"We Wanted Our Coffee Black": Public Enemy, Improvisation, and Noise

@inproceedings{Scobie2015WeWO,
  title={"We Wanted Our Coffee Black": Public Enemy, Improvisation, and Noise},
  author={Niel Scobie},
  year={2015}
}
In Music and Discourse, Jean-Jacques Nattiez theorizes that noise is not only subjective, its definition, and that of music itself, is culturally specific: “There is never a singular, culturally dominant conception of music; rather, we see a whole spectrum of conceptions, from those of the entire society to those of a single individual” (43). Noise in this context is therefore most often positioned as the result of music that runs contrary to an established set of rules. However subjective the… 

References

SHOWING 1-10 OF 14 REFERENCES

Music and Discourse: Toward a Semiology of Music

In this book Jean-Jacques Nattiez, well-known for his pioneering work in musical semiology, examines both music, and discourse about music, as products of human activity that are perceived in varying

Disruptive Dialogics: Improvised Dissonance in Thelonious Monk and Wu-Tang Clan’s 36 Chambers

My performative paper makes the suggestion that the act of incorporating Jazz samples into Hip Hop music is a type of disruptive performance that interprets a standard musical form to create new

Blues People: Negro Music in White America

"The path the slave took to 'citizenship' is what I want to look at. And I make my analogy through the slave citizen's music -- through the music that is most closely associated with him: blues and a

Improvised Music after 1950: Afrological and Eurological Perspectives

Since the early 1950s, controversy over the nature and function of improvisation in musical expression has occupied considerable attention among improvisers, composers, performers, and theorists

Black Noise: Rap Music and Black Culture in Contemporary America

From its beginnings in hip hop culture, the dense rhythms and aggressive lyrics of rap music have made it a provocative fixture on the American cultural landscape. In Black Noise: Rap Music and Black

Just what is it that makes today's noise music so different, so appealing?1

Abstract This article explores how ‘noise music’ uses its influences, how it refers to them, and what occurs formally, when using influence self-consciously and formally. Specifically, it takes two

Creative License: The Law and Culture of Digital Sampling

How did the Depression-era folk-song collector Alan Lomax end up with a songwriting credit on Jay-Z’s song “Takeover”? Why doesn’t Clyde Stubblefield, the primary drummer on James Brown recordings

The moan within the tone: African retentions in rhythm and blues saxophone style in Afro-American popular music

The tenor is a rhythm instrument and the best statements negroes have made of what their soul is have been on tenor saxophone. Now you think about it and you'll see I'm right. The tenor's got that

Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy

Alors que le rap, la musique hip hop, est souvent considere comme non original, non melodieux et ne necessitant pas de capacite musicale particuliere, l'analyse de « Fight the power » ecrite par le

Any Sound You Can Imagine: Making Music/Consuming Technology

From the Publisher: Theberge places recent technological developments within a broad social and historical perspective to illuminate the changing relationships between musical concepts, styles, and