Public Talk

For centuries, Black writers have provided unparalleled insight into the inner workings of white supremacy. However, other mediums beyond the written word capture such expertise. In this presentation, Dr. Stephanie Doktor considers how critical engagement with whiteness can be heard in the music of Black jazz musicians. In 1927, Fletcher Henderson recorded “Whiteman Stomp,” parodying the musical style of the “King of Jazz.” If U.S. entertainment had historically been based on the white gaze, white imaginations of Blackness, and the subjugation of Black performers to this orientation, then Henderson’s recording turns the industry on its head. It refracts this gaze, staring back at whiteness. In her analysis of this arrangement and Whiteman’s response to it, Doktor argues that Henderson, in his sonic theorization of Black music, makes whiteness legible. His recording challenges the myth that this racial category is invisible—a myth that coheres its social power—and opens up the possibility of scrutinizing white supremacy by making it audible. This presentation is sponsored by the American Music Research Center and is part of the 2021-2022 Musicology and Music Theory Colloquium Series.

The American Music Research Center (AMRC) is dedicated to exploring and celebrating the diverse and rich traditions of American music. Jointly housed between the the University of Colorado’s College of Music and the University Libraries, the AMRC is home to a rare music repository that includes scores, papers, recordings, and material artifacts that document the history of American music and the people who have made it.

Event date and time

Monday, Feb. 7, 1 p.m. 

Streamed event

You can enjoy this event in-person, or from the comfort of your home, presented through Zoom. Passcode: 932811

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