Alberta Hunter, Musical Qualia of Blackness, and Black Women Working Together

Abstract

Abstract In this article, I argue for a culturally specific and historically informed understanding of Black voice and musical identity through an examination of the musical practices of vocalist Alberta Hunter (1895–1984), whose long career can be broken into two distinct periods: first from the middle of the 1910s to 1956, and a second between 1977 and her death in 1984. Within, I reframe musical practices emergent from and developed within Black American communities as musical “qualia”—socio-culturally informed and chronotopically situated embodiments of something’s properties—of Blackness, to enable a more direct investigation of how and why certain sounds signal or index Blackness to both listeners and performers. To demonstrate the musico-semiotic function of Black vocality and musical performance, I employ a synthetic methodology combining theorizations of qualia from the field of linguistic anthropology with detailed transcription and analysis of four recordings of “Downhearted Blues,” a piece she co-composed with pianist Cora “Lovie” Austin and recorded several times throughout her long career. Close examination of three recordings made by Hunter (1922, 1939, and 1977) and one made by vocalist Bessie Smith (1923) allows for a more granular understanding of how Hunter’s musical practice transformed over time in dialogue with broader genealogies of Black musical history. I focus particularly on Hunter’s relationships with other Black women in the performance of this tune, arguing that “Downhearted Blues” ultimately becomes a site for the development of a Black feminist epistemology exemplary of what musicologist Tammy Kernodle has identified as “Black Women Working Together” (2014).