No CrossRef data available.
Article contents
Haunthenticity: Musical Replay and the Fear of the Real By Tracy McMullen. Middletown, CT: Wesleyan University Press, 2019.
Published online by Cambridge University Press: 22 December 2021
Abstract
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
- Type
- Book Review
- Information
- Copyright
- Copyright © The Author(s), 2021. Published by Cambridge University Press on behalf of the Society for American Music
References
1 Abbate, Carolyn, “Music-Drastic or Gnostic?,” Critical Inquiry 30, no. 3 (Spring 2004): 505–36CrossRefGoogle Scholar; Treitler, Leo, Music and the Historical Imagination (Cambridge, MA: Harvard University Press, 1989)Google Scholar.
2 McMullen, Tracy, “Approaching the Jazz Past: MOPDTK's Blue and Jason Moran's ‘In MY Mind: Monk at Town Hall, 1959,’” Journal of Jazz Studies 11, no. 2 (2018): 1–28CrossRefGoogle Scholar.
3 Schneider, Rebecca, Performing Remains: Art and War in Times of Theatrical Reenactment (New York: Routledge, 2011)CrossRefGoogle Scholar.
4 See, for example, Boon, Marcus, In Praise of Copying (Cambridge, MA: Harvard University Press, 2010)Google Scholar. Boon's text provides a nuanced critique of copying in postmodern Western cultures via Mahayana Buddhism.
5 Macan, Edward, Rocking the Classics: English Progressive Rock and the Counterculture (Oxford: Oxford University Press, 1997)CrossRefGoogle Scholar; Palm, Carl Magnus, Bright Lights, Dark Shadows: The Real Story of ABBA (London: Omnibus Press, 2001)Google Scholar.
6 McMullen, Tracy, “Bring It on Home: Robert Plant, Janis Joplin, and the Myth of Origin,” Journal of Popular Music Studies 26, nos. 2-3 (2014): 368–96CrossRefGoogle Scholar.
7 Here, Philip Auslander's work informs McMullen's perspective. Auslander, Philip, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor: University of Michigan Press, 2006)CrossRefGoogle Scholar.
8 McMullen, Tracy, “The Improvisative,” in Oxford Handbook of Critical Improvisation Studies, ed. Lewis, George and Piekut, Benjamin (Oxford: Oxford University Press 2016): 115–127Google Scholar. In addition to Marcus Boon, McMullen also follows Trinh Minh-ha's critique of western academic epistemologies. Trinh Minh-ha, Woman, Native, Other: Writing Postcoloniality and Feminism (Bloomington: Indiana University Press, 1989).
9 Georgina Gregory is a notable exception. Gregory, Send in the Clones: A Cultural Study of the Tribute Band (Sheffield, UK: Equinox: 2012); “Transgender Tribute Bands and the Subversion of Male Rites of Passage through the Performance of Heavy Metal Music,” Journal for Cultural Research 17, no. 1 (2013): 21–36.
10 For example, Taylor, Diana, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham, NC: Duke University Press, 2003)Google Scholar.