Music, Culture and Racializations. Debates around the Category of "Black Music" in the United States

Mostrar todas las versiones(2)

This article proposes a conceptual approach to the so-called African American Music. I argue, first, the need for a historical conception of racial, synthesized in the concept of racialization, according to which the racial condition is understood as a set of adscription processes secondment produce...

Descripción completa

Guardado en:
Detalles Bibliográficos
Autor principal: Gatto, Ezequiel
Formato: Artículo revista
Lenguaje:Español
Publicado: ISHiR/CONICET 2016
Materias:
música negra
racializaciones
discontinuidad histórica
negritudes
black music
racializations
historical discontinuity
blacknesses
Acceso en línea:https://web3.rosario-conicet.gov.ar/ojs/index.php/revistaISHIR/article/view/643
Aporte de:
Revista Estudios del ISHIR (CONICET) de Universidad Nacional de Rosario
id I15-R239-article-643
record_format ojs
spelling I15-R239-article-6432017-01-25T23:07:05Z Music, Culture and Racializations. Debates around the Category of "Black Music" in the United States Música, cultura y racializaciones. Debates en torno a la definición de música negra en Estados Unidos Gatto, Ezequiel música negra racializaciones discontinuidad histórica negritudes black music racializations historical discontinuity blacknesses This article proposes a conceptual approach to the so-called African American Music. I argue, first, the need for a historical conception of racial, synthesized in the concept of racialization, according to which the racial condition is understood as a set of adscription processes secondment produced by different sources and by different actors (political, cultural, economic, media), referenced to heterogeneous discourses, institutional frames, knowledge and powers. This historical radicalization of the race allows us to meet the "staging of the race", the social interactions that function as instances where the creation, communication and interpretation of socially significant racial differences and inequalities. Considering the insistence of racialization of United States music I will seek to build, in dialogue with other interpretations, a notion of black music for observing its changes and discontinuities. Finally, I will argue that black music refuses to be understood as a homogeneous unit and its research in historical discontinuity terms encourages new considerations about the variations of their cultural meanings and opens new perspectives on the making of blacknesses in the United States. Este artículo propone un abordaje conceptual de la denominada música afroamericana. Sostendré, primeramente, la necesidad de una concepción histórica de lo racial, sintetizada en el concepto de racialización, de acuerdo al cual se comprende lo racial como un conjunto de procesos de adscripción producidos desde diferentes fuentes y por diversos agentes (políticos, culturales, económicos, mediáticos), referenciados a discursos, tramas institucionales, saberes y poderes heterogéneos. Esa radicalización histórica de la idea de raza permite ir al encuentro de las “puestas en escena de lo racial”, es decir, de las interacciones sociales que funcionan como instancias donde tiene lugar la creación, comunicación e interpretación socialmente significativa de las diferencias y desigualdades raciales. Considerando la insistencia de la racialización de la música en Estados Unidos buscaré construir, en diálogo con otras interpretaciones, una noción de música negra que permita observar sus cambios y discontinuidades. Finalmente plantearé que la noción música negra se resiste a ser comprendida como una unidad homogénea y que su investigación histórica en términos discontinuistas propicia nuevas consideraciones sobre la variaciones de sus significados culturales así como abre nuevas perspectivas en torno a la conformación de negritudes en Estados Unidos. ISHiR/CONICET 2016-12-30 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Artículo evaluado por pares application/pdf https://web3.rosario-conicet.gov.ar/ojs/index.php/revistaISHIR/article/view/643 10.35305/eishir.v6i16.643 Estudios del ISHiR; Vol. 6 Núm. 16 (2016): Estudios del ISHiR; 156-180 Estudios del ISHiR; Vol. 6 No. 16 (2016): Estudios del ISHiR; 156-180 2250-4397 spa https://web3.rosario-conicet.gov.ar/ojs/index.php/revistaISHIR/article/view/643/709 Derechos de autor 2017 Estudios del ISHiR
institution Universidad Nacional de Rosario
institution_str I-15
repository_str R-239
container_title_str Revista Estudios del ISHIR (CONICET)
language Español
format Artículo revista
topic música negra
racializaciones
discontinuidad histórica
negritudes
black music
racializations
historical discontinuity
blacknesses
spellingShingle música negra
racializaciones
discontinuidad histórica
negritudes
black music
racializations
historical discontinuity
blacknesses
Gatto, Ezequiel
Music, Culture and Racializations. Debates around the Category of "Black Music" in the United States
topic_facet música negra
racializaciones
discontinuidad histórica
negritudes
black music
racializations
historical discontinuity
blacknesses
author Gatto, Ezequiel
author_facet Gatto, Ezequiel
author_sort Gatto, Ezequiel
title Music, Culture and Racializations. Debates around the Category of "Black Music" in the United States
title_short Music, Culture and Racializations. Debates around the Category of "Black Music" in the United States
title_full Music, Culture and Racializations. Debates around the Category of "Black Music" in the United States
title_fullStr Music, Culture and Racializations. Debates around the Category of "Black Music" in the United States
title_full_unstemmed Music, Culture and Racializations. Debates around the Category of "Black Music" in the United States
title_sort music, culture and racializations. debates around the category of "black music" in the united states
description This article proposes a conceptual approach to the so-called African American Music. I argue, first, the need for a historical conception of racial, synthesized in the concept of racialization, according to which the racial condition is understood as a set of adscription processes secondment produced by different sources and by different actors (political, cultural, economic, media), referenced to heterogeneous discourses, institutional frames, knowledge and powers. This historical radicalization of the race allows us to meet the "staging of the race", the social interactions that function as instances where the creation, communication and interpretation of socially significant racial differences and inequalities. Considering the insistence of racialization of United States music I will seek to build, in dialogue with other interpretations, a notion of black music for observing its changes and discontinuities. Finally, I will argue that black music refuses to be understood as a homogeneous unit and its research in historical discontinuity terms encourages new considerations about the variations of their cultural meanings and opens new perspectives on the making of blacknesses in the United States.
publisher ISHiR/CONICET
publishDate 2016
url https://web3.rosario-conicet.gov.ar/ojs/index.php/revistaISHIR/article/view/643
work_keys_str_mv AT gattoezequiel musiccultureandracializationsdebatesaroundthecategoryofblackmusicintheunitedstates
AT gattoezequiel musicaculturayracializacionesdebatesentornoaladefiniciondemusicanegraenestadosunidos
first_indexed 2023-06-26T22:54:52Z
last_indexed 2023-06-26T22:54:52Z
_version_ 1769807641812402176

Ejemplares similares