories and songs of the black cowboys. Dom has released two instructional DVDs through Stefan Grossman’s Guitar Workshop. Dom has a new podcast called American Songster Radio and it is in conjunction with WUNC North Carolina Public Radio.
    [Show full text]
  • Carolina Chocolate Drops
    Carolina Chocolate Drops “An appealing grab-bag of antique country, blues, jug band hits and gospel hollers, all given an agreeably downhome production. The Carolina Chocolate Drops are still the most electrifying acoustic act around.” -The Guardian “The Carolina Chocolate Drops are...revisiting, with a joyful vengeance, black string-band and jug-band music of the Twenties and Thirties—the dirt-floor dance electricity of the Mississippi Sheiks and Cannon’s Jug Stompers.” —Rolling Stone In early 2012, Grammy award-winning Carolina Chocolate Drops released their studio album Leaving Eden (Nonesuch Records) produced by Buddy Miller. The traditional African-American string band's album was recorded in Nashville and featured founding members Rhiannon Giddens and Dom Flemons, along with multi-instrumentalist Hubby Jenkins and cellist Leyla McCalla, already a familiar presence at the group's live shows. With Flemons and McCalla now concentrating on solo work, the group's 2014 lineup will feature two more virtuosic players alongside Giddens and Jenkins - cellist Malcolm Parson and multi-instrumentalist Rowan Corbett -- illustrating the expansive, continually exploratory nature of the Chocolate Drops' music. Expect a new disc from this quartet in 2015. The Chocolate Drops got their start in 2005 with Giddens, Flemons and fiddle player Justin Robinson, who amicably left the group in 2011. The Durham, North Carolina-based trio would travel every Thursday night to the home of old-time fiddler and songster Joe Thompson to learn tunes, listen to stories and, most importantly, to jam. Joe was in his 80s, a black fiddler with a short bowing style that he inherited from generations of family musicians.
    [Show full text]
  • Thèse Et Mémoire
    Université de Montréal Survivance 101 : Community ou l’art de traverser la mutation du paysage télévisuel contemporain Par Frédérique Khazoom Département d’histoire de l’art et d’études cinématographiques, Université de Montréal, Faculté des arts et des sciences Mémoire présenté en vue de l’obtention du grade de Maîtrise ès arts en Maîtrise en cinéma, option Cheminement international Décembre 2019 © Frédérique Khazoom, 2019 Université de Montréal Département d’histoire de l’art et d’études cinématographiques Ce mémoire intitulé Survivance 101 : Community ou l’art de traverser la mutation du paysage télévisuel contemporain Présenté par Frédérique Khazoom A été évalué par un jury composé des personnes suivantes Zaira Zarza Président-rapporteur Marta Boni Directeur de recherche Stéfany Boisvert Membre du jury Résumé Lors des années 2000, le paysage télévisuel américain a été profondément bouleversé par l’arrivée d’Internet. Que ce soit dans sa production, sa création ou sa réception, l’évolution rapide des technologies numériques et l’apparition des nouveaux médias ont contraint l’industrie télévisuelle à changer, parfois contre son gré. C’est le cas de la chaîne généraliste américaine NBC, pour qui cette période de transition a été particulièrement difficile à traverser. Au cœur de ce moment charnière dans l’histoire de la télévision aux États-Unis, la sitcom Community (NBC, 2009- 2014; Yahoo!Screen, 2015) incarne et témoigne bien de différentes transformations amenées par cette convergence entre Internet et la télévision et des conséquences de cette dernière dans l’industrie télévisuelle. L’observation du parcours tumultueux de la comédie de situation ayant débuté sur les ondes de NBC dans le cadre de sa programmation Must-See TV, entre 2009 et 2014, avant de se terminer sur le service par contournement Yahoo! Screen, en 2015, permet de constater que Community est un objet télévisuel qui a constamment cherché à s’adapter à un média en pleine mutation.
    [Show full text]