In conjunction with the Gilmore Music Library’s exhibition, Black Sound and the Archive, participants in the working group were asked to put together their own “sound archives.” We intend the term to be understood in the broadest possible way, not only focusing on sound recordings but on the way that other material artifacts, objects, traces, practices, and documents can function as an archive of black sound and its practices.
THE SOUND ARCHIVES:
“Boundaries Bind Unbinding:” Langston Hughes’ Musical-Archival Practice
“I’ll Keep On Living After I Die”: The Life and Sound of Songwriter Roxie Moore”
Black Sound, Improvisation, and Computer Music
Careless Love: Imagining Black Radio
Clyde Stubblefield’s Global Sound
Ethel Waters Contemplates Her Own Vocal Style
Retrospective Openings and Sonic Possibilities in the Golden Era of Stevie Wonder (1971-1980)
Visual Collages as Sound Archives: Musical Meaning Imagined Visually