The Negro Music Journal PDF Download
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Publisher:
ISBN:
Category : African American musicians
Languages : en
Pages : 424
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![Encyclopedia of African American Music [3 volumes] PDF](https://books.google.com/books/content/images/frontcover/fEPPEAAAQBAJ?fife=w80-h100)
Author: Tammy L. Kernodle
Publisher: Bloomsbury Publishing USA
ISBN: 0313342008
Category : Music
Languages : en
Pages : 1267
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Book Description
African Americans' historical roots are encapsulated in the lyrics, melodies, and rhythms of their music. In the 18th and 19th centuries, African slaves, longing for emancipation, expressed their hopes and dreams through spirituals. Inspired by African civilization and culture, as well as religion, art, literature, and social issues, this influential, joyous, tragic, uplifting, challenging, and enduring music evolved into many diverse genres, including jazz, blues, rock and roll, soul, swing, and hip hop. Providing a lyrical history of our nation, this groundbreaking encyclopedia, the first of its kind, showcases all facets of African American music including folk, religious, concert and popular styles. Over 500 in-depth entries by more than 100 scholars on a vast range of topics such as genres, styles, individuals, groups, and collectives as well as historical topics such as music of the Harlem Renaissance, the Black Arts Movement, the Civil Rights Movement, and numerous others. Offering balanced representation of key individuals, groups, and ensembles associated with diverse religious beliefs, political affiliations, and other perspectives not usually approached, this indispensable reference illuminates the profound role that African American music has played in American cultural history. Editors Price, Kernodle, and Maxile provide balanced representation of various individuals, groups and ensembles associated with diverse religious beliefs, political affiliations, and perspectives. Also highlighted are the major record labels, institutions of higher learning, and various cultural venues that have had a tremendous impact on the development and preservation of African American music. Among the featured: Motown Records, Black Swan Records, Fisk University, Gospel Music Workshop of America, The Cotton Club, Center for Black Music Research, and more. With a broad scope, substantial entries, current coverage, and special attention to historical, political, and social contexts, this encyclopedia is designed specifically for high school and undergraduate students. Academic and public libraries will treasure this resource as an incomparable guide to our nation's African American heritage.
Author: Evelyn Brooks Higginbotham
Publisher: Harvard University Press
ISBN: 9780674002760
Category : Biography & Autobiography
Languages : en
Pages : 968
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Compiles information and interpretations on the past 500 years of African American history, containing essays on historical research aids, bibliographies, resources for womens' issues, and an accompanying CD-ROM providing bibliographical entries.
Author: Terri Brinegar
Publisher: Univ. Press of Mississippi
ISBN: 1496839269
Category : Biography & Autobiography
Languages : en
Pages : 262
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In the late 1920s, Reverend A. W. Nix (1880–1949), an African American Baptist minister born in Texas, made fifty-four commercial recordings of his sermons on phonographs in Chicago. On these recordings, Nix presented vocal traditions and styles long associated with the southern, rural Black church as he preached about self-help, racial uplift, thrift, and Christian values. As southerners like Nix fled into cities in the North to escape the rampant racism in the South, they contested whether or not African American vocal styles of singing and preaching that had emerged during the slavery era were appropriate for uplifting the race. Specific vocal characteristics, like those on Nix’s recordings, were linked to the image of the “Old Negro” by many African American leaders who favored adopting Europeanized vocal characteristics and musical repertoires into African American churches in order to uplift the modern “New Negro” citizen. Through interviews with family members, musical analyses of the sounds on Nix’s recordings, and examination of historical documents and relevant scholarship, Terri Brinegar argues that the development of the phonograph in the 1920s afforded preachers like Nix the opportunity to present traditional Black vocal styles of the southern Black church as modern Black voices. These vocal styles also influenced musical styles. The “moaning voice” used by Nix and other ministers was a direct connection to the “blues moan” employed by many blues singers including Blind Willie, Blind Lemon, and Ma Rainey. Both Reverend A. W. Nix and his brother, W. M. Nix, were an influence on the “Father of Gospel Music,” Thomas A. Dorsey. The success of Nix’s recorded sermons demonstrates the enduring values African Americans placed on traditional vocal practices.
Author: Samuel A. Floyd Jr.
Publisher: Oxford University Press
ISBN: 0198024371
Category : Social Science
Languages : en
Pages : 329
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Book Description
When Jimi Hendrix transfixed the crowds of Woodstock with his gripping version of "The Star Spangled Banner," he was building on a foundation reaching back, in part, to the revolutionary guitar playing of Howlin' Wolf and the other great Chicago bluesmen, and to the Delta blues tradition before him. But in its unforgettable introduction, followed by his unaccompanied "talking" guitar passage and inserted calls and responses at key points in the musical narrative, Hendrix's performance of the national anthem also hearkened back to a tradition even older than the blues, a tradition rooted in the rings of dance, drum, and song shared by peoples across Africa. Bold and original, The Power of Black Music offers a new way of listening to the music of black America, and appreciating its profound contribution to all American music. Striving to break down the barriers that remain between high art and low art, it brilliantly illuminates the centuries-old linkage between the music, myths and rituals of Africa and the continuing evolution and enduring vitality of African-American music. Inspired by the pioneering work of Sterling Stuckey and Henry Louis Gates, Jr., author Samuel A. Floyd, Jr, advocates a new critical approach grounded in the forms and traditions of the music itself. He accompanies readers on a fascinating journey from the African ring, through the ring shout's powerful merging of music and dance in the slave culture, to the funeral parade practices of the early new Orleans jazzmen, the bluesmen in the twenties, the beboppers in the forties, and the free jazz, rock, Motown, and concert hall composers of the sixties and beyond. Floyd dismisses the assumption that Africans brought to the United States as slaves took the music of whites in the New World and transformed it through their own performance practices. Instead, he recognizes European influences, while demonstrating how much black music has continued to share with its African counterparts. Floyd maintains that while African Americans may not have direct knowledge of African traditions and myths, they can intuitively recognize links to an authentic African cultural memory. For example, in speaking of his grandfather Omar, who died a slave as a young man, the jazz clarinetist Sidney Bechet said, "Inside him he'd got the memory of all the wrong that's been done to my people. That's what the memory is....When a blues is good, that kind of memory just grows up inside it." Grounding his scholarship and meticulous research in his childhood memories of black folk culture and his own experiences as a musician and listener, Floyd maintains that the memory of Omar and all those who came before and after him remains a driving force in the black music of America, a force with the power to enrich cultures the world over.
Author: Walter C. Daniel
Publisher: Greenwood
ISBN:
Category : Business & Economics
Languages : en
Pages : 456
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Book Description
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Author: Geneva H. Southall
Publisher: Scarecrow Press
ISBN: 9780810845459
Category : Biography & Autobiography
Languages : en
Pages : 240
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Book Description
Blind Tom was the stage name of Thomas Greene Wiggins, a blind black pianist born into slavery in 1849. In this focused, consequential study, Southall reformulates the debate surrounding Blind Tom and expands its dimensions significantly.
Author: Lawrence Schenbeck
Publisher: Univ. Press of Mississippi
ISBN: 1617032301
Category : Music
Languages : en
Pages : 330
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Book Description
Racial Uplift and American Music, 1878-1943 traces the career of racial uplift ideology as a factor in elite African Americans' embrace of classical music around the turn of the previous century, from the collapse of Reconstruction to the death of composer/conductor R. Nathaniel Dett, whose music epitomized "uplift." After Reconstruction many black leaders had retreated from emphasizing "inalienable rights" to a narrower rationale for equality and inclusion: they now sought to rehabilitate the race's image by stressing class distinctions, respectable middle-class behavior, and service to the masses. Musically, the black intelligentsia resorted to European models as vehicles for cultural vindication. Their response to racism was to create and promote morally positive, politically inoffensive art that idealized the race. By incorporating black folk elements into the dignified genres of art song, symphony, and opera, "uplifters" demonstrated worthiness through high achievement in acknowledged arenas. Their efforts were variously opposed, tolerated, or supported by a range of white elites with their own notions about African American culture. The resulting conversation--more a stew of arguments than a dialogue--occupied the pages of black newspapers and informed the work of white philanthropists. Women also played crucial roles. Racial Uplift and American Music, 1878-1943 examines the lives and thought of personalities central to musical uplift--Dett, Sears CEO Julius Rosenwald, author James Monroe Trotter, sociologist W. E. B. Du Bois, journalist Nora Douglas Holt, and others--with an eye to recognizing their contributions and restoring their stature.
Author: Karen Sotiropoulos
Publisher: Harvard University Press
ISBN: 0674043871
Category : Social Science
Languages : en
Pages : 305
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Book Description
Staging Race casts a spotlight on the generation of black artists who came of age between 1890 and World War I in an era of Jim Crow segregation and heightened racial tensions. As public entertainment expanded through vaudeville, minstrel shows, and world's fairs, black performers, like the stage duo of Bert Williams and George Walker, used the conventions of blackface to appear in front of, and appeal to, white audiences. At the same time, they communicated a leitmotif of black cultural humor and political comment to the black audiences segregated in balcony seats. With ingenuity and innovation, they enacted racial stereotypes onstage while hoping to unmask the fictions that upheld them offstage. Drawing extensively on black newspapers and commentary of the period, Karen Sotiropoulos shows how black performers and composers participated in a politically charged debate about the role of the expressive arts in the struggle for equality. Despite the racial violence, disenfranchisement, and the segregation of virtually all public space, they used America's new businesses of popular entertainment as vehicles for their own creativity and as spheres for political engagement. The story of how African Americans entered the stage door and transformed popular culture is a largely untold story. Although ultimately unable to erase racist stereotypes, these pioneering artists brought black music and dance into America's mainstream and helped to spur racial advancement.
Author: Samuel A. Floyd
Publisher: Oxford University Press, USA
ISBN: 0195109759
Category : Music
Languages : en
Pages : 329
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Book Description
Floyd maintains that while African Americans may not have direct knowledge of African traditions and myths, they can intuitively recognize links to an authentic African cultural memory.
Author: Karl Hagstrom Miller
Publisher: Duke University Press
ISBN: 0822392704
Category : Music
Languages : en
Pages : 386
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Book Description
In Segregating Sound, Karl Hagstrom Miller argues that the categories that we have inherited to think and talk about southern music bear little relation to the ways that southerners long played and heard music. Focusing on the late nineteenth century and the early twentieth, Miller chronicles how southern music—a fluid complex of sounds and styles in practice—was reduced to a series of distinct genres linked to particular racial and ethnic identities. The blues were African American. Rural white southerners played country music. By the 1920s, these depictions were touted in folk song collections and the catalogs of “race” and “hillbilly” records produced by the phonograph industry. Such links among race, region, and music were new. Black and white artists alike had played not only blues, ballads, ragtime, and string band music, but also nationally popular sentimental ballads, minstrel songs, Tin Pan Alley tunes, and Broadway hits. In a cultural history filled with musicians, listeners, scholars, and business people, Miller describes how folklore studies and the music industry helped to create a “musical color line,” a cultural parallel to the physical color line that came to define the Jim Crow South. Segregated sound emerged slowly through the interactions of southern and northern musicians, record companies that sought to penetrate new markets across the South and the globe, and academic folklorists who attempted to tap southern music for evidence about the history of human civilization. Contending that people’s musical worlds were defined less by who they were than by the music that they heard, Miller challenges assumptions about the relation of race, music, and the market.
