Dr. Kristina Jacobsen, Assistant Professor of Ethnomusicology in the UNM Department of Music, is awarded the 2018 Woody Guthrie Book Award for the most outstanding book in popular music by the International Association for the Study of Popular Music (IASPM-U.S.).
“Jacobsen’s study of the ways in which Diné, or Navajo, country music musicians and fans articulate their sense of belonging and identity through country music, a genre deemed incongruous with and even antagonistic to Navajo sensibilities, is a remarkable example of popular music scholarship. Jacobsen’s work is particularly timely as the racialization of indigeneity continues to erase indigenous presence from popular music and cultural production writ large. Jacobsen’s reflexive positioning as a non-Diné (white) scholar as well as a performing country musician in bands with Navajo musicians, Jacobsen provides a strong model for ethical and sensitive ethnographic work.”
2019 Prize Committee (Kevin Fellezs, Alexa Woloshyn, and Kate Galloway), Woody Guthrie Book Award.
Heterophony: Texture, Technique, and Social Commentary
This lecture is in two parts: the first draws from my research on the 1960s jazz avant-garde and musicians’ interests in heterophonic musical textures. For the second part, I perform original music that utilizes heterophony and “noise” in a solo electronic and improvised format.
The Gay West: From Drug Store Cowboys to Rodeo Queens
The masculine ideal represented by the American cowboy is variously interpreted by spectators, dancers, musicians, and contestants at gay rodeos and country western dances across the U.S. Examining embodied gender practices within these communities, this talk articulates the sonic, social, and geographical spaces of the gay American West.
The Cruelty of Jazz: Toward a Hemispheric Politics of Sound
Rooted in concepts of affect and Empire, this paper argues that jazz operated in various 20th century Latin American settings as a vital touchstone bearing the risks and benefits of urban modernization, hemispheric geopolitics, and transnational cultural production, “cruelly” echoing the United States’ cultural, political, and economic dominance in the hemisphere and beyond.