The Tide Was Always High: Tune In to December’s Playlist

Within the history of Los Angeles, the Latin American cadence is hard to ignore: Among the city’s most consistent beats, its most influential set of rhythms and melodies, are those that have arrived after traveling through a century or two of cultural contact and musical creativity in the Americas and across the African Diaspora. . . . Latin American music in Los Angeles is past and future at once.—Josh Kun, in his introduction to The Tide Was Always High

Musical Interventions—the Pacific Standard Time: LA/LA concert series curated by Josh Kun—wraps up this weekend, but you can still get your fill of cha cha cha rhythms and mambo melodies with his latest playlist below. And the accompanying book The Tide Was Always High is available to deepen your knowledge of Latin music and its impact on Los Angeles and American culture.

From Hollywood film sets to recording studios, vaudeville theaters to Sunset Strip nightclubs, the book explores the deep connections between Los Angeles and Latin America. Take a peek inside at some of the lush vintage album covers and check out LA Weekly for an excerpt connecting the dots between Latin music, Blondie, Mission: Impossible, and the Million Dollar Theater.

Musical Interventions
Event details at tidewasalwayshigh.com

December 2, 2017: That Bad Donato: The L.A. Brazil Connection—at Royce Hall, UCLA

This special evening revisits the 1970 album by legendary Brazilian pianist, producer and arranger João Donato, A Bad Donato (recorded in L.A.), and other moments of “Brazil-in-L.A”. musical creativity. Inspired by the Fowler Museum at UCLA exhibition Axé Bahia: The Power of Art in an Afro-Brazilian Metropolis, the concert features performances by João Donato backed by Bixiga 70, and Bahia-raised Mateus Aleluia with L.A.-based Brazilian singer Thalma de Freitas. Produced in partnership with Center for the Art of Performance at UCLA.

UC Press is thrilled to publish three books in conjunction with PST: LA/LA. Learn more here.

 


Why I Chose to Publish Open Access

by Thomas Patteson, author of Instruments for New Music: Sound, Technology, and Modernism

This guest post is published in conjunction with the just-concluded annual conference of the American Musicological Society where Instruments for New Music was awarded the 2017 Lewis Lockwood Award


I chose open access because I want people to read my book. For purposes of academic capital, gaining tenure, and the like, simply being published is enough. But what really matters is being pondered, discussed, enjoyed, and criticized. I want my writing to be available not only to other inhabitants of the sprawling yet exclusionary university-industrial complex, but to anyone who happens to share an interest in my somewhat esoteric field of research. Let’s be honest: having your book accessible during a limited print run, and then only through university libraries, is not a great way to broadcast your little contribution to human knowledge.

The other main reason I chose open access is what I would call a feeling of reciprocity. The fact is, neither my book nor my existence as a scholar would have been possible without the freely available resources of Project Gutenberg, Archive.org, Ubuweb, Monoskop Log, and many others. These sites, some of them at best quasi-legal, are the foundation stones of a truly universal library, offering the ability to search and read on demand, unfettered by paywalls and password protection. Contributing to this project, with the sanction of a major university press to boot, was an opportunity I was happy to take. At a time of widespread privatization and profiteering, open-access publishing suggests another world is possible.


Thomas Patteson is Professor of Music History at the Curtis Institute of Music in Philadelphia. He is also Associate Curator for Bowerbird, a performing organization that presents contemporary music, film, and dance.

Instruments for New Music is published in University of California Press’s Luminos open access book program. Click here to download a free digital copy.

Sign up for the Luminos eNewsletter to learn more about future Luminos publications and other Luminos news.


Formatting Keys to Play

by Roger Moseley, author of Keys to Play: Music as a Ludic Medium from Apollo to Nintendo

This guest post is published in conjunction with the just-concluded annual conference of the American Musicological Society where Keys to Play was awarded the 2017 Otto Kinkeldey Award


Those who write about play from scholarly perspectives are caught in a double bind: the sober imperative to take play seriously is hard to ignore, while the pressure to be suitably whimsical can be equally stifling. When I started tapping on my computer keyboard to form the strands of text that would eventually become Keys to Play, I lacked a clear sense of how the book would trace the course of its ludic subjects (which range from Apollo to Nintendo by way of Mozart) and could not foresee how those strands might be braided in order to bear structural weight.

As someone committed to the history and analysis of media, however, I was all too conscious of the extent to which works of art, fields of play, and discursive parameters are defined by their material affordances and constraints. Perhaps it should have been no surprise, then, that solutions to my quandaries could be found in the multifarious formats—both digital and analog—in which Keys to Play was to be published.

From the start, I was delighted that the book was to appear under the imprimatur of UC Press’s open-access Luminos program. Like many others, I was attracted by the notion of making my research accessible to a broader readership by removing the barrier of cost. What I didn’t initially realize was the degree to which the complementary formats of print-on-demand, PDF, EPUB, and Mobi would help me appreciate how the ludomusical phenomena under discussion could be experienced. In particular, they led me to consider how the book’s audiovisual elements, which include audio recordings I made with my Cornell colleagues and video footage of digital games, might best be integrated.

While companion websites to books on music and the other arts are commonplace, the print and PDF versions of Luminos titles improve the experience by incorporating not only digital object identifier (DOI) links, but also QR codes that, when scanned by a smartphone camera, take the reader directly to the media in question. The EPUB format, which is compatible with both Google Books and Apple’s iBooks, goes one better by embedding audiovisual materials within the document itself: upon tapping any video still or musical example, it starts to play. Keys to Play was the first book in the Luminos program to take advantage of this functionality, which I believe has the potential to transform scholarly writing about music, games, and other media.

The EPUB version of Keys to Play also allows readers to jump around the main text and the endnotes by tapping the note markers. The nonlinearity of this type of navigation guided me toward the structural solution I’d been seeking from the outset. Instead of five traditional chapters, the book comprises five “keys,” each of which consists in turn of five miniature keys.

This recursive arrangement reflects the book’s media-archaeological method as well as the interface of the keyboard itself. Moreover, it enabled me to inject a degree of combinatorial playfulness—one of the book’s central themes—by composing the final miniature key (“Replay: A Cento”) as a permutation of sentences drawn from each of its predecessors. In the EPUB version, tapping the relevant note markers reveals the source of each sentence, which in turn leads back to the concluding section.

With all that said, and despite the exciting opportunities that formats such as EPUB and Mobi present, I must confess that the print-on-demand version of Keys to Play remains closest to my heart. It’s somehow comforting to know that, with the click of a button, the book’s contents can still be tangibly materialized, gathered, and bound. What is more, the speed with which the analog version’s full-color images can be randomly accessed with a flicking thumb puts the search-and-scroll performance of its digital siblings to shame.


Roger Moseley is Assistant Professor of Music at Cornell University. Active as a collaborative pianist on modern and historical instruments, he has published essays on the interface of the keyboard, the performativity of digital games, the practice of eighteenth-century improvisation, and the music of Brahms.

Keys to Play is published in University of California Press’s Luminos open access book program. Click here to download a free digital copy.

Sign up for the Luminos eNewsletter to learn more about future Luminos publications and other Luminos news.


Congratulations AMS Award Winners

UC Press is honored to have numerous books and journals among the award winners at the 2017 American Musicological Society Conference. Please join us in congratulating the following  award winners.

Book Awards

Free ebook editions of the award-winning titles are available through Luminos, UC Press’s Open Access publishing program. Click on the direct links below and/or visit www.luminosoa.org to download free digital copies and sign up for the Luminos eNewsletter to learn more.

Keys to Play cover Moseley

 

Otto Kinkeldey Award 
for outstanding work of musicological scholarship (beyond early stages)

Keys to Play: Music as a Ludic Medium from Apollo to Nintendo
by Roger Moseley

 

 

 

 

 

Lewis Lockwood Award 
for outstanding work of musicological scholarship (early stages)

Instruments for New Music: Sound, Technology, and Modernism
by Thomas Patteson

 

 

 

 

Article Awards

In celebration, we are making the award-winning articles free without a subscription for a limited time.

Robert M. Stevenson Award 
for outstanding scholarship in Iberian music, including music composed, performed, created, collected, belonging to, or descended from the musical cultures of Spain, Portugal, and all Latin American areas in which Spanish and Portuguese are spoken.

Carlos Chávez’s Polysemic Style: Constructing the National, Seeking the Cosmopolitan
by Leonora Saavedra
Journal of the American Musicological Society

 

H. Colin Slim Award 
for outstanding article in musicology (beyond early stages)

Sentimental Remembrance and the Amusements of Forgetting in Karl and Harty’s “Kentucky”
by Sumanth Gopinath and Anna Schulz
Journal of the American Musicological Society

 

 

Alfred Einstein Award
for outstanding article in musicology (early stages)

Solidarity, Song, and the Sound Document
Andrea F. Bohlman
The Journal of Musicology

 

 


Must-Read Journals at the 2017 American Musicological Society Conference

This post is part of a blog series celebrating the American Musicological Society’s annual conference taking place in Rochester, NY from November 9-12. Please visit our booth if you are attending, and otherwise stay tuned for more content related to our music books and journals programs


Whether or not you are attending the  conference in Rochester, you can access a special selection of free content from our music journals for a limited time.

 

The Editorial Board of the Journal of the American Musicological Society is pleased to present the Journal’s second virtual issue, which we are offering free for a limited time. This virtual issue is a compilation of reviews of digital and multimedia scholarship from previous issues. To bring these projects in digital musicology to a broader public, we are showcasing ten reviews whose themes range from composer studies to interactive database resources for teaching and research, and even include architectural frameworks for computer-based studies.

 

 

The Journal of Musicology invites you to enjoy the following articles from recent issues free for a limited time.

Musicological Omnivory in the Neoliberal University
David Blake

Bells and the Problem of Realism in Ravel’s Early Piano Music
Alexandra Kieffer

Contextualizing Josquin’s Ave Maria . . . virgo serena
Clare Bokulich

 

19thCentury Music offers you free access to a selection of recent pieces, including one of the standout articles from the journal’s recent special issue, “Subjectivity in European Song“; an article on Debussy’s ballet score Jeux, which, as the title promises, tells you what tennis has to do with the choreography; and a piece on Grieg which reflects the growing interest among musical scholars in “mood” and “attunement.”

Present Absence: Debussy, Song, and the Art of (Dis)appearing
Julian Johnson

Mixed Doubles: Debussy, Nijinsky, Jeux
Rachana Vajjhala

“In the Mood:” Peer Gynt and the Affective Landscapes of Grieg’s Stemninger, op. 73
Daniel M. Grimley


Join us at the American Musicological Society Annual Meeting

This week the 2017 American Musicological Society’s annual meeting convenes in Rochester, New York and AMS members can save 40% on new and forthcoming titles when they visit our booth in the exhibit hall.

If you cannot attend the meeting, the discount is available online for 15 days after the show—use source code 17E9198 online (enter code at checkout).

Meanwhile get an early look at some of the titles we’ll have on view:

          
 

          
 

          

We are also offering a chance to win a free paperback copy of one of our Luminos Open Access music titles. The digital editions are always free (visit luminosoa.org to download), but please visit our booth at AMS to enter to win a print copy of your choice of either Keys to Play by Roger Moseley or Instruments for New Music by Thomas Patteson.

     

Watch this space through the weekend for more #amsroc17 posts, with free content from UC Press journals and more.


IASPM-US and UC Press Announce Agreement to Publish the Journal of Popular Music Studies

The International Association for the Study of Popular Music, U.S. chapter (IASPM-US) and University of California Press are very pleased to announce that beginning January 1, 2018, the IASPM-US’s long-standing journal, Journal of Popular Music Studies, will be published by University of California Press.

At University of California Press, the Journal of Popular Music Studies will join a journals list that includes some of the leading titles in musicology, such as the Journal of the American Musicological Society, The Journal of Musicology, and Nineteenth-Century Music, as well as interdisciplinary offerings such as Representations and Boom California.

IASPM-US President Steve Waksman is excited about the new partnership: “University of California is a publisher that shares our priorities. We plan to continue publishing cutting-edge scholarship on popular music while bringing in more voices from outside academia proper, capturing the interdisciplinary energy of a field where music writers of various stripes—scholars, journalists, bloggers, discographers, cultural critics—are engaging in regular dialogue.”

Co-Editors of the journal, Diane Pecknold and Oliver Wang echo the sentiment: “We’re looking forward to working with UC Press to pull together exciting new issues that maximize the potential from this new partnership.”

David Famiano, Journals Publisher at University of California Press shares this enthusiasm: “UC Press is absolutely delighted to partner with IASPM-US and to work with such a passionate and dedicated team to continue the publishing legacy of such an important journal.”

About Journal of Popular Music Studies:
Journal of Popular Music Studies is one of the three top scholarly journals devoted to the study of popular music internationally. It was originally established in 1988 with the title, Tracking, under founding editor Steve Jones of University of Illinois, Chicago, and Reebee Garofalo of University of Massachusetts, Boston, who was then co-chair of IASPM-US. The change of name to Journal of Popular Music Studies took hold in 1993 and has remained in place ever since.

When it was founded in 1988, Tracking was self-published by IASPM-US. Its status as a self-published enterprise went unchanged until 2001 when the journal entered a short-lived agreement with Taylor and Francis. In 2003, the journal established a more long-standing arrangement with the Malden, MA-based Blackwell, which evolved into a deal with prominent academic publisher Wiley, now Blackwell’s parent company. Wiley will continue to publish the journal through the end of 2017 and all back issues will remain hosted on the Wiley web portal.

About University of California Press:
As one of the world’s most forward-thinking publishers, UC Press gives voice, reach, and impact to innovative research and exceptional scholarship. With a global circulation in over 80 countries, our journals span the humanities, social sciences, and natural sciences, with subject areas that include history, literature & criticism, film & media, music, religion, and sociology.

 


Heading to ASA? Save 40% on These American Studies Titles

From searing critiques of power and wealth, to in-depth investigations of race, gender, and class to cultural histories of activism and social justice, these new releases will inspire the way you think about America today. Visit UC Press at the American Studies Association conference (booth 405) to save 40% on these titles and more. To take early advantage of our conference discount—and see just a sample of what will be on view—visit our ASA landing page.

We’re especially excited to debut the new series American Studies Now: Critical Histories of the Present, edited by past presidents of the ASA Lisa Duggan and Curtis Marez. Offering broad context provided by deeply knowledgeable American Studies scholars and activists, these short, timely books address the political and cultural issues that matter now. Learn more about American Studies Now from the series editors. 

Take Note of These ASA Sessions:

  • American Studies Now: Critical Histories of the Present
    With UC Press Executive Editor Niels Hooper, series editors Lisa Duggan and Curtis Marez, and series authors Scott Kurashige, Sunaina Maira, Barbara Ransby, Shelley Streeby, and Macarena Gomez-Barris
    View session here
  • Rethinking History and Methods in the American Studies Classroom 
    Join Philip Deloria and Alexander Olson, authors of of American Studies: A User’s Guide, as they discuss how renewed attention to method might change the way American Studies is taught in the classroom and beyond
    View session here
  • Roderick Ferguson, author of We Demand: The University and Student Protests
    View all sessions here
  • Jack Halberstam, author of Trans*: A Quick and Quirky Account of Gender Variability 
    View all sessions here
  • Barbara Ransby, author of the forthcoming Making All Black Lives Matter: Reimagining Freedom in the Twenty-First Century
    View all sessions here
  • Josh Kun, editor of The Tide Was Always High: The Music of Latin America in Los Angeles
    View session here
  • Sharon Luk, author of The Life of Paper: Letters and a Poetics of Living Beyond Captivity
    View session here
  • Simeon Man, author of the forthcoming Soldiering through Empire: Race and the Making of the Decolonizing Pacific
    View session here

Browse more new & notable American Studies Titles.


The Fifth Element: A Two-Day Global Symposium and Think Tank

by Casey Philip Wong, in collaboration with H. Samy Alim and Jeff Chang


On November 8th and 9th, Stanford University’s Institute for Diversity in the Arts (IDA) will host an international community of scholars, artists, and educators for a ground-breaking symposium, “The 5th Element: The Future and Promise of Hip Hop Pedagogy.” The free and public two-day global symposium and think tank takes place at the Graduate School of Business Common. Attendees will collectively engage in intellectual inquiry to discuss the future and promise of Hip Hop pedagogy as a growing academic field, and as a social justice-based, global educational movement.

Flier for The Fifth Element Hip Hop Pedagogy Symposium and Think Tank

The symposium begins with UCLA Professor H. Samy Alim and IDA Executive Director Jeff Chang, who will frame the breadth and importance of Hip Hop pedagogy in this current political and educational moment. Dr. Alim will theorize Hip Hop in relation to Culturally Sustaining Pedagogy and host a screening and dialogue of the critically-acclaimed, South African Hip Hop documentary Afrikaaps, along with a featured performer in the film, the legendary Hip Hop artist and educator, Emile YX? of Black Noise and Heal the Hood in Cape Town, South Africa.

The Keynote Panel will offer a discussion with world-renowned Hip Hop feminists: Joan Morgan, Brittney Cooper, Treva Lindsey and Kaila Story. They will discuss how Hip Hop feminism is rigorously pushing Hip Hop toward liberation—pedagogically, epistemologically, and ethically—in ways that offer implications for how we teach young women and girls, specifically, and future directions for Hip Hop educators and scholars, more generally.

Student participants at hip hop pedagogy symposium

The first day will also feature four simultaneous workshops with leading Hip Hop artists, educators and scholars to share their scholarship and dynamic teaching practices with youth. A featured panel, “Exploring the Past, Present and Future of Indigenous Hip Hop Pedagogy,” facilitated by Tim San Pedro, will highlight the groundbreaking indigenous educators and artists of the Dream Warriors (Tanaya Winder, Tall Paul, Frank Waln and Mic Jordan) whose work bears testament to how Hip Hop pedagogy is transforming the lives of indigenous youth. Other featured workshops will be offered by the co-founders of the award-winning Hip Hop organization operating out of Chicago, Kuumba Lynx; Bay Area teaching artist Itoco Garcia-Davenport and elementary school principal Elliot Gann; and Keith Cross, a freestyle lyricist, scholar and teaching artist, who will feature an innovative, interactive presentation of expert freestyle lyricists’ neurological processing of rhyme.

Classroom image of hip hop pedagogy symposium

While thinking globally, the symposium will also highlight how scholars and organizers are acting locally. The IDA Arts and Education Project, presented by Casey Philip Wong, Measha Ferguson Smith, Adorie Howard and Reagan Ross, will share their research findings on the Hip Hop arts ecosystem in East Palo Alto, California and offer a new frame for understanding the impact of Hip Hop pedagogy by exploring the work of an exemplary community-based Hip Hop organization led by Executive Director Tefferi Mogus Brook, the Music Mural and Arts Project (MMAP), and a performing arts program within a public charter high school, East Palo Alto Academy (EPAA), led by teacher Andy Robinson. The presentation will feature performances, scholarly debate, and open dialogue with audience members.

Day two offers a rare opportunity for debate and discussion among educators, artists and scholars making use of Hip Hop pedagogy to teach youth. The gathering will center practitioners and praxis. Co-presented with the Hip Hop Education Center, the “Think Tank IV: It’s Yours! Sustaining and Reimagining Our Movement” will open with networking and youth performances before launching into two hours of facilitated conversations led by Youth Speaks’ Michelle Lee. Gabriel “Asheru” Benn, Adia Winfrey, Martha Diaz, Melina Jones, Allegra Gilfenbaum, Rahman Jamaal and Sam Seidel will engage in critical exchanges around the best practices and needs of teaching artists. The conversation will present the Hip Hop Education Center Platform, a digital interface developed to support and sustain the collaboration of Hip Hop teaching artists from around the world.

To register: diversityarts.stanford.edu/5ESymposium

*IDA would like to acknowledge the Surdna Foundation, whose generous support has allowed us to explore Hip Hop pedagogies over the last four years and to host this convening.


Casey Philip Wong is a PhD Candidate in the Race, Inequality, and Language in Education Program at Stanford University and Assistant Investigator for the IDA Arts and Education Project. He is also Founding Director of the TRIUMPH After-School Program, which utilizes critical feminisms, hip-hop and martial arts to mentor, inspire and empower youth.

H. Samy Alim is the David O. Sears Presidential Endowed Chair in the Social Sciences at UCLA and Jeff Chang is Executive Director of IDA at Stanford University. They are the series editors for UC Press’ new Hip Hop Studies Series.

Tune in: New Playlist for The Tide Was Always High and Peeks Inside the Book

Music and musicians from Latin America are inextricable from the development of Los Angeles as a modern musical city. This volume listens for the musical urbanism of Los Angeles through the ear of Latin America. It makes the argument that the musical life of this dispersed and dynamic metropolis is shaped by immigrant musicians and migrating, cross-border musical cultures that not only have determined LA’s “harmonies of scenery,” but have been active participants in the making of the city’s modern aesthetics and modern industries.—Josh Kun, in his introduction to The Tide Was Always High

Pacific Standard Time: LA/LA continues throughout Los Angeles, and for the unprecedented Getty-led collaboration, MacArthur Fellow and cultural historian Josh Kun curated a multi-part “musical exhibition” that explore the musical networks between Los Angeles and various Latin American communities and cultures. Tune in to his latest Musical Intervention (details at the bottom of the page), plus a new curated playlist.

To deepen the experience of these events, The Tide Was Always High: The Music of Latin America in Los Angeles accompanies the series with essays, interviews, and analysis from leading academics, artists, journalists on the iconic Latin American musicians who shaped Los Angeles—and America: Carmen Miranda, Esquivel, Yma Sumac, Agustín Lara, Pérez Prado, Cannonball Adderley, Eva Quintanar, Paulinho da Costa, Lalo Schifrin, Earth, Wind & Fire, Antonio Carlos Jobim, Ninón Sevilla, João Donato, Eddie Cano, Abraham Laboriel Sr, Elisabeth Waldo, David Axelrod, María Conesa, Arsenio Rodríguez, Justo Almario, Tito Rodríguez, Flora Purim, Banda Nueva Dinastía de Zoochila, Roy Ayers, Alex Acuña, Airto Moreira, Sergio Mendes, Luis Conte.

From Hollywood film sets to recording studios, from vaudeville theaters to Sunset Strip nightclubs, the book explores the deep connections between Los Angeles and Latin America, complete with lush imagery and historical photos. Take a peek inside at some of the vibrant vintage album covers:

From the emergence of Afro-Cuban jazz to the influence of Brazilian samba and bossa nova…
… to the cha cha cha rhythms of Cuban cha cha cha, Hollywood cha cha cha, rock and roll cha cha cha, and R&B cha cha cha…
…to the Hollywood scores arranged by the most influential, post-war, Latin American composer to the King of the Mambo…
… and the King of Space Age Pop…
…to ethnomusicology and everyone and sound in between, “The Tide Was Always High” shows how the music of Latin America has impacted Los Angeles and American culture for decades.

Musical Interventions
All events listed at tidewasalwayshigh.com

November 4, 2017: Guillermo Galindo’s Human Nature: Sonic Botany—The Huntington, Rose Hills Garden Court

Experimental composer, sonic architect, and performance artist Guillermo Galindo presents a work inspired by “Visual Voyages.”  Free; no reservations required.

UC Press is thrilled to publish three books in conjunction with PST: LA/LA. Learn more here.