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Haunthenticity: Musical Replay and the Fear of the Real By Tracy McMullen. Middletown, CT: Wesleyan University Press, 2019.

Published online by Cambridge University Press:  22 December 2021

Jacob Kopcienski*
Affiliation:
Ohio State University, Columbus, OH, USA

Abstract

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Type
Book Review
Copyright
Copyright © The Author(s), 2021. Published by Cambridge University Press on behalf of the Society for American Music

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References

1 Abbate, Carolyn, “Music-Drastic or Gnostic?,” Critical Inquiry 30, no. 3 (Spring 2004): 505–36CrossRefGoogle Scholar; Treitler, Leo, Music and the Historical Imagination (Cambridge, MA: Harvard University Press, 1989)Google Scholar.

2 McMullen, Tracy, “Approaching the Jazz Past: MOPDTK's Blue and Jason Moran's ‘In MY Mind: Monk at Town Hall, 1959,’Journal of Jazz Studies 11, no. 2 (2018): 128CrossRefGoogle Scholar.

3 Schneider, Rebecca, Performing Remains: Art and War in Times of Theatrical Reenactment (New York: Routledge, 2011)CrossRefGoogle Scholar.

4 See, for example, Boon, Marcus, In Praise of Copying (Cambridge, MA: Harvard University Press, 2010)Google Scholar. Boon's text provides a nuanced critique of copying in postmodern Western cultures via Mahayana Buddhism.

5 Macan, Edward, Rocking the Classics: English Progressive Rock and the Counterculture (Oxford: Oxford University Press, 1997)CrossRefGoogle Scholar; Palm, Carl Magnus, Bright Lights, Dark Shadows: The Real Story of ABBA (London: Omnibus Press, 2001)Google Scholar.

6 McMullen, Tracy, “Bring It on Home: Robert Plant, Janis Joplin, and the Myth of Origin,” Journal of Popular Music Studies 26, nos. 2-3 (2014): 368–96CrossRefGoogle Scholar.

7 Here, Philip Auslander's work informs McMullen's perspective. Auslander, Philip, Performing Glam Rock: Gender and Theatricality in Popular Music (Ann Arbor: University of Michigan Press, 2006)CrossRefGoogle Scholar.

8 McMullen, Tracy, “The Improvisative,” in Oxford Handbook of Critical Improvisation Studies, ed. Lewis, George and Piekut, Benjamin (Oxford: Oxford University Press 2016): 115127Google Scholar. In addition to Marcus Boon, McMullen also follows Trinh Minh-ha's critique of western academic epistemologies. Trinh Minh-ha, Woman, Native, Other: Writing Postcoloniality and Feminism (Bloomington: Indiana University Press, 1989).

9 Georgina Gregory is a notable exception. Gregory, Send in the Clones: A Cultural Study of the Tribute Band (Sheffield, UK: Equinox: 2012); “Transgender Tribute Bands and the Subversion of Male Rites of Passage through the Performance of Heavy Metal Music,” Journal for Cultural Research 17, no. 1 (2013): 21–36.

10 For example, Taylor, Diana, The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham, NC: Duke University Press, 2003)Google Scholar.