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Editor’s Introduction: Special Issue on Transpacific Currents

Editor’s Introduction: Special Issue on Transpacific Currents GAYLE MAGEE Editor ’s Introduction: Special Issue on Transpacific Currents In the fall of 2015, this journal published a special issue dedicated to transatlantic perspectives. Guest edited by Glenda Goodman, the issue included articles by Myron Gray, Christina Baade, William Kirk Bares, and J. Griffith Rollefson that examined cross-Atlantic musical exchanges linking diverse populations over more than two centuries: from multi- national royalist songs in Federalist Philadelphia and 1930s BBC broad- casts of jazz and swing to contemporary jazz festivals in the Netherlands and postcolonial intertextuality in transnational hip-hop. As Goodman states, the issue “delves into the porous and relational field of transat - lantic music studies . . . to explore how transatlantic perspectives might push conceptions of ‘American music’ beyond standard geographical and ideological boundaries.” Arguably, the colonial history of the United States presented music scholars numerous opportunities to explore such connections to Britain and Western Europe, and as such the study of transatlantic exchanges has formed a crucial and always evolving segment of the field from its very beginning. By contrast, investigations of musical flow between the Americas and East Asia have been comparatively rare outside the field of ethnomusicology until quite recently. As a corollary http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

Editor’s Introduction: Special Issue on Transpacific Currents

American Music , Volume 37 (3) – Nov 11, 2019

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Publisher
University of Illinois Press
ISSN
1945-2349

Abstract

GAYLE MAGEE Editor ’s Introduction: Special Issue on Transpacific Currents In the fall of 2015, this journal published a special issue dedicated to transatlantic perspectives. Guest edited by Glenda Goodman, the issue included articles by Myron Gray, Christina Baade, William Kirk Bares, and J. Griffith Rollefson that examined cross-Atlantic musical exchanges linking diverse populations over more than two centuries: from multi- national royalist songs in Federalist Philadelphia and 1930s BBC broad- casts of jazz and swing to contemporary jazz festivals in the Netherlands and postcolonial intertextuality in transnational hip-hop. As Goodman states, the issue “delves into the porous and relational field of transat - lantic music studies . . . to explore how transatlantic perspectives might push conceptions of ‘American music’ beyond standard geographical and ideological boundaries.” Arguably, the colonial history of the United States presented music scholars numerous opportunities to explore such connections to Britain and Western Europe, and as such the study of transatlantic exchanges has formed a crucial and always evolving segment of the field from its very beginning. By contrast, investigations of musical flow between the Americas and East Asia have been comparatively rare outside the field of ethnomusicology until quite recently. As a corollary

Journal

American MusicUniversity of Illinois Press

Published: Nov 11, 2019

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