The Dance Hall, Nazi Germany, and Hell: Accruing Meaning through Filmic Uses of Benny Goodman’s “Sing Sing Sing”

Provost, Sarah

doi:10.5406/musimoviimag.10.2.0033

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Research Article| July 01 2017

The Dance Hall, Nazi Germany, and Hell: Accruing Meaning through Filmic Uses of Benny Goodman’s “Sing Sing Sing”

Sarah Provost

SARAH CAISSIE PROVOST (s.c.provost@unf.edu) is an assistant professor in musicology and the director of graduate studies at the School of Music at the University of North Florida. She received a doctorate in musicology from Brandeis University with a dissertation titled “Benny Goodman’s 1938 Carnegie Hall Concert.” Her forthcoming publications and presentations include work on Mary Lou Williams’s educational endeavors and Ziggy Elman’s klezmer-influenced big-band performances.

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Music and the Moving Image (2017) 10 (2): 33–45.

https://doi.org/10.5406/musimoviimag.10.2.0033

Abstract

Benny Goodman’s “Sing Sing Sing” has been used in a number of films since its first recording. Examining these filmic uses reveals the manner in which period music accumulates meanings. Furthermore, it gives us greater understanding of the roles pre-existing music plays in narrative filmmaking.

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2017

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The Dance Hall, Nazi Germany, and Hell: Accruing Meaning through Filmic Uses of Benny Goodman’s “Sing Sing Sing”

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