Whiteness and the Problem of Colourblind Listening: Revisiting Leonard Feather's 1951 Blindfold Test with Roy Eldridge

Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt

Standard

Whiteness and the Problem of Colourblind Listening: Revisiting Leonard Feather's 1951 Blindfold Test with Roy Eldridge. / Vad, Mikkel.

I: Twentieth-Century Music, 2024.

Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › fagfællebedømt

Harvard

Vad, M 2024, 'Whiteness and the Problem of Colourblind Listening: Revisiting Leonard Feather's 1951 Blindfold Test with Roy Eldridge', Twentieth-Century Music. https://doi.org/10.1017/S1478572224000033

APA

Vad, M. (2024). Whiteness and the Problem of Colourblind Listening: Revisiting Leonard Feather's 1951 Blindfold Test with Roy Eldridge. Twentieth-Century Music. https://doi.org/10.1017/S1478572224000033

Vancouver

Vad M. Whiteness and the Problem of Colourblind Listening: Revisiting Leonard Feather's 1951 Blindfold Test with Roy Eldridge. Twentieth-Century Music. 2024. https://doi.org/10.1017/S1478572224000033

Author

Vad, Mikkel. / Whiteness and the Problem of Colourblind Listening: Revisiting Leonard Feather's 1951 Blindfold Test with Roy Eldridge. I: Twentieth-Century Music. 2024.

Bibtex

@article{4619675a77cc4f06b63e571c5815672c,
title = "Whiteness and the Problem of Colourblind Listening: Revisiting Leonard Feather's 1951 Blindfold Test with Roy Eldridge",
abstract = "'I couldn't tell who was colored and who was white', admitted the African American trumpet player Roy Eldridge after being submitted to a so-called blindfold test by the white critic Leonard Feather in 1951. Feather was happy that the blindfold test duped a prominent Black musician, because it proved his point about the fundamental colourblindness of music and listening. Through close reading of the source material, this article provides the full context for this infamous case and shows how the blindfold test was a product of transnational discourses of colourblindness, primitivism, 'reverse racism', and technological mediation. Building on current research in racialized practices of listening in musicology and sound studies, and mobilizing interventions from critical race studies, the article contends that acousmatic techniques of listening often promote a colourblind ideology invested in whiteness, which remains hegemonic in music culture. ",
author = "Mikkel Vad",
note = "Publisher Copyright: Copyright {\textcopyright} The Author(s), 2024. Published by Cambridge University Press.",
year = "2024",
doi = "10.1017/S1478572224000033",
language = "English",
journal = "Twentieth-Century Music",
issn = "1478-5722",
publisher = "Cambridge University Press",

}

RIS

TY - JOUR

T1 - Whiteness and the Problem of Colourblind Listening: Revisiting Leonard Feather's 1951 Blindfold Test with Roy Eldridge

AU - Vad, Mikkel

N1 - Publisher Copyright: Copyright © The Author(s), 2024. Published by Cambridge University Press.

PY - 2024

Y1 - 2024

N2 - 'I couldn't tell who was colored and who was white', admitted the African American trumpet player Roy Eldridge after being submitted to a so-called blindfold test by the white critic Leonard Feather in 1951. Feather was happy that the blindfold test duped a prominent Black musician, because it proved his point about the fundamental colourblindness of music and listening. Through close reading of the source material, this article provides the full context for this infamous case and shows how the blindfold test was a product of transnational discourses of colourblindness, primitivism, 'reverse racism', and technological mediation. Building on current research in racialized practices of listening in musicology and sound studies, and mobilizing interventions from critical race studies, the article contends that acousmatic techniques of listening often promote a colourblind ideology invested in whiteness, which remains hegemonic in music culture.

AB - 'I couldn't tell who was colored and who was white', admitted the African American trumpet player Roy Eldridge after being submitted to a so-called blindfold test by the white critic Leonard Feather in 1951. Feather was happy that the blindfold test duped a prominent Black musician, because it proved his point about the fundamental colourblindness of music and listening. Through close reading of the source material, this article provides the full context for this infamous case and shows how the blindfold test was a product of transnational discourses of colourblindness, primitivism, 'reverse racism', and technological mediation. Building on current research in racialized practices of listening in musicology and sound studies, and mobilizing interventions from critical race studies, the article contends that acousmatic techniques of listening often promote a colourblind ideology invested in whiteness, which remains hegemonic in music culture.

UR - http://www.scopus.com/inward/record.url?scp=85186952365&partnerID=8YFLogxK

U2 - 10.1017/S1478572224000033

DO - 10.1017/S1478572224000033

M3 - Journal article

AN - SCOPUS:85186952365

JO - Twentieth-Century Music

JF - Twentieth-Century Music

SN - 1478-5722

ER -

ID: 385700873