King’s Vibrato: Modernism, Blackness, and the Sonic Life of Martin Luther King Jr by Maurice O. Wallace (review)
Notice bibliographique
Résumé
Reviewed by: King’s Vibrato: Modernism, Blackness, and the Sonic Life of Martin Luther King Jr by Maurice O. Wallace Keith D. Miller King’s Vibrato: Modernism, Blackness, and the Sonic Life of Martin Luther King Jr. By Maurice O. Wallace. (Durham, N.C.: Duke University Press, 2022. Pp. xvi, 352. Paper, $28.95, ISBN 978-1-4780-1840-7; cloth, $104.95, ISBN 978-1-4780-1574-1.) Although many have attributed Martin Luther King Jr.’s oratorical success, in part, to his enviable baritone voice, King’s Vibrato: Modernism, Blackness, and the Sonic Life of Martin Luther King Jr. is the first book published about that voice. A philosophical explorer, Maurice O. Wallace examines King’s oratory as “a function of the acoustic calculus of voice, architecture, organology, and audience” (p. 1). Asking historians to investigate the sounds of history, he theorizes and historicizes King’s oratory in relation to a larger African American soundscape, what he terms “the particular sound of blackness for which King is a key figure” (p. 13). For this purpose, he summons theorists as [End Page 773] diverse as Jacques Derrida, Roland Barthes, Hortense Spillers, Fred Moten, Claude Brown, and Alexis Gumbs. Wallace’s first chapter addresses the afterlife of King’s recorded voice, starting with the playing of a King sermon at his funeral—a moment that, in Wallace’s words, serves as “an unparalleled occasion for the study of black voice in itself, the sign and signifier of a black radical critique of the modern order of things” (p. 15). Invoking organology, he next examines the importance of the Wurlitzer pipe organ at Ebenezer Baptist Church, which King’s mother, Alberta King, played avidly. Wallace then zigzags to Ralph Ellison’s fictional depiction of an organ and choir in his renowned novel Invisible Man; invokes Hortense Spillers; and then shifts back to Alberta King’s tour de force performance of gospel favorite “Rough and Rocky Road.” Wallace then ventures to Chicago, the electrical power station of African American sacred music. He considers its most estimable composer, Thomas Dorsey, and King’s ad-libbing, which recalls a long-enduring tradition of folk preaching. Next, Wallace links Alberta King to three singers: Coretta Scott King, Mahalia Jackson, and Aretha Franklin. He then considers “photography’s aural underside,” which he calls “the dream-wish of still images to be heard,” along with “the acoustic ecology of Mason Temple,” the site of King’s final address (pp. 192, 208, 199). The penultimate chapter explores many aural dimensions of “I Have a Dream,” starting with its first iteration in North Carolina, continuing with its arrival at Detroit’s Cobo Hall (a recitation that Wallace relates to the Motown Sound of Berry Gordy), and concluding with its final incarnation at the Lincoln Memorial in Washington, D.C. Although Wallace investigates depictions of King, his work inspires comparison. Take, for instance, the based-on-a-photograph, larger-than-life sculpture of firebrand Fannie Lou Hamer that presides over a park in her hometown of Ruleville, Mississippi. The statue portrays Hamer speaking into a handheld microphone attached to a spiraling microphone cord, all rendered in bronze. Wallace’s book spurs his readers to ponder the multiple dimensions that surround the sculpture and to contemplate the original photograph, Hamer’s feisty speeches, her passionate singing, and the bountiful tradition of African American music and oratory that has sustained a people for centuries. Keith D. Miller Arizona State University Copyright © 2023 The Southern Historical Association
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Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,001 | 0,000 |
| Bibliométrie | 0,002 | 0,003 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,002 | 0,003 |
| Science ouverte | 0,001 | 0,001 |
| Intégrité de la recherche | 0,002 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,007 | 0,003 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».