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001 1014741;

005 20141212035208.0;

008 060330s2006 ctuag b 001 0deng ;

010 a| 2006010987;

020 a| 0819568228 (cloth : alk. paper);

020 a| 9780819568229 (cloth : alk. paper);

020 a| 0819568236 (pbk. : alk. paper);

020 a| 9780819568236 (pbk. : alk. paper);

035 a| (Sirsi) o67374928;

035 a| (OCoLC)67374928;

042 a| pcc;

049 a| NPEMa| EREM;

050 00 a| ML3527.8b| .D36 2006;

082 00 a| 781.6442| 22;

100 1 a| Danielsen, Anne.=| ^A702718;

245 10 a| Presence and pleasure :b| the funk grooves of James Brown and Parliament /c| Anne Danielsen.;

300 a| xiii, 262 pages :b| illustrations, music ;c| 23 cm.;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

490 1 a| Music/culture;

504 a| Includes bibliographical references (pages 245-251) and index.;

586 a| Winner of the 2007 Irving Lowens Book Award from the Society for American Music; Winner of IASPM's 2007 International Book Award;

505 0 a| I. Black and/or white: introductory perspectives. Whose funk? James Brown and parliament: a short history ; Whose funk? ; Understanding funk: hermeneutic challenges -- Two discourses on blackness. The primitivist representation of Black culture ; Black is beautiful! Black music and Black struggle ; A common source of otherness? -- II. A brand new bag: analytical investigations. A fabric of rhythm. On multilinear rhythm ; Virtuality: actuality, figure, gesture ; The heterogenous sound ideal ; The conversational mode ; On internal beat ; Genre and individuality: the art of signifyin(g) -- Rhythm and counter-rhythm. Simple syncopation or secondary rag? ; A tendency of cross-rhythm ; Limitation, concealment, fragmentation: on the perfectly imperfect balance ; Rhythm and counter-rhythm: a metrical romance -- "The downbeat, in anticipation". Change of density referent ; "Sex machine" ; On and off: on displacement, offbeat phrasing, and the way to treat strong beats ; More on manner: James Brown as vocal percussionist ; Disturbing the internal beat ; The pulse of the rhythm and the pulse of the counter-rhythm ; Ants and downstrokes -- III. Funk in the crossover era: A brand(ed) new fad. Social change and the era of crossover ; Hot, hot, hot...? James Brown at Polydor ; ...And beyond: the despiritualization of funk ; The influence of disco -- "Some say it's funk after death". P-Funk as Black consolidation ; The rhythm on one ; Extended ambiguity: "the ifs, the ands, and the buts..." ; The funk riff ; Grounded ambiguity: on the stable unstable ; One nation under a groove! The gospel of Dr. Funkenstein ; Analytical afterthoughts -- IV. "Once upon a time called now!": Temporalities and experience. "The payback" ; The state of being in funk ; The groove mode and the song mode of listening -- Time and again. The dominance of linear temporality ; Eternal present vs. eternal presence: on different nonlinearities ; Repetition vs. repetition ; Repetition with a difference ; Repetition in time ; Repetition as production ; Repetitive production in grooves ; Circularity and the one -- Between song and groove. Groove becoming song ; The dissolution of the hiearchy of sequences ; Song becoming groove ; The pure groove ; Consecration, cut, and a new beginning ; Continuity and breaks ; Groove vs. nonsong -- Feeling, intensity, and the sublimity of the event. Funk (a)live ; The imploding event ; I feel good! The feeling of feeling ; Give me a break! Intervention and intensity ; "Once up a time called now!" -- Presence and pleasure. The veiling of musical means ; Externalizing the internal other ; Body vs. time: renaming the internal other?;

520 a| In this exploration of the funk groove and its unique sounds, author Anne Danielsen takes an in-depth look at this under-explored genre. Danielsen concentrates on the golden age of funk in the late 1960s and the 1970s, focusing on two of the era's artists who made a substantial impact on the landscape of popular music: James Brown and George Clinton/Parliament. Aiming to understand funk not only as objectified musical meaning but also as lived experience, she begins with the musical events themselves and draws on her experiences as both a fan and a scholar to capture how their particular organization creates the funk listener's pleasure. Danielsen further examines issues surrounding race in the construction and consumption of this music, focusing her study with how white listeners responded to funk in the 1970s, and arguing that African American music has remained a means of catharsis and of dealing with pleasures of the body. Funk's crossover to international success among listeners of pop and rock music affected both the music itself and audiences' understanding of it. Presence and Pleasure shows us how.;

600 10 a| Brown, James,d| 1933-2006.=| ^A308372;

610 20 a| Parliament (Musical group)=| ^A596964;

650 0 a| Funk (Music)x| History and criticism.=| ^A560382;

830 0 a| Music/culture.=| ^A390481;

994 a| C0b| NPE;

590 a| Little-348849--305131056014T;

596 a| 2 3;

998 a| 1757770;

999 a| ML3527.8 .D36 2006w| LCc| 1i| 30372014152190d| 7/16/2014e| 11/25/2013f| 4/11/2024g| 4l| MSTm| JMUSICn| 2p| $23.70r| Ys| Yt| MGESBKu| 11/20/2006x| BOOKz| MCIRCo| .STAFF. enhanced 9/28/23 -jjab;

Presence and pleasure : the funk grooves of James Brown and Parliament / Anne Danielsen.

Author/creator	Danielsen, Anne
Format	Book
Publication Info	Middletown, CT : Wesleyan University Press, ©2006.
Description	xiii, 262 pages : illustrations, music ; 23 cm.
Subjects	Brown, James, 1933-2006. Parliament (Musical group) Funk (Music)--History and criticism.

Series	Music/culture Music/culture. ^A390481
Contents	I. Black and/or white: introductory perspectives. Whose funk? James Brown and parliament: a short history ; Whose funk? ; Understanding funk: hermeneutic challenges -- Two discourses on blackness. The primitivist representation of Black culture ; Black is beautiful! Black music and Black struggle ; A common source of otherness? -- II. A brand new bag: analytical investigations. A fabric of rhythm. On multilinear rhythm ; Virtuality: actuality, figure, gesture ; The heterogenous sound ideal ; The conversational mode ; On internal beat ; Genre and individuality: the art of signifyin(g) -- Rhythm and counter-rhythm. Simple syncopation or secondary rag? ; A tendency of cross-rhythm ; Limitation, concealment, fragmentation: on the perfectly imperfect balance ; Rhythm and counter-rhythm: a metrical romance -- "The downbeat, in anticipation". Change of density referent ; "Sex machine" ; On and off: on displacement, offbeat phrasing, and the way to treat strong beats ; More on manner: James Brown as vocal percussionist ; Disturbing the internal beat ; The pulse of the rhythm and the pulse of the counter-rhythm ; Ants and downstrokes -- III. Funk in the crossover era: A brand(ed) new fad. Social change and the era of crossover ; Hot, hot, hot...? James Brown at Polydor ; ...And beyond: the despiritualization of funk ; The influence of disco -- "Some say it's funk after death". P-Funk as Black consolidation ; The rhythm on one ; Extended ambiguity: "the ifs, the ands, and the buts..." ; The funk riff ; Grounded ambiguity: on the stable unstable ; One nation under a groove! The gospel of Dr. Funkenstein ; Analytical afterthoughts -- IV. "Once upon a time called now!": Temporalities and experience. "The payback" ; The state of being in funk ; The groove mode and the song mode of listening -- Time and again. The dominance of linear temporality ; Eternal present vs. eternal presence: on different nonlinearities ; Repetition vs. repetition ; Repetition with a difference ; Repetition in time ; Repetition as production ; Repetitive production in grooves ; Circularity and the one -- Between song and groove. Groove becoming song ; The dissolution of the hiearchy of sequences ; Song becoming groove ; The pure groove ; Consecration, cut, and a new beginning ; Continuity and breaks ; Groove vs. nonsong -- Feeling, intensity, and the sublimity of the event. Funk (a)live ; The imploding event ; I feel good! The feeling of feeling ; Give me a break! Intervention and intensity ; "Once up a time called now!" -- Presence and pleasure. The veiling of musical means ; Externalizing the internal other ; Body vs. time: renaming the internal other?
Abstract	In this exploration of the funk groove and its unique sounds, author Anne Danielsen takes an in-depth look at this under-explored genre. Danielsen concentrates on the golden age of funk in the late 1960s and the 1970s, focusing on two of the era's artists who made a substantial impact on the landscape of popular music: James Brown and George Clinton/Parliament. Aiming to understand funk not only as objectified musical meaning but also as lived experience, she begins with the musical events themselves and draws on her experiences as both a fan and a scholar to capture how their particular organization creates the funk listener's pleasure. Danielsen further examines issues surrounding race in the construction and consumption of this music, focusing her study with how white listeners responded to funk in the 1970s, and arguing that African American music has remained a means of catharsis and of dealing with pleasures of the body. Funk's crossover to international success among listeners of pop and rock music affected both the music itself and audiences' understanding of it. Presence and Pleasure shows us how.
Local note	Little-348849--305131056014T
Bibliography note	Includes bibliographical references (pages 245-251) and index.
Awards note	Winner of the 2007 Irving Lowens Book Award from the Society for American Music; Winner of IASPM's 2007 International Book Award
LCCN	2006010987
ISBN	0819568228 (cloth : alk. paper)
ISBN	9780819568229 (cloth : alk. paper)
ISBN	0819568236 (pbk. : alk. paper)
ISBN	9780819568236 (pbk. : alk. paper)

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Music	Music Stacks	ML3527.8 .D36 2006	✔ Available	Place Hold

Presence and pleasure : the funk grooves of James Brown and Parliament / Anne Danielsen.

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