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About Sonictapestry

Delores Fisher

Delores Fisher


Sonictapestry is a blog which explores thoughts about historic and current African American music and popular culture in its unfolding multi-dimensional sonic manifestations.

Music, and Culture

October 27, 2011

Some people today innocuously consume/surround their immediate personal space with music as if it is candy . . . hmmm, ear candy, soft, unobtrusive and yet satisfying f(hopefully) to the sonic taste buds and stomach. Some use music to heal, invoking a ritualistic inner and outer spacial atmosphere as extra-dimensional medicinal soul/psyche salve.

Others are aware of music history, aesthetics, and legacies. They use musical sonorities and lyrics as aggressive projected sound, sometimes a shield against societal oppression, sometimes a weapon of disruption, political klangbombs, barriers, banners for causes real and imagined. Humans embed ourselves in musical soundings signified and real.1

What is the meaning of our music making? No simple answer . . . .

Research and reflective essays, archival newspapers excerpts and American Sheet music samples are some of the materials that will be used in Sonic Tapestry as a lens into pre-twentieth century and early twentieth century American musical life on the Sonictapestry site .And when applicable, theses tools will be used to examine African American contemporary music and popular culture.


Societal responses to socio-cultural events from past eras continue to shape our aural world; our historic aural tapestry is still global, however, in a different media mediated frame, on a much larger technology-driven scale.

Sonictapestry will also deploy music iconography, videos, and essays to examine a variety of  historic and twenty first century musical genres and socio-culturally infused Black diasporic musical terrains. My purpose is to reflect on the past through scholarly research, and at times—theory based personal memoire. Although,  a look towards the future might predict future trends,  emerging multi-planar musical unfoldings in liminal theorectical lacunae and in real time. 2

To new readers and to readers who also follow me at      Greetings!!!!!!!


Delores Fisher


1.   “Asante, Molefi Kete.   “The Resistance” in The Afrocentric Idea: Revised and Expanded Edition. (1998: Philadelphia: Temple University Press), 93-169.

2. Attali, Jacques.   Noise: The Political Economy of Music. Trans. Brian Massumi (1977: U of Minnisota Press).

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