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
Some people today innocuously consume/surround their immediate personal space with images, people, spatial simulacrums, smells, and sounds. We are in the 21st century and it is hum-buzzing with noise.
Music for some is noise, think of Jacque Attali’s definition of music. It agitates or soothes–very little in-between. For some music is consumed as if it is candy . . . hmmm, ear candy, soft, unobtrusive and yet satisfying (hopefully) to the sonic taste buds and stomach.
Some use music to heal, invoking images and symbols in a ritualistic inner/outer atmospheric extra-dimensional medicinal soul/psyche salve. It is cultural product. It is in the pop culture gumbo of American (and global) consumables, bought, sold raw or processed in a human marketplace.
Others are aware of human history, its products, aesthetics, and legacies. They use cultural sonorities and lyricism as aggressive projected essences of being. At times a shield against societal oppression; at times a weapon of disruption, political klangbombs, barriers, banners for causes real and imagined humans embed self in music and other socio-cultural soundings signified and real.1
What is the meaning of our culture making? What is the meaning of our music making? No simple answer . . . .
Research and reflective essays, archival newspapers excerpts, theater reviews, biographical reflections and American Sheet music samples are some of the materials that contextualize Sonic Tapestry as a lens into pre-twentieth century, mid to late twentieth century American life on the Sonictapestry site. And when applicable, these tools will 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-visual 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 interrogations into Black diasporic cultural 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 carpenoctum2.blogspot.com Greetings!!!!!!!
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).