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Sounding American: Hollywood, Opera, and Jazz by Jennifer Fleeger (review)

Sounding American: Hollywood, Opera, and Jazz by Jennifer Fleeger (review) Book Review SOUNDING AMERICAN: HOLLYWOOD, OPERA, AND JAZZ Jennifer Fleeger. New York: Oxford UP, 2014, 197 pp. As a musicologist, I frequently work to negoti­ Fleeger does not neglect either field in favor ate through the field’s tendency to study genres of the other. Musicologists, film scholars, and that are viewed as significantly different from film ­ music enthusiasts in general are all pro­ one another separately, despite the possible vided with significant and engaging material benefits of considering them together as cul­ that enhances the current state of scholarship tural interactions. An example of this is the for all. For instance, Fleeger combines discus­ academic division between jazz and music of sions of music and sound technology in a way the western European tradition, such as opera. that effectively demonstrates how each worked Because these divisions exist in the field of together to define the ideals and practices of musicology, it is unsurprising that they also individual Hollywood studios during the con­ are present in other fields that consider music, version era. This is most evident in the first and which can lead to narrower understandings of third chapters, where Fleeger distinguishes music’s role in cultural production and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

Sounding American: Hollywood, Opera, and Jazz by Jennifer Fleeger (review)

Hollenbach, Katie Beisel
Journal of Film and Video , Volume 69 (3) – Aug 30, 2017
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Publisher
University of Illinois Press
Copyright
Copyright © 2008 The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

Book Review SOUNDING AMERICAN: HOLLYWOOD, OPERA, AND JAZZ Jennifer Fleeger. New York: Oxford UP, 2014, 197 pp. As a musicologist, I frequently work to negoti­ Fleeger does not neglect either field in favor ate through the field’s tendency to study genres of the other. Musicologists, film scholars, and that are viewed as significantly different from film ­ music enthusiasts in general are all pro­ one another separately, despite the possible vided with significant and engaging material benefits of considering them together as cul­ that enhances the current state of scholarship tural interactions. An example of this is the for all. For instance, Fleeger combines discus­ academic division between jazz and music of sions of music and sound technology in a way the western European tradition, such as opera. that effectively demonstrates how each worked Because these divisions exist in the field of together to define the ideals and practices of musicology, it is unsurprising that they also individual Hollywood studios during the con­ are present in other fields that consider music, version era. This is most evident in the first and which can lead to narrower understandings of third chapters, where Fleeger distinguishes music’s role in cultural production and

Journal

Journal of Film and Video – University of Illinois Press

Published: Aug 30, 2017

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