2021 Peter Narvaez Memorial Student Paper Prize / Prix Peter-Narvaez 2021
IASPM CA
Congratulations to the winners of the 2021 Peter Narvaez Memorial Student Paper Prizes, Kyle DeCoste and Rebekah Hutten! The committeeâs comments can be found below.
Committee/Comité: Line Grenier, Craig Jennex, Steven Baur
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Kyle DeCosteâs paper âLil Chano from 79th: Voicing Black Boy Joy in the Music of Chance the Rapperâ expertly analyzes the music of Chance the Rapper and effectively summarizes complex histories that inform contemporary debates around Black masculinity. The committee was particularly impressed with Kyleâs attention to musical soundâespecially Chance the Rapperâs signature âhip-hop ad libâ that, Kyle argues, acts as âa sonic fingerprintââand the way that Kyle compellingly analyzes âmicroâ moments of musicking in a way that clearly binds them with broader theoretical and political arguments around race, gender, and performance. Kyleâs work is not just an impressive analysis of Chance the Rapper and Black joy; it also exemplifies and champions modes of analysis that take into account the subject position of the analyst, pointing to a more sensitive, nuanced, and self-critical version of popular music studies.
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Lâarticle de Kyle DeCoste, « Lil Chano from 79th : Voicing Black Boy Joy in the Music of Chance the Rapperâ analyse avec expertise la musique de Chance the Rapper et offre un rĂ©sumĂ© dâhistoires complexes qui informent les dĂ©bats actuels autour de la masculinitĂ© dâhommes noirs. Le comitĂ© a apprĂ©ciĂ© particuliĂšrement lâattention quâa portĂ© Kyle sur les sons musicaux â surtout en ce qui concerne le « hip-hop ad lib » signature de Chance the Rapper que Kyle dĂ©crit comme une emprunte sonore (« sonic fingerprint ») â ainsi que la façon dont Kyle analyse les « micros » moments musicaux de maniĂšre qui les lie clairement avec des arguments politiques et thĂ©oriques plus larges concernant la race, le genre, et la performance. Le travail de Kyle nâest pas seulement une analyse impressionnante de Chance the Rapper et de la joie Noire. Son travail exemplifie et fait usage de modes dâanalyse qui tiennent compte de la position de lâanalyste face Ă son sujet ce qui offre une version plus sensible, nuancĂ©, et autocritique aux Ă©tudes en musique populaire.
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Rebekah Huttenâs paper âThe âEast Coast Soundâ as an Imaginaryâ is an impressive deconstruction of the so-called âEast Coast Soundâ and the ideological baggage that comes with this categorization. Through detailed analysis of well-selected and captivating audiovisual examples, Rebekah asks complex questions about the music we associate with the East Coast of Canada and, in the process, articulates broader questions around musicâs sonic connections to geographical place. The committee was particularly impressed by Rebekahâs distinction between the ostensible âEast Coast Soundâ and the feeling of a specific sound evoked through a series of signs and connotations. Rebeckaâs work, which helped us hear some of our favourite East Coast-based musicians anew, is impressively researched and compellingly argued.
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Lâarticle de Rebekah Hutten « The âEast Coast Soundâ as an Imaginaryâ prĂ©sente une impressionnante dĂ©construction du terme âEast Coast Soundâ et du bagage idĂ©ologique qui se relie Ă celui-ci. Ă lâaide dâanalyses dĂ©taillĂ©es dâun corpus audiovisuel captivant et bien choisi Rebekah se questionne sur la musique qui est gĂ©nĂ©ralement associĂ©e avec la cĂŽte Est du Canada. Se faisant, elle soulĂšve de maniĂšre plus large des questions concernant les connections sonores de la musique avec un lieu gĂ©ographique. Le comitĂ© a particuliĂšrement apprĂ©ciĂ© la distinction apportĂ©e par Rebekah entre le « East Coast Sound » comme concept et le sentiment quâun son particulier Ă©voque Ă travers une sĂ©rie de signes et de connotations. Le travail de Rebekah, qui nous a permis de rĂ©Ă©couter nos artistes de la cĂŽte Est prĂ©fĂ©rĂ©s, est incroyablement bien recherchĂ© et prĂ©sentĂ© de maniĂšre convaincante.