African-American Music
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
I Been Down in the Circle Before Black Music, Topicality and Social History
I Been Down In The Circle Before Black music, topicality and social history John Cowley 6 March 2007 Mississippi River levee system (Mississippi State) Laconia Circle (shown in red) is a circular levee that encloses Snow Lake (at the end of Arkansas Highway 85) and Laconia. It is positioned on a bend of the Mississippi River between the river and White River Bottom, just above the confluence of the White and Mississippi Rivers Levee Maintenance (1) Hand propulsion of wheelbarrows (wheelers) / “wheeling”— wheel barrowing Levee Maintenance (2) Teamsters called “muleskinners” transported ballast to the levees, and handled mule driven carts and scoop scrapers The Lowrence Brothers operated along both sides of the Mississippi River, upstream and downstream from Memphis, Tennessee. One brother is associated with Henry Truvillion’s Shack Bully Holler Isum, Sampson Pittman, recalled seven brothers but mentions only six: Charley, Lawrence, Eddie, Clarence, Blair and Ike; presumably the seventh was Isum? Memphis Slim (Leroy) mentioned three brothers by name Isum, Bill and Charley Bill making the total we know about, eight. The Lowrence family A little extra information concerning three of the family can be gleaned from entries in the Memphis City Directory. Edward M. Lowrence resided in Memphis between 1928-1931, his occupation listed as either “levee contractor” or, simply, “contractor.” Lucy D. Lowrence, as his widow, has an entry in 1933. Blair Lowrence lived in Memphis between 1929 and 1935. Designated “levee contractor’ except in 1930 he is shown as a “planter’; in 1931 no occupation is stated. William Tate Lowrence, listed as a “levee contractor” in 1925, does not appear again until 1928 when he is also shown as a “ levee contractor.” He is designated as a “contractor” in l929 and 1930, the latter year, his final entry. -
Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937
An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929-1937 Peter Stanfield Cinema Journal, 41, Number 2, Winter 2002, pp. 84-108 (Article) Published by University of Texas Press DOI: 10.1353/cj.2002.0004 For additional information about this article http://muse.jhu.edu/journals/cj/summary/v041/41.2stanfield.html Access Provided by Amherst College at 09/03/11 7:59PM GMT An Excursion into the Lower Depths: Hollywood, Urban Primitivism, and St. Louis Blues, 1929–1937 by Peter Stanfield This essay considers how Hollywood presented the song St. Louis Blues in a num- ber of movies during the early to mid-1930s. It argues that the tune’s history and accumulated use in films enabled Hollywood to employ it in an increasingly com- plex manner to evoke essential questions about female sexuality, class, and race. Recent critical writing on American cinema has focused attention on the struc- tures of racial coding of gender and on the ways in which moral transgressions are routinely characterized as “black.” As Eric Lott points out in his analysis of race and film noir: “Raced metaphors in popular life are as indispensable and invisible as the colored bodies who give rise to and move in the shadows of those usages.” Lott aims to “enlarge the frame” of work conducted by Toni Morrison and Ken- neth Warren on how “racial tropes and the presence of African Americans have shaped the sense and structure of American cultural products that seem to have nothing to do with race.”1 Specifically, Lott builds on Manthia D iawara’s argument that “film is noir if it puts into play light and dark in order to exhibit a people who become ‘black’ because of their ‘shady’ moral behaviour.2 E. -
Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)
Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos. -
General Music Responding to and Creating Blues Music—Grade 5
General Music Creating through Responding Unit Grade 5 Responding to and Creating Blues Music A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States Teaching with Primary Sources ACKNOWLEDGMENTS PERSONNEL, LIBRARY OF CONGRESS GRANT — WRITING RESPONDING UNITS 2018–2019 PROJECT DIRECTOR • Johanna J. Siebert COMPOSITION/THEORY WRITING TEAM • Carolyn Bennett, North Stonington, CT, Team Chair • Terrence E. Bacon, North Chili, NY • Lisa Cookson, Wichita, KS GENERAL MUSIC WRITING TEAM • Wendy Barden, Minnetonka, MN, Team Chair • Steve Kennedy, New Orleans, LA • Richard Maxwell, Phoenix, AZ • Susan Osborn, Bear, DE • David Potter, Lansing, MI • Matt Warren, Webster, NY Special thanks to the Library of Congress for the generous grant on Teaching with Primary Sources (TPS), which made this resource possible. GENERAL MUSIC RESPONDING UNIT | GRADE 5 | NATIONAL ASSOCIATION for MUSIC EDUCATION 2 TABLE OF CONTENTS Overview of NAfME/Library of Congress Responding Units ........... 4 Overview of Grade 5 General Music Unit on Responding to and Creating Blues Music ............................................ 4 Prerequisite Knowledge and Experiences ........................... 5 Instructional Goals ............................................. 5 Embedded Inquiry Model: KWL ................................... 6 National Core Arts Standards in Music (2014) ....................... 7 Formative/Summative Assessments ............................... 9 Library of Congress Resource Links .............................. -
Putumayo-Catalog Winter2017.Pdf
CHRISTMAS CHRISTMAS/HANNUKAH ATIN HRISTMAS L C ACOUSTIC CHRISTMAS Spice up the holiday season with festive Latin and Brazilian Beautiful voices and classic English language Christmas songs rhythms. ¡Feliz Navidad! bring the season alive. PUT 363 • ISBN 9781587593956 PUT 340 • ISBN 9781587593512 FRENCH CHRISTMAS NEW ORLEANS CHRISTMAS Experience the beauty of the season with classic and Deck the halls with blues, jazz and swing holiday classics from the contemporary songs from Marseille to Montreal. Big Easy. Joyeux Noel! PUT 256 • ISBN 1587591685 PUT 349 • ISBN 9781587593628 AZZ LUES HRISTMAS J & B C A JEWISH CELEBRATION Swing into the holiday season with this festive collection of Celebrate Hanukkah and other festive holidays with this toe-tapping jazz and blues Christmas songs! medley of klezmer, reggae, ska and more from the Jewish PUT 285 • ISBN 9781587592287 diaspora. L’chaim! PUT 325 • ISBN 9781587593161 HOLIDAY DISPLAYS CELTIC CHRISTMAS Beautiful Irish and Scottish voices, entrancing Celtic instrumentation and classic Christmas carols provide an uplifting soundtrack for the holiday season. PUT 314 • ISBN 9781587592935 Christmas Display (DRS-XMAS) One Title Display (DLC-GEN) Displays 4 titles, 4 of each Displays 10 Cds 6.25”wide x 9”deep x 11.25”high 5.5”wide x 4”deep x 8.25”high 15 cm x 22 cm x 28 cm 14 cm x 10 cm x 21 cm 2 3 NEW RELEASES YOGA NEW! INDIAN GROOVE Traditional Indian flavors meet electronica on this fascinating ACOUSTIC YOGA musical masala! A peaceful musical journey that will soothe your mind and PUT 368 • ISBN 9781587594045 ease your soul. -
25 YEARS of JHE LONDON CALYPSO TENT
25 YEARS OfJ HE LONDON CALYPSOTENT Calypso in London 25 YEARS OF THE LONDON CALYPSO TENT by STEPHEN SPARK With a historical introduction by John Cowley Trafton Publishing On behalf of the Association of Calypsonians UK Calypso in London 25 years of the London Calypso Tent ISBN 978 0 947890 09 4 © 2017 Trafton Publishing and the Association of Calypsonians UK The Association of Calypsonians UK (ACUK) The Yaa Centre, 1 Chippenham Mews, London W9 2AN Web: www.acukheritage.co.uk Email: [email protected] All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any mean, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. Short passages only may be quoted for the purpose of review. For permission to quote or reproduce longer extracts, please apply in writing to the copyright-holders via the ACUK addresses above. The publication of this book was made possible by the generous support of the Heritage Lottery Fund, the Westway Trust and Carnival Village. ON OF TI C IA A C L Y O P S LONDON S S O A CALYPSO N • I TENT A K N U S C A U • K ACUK Logo.indd 1 11/10/2017 09:54:56 Designed by Phil McAllister Design Printed and bound in Great Britain by Berforts Contents Preface ............................................................................................................................ iv Acknowledgements ..................................................................................................... -
Digital Bootcamp Songwriting Workshop
March 2019 www.torontobluessociety.com Published by the TORONTO BLUES SOCIETY since 1985 [email protected] Vol 35, No 3 PHOTO BY LISA MACINTOSH LISA BY PHOTO Kingston’s Miss Emily is at Hugh’s Room Live March 8, Drom Taberna March 9 [Songwriting Workshop] and just confirmed for the Women’s Blues Revue November 29 CANADIAN PUBLICATIONS MAIL AGREEMENT #40011871 Digital Bootcamp John’s Blues Picks Songwriting Workshop Loose Blues News Remembering Jackie Shane Event Listings TORONTO BLUES SOCIETY 910 Queen St. W. Ste. B04 Toronto, Canada M6J 1G6 Tel. (416) 538-3885 Toll-free 1-866-871-9457 Email: [email protected] Website: www.torontobluessociety.com MapleBlues is published monthly by the Toronto Blues Society ISSN 0827-0597 2019 BOARD OF DIRECTORS Derek Andrews (President), Janet Alilovic, Jon Arnold, Matt Douris, Lucie Dufault (Vice-President), Carol Flett (Secretary), Sarah French, Lori Murray, Ed Parsons, Paul Sanderson, Mike Smith, Earl Tucker, John Valenteyn (Executive) Musicians Advisory Council: Brian Blain, Gary Kendall, Samantha Martin, Lily Sazz, Mark Stafford, Jenie Thai, Suzie Vinnick,Ken Whiteley Fundraising Committee: Derek Andrews, Jon Arnold, Mike Smith Volunteer & Membership Committee: Lucie Dufault, Sarah French, Rose Ker, Mike Smith, Ed Parsons, Carol Flett Grants Officer: Barbara Isherwood Office Staff: Hüma Üster (Office Manager) Amanda Rheaume (Project Manager) Publisher/Editor-in-Chief: Derek Andrews Managing Editor: Brian Blain [email protected] Contributing Editors: John Valenteyn, Janet Alilovic, Hüma Üster, Carol Flett Listings Coordinator: Janet Alilovic Mailing and Distribution: Ed Parsons Become a member of the Toronto Blues Society, and get connected with Canada's premier blues Advertising: Dougal Bichan events, releases, and our great blues community. -
2013 R&B Festival at Metrotech Kicks Off A
2013 R&B Festival at MetroTech kicks off a summer of free live funk, dub, Afrobeat, brass band, West African, blues, and soul Thursdays (except Avery*Sunshine on Wednesday, July 3) Jun 6—Aug 8, 12—2pm MetroTech Commons June 6: Mint Condition June 13: Bobby Rush June 20: Kaleta & ZoZo Afrobeat June 27: Stooges Brass Band July 3: Avery*Sunshine July 11: Sly & Robbie featuring Bunny Rugs from Third World July 18: Fatoumata Diawara July 25: Bombino Aug 1: Sheila E. Aug 8: Shuggie Otis First New York Partners is the Presenting Sponsor of the 2013 R&B Festival at MetroTech. Brooklyn, NY/May 2, 2012—BAM announces the 2013 BAM R&B Festival at MetroTech. Now in its 19th year, the festival continues to feature R&B legends alongside vibrant and groundbreaking newcomers with 10 free outdoor concerts from June 6 through August 8. Event producer Danny Kapilian said, "With this year's 19th annual BAM R&B Festival, the total number of artists who have graced our stage reaches 202! (Booker T & the MG's remains the only act to perform twice). Classic stars making their MetroTech debuts in 2013 include the Twin City funk/pop legends Mint Condition (opening on June 6th), Chicago's timeless star Bobby Rush bandleader, percussionist, and Prince alumnus Sheila E and Mr. "Strawberry Letter 23" himself Shuggie Otis (closing on August 8th). New Orleans funk returns with the fabulous Stooges Brass Band, and contemporary soul diva Avery*Sunshine spreads her love and music on July 3rd (the season's only Wednesday afternoon concert, due to the holiday). -
Print This Article
doi: 10.5789/3-1-20 Global Media Journal African Edition 2009 Vol 3 (1) World music, authenticity and Africa: Reading Cesaria Evora and Ali Farka Toure Anandam Kavoori Introduction In this essay, I engage with the complex set of sonic connections known as 'World Music'. The section on 'Framing World Music/The Global Postmodern/Authenticity' outlines some key elements in how World Music can be theoretically framed - as a specific kind of text, anchored in conditions of global post modernity and characterized by a defining discourse -that of 'authenticity'. This is followed by a biographical/textual account of two major global music stars from Africa - Cesaria Evora (Cape Verde) and Ali Farka Toure (Mali) - with a focus on examining how their biographical and textual imprint illustrates the different ways in which the discourse of 'authenticity' is mobilised within World Music/The Global Postmodern. Finally, the concluding section summarises some general ideas about authenticity and World Music. My overall goals are to engage with the specific textual elements that make up the sonic construct of World Music, steering clear of popular discourse about it. i Framing World Musicii/ The Global Postmodern/Authenticity Aubert (2007:1) offers a beginning point for understanding music as something central to meaning in a culture, rather than mere 'fluff' - light entertainment for the illiterate and the bored: 'If music has its own place in all reflections on culture, it does so by the stakes it represents. Music is indeed never insignificant. It is simultaneously a strong and unifying means of communication and a revealer of identity within the abundance of models that characterize society. -
World Music Quikpik List
RACV CLUB LIBRARY pariOck WORLD MUSIC QUIKPIK LIST These artists are housed in the CD W location in the music collection of the RACV Club Library. This brief list of works in the collection is intended as a tool to check the collection’s holdings quickly and should not replace an online catalogue search to locate exhaustive holdings of a composer, performer or genre. COLLECTIONS Music from Vietnam & Rumba Flamenco African blues Cambodia Russia African Rap Nigeria & Ghana Sahara lounge Arabic Beat Nu Tango Salsa around the world Arabic groove Paris Salsa Colombia Asian groove Popular hymns of Norfolk Salsa de Puerto Rico Bhangra and Pitcairn Samba Bollywood Puerto Rico Scotland the brave Boogaloo Rebétika Senegal & Gambia Brazil : bahia Republica Dominica Shakuhachi Brazilian Groove Calypso & soca Shakuhachi sleep music Cajun & zydeco Desert Blues Ska Caribbean party Rough guide to Brazilian Simply meditation Caribbean steeldrums electronica South African gospel Christmas around the world Rough guide to flamenco South Pacific islands Congolese Soukous Rough guide to tango Sufi music Dulcimer collection Rough guide. Egypt Tango Nuevo Euro Lounge Rough guide to Indian The very best of the far east Fado lounge Turkish groove A French affair Rough guide to Irish music Viva Mexico [Mariachi] Gamelan from central Java Rough guide to Latin-Arabia Wonderful Welsh choirs Global divas Rough guide to Latin Funk Greece : a musical odyssey. Rough guide to Latin lounge ARTISTS Hawaii Rough guide to the music of Alpamayo India China Atlas, Natacha Islands Rough guide to the music of Avital, Avi Klezmer Japan Black, Mary Latin Groove Rough guide to the music of Bogle, Eric Latin jazz Malaysia Boyer, Lucienne Le mystère des voix Rough guide to the music of Branco, Cristina bulgares. -
" African Blues": the Sound and History of a Transatlantic Discourse
“African Blues”: The Sound and History of a Transatlantic Discourse A thesis submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Music in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Saul Meyerson-Knox BA, Guilford College, 2007 Committee Chair: Stefan Fiol, PhD Abstract This thesis explores the musical style known as “African Blues” in terms of its historical and social implications. Contemporary West African music sold as “African Blues” has become commercially successful in the West in part because of popular notions of the connection between American blues and African music. Significant scholarship has attempted to cite the “home of the blues” in Africa and prove the retention of African music traits in the blues; however much of this is based on problematic assumptions and preconceived notions of “the blues.” Since the earliest studies, “the blues” has been grounded in discourse of racial difference, authenticity, and origin-seeking, which have characterized the blues narrative and the conceptualization of the music. This study shows how the bi-directional movement of music has been used by scholars, record companies, and performing artist for different reasons without full consideration of its historical implications. i Copyright © 2013 by Saul Meyerson-Knox All rights reserved. ii Acknowledgements I would like to express my utmost gratitude to my advisor, Dr. Stefan Fiol for his support, inspiration, and enthusiasm. Dr. Fiol introduced me to the field of ethnomusicology, and his courses and performance labs have changed the way I think about music.