Sounding Together Sounding Together Collaborative Perspectives on U.S. Music in the 21st Century Charles Hiroshi Garrett and Carol J. Oja, Editors University of Michigan Press • Ann Arbor Copyright © 2021 by Charles Hiroshi Garrett and Carol J. Oja Some rights reserved This work is licensed under a Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. Note to users: A Creative Commons license is only valid when it is applied by the person or entity that holds rights to the licensed work. Works may contain components (e.g., photographs, illustrations, or quotations) to which the rightsholder in the work cannot apply the license. It is ultimately your responsibility to independently evaluate the copyright status of any work or component part of a work you use, in light of your intended use. To view a copy of this license, visit http://creative commons.org/licenses/by-nc-nd/4.0/ For questions or permissions, please contact [email protected] Published in the United States of America by the University of Michigan Press Manufactured in the United States of America Printed on acid- free paper First published August 2021 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication data has been applied for. DOI: https://doi.org/10.3998/mpub.11374592 ISBN: 978- 0- 472- 05433- 6 (Paper : alk paper) ISBN: 978- 0- 472- 90130- 2 (OA ebook) This Open Access edition is made available through financial support from the Harvard University FAS Tenured Faculty Subvention Fund, the Harvard University Department of Music, and the University of Michigan Office of Research Faculty Grants and Awards Program. Contents Acknowledgments vii Introduction 1 Charles hiroshi Garrett and Carol J. Oja Cross- Cultural Encounters across Time 1. Music in Unexpected Places: Hearing New Histories of Early American Music 21 sarah eyerly and raChel Wheeler 2. US Concert Music and Cultural Reorientation during the Occupation of Japan: A Bicultural Perspective 51 Misako ohta and Carol J. Oja 3. Listening to and Learning from Music of the Global United States 82 Panayotis leaGue and kay kaufMan sheleMay Performance and Social Justice 4. Sounding Black, Acting White: Hearing Race and Racism in Gospel Performance 113 Braxton d. shelley Lift Every Voice? White Domination Still Matters, Even in Sacred Space: A Sociologist’s Reflection on “Sounding Black, Acting White” 138 Cheryl toWnsend Gilkes vi Contents 5. For the Daughters of Harlem: Bridging Campus and Community through Sound 145 ellie M. hisaMa and luCie VáGneroVá 6. The Law of Returns: Muhal Richard Abrams and Vijay Iyer in Conversation 174 The Politics of Historiography 7. White Noise: Historiographical Exceptionalism and the Construction of a White American Music History 207 Glenda GoodMan and saMuel Parler 8. Exceptional Matters, Exceptional Times: A Conversation about the Challenges of US Music Scholarship in the Age of Black Lives Matter and Trump 239 Josh kun and aleJandro l. Madrid 9. Music, Travel, and Circuitous Reflections of Community 264 MoniCa a. hershBerGer and sarah suhadolnik Reaching Outward as Teachers and Scholars 10. Pedagogies of Music, Politics, and Race in US Music Studies 287 loren kaJikaWa and daniel Martinez hosanG 11. Finding Success inside and outside the Academy 310 MiChael sy uy and naoMi andré 12. Collaborative Voices: Reimagining US Music Scholarship after AmeriGrove II 334 Charles hiroshi Garrett and daniel GoldMark Contributors 357 Index 363 Digital materials related to this title can be found on the Fulcrum platform via the following citable URL: https://doi.org/10.3998/mpub.11 374592 Acknowledgments With collaboration as its central mission, this book— not surprisingly— grew out of a collective effort, beginning with a two- day workshop sponsored by the Radcliffe Institute for Advanced Studies in 2017. For that opportunity, we are grateful to Julie Buchler, former Director of the Humanities Program at Radcliffe, and Rebecca E. F. Wassarman, its Executive Director of Academic Ventures and Engagement. The spirit of this project was kindled by the workshop’s participants, including Marié Abe, Will Cheng, Louis Chude-Sokei, Daniel Goldmark, Glenda Goodman, Benjamin Harbert, Monica A. Hershberger, Ellie M. Hisama, Loren Kajikawa, Vijay Iyer, Tammy L. Kernodle, Alejandro L. Madrid, Ingrid Monson, Samuel Parler, Kay Kaufman Shelemay, Braxton D. Shelley, Michael Sy Uy, and Sherrie Tucker. Throughout the process— from workshop to publication— we have been generously supported by the University of Michigan and Harvard University, our home institutions. Harvard’s Department of Music pro- vided a publication subvention, and we are grateful to Karen Rynne, the department’s former Manager of Administration and Finance, for mak- ing those funds available. Open Access for the book was jointly under- written by the Office of Research Faculty Grants and Awards Program at the University of Michigan and the FAS Tenured Faculty Publication Fund at Harvard. Meanwhile, the University of Michigan Press has con- sistently supported the book, starting with former editorial director Mary Francis, who championed the early stages of this project, and continuing with our exemplary editor Sara Cohen, assisted by Mary Hashman, Anna Pohlod, and Flannery Wise. Katie Callam and Joelle Tapas provided welcome editorial assistance, Grace Edgar prepared the index, and our anonymous reviewers helped us firm up the text during final revisions. viii Acknowledgments Monica Hershberger and Sarah Suhadolnik, who contributed a chapter, came up with the book’s title. Our families keep us on track, and we want to acknowledge their sup- port in many dimensions. For Charles, to Saleema Waraich. For Carol, to her adult children Zoe and Wynn Oja Tucker. Finally, we are grateful to our authors, a nimble and generous group of innovative scholars and musicians who were willing to take the leap and join a project that required creative risks and shared responsibility. It has been a great pleasure to work with and learn from them. | Introduction Charles hiroshi Garrett and Carol J. Oja Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century is a multiauthored, collaboratively conceived book featuring a diverse and cross-generational group of scholars, performers, and practitioners. It explores a wide range of musics, geographic locations, and moments in time, all as representatives of the vast network of musical cultures prac- ticed both currently and historically in the United States. This collective project does not aim for comprehensive coverage; rather, our goal is to counter long- accepted norms in studying a subject with shifting param- eters. Driving our venture is an appreciation for how working together gives rise to fresh ideas and propels innovative outcomes. We assert here, through collective example, that the study of US music is particularly fertile for collaborative interventions. Not only does it inherently cross dozens of disciplines, but it also traverses media, regions, geographies, nations, genres, economies, cultures, identities, and much more. It is literally all over the place, especially with the intensifying of globaliza- tion and migration and the ubiquitousness of media. As a result, both interdisciplinarity and intradisciplinarity are increasingly called for in the study of US music, and working together offers a means to attain those goals. To our knowledge, this is the first multiauthored collection of essays in the field of music that highlights collaboration, and we hope it is the first of many. With this book, our authors join us in challenging traditional dis- ciplinary boundaries, methodological approaches, conceptual frame- works, and scholarly insularity. We not only question foundational histo- riographic models— such as those related to notions of whiteness or the 2 soundinG toGether nature of mobility— but also imagine new ways to engage with traditional resources such as scholarly interviews and music reference works. At the same time, we emphasize cross-cultural inquiry, from ethnographies of immigrant musicians in a globalized United States to a bicultural per- spective on US music in Japan during the postwar occupation. We seek varied vantage points to reappraise encounters of race, power, and social justice, from the ethics of politically conservative whites performing Black gospel, to a community engagement project designed to meet the diverse needs of students of color, to an assessment of the transhistorical impact of colonial conquest on Indigenous peoples. This book tackles some of the ethical—the existential— challenges facing scholars studying music of the United States as we enter the third decade of the twenty- first century. In our current public discourse, hurled forward by twenty-four- hour news feeds, we hear a great deal about the humanities under threat, a nation at odds, a world in turmoil, and these complex challenges call out for a fresh approach to understanding the United States in multiple dimensions and from diverse perspectives. Music is a powerful form of human expression, and it proves especially resonant in a volatile world as sounds and the people who create and perform them traverse porous geographic and social borders. Even the term “American music,” which has traditionally been used to label our field of study, has become politically charged, as it marginalizes—even ignores— traditions practiced within the Western hemisphere but outside