Maurice O. Wallace explores the sonic character of Martin Luther King Jr.â s voice and how a mixture of architecture, acoustics, sound technology, and gospel influenced it.
Maurice O. Wallace explores the sonic character of Martin Luther King Jr.â s voice and how a mixture of architecture, acoustics, sound technology, and gospel influenced it.
Maurice O. Wallace is Associate Professor of English at Rutgers University–New Brunswick, author of Constructing the Black Masculine: Identity and Ideality in African American Men’s Literature and Culture, 1775–1995, and coeditor of Pictures of Progress: Early Photography and the Making of African American Identity, both also published by Duke University Press.
Inhaltsangabe
Acknowledgments ix Introduction 1 I. Architectures of the Incantatory 1. Dying Words: The Aural Afterlife of Martin Luther King Jr. 21 2. Swinging the God Box: Modernism, Organology, and the Ebenezer Sound 43 3. The Cantor King: Reform Preaching, Cantorial Style, and Acoustic Memory in Chicago’s Black Belt 71 II. Nettie’s Nocturne 4. King’s Gospel Modernism: The Politics of Lament, the Politics of Loss 97 5. Four Women: Alberta, Coretta, Mahalia, Aretha 138 III. Technologies of Freedom 6. King’s Vibrato: Visual Oratory and the “Sound of the Photograph” 185 7. Dream Variations: “I Have a Dream” and the Sonic Politics of Race and Place 229 Epilogue. “It’s Moanin’ Time”: Black Grief and the End of Words 273 Notes 281 Bibliography 325 Index 343
Acknowledgments ix Introduction 1 I. Architectures of the Incantatory 1. Dying Words: The Aural Afterlife of Martin Luther King Jr. 21 2. Swinging the God Box: Modernism, Organology, and the Ebenezer Sound 43 3. The Cantor King: Reform Preaching, Cantorial Style, and Acoustic Memory in Chicago’s Black Belt 71 II. Nettie’s Nocturne 4. King’s Gospel Modernism: The Politics of Lament, the Politics of Loss 97 5. Four Women: Alberta, Coretta, Mahalia, Aretha 138 III. Technologies of Freedom 6. King’s Vibrato: Visual Oratory and the “Sound of the Photograph” 185 7. Dream Variations: “I Have a Dream” and the Sonic Politics of Race and Place 229 Epilogue. “It’s Moanin’ Time”: Black Grief and the End of Words 273 Notes 281 Bibliography 325 Index 343
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