[SoundStudies] Michael Veal, THIS THURSDAY, February 21st, 4pm

Lynda Paul lynda.a.h.paul at gmail.com
Sat Feb 16 10:59:38 EST 2013


Dear all,

Our upcoming Sound Studies Colloquium meeting will be held *this coming
Thursday*, February 21st, at 4pm in Stoeckel 210.

This week we will feature Professor Michael Veal, who will lead a
discussion of
his work on "The Acoustics of Diaspora."

Those in attendance are invited to take part in a discussion of the
following
chapter:

"Starship Africa: the Acoustics of Diaspora and of the Postcolony," from
Professor Veal's recent book, Dub: Soundscapes and Shattered Songs in
Jamaican
Reggae (Wesleyan, 2007)

In addition, the following chapter is suggested as supplementary reading:

"'Every Spoil is a Style': The Evolution of Dub Music in the 1970s," from
Dub:
Soundscapes and Shattered Songs in Jamaican Reggae (Wesleyan, 2007)

Please find attached to this email PDFs of the reading for discussion and
the supplementary, suggested chapter.

****

Michael Veal has been a member of the Yale faculty since 1998. Before
coming to Yale, he taught at Mount Holyoke College (1996 – 1998) and New
York University (1997-1998). Veal’s work has typically addressed topics
within the musical sphere of Africa and the African diaspora. His 2000
biography of the Nigerian musician Fela Anikulapo-Kuti (Fela: The Life &
Times of an African Musical Icon) uses the life and music of one of the
most influential African musicians of the post-WWII era to explore themes
of African post-coloniality, musical and cultural interchange between
cultures of Africa and the African diaspora, and the political uses of
music in Africa. His documentation of “Afrobeat” will continue with the
forthcoming as-told-to autobiography Tony Allen: Master Drummer of
Afrobeat. His 2007 study of Jamaican dub music (Dub: Soundscapes and
Shattered Songs in Jamaican Reggae) examines the ways in which the
studio-based innovations of Jamaican recording engineers during the 1970s
transformed the structure and concept of the post-WWII popular song, as
well as the theme of how sound technology can be used to articulate themes
of spirituality, history and politics. His forthcoming book Technotopia
1969: Miles Davis at the Crossroads surveys an under-documented period in
the life and career of Miles Davis, examines the role of sound rcordings in
the construction of jazz history, and takes an analytical approach to the
years of “electric jazz” prior to its commodification as “jazz-rock fusion.”

****

We hope to see you there.

Kind regards,

Joseph Clarke, Ph.D. candidate, Architecture
Lynda Paul, Postdoctoral Associate in the Integrated Humanities
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