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"Guy, Nancy"
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Social Voices
Singers generating cultural identity from K-Pop to Beverly
Sills
Around the world and across time, singers and their songs stand
at the crossroads of differing politics and perspectives. Levi S.
Gibbs edits a collection built around the idea of listening as a
political act that produces meaning. Contributors explore a wide
range of issues by examining artists like Romani icon Esma
Redžepova, Indian legend Lata Mangeshkar, and pop superstar Teresa
Teng. Topics include gendered performances and the negotiation of
race and class identities; the class-related contradictions exposed
by the divide between highbrow and pop culture; links between
narratives of overcoming struggle and the distinction between
privileged and marginalized identities; singers' ability to adapt
to shifting notions of history, borders, gender, and memory in
order to connect with listeners; how the meanings we read into a
singer's life and art build on one another; and technology's
ability to challenge our ideas about what constitutes music.
Cutting-edge and original, Social Voices reveals how
singers and their songs equip us to process social change and
divergent opinions.
Contributors: Christina D. Abreu, Michael K.
Bourdaghs, Kwame Dawes, Nancy Guy, Ruth Hellier, John Lie, Treva B.
Lindsey, Eric Lott, Katherine Meizel, Carol A. Muller, Natalie
Sarrazin, Anthony Seeger, Carol Silverman, Andrew Simon, Jeff Todd
Titon, and Elijah Wald
eBook
The Magic of Beverly Sills
With her superb coloratura soprano, passion for the world of opera, and down-to-earth personality, Beverly Sills made high art accessible to millions from the time of her meteoric rise to stardom in 1966 until her death in 2007. An unlikely pop culture phenomenon, Sills was equally at ease on talk shows, on the stage, and in the role of arts advocate and administrator. Merging archival research with her own love of Sills's music, Nancy Guy examines the singer-actress's artistry alongside the ineffable aspects of performance that earned Sills a passionate fandom. Guy mines the memories of colleagues, critics, and aficionados to recover something of the spell Sills wove for people on both sides of the footlights during the hot moments of onstage performance. At the same time, she analyzes essential questions raised by Sills's art and celebrity. How did Sills challenge the divide between elite and mass culture and build a fan base that crossed generations and socio-economic lines? Above all, how did Sills capture the unnameable magic that joins the members of an audience to a performer--and to one-another? Intimate and revealing, The Magic of Beverly Sills explores the alchemy of art, magnetism, community, and emotion that produced an American icon.
eBook
Flowing Down Taiwan’s Tamsui River: Towards an Ecomusicology of the Environmental Imagination
The Tamsui River as represented in popular song texts after the 1950s is often not much more than a meeting place for courting or breaking up. The descriptions of the natural phenomena and the river's beauty, as well as descriptions of the embodied sense of inhabiting this specific environment, found in earlier songs are minimized, if not entirely absent. This trend continues in mainstream popular music up to today. Here, Guy draws largely on the theories and concerns of ecocriticism, a relatively young branch of literary criticism, that proponent Cheryl Glotfelty defines simply as \"the study of the relationship between literature and the physical environment\". She also takes the \"Tamsui songs\" (i.e., popular songs whose lyrics reference the Tamsui River) as an entry point into a \"green\" reading of popular music in Taiwan. Moreover, she discusses new ways of understanding the role that musical practices have in shaping human interaction with the environment.
Journal Article
Moskowitz, Marc L. 2010. Cries of Joy, Songs of Sorrow: Chinese Pop Music and its Cultural Connotations
Moskowitz, Marc L. 2010. Cries of Joy, Songs of Sorrow: Chinese Pop Music and its Cultural Connotations. Honolulu: University of Hawai’i Press. ISBN 978-0-8248-3369-5 (hbk), 978-0-8248-3422-7 (pbk). 165 pp.
Journal Article
Feeling a Shared History through Song: \A Flower in the Rainy Night\ as a Key Cultural Symbol in Taiwan
Released in 1934, “A Flower in the Rainy Night” (U iā hoe) is often considered one of the most heart-rending of old Taiwanese songs. On the eve of the 2002 Taipei mayoral election, Taiwan's former president, Lee Teng-hui, closed the rally for the underdog candidate by leading a crowd of 50,000 in singing the song. An analysis of ethnographic, literary, and media sources indicates that the song serves as an elaborating symbol and aids in conceptualizing the order of the world, making ties between the past and present, and offering visions of alternative futures.
Journal Article
INTRODUCTION
The evening of July 2, 2007, while packing for a music conference and listening to the radio, I heard news that stunned me: Beverly Sills had died. I still cannot account for the force of the effect this news had on me. It affected me in profound and completely unexpected ways. I had not thought much about Sills over the previous twenty-five years; however, I never ceased remembering, and marking as a major event in my life, the day in 1977 when, as a teenager, I heard her in recital in my small hometown in the midwestern Rust Belt. This
Book Chapter
Sills in the Lives of Her Fans
As a means of illustrating Beverly Sills’s presence in the lives of specific individuals, profiles of seven fans are presented here. Five of these seven came to my attention through their online posts displaying admiration for the singer. This small sampling includes those who shared a close friendship with Sills, those who only met her backstage after performances, and those who exchanged letters with her. These fans were chosen to profile because of their descriptions of the significant influence Beverly Sills made in their lives.
The story of Alison and Katrine “Cage” Ames’s youthful devotion to Sills provides a vivid
Book Chapter
Experiencing Magic
What was Beverly Sills like in live operatic performance? How did her audience experience her in moments sometimes referred to by the elusive expressionmagic?
Sills used the wordmagicin assessing her own career. Having retired from singing for more than six years, and nearing the end of her term as general director of the New York City Opera, Sills mused on her life as a performer in her 1987 autobiography: “I can’t finally analyze what I did or why people liked what I did. All that fits into the category of unnameable magic” (1987, 347). This chapter is
Book Chapter