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Music in Black American Life, 1945-2020
This second volume of Music in Black American Life offers research
and analysis that originally appeared in the journals American
Music and Black Music Research Journal , and in two
book series published by the University of Illinois Press: Music in
American Life, and African American Music in Global Perspective. In
this collection, a group of predominately Black scholars explores a
variety of topics with works that pioneered new methodologies and
modes of inquiry for hearing and studying Black music. These
extracts and articles examine the World War II jazz scene; look at
female artists like gospel star Shirley Caesar and jazz
musician-arranger Melba Liston; illuminate the South Bronx milieu
that folded many forms of black expressive culture into rap; and
explain Hamilton 's massive success as part of the
\"tanning\" of American culture that began when Black music entered
the mainstream.
Part sourcebook and part survey of historic music scholarship,
Music in Black American Life, 1945-2020 collects
groundbreaking work that redefines our view of Black music and its
place in American music history.
Contributors: Nelson George, Wayne Everett Goins, Claudrena N.
Harold, Eileen M. Hayes, Loren Kajikawa, Robin D. G. Kelley, Tammy
L. Kernodle, Cheryl L. Keyes, Gwendolyn Pough, Bernice Johnson
Reagon, Mark Tucker, and Sherrie Tucker
eBook
A City Called Heaven
In A City Called Heaven , gospel announcer and music historian Robert Marovich shines a light on the humble origins of a majestic genre and its indispensable bond to the city where it found its voice: Chicago. Marovich follows gospel music from early hymns and camp meetings through the Great Migration that brought it to Chicago. In time, the music grew into the sanctified soundtrack of the city's mainline black Protestant churches. In addition to drawing on print media and ephemera, Marovich mines hours of interviews with nearly fifty artists, ministers, and historians--as well as discussions with relatives and friends of past gospel pioneers--to recover many forgotten singers, musicians, songwriters, and industry leaders. He also examines how a lack of economic opportunity bred an entrepreneurial spirit that fueled gospel music's rise to popularity and opened a gate to social mobility for a number of its practitioners. As Marovich shows, gospel music expressed a yearning for freedom from earthly pains, racial prejudice, and life's hardships. In the end, it proved to be a sound too mighty and too joyous for even church walls to hold.
eBook
Beyoncâe in formation : remixing black feminism
Making headlines when it was launched in 2015, Omise'eke Natasha Tinsley's undergraduate course \"Beyonce Feminism, Rihanna Womanism\" has inspired students from all walks of life. In Beyonce in Formation, Tinsley now takes her rich observations beyond the classroom, using the blockbuster album and video Lemonade as a soundtrack for vital next-millennium narratives. Woven with candid observations about her life as a feminist scholar of African studies and a cisgender femme married to a trans spouse, Tinsley's \"Femme-onade\" mixtape explores myriad facets of black women's sexuality and gender. Turning to Beyonce's \"Don't Hurt Yourself,\" Tinsley assesses black feminist critiques of marriage and then considers the models of motherhood offered in \"Daddy Lessons,\" interspersing these passages with memories from Tinsley's multiracial family history. Her chapters on nontraditional bonds culminate in a discussion of contemporary LGBT politics through the lens of the internet-breaking video \"Formation,\" underscoring why Beyonce's black femme-inism isn't only for ciswomen. From pleasure politics and the struggle for black women's reproductive justice to the subtext of blues and country music traditions, the landscape in this tour is populated by activists and artists (including Loretta Lynn) and infused with vibrant interpretations of Queen Bey's provocative, peerless imagery and lyrics. In the tradition of Roxanne Gay's Bad Feminist and Jill Lepore's bestselling cultural histories, Beyonce in Formation is the work of a daring intellectual who is poised to spark a new conversation about freedom and identity in America.
Book
The games black girls play : learning the ropes from Double-dutch to Hip-hop
2007 Alan Merriam Prize presented by the Society for Ethnomusicology
2007 PEN/Beyond Margins Book Award Finalist
When we think of African American popular music, our first thought is probably not of double-dutch: girls bouncing between two twirling ropes, keeping time to the tick-tat under their toes. But this book argues that the games black girls play —handclapping songs, cheers, and double-dutch jump rope—both reflect and inspire the principles of black popular musicmaking.
The Games Black Girls Play illustrates how black musical styles are incorporated into the earliest games African American girls learn—how, in effect, these games contain the DNA of black music. Drawing on interviews, recordings of handclapping games and cheers, and her own observation and memories of gameplaying, Kyra D. Gaunt argues that black girls' games are connected to long traditions of African and African American musicmaking, and that they teach vital musical and social lessons that are carried into adulthood. In this celebration of playground poetry and childhood choreography, she uncovers the surprisingly rich contributions of girls’ play to black popular culture.
eBook
The sonic color line : race and the cultural politics of listening
The unheard history of how race and racism are constructed from sound and maintained through the listening ear.
Race is a visual phenomenon, the ability to see “difference.” At least that is what conventional wisdom has lead us to believe. Yet, The Sonic Color Line argues that American ideologies of white supremacy are just as dependent on what we hear—voices, musical taste, volume—as they are on skin color or hair texture. Reinforcing compelling new ideas about the relationship between race and sound with meticulous historical research, Jennifer Lynn Stoever helps us to better understand how sound and listening not only register the racial politics of our world, but actively produce them. Through analysis of the historical traces of sounds of African American performers, Stoever reveals a host of racialized aural representations operating at the level of the unseen—the sonic color line—and exposes the racialized listening practices she figures as “the listening ear.”
Using an innovative multimedia archive spanning 100 years of American history (1845-1945) and several artistic genres—the slave narrative, opera, the novel, so-called “dialect stories,” folk and blues, early sound cinema, and radio drama— The Sonic Color Line explores how black thinkers conceived the cultural politics of listening at work during slavery, Reconstruction, and Jim Crow. By amplifying Harriet Jacobs, Frederick Douglass, Elizabeth Taylor Greenfield, Charles Chesnutt, The Fisk Jubilee Singers, Ann Petry, W.E.B. Du Bois, and Lena Horne as agents and theorists of sound, Stoever provides a new perspective on key canonical works in African American literary history. In the process, she radically revises the established historiography of sound studies. The Sonic Color Line sounds out how Americans have created, heard, and resisted “race,” so that we may hear our contemporary world differently.
eBook
On Rhetoric and Black Music
How Black musicians and composers used their craft to define and influence public discourse.
This groundbreaking work examines how Black music functions as rhetoric, considering its subject not merely reflective of but central to African American public discourse. Author, musician, and scholar Earl H. Brooks argues that there would have been no Harlem Renaissance, Civil Rights Movement, or Black Arts Movement as we know these phenomena without Black music. Through rhetorical studies, archival research, and musical analysis, Brooks establishes the \"sonic lexicon of Black music, \" defined by a distinct constellation of sonic and auditory features that bridge cultural, linguistic, and political spheres with music. Genres of Black music such as blues and jazz are discursive fields, where swinging, improvisation, call-and-response, blue notes, and other musical idioms serve as rhetorical tools to articulate the feelings, emotions, and states of mind that have shaped African American cultural and political development. Examining the resounding artistry of iconic musicians such as Scott Joplin, Mary Lou Williams, Duke Ellington, John Coltrane, and Mahalia Jackson, this work offers an alternative register in which these musicians and composers are heard as public intellectuals, consciously invested in crafting rhetorical projects they knew would influence the public sphere.
eBook