This project focuses on the importance of local groups and events like regional presses and media, cultural organizations, music ensembles, religious communities, neighborhood associations, music venues, and public festivities in shaping personal experiences with popular music. Nevertheless, music meaning continues to be negotiated locally and collectively and commodified music is given life through local embodied acts of music making. Samba, jazz and other forms of Black music are produced amid transnational cultural networks and increasingly consumed through mass media. The first, created by Black communities, understood music as knowledge for relationship- building amidst difference, while the second was built on the foundation of colonial modernity and shaped cariocas’ perception of musical difference as the representation of racial difference and irreconcilable alterity. These techniques reveal two contrasting aesthetic- political projects. Analyzing an extensive archive of sound and text including commercial recordings of music, sheet music, newspapers, and writings on music that documents the city’s musical activities from 1830 to 1968, I examine how musicians, intellectuals, journalists, critics, and audiences produced different techniques for listening to Black music. Cariocas-the people who lived in Rio de Janeiro-listened to samba and jazz in ways that challenged and produced racial categories, celebrated the creativity of Black musicians and reinforced primitivistic notions of blackness. As the circulation of Black music and dance increased, sound became an important medium for shaping identities, communities, and worldviews. Beginning in the middle of the nineteenth century, Rio de Janeiro became an important hub of the Black Atlantic entertainment industry. I am currently working on a book manuscript project, tentatively titled Unsettling the Aesthetics of Race: Samba and the Making of a Black Decolonial Tradition. As a graduate student, he created the Illinois Music Residency Program in collaboration with the School of Music, Department of History, African American Studies, and high schools in the Urbana-Champaign area. Boccato Kuyumjian integrates his work as scholar/artist and music educator, developing teaching pedagogies that explore the intersection of jazz and other genres of Black popular music. He has presented his research at conferences of the American Musicological Society, Society for Ethnomusicology, ALARI Conference on Afro-Latin American Studies, Latin American Studies Association, International Association of Popular Music Studies, and Jazz Education Network.ĭr. His research was supported by the Lemann Graduate Fellowship for Brazilian Studies and the Graduate College Dissertation Completion Fellowship and he was a fellow at the Harvard University’s Mark Claster Mamolen Dissertation Workshop. Originally from Campinas, Brazil, he has earned a DMA in Jazz Studies from the University of Illinois at Urbana-Champaign, where he was also a 2018-19 Graduate Fellow at the Humanities Research Institute for his dissertation “Performing Samba: Aesthetics, Transnational Modernisms, and Race”. He currently holds an appointment as Lecturer of Jazz Studies at Baylor University in Waco, TX. Marcelo Boccato Kuyumjian is a pianist, scholar, and educator.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |