DOCSLIB.ORG

Universiteit Gent Academiejaar 2015-2016 AFRO-AMERIKAANSE

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universiteit Gent Academiejaar 2015-2016 AFRO-AMERIKAANSE Universiteit Gent Academiejaar 2015-2016 AFRO-AMERIKAANSE MUZIEK IN DE VERENIGDE STATEN EN EUROPA VAN DE 19e EEUW TOT 1930 Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte, Vakgroep Kunst-, Muziek- en Theaterwetenschappen, voor het verkrijgen van de graad van Master, door Arne Aelterman (01205429) Promotor: Prof. Dr. Francis Maes INHOUDSOPGAVE DANKWOORD.......................................................................................................................... 4 I. INLEIDING.............................................................................................................................5 II. ONTSTAAN VAN AFRO-AMERIKAANSE CULTUUR...................................................7 1. SLAVERNIJ IN DE VERENIGDE STATEN...................................................................7 2. DE VERENIGDE STATEN NA DE AMERIKAANSE BURGEROORLOG.................8 3. ONTSTAAN VAN EEN AFRO-AMERIKAANSE CULTUUR...................................... 9 III. AFRO-AMERIKAANSE CULTUUR IN BLANK POPULAIR ENTERTAINMENT....11 1. MINSTREL SHOWS....................................................................................................... 11 1.1. JUMP JIM CROW....................................................................................................11 1.2. ZIP COON EN COON SONGS............................................................................... 13 1.3. OORSPRONG BLACKFACE................................................................................. 14 1.4. DE ARCHETYPES VAN DE MINSTREL SHOW................................................ 14 1.5. MINSTREL SHOWS EN AFRO-AMERIKAANSE EMANCIPATIE...................15 IV. AFRO-AMERIKANEN IN CULTUUR EN ENTERTAINMENT IN DE 19E EEUW....17 1. KLASSIEKE MUZIEK....................................................................................................17 1.1. FRANK JOHNSON (1792-1844)............................................................................ 17 2. THEATER........................................................................................................................18 2.1. THE AFRICAN GROVE THEATER......................................................................18 2.2. IRA ALDRIDGE (1807-1867).................................................................................18 2.2.1. IRA ALDRIGDE EN ABOLITION................................................................. 19 3. MINSTREL SHOWS....................................................................................................... 20 3.1. DE ZWARTE STERREN VAN DE MINSTREL SHOWS.....................................21 3.1.1. BILLY KERSANDS (1842-1915)....................................................................21 3.1.2. JAMES A. 'JIMMY' BLAND (1854-1911)......................................................22 3.1.3. SAMUEL MILDWAY 'SAM' LUCAS (1848-1916)....................................... 23 V. TIN PAN ALLEY................................................................................................................ 24 1. EERSTE PERIODE......................................................................................................... 24 1.2. GUSSIE LORD DAVIS (1863-1899)...................................................................... 24 1.3. SCOTT JOPLIN (1867-1917).................................................................................. 25 2. TWEEDE PERIODE........................................................................................................26 2.1. SHELTON BROOKS (1886-1975)..........................................................................26 2.2. JOE YOUNG (1889-1939).......................................................................................27 2.3. ANDY RAZAF (1895-1973)....................................................................................28 2.4. JAMES PRICE JOHNSON (1894-1955)................................................................. 28 2.5. THOMAS WRIGHT 'FATS' WALLER (1904-1943)..............................................29 VI. RAGTIME EN CAKEWALK............................................................................................ 31 1. RAGTIME........................................................................................................................31 1.1. RAGTIME IN EUROPA..........................................................................................33 2. CAKEWALK................................................................................................................... 33 1 1. EEN HISTORISCH OVERZICHT.................................................................................. 37 2. HET POLITIEKE TONEEL VAN EUROPA..................................................................38 3. MIGRATIE NAAR AMERIKA...................................................................................... 39 3.1. INNOVATIES IN TRANSPORT............................................................................ 39 3.2. ECONOMISCHE FACTOREN............................................................................... 40 3.3. POLITIEKE VLUCHTELINGEN........................................................................... 41 3.4. AMERIKA: HET BELOOFDE LAND....................................................................41 4. THE SCRAMBLE FOR AFRICA................................................................................... 41 5. DE EUROPESE CULTUURWERELD EN WETENSCHAPPELIJK RACISME.........42 5.1. WETENSCHAPPELIJK RACISME........................................................................42 5.2. PRIMITIVISME EN EXOTISME IN EUROPA..................................................... 45 6. EUROPESE MUZIEK OP HET EINDE VAN DE 19e EEUW...................................... 46 6.1. ANTONÍN DVORÁK (1841-1904).........................................................................47 7. DEELBESLUIT............................................................................................................... 50 VIII. AMERIKA IN WERELDOORLOG I............................................................................. 51 1. AFRO-AMERIKAANSE LEGEREENHEDEN..............................................................51 2. AFRO-AMERIKAANSE MILITAIRE ORKESTEN......................................................51 2.1. AFRO-AMERIKAANSE MILITAIRE ORKESTEN IN WERELDOORLOG I....52 2.1.1. JAMES REESE EUROPE'S 369th 'HARLEM HELLFIGHTERS' BAND.....53 2.1.2. WILL VODERY'S 807th PIONEER INFANTRY BAND.............................. 54 2.1.3. TIM BRYMN'S 350th FIELD ARTILLERY BAND.......................................55 2.1.4. ANDERE AFRO-AMERIKAANSE MILITAIRE ORKESTEN.....................56 3. BLUES EN WERELDOORLOG I.................................................................................. 57 3.1. BLUES IN WERELDOORLOG I............................................................................57 3.1.1. HENRY STUCKEY (1896-1966).................................................................... 58 3.2. WERELDOORLOG I IN BLUES............................................................................58 3.2.1. BLACK BOB HUDSON.................................................................................. 59 3.2.2. CHARLEY JORDAN (1890-1954)..................................................................59 3.2.3. BIG BILL BROONZY (1903-1958)................................................................ 60 4. AFRO-AMERIKAANSE MILITAIRE ORKESTEN NA WERELDOORLOG I..........61 IX. AFRO-AMERIKAANSE MUZIEK IN EUROPA NA WERELDOORLOG I.................63 1. INDIVIDUELE MUZIKANTEN EN KLEINE ORKESTEN.........................................63 1.1. OPAL COOPER....................................................................................................... 63 2. GROTE ORKESTEN.......................................................................................................64 2.1. SAM WOODING (1895-1985)................................................................................ 64 2.2. PAUL WHITEMAN (1890-1967)............................................................................65 2.3. WILL MARION COOK (1869-1944)......................................................................67 3. VAUDEVILLE EN REVUES..........................................................................................69 3.1. CLAUDE HOPKINS (1903-1984)...........................................................................69 3.2. NOBLE SISSLE (1889-1975).................................................................................. 69 2 3.3. JOSEPHINE BAKER (1906-1975)..........................................................................71 3.4. CHOCOLATE KIDDIES......................................................................................... 72 4. KLASSIEKE MUZIEK....................................................................................................73 4.1. WILLIAM GRANT STILL (1895-1978).................................................................73 X. EUROPA TIJDENS HET INTERBELLUM....................................................................... 78 1. OVERZICHT................................................................................................................... 78 2. MUSIC HALL..................................................................................................................78 3. OVERGANG NAAR JAZZ.............................................................................................79 XI. JAZZ IN EUROPA.............................................................................................................80
Load more

Recommended publications
  • Finding Aid for the Sheldon Harris Collection (MUM00682)
    University of Mississippi eGrove Archives & Special Collections: Finding Aids Library November 2020 Finding Aid for the Sheldon Harris Collection (MUM00682) Follow this and additional works at: https://egrove.olemiss.edu/finding_aids Recommended Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi This Finding Aid is brought to you for free and open access by the Library at eGrove. It has been accepted for inclusion in Archives & Special Collections: Finding Aids by an authorized administrator of eGrove. For more information, please contact [email protected]. University of Mississippi Libraries Finding aid for the Sheldon Harris Collection MUM00682 TABLE OF CONTENTS SUMMARY INFORMATION Summary Information Repository University of Mississippi Libraries Biographical Note Creator Scope and Content Note Harris, Sheldon Arrangement Title Administrative Information Sheldon Harris Collection Related Materials Date [inclusive] Controlled Access Headings circa 1834-1998 Collection Inventory Extent Series I. 78s 49.21 Linear feet Series II. Sheet Music General Physical Description note Series III. Photographs 71 boxes (49.21 linear feet) Series IV. Research Files Location: Blues Mixed materials [Boxes] 1-71 Abstract: Collection of recordings, sheet music, photographs and research materials gathered through Sheldon Harris' person collecting and research. Prefered Citation Sheldon Harris Collection, Archives and Special Collections, J.D. Williams Library, The University of Mississippi Return to Table of Contents » BIOGRAPHICAL NOTE Born in Cleveland, Ohio, Sheldon Harris was raised and educated in New York City. His interest in jazz and blues began as a record collector in the 1930s. As an after-hours interest, he attended extended jazz and blues history and appreciation classes during the late 1940s at New York University and the New School for Social Research, New York, under the direction of the late Dr.
    [Show full text]
  • Aunt Jemima Explained: the Old South, the Absent Mistress, and the Slave in a Box Maurice M
    $XQW-HPLPD([SODLQHG7KH2OG6RXWKWKH$EVHQW0LVWUHVV DQGWKH6ODYHLQD%R[ Maurice M. Manring Southern Cultures, Volume 2, Number 1, Fall 1995, pp. 19-44 (Article) Published by The University of North Carolina Press DOI: 10.1353/scu.1995.0059 For additional information about this article http://muse.jhu.edu/journals/scu/summary/v002/2.1.manring.html Access provided by Florida State University Libraries (8 Aug 2014 05:58 GMT) Aunt Jemima Explained: The Old South, the Absent Mistress, and the Slave in a Box Maurice M. Manring Before ...our joy at the demise of Aunt Jemima and Uncle Tom approaches the indecent, we had better ask whence they sprang, how they lived? Into what limbo have they vanished? —James Baldwin1 Peering out from every supermarket's shelves, between the Pop-Tarts and maple syrup, is a smiling riddle. Aunt Jemima brand pancake mix has been a part of American life for more than a century now, an overwhelmingly popular choice of consumers. The woman on the box has undergone numerous makeovers, but she remains the same in important ways, a symbol of some unspoken relationship among black servant women, the kitchen, and good food. This symbol remains too strong a merchandising tool for its owners, the Quaker Oats Company, to give up. Aunt Jemima's story should interest us for a number of reasons. She might have been the first walking, talking trademark, and the product she pitches was among the first of a wave of supposedly labor-saving products at the turn of the century. But the reasons that a nineteenth-century mammy still decorates the front of a box of ready-mix batter in the 1990s seem elusive.
    [Show full text]
  • Exposing Minstrelsy and Racial Representation Within American Tap Dance Performances of The
    UNIVERSITY OF CALIFORNIA Los Angeles Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Culture and Performance by Brynn Wein Shiovitz 2016 © Copyright by Brynn Wein Shiovitz 2016 ABSTRACT OF THE DISSERTATION Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950 by Brynn Wein Shiovitz Doctor of Philosophy in Culture and Performance University of California, Los Angeles, 2016 Professor Susan Leigh Foster, Chair Masks in Disguise: Exposing Minstrelsy and Racial Representation within American Tap Dance Performances of the Stage, Screen, and Sound Cartoon, 1900-1950, looks at the many forms of masking at play in three pivotal, yet untheorized, tap dance performances of the twentieth century in order to expose how minstrelsy operates through various forms of masking. The three performances that I examine are: George M. Cohan’s production of Little Johnny ii Jones (1904), Eleanor Powell’s “Tribute to Bill Robinson” in Honolulu (1939), and Terry- Toons’ cartoon, “The Dancing Shoes” (1949). These performances share an obvious move away from the use of blackface makeup within a minstrel context, and a move towards the masked enjoyment in “black culture” as it contributes to the development of a uniquely American form of entertainment. In bringing these three disparate performances into dialogue I illuminate the many ways in which American entertainment has been built upon an Africanist aesthetic at the same time it has generally disparaged the black body.
    [Show full text]
  • 262671234.Pdf
    Out of Sight Lynn Abbott and Doug Seroff University Press of Mississippi / Jackson OutOut ofofOut of Sight Sight Sight The Rise of African American Popular Music – American Made Music Series Advisory Board David Evans, General Editor Barry Jean Ancelet Edward A. Berlin Joyce J. Bolden Rob Bowman Susan C. Cook Curtis Ellison William Ferris Michael Harris John Edward Hasse Kip Lornell Frank McArthur W. K. McNeil Bill Malone Eddie S. Meadows Manuel H. Peña David Sanjek Wayne D. Shirley Robert Walser Charles Wolfe www.upress.state.ms.us Copyright © 2002 by University Press of Mississippi All rights reserved Manufactured in the United States of America 10 09 08 07 06 05 04 4 3 2 ϱ Library of Congress Cataloging-in-Publication Data Abbott, Lynn, 1946– Out of Sight: the rise of African American popular music, 1889–1895 / Lynn Abbott and Doug Seroff. p. cm. — (American made music series) Includes bibliographical references (p. ) and index. ISBN 1-57806-499-6 (cloth: alk. paper) 1. African Americans—Music—Hisory and criticism. 2. Popular music—United States—To 1901—History and criticism. I. Seroff, Doug. II. Title. III. Series ML3479 .A2 2003 781.64Ј089Ј96073—dc21 2002007819 British Library Cataloging-in-Publication Data available Contents Acknowledgments ϳ Introduction ϳ Chapter 1. 1889 • Frederick J. Loudin’s Fisk Jubilee Singers and Their Australasian Auditors, 1886–1889 ϳ 3 • “Same”—The Maori and the Fisk Jubilee Singers ϳ 12 • Australasian Music Appreciation ϳ 13 • Minstrelsy and Loudin’s Fisk Jubilee Singers ϳ 19 • The Slippery Slope of Variety and Comedy ϳ 21 • Mean Judge Williams ϳ 24 • A “Black Patti” for the Ages: The Tennessee Jubilee Singers and Matilda Sissieretta Jones, 1889–1891 ϳ 27 • Other “Colored Pattis” and “Queens of Song,” 1889 ϳ 40 • Other Jubilee Singers, 1889 ϳ 42 • Rev.
    [Show full text]
  • George P. Johnson Negro Film Collection LSC.1042
    http://oac.cdlib.org/findaid/ark:/13030/tf5s2006kz No online items George P. Johnson Negro Film Collection LSC.1042 Finding aid prepared by Hilda Bohem; machine-readable finding aid created by Caroline Cubé UCLA Library Special Collections Online finding aid last updated on 2020 November 2. Room A1713, Charles E. Young Research Library Box 951575 Los Angeles, CA 90095-1575 [email protected] URL: https://www.library.ucla.edu/special-collections George P. Johnson Negro Film LSC.1042 1 Collection LSC.1042 Contributing Institution: UCLA Library Special Collections Title: George P. Johnson Negro Film collection Identifier/Call Number: LSC.1042 Physical Description: 35.5 Linear Feet(71 boxes) Date (inclusive): 1916-1977 Abstract: George Perry Johnson (1885-1977) was a writer, producer, and distributor for the Lincoln Motion Picture Company (1916-23). After the company closed, he established and ran the Pacific Coast News Bureau for the dissemination of Negro news of national importance (1923-27). He started the Negro in film collection about the time he started working for Lincoln. The collection consists of newspaper clippings, photographs, publicity material, posters, correspondence, and business records related to early Black film companies, Black films, films with Black casts, and Black musicians, sports figures and entertainers. Stored off-site. All requests to access special collections material must be made in advance using the request button located on this page. Language of Material: English . Conditions Governing Access Open for research. All requests to access special collections materials must be made in advance using the request button located on this page. Portions of this collection are available on microfilm (12 reels) in UCLA Library Special Collections.
    [Show full text]
  • Images of Women in Early Twentieth-Century Popular Song
    Between the Sheets: Images of Women in Early Twentieth‐Century Popular Song Stephanie Tingler and Kevin Kelly, University of Georgia Southeastern Music Library Association, Nashville, TN 12 October 2013 Girl of Mine (1917; A.J. Stasny) Words and Music by Harold B. Freeman; also authored “The Land of Make Believe,” “A Letter from No Man’s Land” and “Just a Girl Like You.” Started his own publishing firm circa 1919 after leaving Stasny. Verse 1 I know a garden filled with roses rare, roses fair grow ev’rywhere, A land of peaches cream and honeymoon, love breezes blowing, That’s where I’m going, I know a little girl whom I adore, Day by day, I love her more When Mister Moon shines, why I want to spoon, and softly to her this tale croon: Verse 2 You ought to see my little moonlight Rose, I love her from head to toes, You ought to see those golden braids of hair, A smile like sunshine, it makes your heart pine, You ought to see those light blue angel eyes, Just like stars in paradise Then you’d be waiting just the same as I, to sing this little lullaby: Chorus Rose of my moonlight dreams, dear, I’m waiting just for you; To me this whole world seems, dear, a paradise for two, You know not how I love you, I swear by stars above you, You know my heart is mighty lonely dear, all day I wish that you were only here, Rose of my moonlight dreams, dear, dear little girl of mine.
    [Show full text]
  • Tributaries on the Name of the Journal: “Alabama’S Waterways Intersect Its Folk- Ways at Every Level
    Tributaries On the name of the journal: “Alabama’s waterways intersect its folk- ways at every level. Early settlement and cultural diffusion conformed to drainage patterns. The Coastal Plain, the Black Belt, the Foothills, and the Tennessee Valley re- main distinct traditional as well as economic regions today. The state’s cultural landscape, like its physical one, features a network of “tributaries” rather than a single dominant mainstream.” —Jim Carnes, from the Premiere Issue JournalTributaries of the Alabama Folklife Association Joey Brackner Editor 2002 Copyright 2002 by the Alabama Folklife Association. All Rights Reserved. Issue No. 5 in this Series. ISBN 0-9672672-4-2 Published for the Alabama Folklife Association by NewSouth Books, Montgomery, Alabama, with support from the Folklife Program of the Alabama State Council on the Arts. The Alabama Folklife Association c/o The Alabama Center for Traditional Culture 410 N. Hull Street Montgomery, AL 36104 Kern Jackson Al Thomas President Treasurer Joyce Cauthen Executive Director Contents Editor’s Note ................................................................................... 7 The Life and Death of Pioneer Bluesman Butler “String Beans” May: “Been Here, Made His Quick Duck, And Got Away” .......... Doug Seroff and Lynn Abbott 9 Butler County Blues ................................................... Kevin Nutt 49 Tracking Down a Legend: The “Jaybird” Coleman Story ................James Patrick Cather 62 A Life of the Blues .............................................. Willie Earl King 69 Livingston, Alabama, Blues:The Significance of Vera Ward Hall ................................. Jerrilyn McGregory 72 A Blues Photo Essay ................................................. Axel Küstner Insert A Vera Hall Discography ...... Steve Grauberger and Kevin Nutt 82 Chasing John Henry in Alabama and Mississippi: A Personal Memoir of Work in Progress .................John Garst 92 Recording Review ........................................................
    [Show full text]
  • Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C
    DOCUMENT RESUME ED 301 906 C3 506 492 AUTHOR Newsom, Iris, Ed. TITLE Performing Arts Annual 1987. INSTITUTION Library of Congress, Washington, D.C. REPORT NO ISBN-0-8444-0570-1; ISBN-0887-8234 PUB DATE 87 NOTE 189p. AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing Office, Washington, DC 20402 (Ztock No. 030-001-00120-2, $21.00). PUB TYPE Collected Works - General (020) EDRS PRICE MF01/PC08 Plus Postage. DESCRIPTORS Cultural Activities; *Dance; *Film Industry; *Films; Music; *Television; *Theater Arts IDENTIFIERS *Library of Congress; *Screenwriters ABSTRACT Liberally illustrated with photographs and drawings, this book is comprised of articles on the history of the performing arts at the Library of Congress. The articles, listed with their authors, are (1) "Stranger in Paradise: The Writer in Hollywood" (Virginia M. Clark); (2) "Live Television Is Alive and Well at the Library of Congress" (Robert Saudek); (3) "Color and Music and Movement: The Federal Theatre Project Lives on in the Pages of Its Production Bulletins" (Ruth B. Kerns);(4) "A Gift of Love through Music: The Legacy of Elizabeth Sprague Coolidge" (Elise K. Kirk); (5) "Ballet for Martha: The Commissioning of 'Appalachian Spring" (Wayne D. Shirley); (6) "With Villa North of the Border--On Location" (Aurelio de los Reyes); and (7) "All the Presidents' Movies" (Karen Jaehne). Performances at the library during the 1986-87season, research facilities, and performing arts publications of the library are also covered. (MS) * Reproductions supplied by EDRS are the best that can be made * from the original document. 1 U $ DEPARTMENT OP EDUCATION Office of Educational Research and Improvement 411.111....
    [Show full text]
  • VOICE, RACE, and NATION in US MUSIC, 1890-1924 by Scott A
    VOX AMERICANA: VOICE, RACE, AND NATION IN U.S. MUSIC, 1890-1924 by Scott A. Carter A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2014 Date of final oral examination: 05/15/2014 This dissertation is approved by the following members of the Final Oral Committee Ronald M. Radano, Professor, School of Music Jerome Camal, Assistant Professor, Anthropology Susan C. Cook, Professor, School of Music R. Anderson Sutton, Professor, School of Pacific and Asian Studies, University of Hawaii at Manoa Amanda Weidman, Associate Professor, Anthropology, Bryn Mawr College i For Katie ii The more I hear, the less I know. — "Music is a Better Noise," Essential Logic iii Table of Contents Acknowledgements v List of Figures ix A Note on Transcriptions and Direct Quotations x Chapter One 1 Introduction Chapter Two 28 Anthropology, Vocal Science, and the Ordering of World Song Chapter Three 73 Forging a Sound Citizenry: Voice Culture and the Embodiment of the Nation Chapter Four 122 Bert Williams's Vocal Challenge Chapter Five 167 The Vocal Economy of Vernon Dalhart Epilogue 205 Bibliography 211 iv v Acknowledgements Like any major project, my dissertation has benefitted from the insights, critiques, and generous advice of friends and colleagues. I want to begin my acknowledgements by thanking the community of scholars in the School of Music at UW-Madison for creating programs that challenge students to produce scholarship of the highest caliber while allowing them the freedom to pursue avenues of innovative musical inquiry. I am particularly grateful for the interdisciplinary approach to scholarship afforded by the department, which allowed me to seek out and work with scholars in anthropology, history, communication arts, and Afro-American studies.
    [Show full text]
  • The African American Contribution to the Cornet of the Nineteenth Century: Some Long-Lost Names
    61 THE AFRICAN AMERICAN CONTRIBUTION TO THE CORNET OF THE NINETEENTH CENTURY: SOME LONG-LOST NAMES Richard I. Schwartz Purpose The purpose of this article is to rediscover the contributions and careers of some of the lesser-known nineteenth-century African American cornet soloists. African American cor- netists such as Charles Joseph “Buddy” Bolden (1877-1931), Joseph Oliver (1885-1938), Freddy Keppard (1889-1933), and William C. Handy (1873-1958) are well-known. Their biographies, therefore, will not be investigated in this article. Background A signifi cant performing vehicle for African American cornetists in the mid-nineteenth- century was the African American regiment band during the Civil War. Although not per- mitted to enlist in the Union Army until the fall of 1862, African Americans were involved in many regimental bands of their own in the union, among the most important of which were those of Colonel Robert Gould Shaw’s Fifty-fourth Regiment, the First Regiment of the Kansas Colored Volunteers, the Fifty-fi fth Regiment of Massachusetts, and the 107th United States Colored Infantry. At the end of the Civil War, many of these instrumentalists returned to civilian life to perform in various musical organizations, but some remained in the service of their country. On 28 July 1866 Congress passed an act establishing two African American cavalry and four African American infantry regiments in the Army. Military bands of the Ninth and Tenth Cavalry and the Twenty-fourth and Twenty-fi fth Infantry became famous units and served for more than twenty years on America’s frontier.1 Three cornetists in the Twenty-fourth Infantry Band were as follows: fi rst cornet, W.
    [Show full text]
  • Black Music Research Newsletter, Fall 1987
    Columbia College Chicago Digital Commons @ Columbia College Chicago Center for Black Music Research: Black Music Research Newsletter Publications Fall 9-1-1987 Black Music Research Newsletter, Fall 1987 Samuel Floyd Columbia College Chicago Follow this and additional works at: https://digitalcommons.colum.edu/cbmrnews Part of the Arts and Humanities Commons, and the Education Commons Recommended Citation Floyd, Samuel, "Black Music Research Newsletter, Fall 1987" (1987). Center for Black Music Research: Black Music Research Newsletter. 25. https://digitalcommons.colum.edu/cbmrnews/25 This Book is brought to you for free and open access by the Publications at Digital Commons @ Columbia College Chicago. It has been accepted for inclusion in Center for Black Music Research: Black Music Research Newsletter by an authorized administrator of Digital Commons @ Columbia College Chicago. For more information, please contact [email protected]. BLACK MUSIC RESEARCH NEWSLETTER. C B \I R COLUMBIA COLLEGE CHICAGO Vol. 9, No. 2 ISSN Number 0271-3799 Fall 1987 Chicago's Jazz Trail: 1893-1950 by Dempsey/. Travis, Chicago, [llinois Chicago's 1893 World Columbian Ex­ The Haitian Pavilion was an in­ or mentally drained while working in position was the magnet that attracted cubator for jazz music; it was there that Sedalia or St. Louis, he would return hundreds of black itinerant musicians, Scott Joplin and others discovered that to Chicago to be rejuvenated by the entertainers, intellectuals, and hustlers many of their fellow black musicians beauty of Lake Michigan, the smell of to its doorsteps. They all came to had developed musical skills in isola­ the stockyards, and the sounds of the Abraham Lincoln's city by the lake in tion from each other in various sections honky tonks in the red-Llght district.
    [Show full text]
  • Sliding Positionality in the Works of Pauline E. Hopkins, Zora Neale Hurston, Langston Hughes, and Spike Lee Jessica Metzler
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2006 Genuine Spectacle: Sliding Positionality in the Works of Pauline E. Hopkins, Zora Neale Hurston, Langston Hughes, and Spike Lee Jessica Metzler Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF ARTS AND SCIENCES GENUINE SPECTACLE: SLIDING POSITIONALITY IN THE WORKS OF PAULINE E. HOPKINS, ZORA NEALE HURSTON, LANGSTON HUGHES, AND SPIKE LEE By JESSICA METZLER A Thesis submitted to the Department of English in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2006 The members of the Committee approve the Thesis of Jessica Metzler defended on January 18, 2006. W. T. Lhamon Professor Directing Thesis Leigh Edwards Committee Member Tomeiko Ashford Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii For David and Margy Metzler iii ACKNOWLEDGEMENTS I wish to thank W. T. Lhamon for his generous comments and insightful criticisms of this thesis. I am also grateful for the helpful advice and encouragement I received from Leigh Edwards, Tomeiko Ashford, Hanna Wallinger, Malin Pereira, and John Gruesser. I appreciate as well the time John Graziano, James Hatch, and Annette Fern took to answer my queries. Finally, I wish to thank Beth Howse, Fisk University’s Special Collections Librarian, for her gracious assistance as I completed the archival research that led to this thesis. iv TABLE OF CONTENTS List of Tables…………………………………………………………………... vi Abstract……………………………………………………………………….... vii INTRODUCTION: Chasing Golden Slippers ....................................................
    [Show full text]