Bibliografie tematiche / Soul musicians

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Letteratura scientifica selezionata sul tema "Soul musicians"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "Soul musicians"

1

Gordin, Karina. "Bodywork: Tuning the Instrument of the Soul". Music and Medicine 10, n. 1 (25 gennaio 2018): 18. http://dx.doi.org/10.47513/mmd.v10i1.555.

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Instrumental musicians are among groups of professionals at high risk for overuse injuries, including pain, fatigue, loss of range of motion, as well as loss of endurance and fine motor control[i]. Factors contributing to overuse injuries include, but not limited to, ergonomic errors and posture misalignment due to poor fit between instrument and musician, heavy instruments, as well as repetitive strain due to prolonged daily practice and/or performance[ii]. Massage therapy may target musician specific injuries by focusing on relaxing restrictive, overused muscles, enhancing circulation, and improving range of motion by increasing length of fascia and muscles, and breaking down adhesions[iii].
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Boysen, Yvette. "Volunteer Musicians Bring ‘Smile to the Soul’". Volunteer Management Report 22, n. 8 (18 luglio 2017): 5. http://dx.doi.org/10.1002/vmr.30710.

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3

Thram, Diane. "JAZZ IN SERVICE OF THE STRUGGLE". African Music: Journal of the International Library of African Music 10, n. 4 (22 novembre 2018): 67–102. http://dx.doi.org/10.21504/amj.v10i4.2234.

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This article contributes to the substantial body of publications on South African jazz with information on jazz performance and performers in New Brighton, a township adjacent to Port Elizabeth noted for its vibrant jazz scene and outstanding jazz musicians. The article covers several decades from the heyday of swing bands in the 1940s–50s through the 1960s–70s when New Brighton’s premier jazz combo, the Soul Jazzmen, were at the height of their artistry. The role of swing bands in New Brighton and surrounding communities as the training ground for members of the Soul Jazzmen and other local musicians of note is discussed, as well as how the Soul Jazzmen in turn were tutors for musicians of the next generation who became widely recognized artists, composers and arrangers. This is followed by a focus on the Soul Jazzmen and compositions by its members that protested against the apartheid regime in the 1960s–70s. The article is informed by historic photographs, newspaper clippings and information from oral history interviews that richly document how jazz was performed in service of the anti-apartheid struggle in New Brighton.
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4

Tang, Patricia. "TWENTY-FIRST CENTURY SABAR DRUMS: INNOVATIONS IN ORGANOLOGY AND PERFORMANCE PRACTICES IN SENEGAL AND THE DIASPORA". African Music: Journal of the International Library of African Music 11, n. 1 (1 dicembre 2019): 49–71. http://dx.doi.org/10.21504/amj.v11i1.2292.

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Abstract (sommario):
This article contributes to the substantial body of publications on South African jazz with information on jazz performance and performers in New Brighton, a township adjacent to Port Elizabeth noted for its vibrant jazz scene and outstanding jazz musicians. The article covers several decades from the heyday of swing bands in the 1940s–50s through the 1960s–70s when New Brighton’s premier jazz combo, the Soul Jazzmen, were at the height of their artistry. The role of swing bands in New Brighton and surrounding communities as the training ground for members of the Soul Jazzmen and other local musicians of note is discussed, as well as how the Soul Jazzmen in turn were tutors for musicians of the next generation who became widely recognized artists, composers and arrangers. This is followed by a focus on the Soul Jazzmen and compositions by its members that protested against the apartheid regime in the 1960s–70s. The article is informed by historic photographs, newspaper clippings and information from oral history interviews that richly document how jazz was performed in service of the anti-apartheid struggle in New Brighton.
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5

van de Port, Mattijs. "The articulation of soul: gypsy musicians and the Serbian Other". Popular Music 18, n. 3 (ottobre 1999): 291–307. http://dx.doi.org/10.1017/s0261143000008886.

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In his Moeurs et Coutumes des Tziganes (1936), the French ethnologist Martin Block notices thatwhen a Hungarian or Romanian feels sad, or when, on the contrary, he wants to celebrate, he needs Gypsy music to exteriorize the state of his soul. (Block 1936, p. 136)Block's conclusion that Gypsy musicians are in the business of articulating other people's ‘soul’ confronts us with an intriguing conundrum. Given the fact that in eastern Europe, group boundaries between Gypsies and non-Gypsies are strictly defined and zealously kept up, one wonders how Gypsies would be able to articulate musically an intimate knowledge about their non-Gypsy customers. And why would Hungarians, Romanians – and, as I will argue in this paper, Serbs as well – need Gypsy musicians to ‘exteriorize their state of soul’?
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Barratt-Peacock, Ruth. "Aspirational cosmopolitanism in classical music anime: Adapting Romantic legacies in Forest of Piano". East Asian Journal of Popular Culture 8, n. 1 (1 aprile 2022): 9–26. http://dx.doi.org/10.1386/eapc_00060_1.

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This article argues that anime about musicians specializing in western classical music offers a vehicle for questioning normative narratives that tend to exclude East Asian musicians from classical music culture beyond tertiary education. This article explores how the series Forest of Piano, the 2018 anime adaptation of Makoto Isshiki’s manga, utilizes competing Romantic models of genius to negotiate the protagonists’ positions as East Asian musicians on the global stage. In the series, the idea that the spirit of a piece is bound to the composer’s relationship to a specific place competes with the idea of a Romantic genius that channels the transcendent universal music of the world-soul from Nature.
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Moch, Michał. "Review: Mark LeVine, We’ll Play till We Die: Journeys across a Decade of Revolutionary Music in the Muslim World, Oakland 2022: University of California Press, pp. 310." Hemispheres.Studies on Cultures and Societies 37 (2022): 81–87. http://dx.doi.org/10.60018/hemi.bkrf8290.

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The book, combining the form of an academic work with a musical travelogue, is a continuation of Heavy Metal Islam: Rock, Resistance, and the Struggle for the Soul of Islam, which was published in 2008, two years before the main wave of political transformation in the Arab countries started. LeVine’s volume is just the newest and one of the most interesting examples of the growing body of texts analysing the central importance of popular music in Arabic popular culture and its influence on the wider sociopolitical context of the region. LeVine makes use of his rich experience as a researcher, traveller and musician, also with experiences of playing or recording with some of the musicians mentioned in the book.
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Bertrand, Jane T., Erica Dudas, Melissa B. Goldin e Cathi Fontenot. "Providing healthcare to New Orleans' heart and soul: The musicians". Arts & Health 6, n. 2 (10 luglio 2013): 176–83. http://dx.doi.org/10.1080/17533015.2013.815238.

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Beller-McKenna, Daniel. "The Beatles as Musicians: The Quarry Men through Rubber Soul (review)". Notes 59, n. 3 (2003): 614–15. http://dx.doi.org/10.1353/not.2003.0002.

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Ligeti, Lukas. "A Work for the Jewish Soul of Warsaw, Old and New". Leonardo Music Journal 27 (dicembre 2017): 57–58. http://dx.doi.org/10.1162/lmj_a_01017.

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In 2015, Lukas Ligeti created a site-specific, audience-interactive performance work while in residence at the Museum of the History of Polish Jews in Warsaw. Based on interviews with residents of Warsaw, the piece examined aural memories of Jewish life in the city, tracing the extermination and re-emergence of the Jewish community through speech and songs as well as creative musicians’ reimaginings of these memories, with computer technology as a mediator.
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Tesi sul tema "Soul musicians"

1

Scannell, John School of Media Film &amp Theatre UNSW. "James Brown: apprehending a minor temporality". Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.

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This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.
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2

Choi, Bokyung. ""Restless Soul"". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248419/.

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Restless Soul is composed of observational and expository style to depict a culture of youth, strength, and passion. The film captures an improvising musician and composer named Garrett Wingfield, who expresses spontaneous sound reflected in his mind, body and spirit. By working with his music friends, he releases his creative energies through his compositions and his different types of saxophones. The documentary allows its audience to experience the youth culture in a postmodern world.
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Villetelle, Marc. "Musiciens havanais à l'épreuve de "la période spéciale" : quotidien sous tension et rapport au politique à Cuba". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00863984.

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Ce travail de thèse vise à présenter un certain nombre de tendances et de points de tensions nés ou mis à jour à Cuba à la suite de la période spéciale en temps de paix que l'on peut définir comme une crise économique et sociale d'une ampleur considérable ayant frappé ce pays à la suite de la chute du camp socialiste au début des années 90. Pour ce faire, nous nous centrons sur l'expérience de musiciens qualifiés " d'ordinaires " évoluant dans la capitale, La Havane. C'est ainsi à la lumière du quotidien de ces artistes qu'il nous sera possible de comprendre et de saisir la profondeur de cette crise et des fortes redéfinitions qu'elle met en jeu. Il s'agit de voir les conséquences des moyens mobilisés par le régime socialiste cubain de façon à sortir de cette impasse économique et sociale tout en préservant les acquis sociaux de cette révolution, base de sa légitimité populaire. Seulement, si à terme les réformes engagées (massification du tourisme, progressive mise en avant de comportements économiques libéralisant, double circulation monétaire...) ont permis un redressement économique certain, elles ne vont pas sans questionner, voire entrer en contradiction avec les discours, prérogatives et modes de vie valorisés par le pouvoir. Nous verrons ainsi de quelles manières un certain nombre de tensions, issues de ces changements (entre un passé idéalisé et un futur incertain, entre l'image de l'authentiquement cubain et celle du non-cubain, et enfin entre le nous révolutionnaire et les projections individuelles) sont traités par ces musiciens, particulièrement sensibles au décloisonnement de l'expérience cubaine. Dans leur manière de s'auto-définir en tant qu'artiste, dans le regard qu'ils portent sur leur trajectoire et leur métier, nous verrons que ces individus procèdent à un bricolage, à une négociation identitaire incessante visant à conférer à leurs actes un sens que la réalité sociale et économique a rendu trouble.La vie et les pratiques professionnelles de ces derniers, les moyens qu'ils mobilisent pour lutter et tenter de vivre de leur musique illustrent à notre avis la société cubaine dans son ensemble, marquée par une grande ambivalence, par le besoin " d'inventer " de nouveaux moyens de subsistance et la nécessité d'assembler des éléments en décomposition ou émergents.
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NAVARRO, DANIEL. "Un violon sous les doigts". Nice, 1994. http://www.theses.fr/1994NICE6506.

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Ausoni, Alberto. "L'iconographie des musiciens sous Louis XIV (1638-1715) : une analyse sur les rapports entre la musique savante, le pouvoir et la haute société d'Ancien Régime". Paris 1, 2002. http://www.theses.fr/2002PA010509.

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Au XVIIe siècle, en France, la musique joue un rôle privé et en même temps officiel dans le cadre d'une production marquée par le centralisme monarchique et la primauté de la capitale parisienne. C'est la relation entre musique savante et haute société qui a retenu notre attention, et cela dans sa traduction iconographique. Nous avons choisi d'analyser les modèles de représentation qui ont engendré des documents capables d'exprimer, à travers les formes des arts visuels, un univers musical inséparable d'un art du savoir-vivre et des techniques de propagande de l'époque. Quant aux extrêmes chronologiques, nous les avons fixés entre 1638 et 1715, dates qui décrivent la trajectoire de la vie de Louis XIV mais surtout la mise en place, l'épanouissement et la fin d'une civilisation. À la cour de France, la musique exprime la grandeur et l'unité politique et culturelle de la. Nation. A travers l'iconographie qui retrace le sacre de Louis XIV, son mariage, les naissances princières ou les fêtes de Versailles, nous avons essayé de cerner le rôle joué par la musique dans le cadre du pouvoir monarchique. Dans l'entourage du roi, l'engouement pour la pratique musicale s'entrevoit d'une manière assez dépersonnalisée dans les formules du "portrait historié". Une partie de la cour transporte les modèles de représentation de soi dans les espaces des salons. Dans ce contexte, les portraits peints ou gravés documentent les talents et le goût des portraiturés. Quant aux instruments de musique, ils entrent souvent en interférence avec les collections d'habits et témoignent d'un art de vivre et de paraître. Notre lecture, sans oublier certains détails organologiques, privilégie les aspects qui aident à mieux comprendre le rôle joué par la pratique instrumentale, individuelle ou collective, à l'intérieur d'un système de règles, de modes et d'idéaux de comportement qui assuraient la distinction et la cohésion sociale d'une civilisation
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Blot, Alice. "Jehan alain (1911-1940) un independant seculier essai de portrait d'un musicien vu sous les perspectives offertes par la notion d'interdisciplinarite en art". Paris 4, 1998. http://www.theses.fr/1998PA040070.

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Cette these se presente en trois volets delimites et complementaires dans leur finalite,qui est de tracer un portrait de jehan alain,l'homme et l'artiste. La premiere partie tente de definir le contexte historico-musical dans lequel vivait jehan alain et de mettre en exergue son desir d'independance par rapport a cet entourage. La seconde partie est consacree a l'oeuvre du musicien annee par annee, non pour essayer de prouver que la vie quotidienne influence la creation,mais pas davantage dans le but d'affirmer que l'une est etrangere a l'autre. Enfin, la troisieme et derniere partie nous introduit dans le monde passionnant et globalisant de l'interdisciplinarite en art. Cette division tripartite qui se veut donner une image fidele de l'artiste jehan alain repose sur deux fils conducteurs, que sont le sacre et la vocalite, valeur s omnipresentes dans l'esprit et la musique de jehan alain. Enfin,le postulat que souhaite demontrer l'ensemble de ce travail,est que jehan alain a toujours ete un independant seculier,c'est a dire sachant conserver sa liberte d'action et de pensee dans un monde alienant en-soi
This thesis introduces oneself in three demarcated and complementaries parts in their purpose,which is to draw a portrait of jehan alain,the human being and the artist. The first part tries to define the context both historic and musical in which jehan alain lived, and to bring out his real wish of independence in comparison to his entourage. The second part is devoted to the musician's work, year after year, not trying to prove that daily life influences his creativity, but not any more to maintain that one has no connection with the other. Finally, the third and last part introduces us in the fascinating and global world of interdisciplinarity in art. This trinitary division whose target is to give a faithfull picture of the artist jehan alain rest on two conductives ideas, sacred and vocality. Two omnipresents values in the spirit and the music of jehan alain. At least, postulate i wanted to demontrate along this work is that jehan alain has always been a secular independent, it means,able to preserve his mind and action's freedom in a world of alienation
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Swan, Scott Grindal Bruce T. ""Music is my vessel" an exploration of african american musical culture through the life story of Lavell Kamma /". 2003. http://etd.lib.fsu.edu/theses/available/etd-09182003-185527.

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Thesis (M.S.)--Florida State University, 2003.
Advisor: Dr. Bruce T. Grindal, Florida State University, College of Arts and Sciences, Dept. of Anthropology. Title and description from dissertation home page (viewed Apr. 7, 2004). Includes bibliographical references.
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Libri sul tema "Soul musicians"

1

Coppernoll, Christopher L. Soul 2 soul. Nashville: Word Pub., 1998.

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2

Hijuelos, Oscar. Beautiful Maria of my soul. New York: Hyperion, 2010.

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3

Ertl, Franz. Rap, Funk, Soul: Ein Nachschlagewerk. 2a ed. Koln: W. Herbst, 1993.

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4

Budzyński, Tomasz. Soul side story. Poznań: In Rock, 2011.

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Gregory, Hugh. Soul music A-Z. New York: Da Capo Press, 1995.

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Hijuelos, Oscar. Beautiful Maria of my soul. New York: Hyperion, 2010.

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7

Brown, Geoff. Otis Redding: Try a little tenderness. Edinburgh: Mojo Books, 2001.

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8

Verde, Susan. Rock 'n' roll soul. New York: Abrams, 2018.

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9

Antonucci, Gabriele. Aretha Franklin: La Regina del Soul. Milano: Vololibero, 2016.

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10

Tee, Ralph. Who's who in soul music. London: Weidenfeld and Nicolson, 1991.

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Capitoli di libri sul tema "Soul musicians"

1

Dodds, Phil. "Musical Metropolis: Janelle Monáe’s Scalar Agility". In Music and the Cultural Production of Scale, 19–29. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-36283-5_2.

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AbstractJanelle Monáe—whose output spans the genres of R&B, psychedelic soul, hip-hop and Afrofuturist funk—is a prime example of a musician with scalar agility. Through a range of simple and complex musical techniques in a series of ‘Metropolis’ concept records, she has produced a multi-scalar ‘sonic fiction’. The scalar qualities and relations of this musical world—and her ability to musically subvert, split and reimagine the relationships between scales such as the body, the metropolitan, the global and the universal in tracks such as ‘Dance or Die’ and ‘Cold War’—make her work politically transgressive and capable of unsettling the present scaled reality.
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"APPENDIX: SOURCE MATERIALS AND GUIDE TO AFRICAN-AMERICAN MUSIC, MUSICIANS, AND CULTURE IN CALIFORNIA". In California Soul, 353–448. University of California Press, 1998. http://dx.doi.org/10.1525/9780520918146-014.

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Eastman, Ralph. "2 "Pitchin' up a Boogie" African-American Musicians, Nightlife, and Music Venues in Los Angeles, 1930-1945". In California Soul, 79–103. University of California Press, 1998. http://dx.doi.org/10.1525/9780520918146-005.

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Persson, Roland S. "The Subjective World Of The Performer". In Music And Emotion, 275–90. Oxford University PressNew York, NY, 2001. http://dx.doi.org/10.1093/oso/9780192631886.003.0012.

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Abstract Amusician cannotmove others unless he too ismoved’, C.P. E. Bach argued in his treatise on the true art of playing keyboard instruments, ‘He must of necessity feel all of the affects that he hopes to arouse in his audience’ (1985, p. 152). Famed singer Janet Baker, in an interview published in The Observer, stated of musicians in general that ‘. . . [their] business is emotion and sensitivity—to be the sensors of the human race’ (quoted in Crofton & Fraser 1985, p. 112). Clearly emotions, feelings, and affects are paramount issues to musicians in communicating and understanding music. In fact, the musician’s role is so intrinsically tied to the subjective world of emotion that attempts to regard a piece of music, or a performance of it, as in any way detached from a positive emotional experience of some kind, is often frowned upon by musicians. In composer Fredrick Delius’ words: ‘How can music ever be a mere intellectual speculation or a series of curious combinations of sound that can be classified like the articles in a grocer’s shop? Music is an outburst of the soul’ (quoted in Crofton & Fraser 1985, p. 49).
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Walls, Peter. "The William Lawes Masques". In Music in the English Courtly Masque 1604-1640, 159–205. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198161417.003.0005.

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Abstract The published text of The Triumph of Peace is one of the relatively few to mention the contribution of specific musicians. Its author, James Shirley, signs off by paying tribute, first to Inigo Jones as designer, and then—in particularly generous terms—to the musicians: ‘The composition of the music was per formed by Mr. William Lawes and Mr. Simon Ives, whose art gave an harmonious soul to the otherwise languishing numbers’ (11. 787–9).
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Nava, Alejandro. "The Souls of Black Folk". In In Search of Soul. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520293533.003.0006.

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This chapter explores some of the synergies between Spanish soul and black American traditions through Ralph Ellison's depiction of soul. In turning to Ellison, a contemporary of Lorca, this chapter falls in the thick of musical and cultural currents of soul. Like many black writers of the twentieth century, Ellison brought musical cadences and flows into the mighty river of American literature, injecting some of its stagnant waters with a fresh tributary of style. By adding his lyrical voice to American literature, he used his pen the way black musicians used their instruments, making it sing on behalf of a black American experience that was invisible in many parts of America. He not only honored conceptions of soul in black music, folklore, literature, and religion in this way, but also simultaneously exposed the blindness and tone deafness of many Americans.
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Harold, Claudrena N. "Lord Let Me Be an Instrument". In When Sunday Comes, 17–41. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043574.003.0002.

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This chapter examines the artistic legacy of Reverend James Cleveland, an internationally renowned musician whose sonic innovations and institution building efforts contributed to gospel music's dramatic growth in the post–civil rights era. Significant attention is given to his role as founding president of the Gospel Music Workshop of America. Created in 1967, the GMWA provided an institutional space for gospel musicians seeking to advance both their careers and black sacred music. By exploring Cleveland’s work for the GMWA, particularly his proposed gospel college in Soul City, North Carolina, along with his groundbreaking records on Savoy, this chapter underscores how black Christians' struggle for self-determination extended into the music world.
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Crabtree, Mari N. "The Blues". In My Soul Is a Witness, 173–98. Yale University Press, 2023. http://dx.doi.org/10.12987/yale/9780300250411.003.0007.

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This chapter lays out a theory of African American collective trauma and cultural memory, arguing that the blues sensibility contains an instructive metaphor for understanding the full range of ways in which Black southerners gave expression to their memories of lynching and confronted those memories. Drawing upon the work of writers from Ralph Ellison to Jeffrey Ferguson but also the insights of blues musicians from B. B. King to Mississippi Fred McDowell, this chapter demonstrates how the blues sensibility avoids reducing Black memories of lynching to either resistance or submission and, instead, places these memories within a framework that resonates with the African American cultural tradition. As a way of being—a posture toward life—the blues equip Black people to face both life’s joys and sorrows, and they warn us against the perils of collective amnesia.
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Crow, Bill. "Reading Music". In Jazz Anecdotes, 54–58. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195187953.003.0008.

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Abstract Though a musician needs a good ear to play jazz well, it is possible to be musically illiterate and still excel in jazz. Erroll Garner was the most shining example. Erroll had such a quick ear as a child that he never bothered to learn to read. One hearing was usually enough for him to learn any new piece of music. When someone mentioned his not being able to read music, Garner said, “Hell, man, nobody can hear you read.” In the early days, a jazz musician who could read music was usually called “Professor.” Written notes were viewed with suspicion by the unschooled and were considered to be devoid of soul. But men like Eubie Blake could read and write music very well. He said: In those days Negro musicians weren’t even supposed to read music. We had to pretend we couldn’t read; then they’d marvel at the way we could play shows, thinking we’d learned the parts by ear.
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Reali, Christopher M. "“I’ll Take you There”". In Music and Mystique in Muscle Shoals, 64–85. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044519.003.0003.

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This chapter uses the musical, social, and cultural events that led to Aretha Franklin's 1967 recording session at FAME to discuss the racialization of sound. Dialoging with the work of Nina Sun Eidsheim, Jennifer Lynn Stoever, Charles Hughes, Karl Hagstrom Miller, and others, the chapter examines the 1960s discourse of soul in relation to Muscle Shoals primarily through Stoever's theory of the “sonic color line.” This chapter interweaves historical accounts, archival sources, and personal interviews to investigate the ways in which the sonic color line influenced Shoals-based musicians and how the racialization of sound propelled Muscle Shoals to become the place to record southern soul.
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