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"African Americans-Music-History and criticism"
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Cultural Moves
Herman Gray takes a sweeping look at black popular culture over the past decade to explore culture's role in the push for black political power and social recognition. In a series of linked essays, he finds that black artists, scholars, musicians, and others have been instrumental in reconfiguring social and cultural life in the United States and he provocatively asks how black culture can now move beyond a preoccupation with inclusion and representation. Gray considers how Wynton Marsalis and his creation of a jazz canon at Lincoln Center acted to establish cultural visibility and legitimacy for jazz. Other essays address such topics as the work of the controversial artist Kara Walker; the relentless struggles for representation on network television when those networks are no longer the primary site of black or any other identity; and how black musicians such as Steve Coleman and George Lewis are using new technology to shape and extend black musical traditions and cultural identities.
eBook
Music in Black American Life, 1600-1945
This first volume of Music in Black American Life collects
research and analysis that originally appeared in the journals
American Music and the Black Music Research
Journal , and in the University of Illinois Press's acclaimed
book series Music in American Life. In these selections, experts
from a cross-section of disciplines engage with fundamental issues
in ways that changed our perceptions of Black music. The topics
includes the culturally and musically complex Black music-making of
colonial America; string bands and other lesser-known genres
practiced by Black artists; the jubilee industry and its audiences;
and innovators in jazz, blues, and Black gospel.
Eclectic and essential, Music in Black American Life,
1600-1945 offers specialists and students alike a gateway to
the history and impact of Black music in the United States.
Contributors: R. Reid Badger, Rae Linda Brown, Samuel A. Floyd
Jr., Sandra Jean Graham, Jeffrey Magee, Robert M. Marovich, Harriet
Ottenheimer, Eileen Southern, Katrina Dyonne Thompson, Stephen
Wade, and Charles Wolfe
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
The story of African American music
\"The influence of African Americans on music in the United States cannot be overstated. A large variety of musical genres owe their beginnings to black musicians. Jazz, rap, funk, R&B, and even techno have roots in African American culture. This volume chronicles the history of African American music, with spotlights on influential black musicians of the past and present\"-- Provided by publisher.
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