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MUSI 1002 (43)
Lecture

Blackface Minstrelsy and Vaudeville
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Department
Music
Course
MUSI 1002
Professor
Alyssa Woods
Semester
Fall

Description
MUSI 1002 A Dec 2 2013 Blackface Minstrelsy and Vaudeville ­Within the American musical tradition ­White performers blackened their faces with burnt cork ­Pop entertainment, exaggerated elements of black life ­Intensely racist, enforcing stereotypes ­Al Jolson, “The Jazz Singer” 1927 ­Stereotypes of “black vs. white” music ­Longstanding stereotypes that place black music in the physical realm and white  music in the intellectual realm ­White considered more “sweet” commercial dance band music ­Black considered more of a “hot” swinging jazz ­Black musicians possess the body and necessary movements ­White musicians possess the education, intellect, and creativity ­Essentialism ­Many critics before 1950 believed that black and white musical traditions were  tied to essentialized notions of musical ability ­More recently, scholars have discussed the fact that “aptitude for music, or any  other aesthetic expression, is not racially predestined” (Oliver, 1990, 6) ­Just like race and gender, humans have created musical stereotypes ­Common factors in definitions of black people ­Race, ethnicity, and skin colour of the people producing music ­Geographical, social, and historical locations where music is produced ­Specific musical characteristics that tend to be characterized as black ­Blue 
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