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FréDérIC DöHl I. For many decades, the genre of four-part a cappella singing called "barbershop" was a field of virtually no academic importance. In recent years, however, an increasing interest in its history and current status has become evident. Pioneering works have been written by scholars like lynn Abbott, Gage Averill, liz Garnett, James earl Henry, and richard mook.1 such studies include the examination of quartet singing from an educational, ethnological, and sociocultural point of view.2 others are interested in the one big mainstream success of modern barbershop harmony, meredith Willson's The Music Man, in the broadway musical (1957) and the Hollywood film (1962).3 besides that, special attention has always been paid to the interesting historical problem of the possible origins of this genre.4 In recent years, new insights and greater clarity have been acquired, which include aesthetic issues relating to sound, some answers to questions of race, gender, and other social factors shaping the genre, and exploration of the ideology surrounding the so-called revival around 1940. still, the debate about the origins of this genre seems to be widely unsettled. The current models that chart the birth of barbershop harmony are diverse and often contradictory with regard
American Music – University of Illinois Press
Published: Jan 29, 2014
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