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Music Library- Selected African-American Music MUSIC LIBRARY- SELECTED AFRICAN-AMERICAN MUSIC ELECTRONIC BOOKS (List is created by the Music Librarian Nurhak Tuncer) African American Music Trails of Eastern North Carolina https://ecsu1891.idm.oclc.org/login?url=https://library.biblioboard.com/content/b2650e42-158f-42dc-8533- 716b59764cb8 Patterson, Beverly, Cedric N. Chatterley, Titus Brooks Heagins, Michelle Lanier, and Sarah Bryan. African American Music Trails of Eastern North Carolina. Chapel Hill, NC: U of North Carolina, 2013. BiblioBoard. Thelonius Monk, Billy Taylor and Maceo Parker—famous jazz artists who have shared the unique sounds of North Carolina with the world—are but a few of the dynamic African American artists from eastern North Carolina featured in The African American Music Trails of Eastern North Carolina. This first-of-its-kind travel guide will take you on a fascinating journey to music venues, events and museums that illuminate the lives of the musicians and reveal the deep ties between music and community. Interviews with more than 90 artists open doors to a world of music, especially jazz, rhythm and blues, funk, gospel and church music, blues, rap, marching band music and beach music. New and historical photographs enliven the narrative, and maps and travel information help you plan your trip. Included is a CD with 17 recordings performed by some of the region's outstanding artists. Jazz Griots : Music as History in the 1960s African American Poem https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=1921136 Marcoux, Jean-Philippe. Jazz Griots : Music as History in the 1960s African American Poem, Lexington Books, 2012. ProQuest Ebook Central. This study is about how four representative African American poets in the 1960s, Langston Hughes, Umbra’s David Henderson, and the Black Arts Movement’s Sonia Sanchez, and Amiri Baraka engage, in the tradition of African griots, in poetic dialogues with aesthetics, music, politics, and Black History, and in so doing narrate, using jazz as meta-language, genealogies, etymologies, cultural legacies, and Black (hi)stories. In intersecting and complementary ways, Hughes, Henderson, Sanchez, and Baraka fashioned their griotism from theorizations of artistry as political engagement, and, in turn, formulated a Black aesthetic based on jazz performativity –a series of jazz-infused iterations that form a complex pattern of literary, musical, historical, and political moments in constant cross-fertilizing dialogues with one another. This form of poetic call-and- response is essential for it allows the possibility of intergenerational dialogues between poets and musicians as well as dialogical potential between song and politics, between Africa and Black America, within the poems. More importantly, these jazz dialogisms underline the construction of the Black Aesthetic as conceptualized respectively by the griotism of Hughes, of Henderson, and of Sanchez and Baraka. The Power of black music: interpreting its history from Africa to the United States. https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=5121561 1 Floyd, Samuel A.. Power of Black Music, The: Interpreting Its History from Africa to the United States, Oxford University Press, 1996. ProQuest Ebook Central. 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. Cultural Codes : Makings of a Black Music Philosophy https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=480059 Banfield, Bill. Cultural Codes : Makings of a Black Music Philosophy, Scarecrow Press, 2009. ProQuest Ebook Central. No art can survive without an understanding of, and dedication to, the values envisioned by its creators. No culture over time has existed without a belief system to sustain its survival. Black music is no different. In Cultural Codes: Makings of a Black Music Philosophy, William C. Banfield engages the reader in a conversation about the aesthetics and meanings that inform this critical component of our social consciousness. By providing a focused examination of the historical development of Black music artistry, Banfield formulates a useable philosophy tied to how such music is made, shaped, and functions. In so doing, he explores Black music culture from three angles: history, education, and the creative work of the musicians who have moved the art forward. In addition to tracing Black music from its African roots to its various contemporary expressions, including jazz, soul, R&B, funk, and hip hop, Banfield profiles some of the most important musicians over the last century: W.C. Handy, Scott Joplin, Louis Armstrong, Duke Ellington, Count Basie, Mary Lou Williams, John Coltrane, James Brown, Jimi Hendrix, and Stevie Wonder, among others. Cultural Codes provides an educational and philosophical framework for students and scholars interested in the traditions, the development, the innovators, and the relevance of Black music. Free Jazz/Black Power https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3039937 Carles, Philippe, and Jean-Louis Comolli. Free Jazz/Black Power, University Press of Mississippi, 2015. ProQuest Ebook Central. In 1971, French jazz critics Philippe Carles and Jean-Louis Comolli co-wrote Free Jazz/Black Power, a treatise on the racial and political implications of jazz and jazz criticism. It remains a testimony to the long-ignored 2 encounter of radical African American music and French left-wing criticism. Carles and Comolli set out to defend a genre vilified by jazz critics on both sides of the Atlantic by exposing the new sound's ties to African American culture, history, and the political struggle that was raging in the early 1970s. The two offered a political and cultural history of black presence in the United States to shed more light on the dubious role played by jazz criticism in racial oppression. This analysis of jazz criticism and its production is astutely self- aware. It critiques the critics, building a work of cultural studies in a time and place where the practice was virtually unknown. The authors reached radical conclusions--free jazz was a revolutionary reaction against white domination, was the musical counterpart to the Black Power movement, and was a music that demanded a similar political commitment. The impact of this book is difficult to overstate, as it made readers reconsider their response to African American music. In some cases, it changed the way musicians thought about and played jazz. Free Jazz / Black Power remains indispensable to the study of the relation of American free jazz to European audiences, critics, and artists. This monumental critique caught the spirit of its time and realigned that zeitgeist. Music of the Common Tongue : Survival and Celebration in African American Music https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=776765 Small, Christopher. Music of the Common Tongue : Survival and Celebration in African American Music, Wesleyan University Press, 1999. ProQuest Ebook Central In clear and elegant prose, Music of the Common Tongue, first published in 1987, argues that by any reasonable reckoning of the function of music in human life the African American tradition, that which stems from the collision between African and European ways of doing music which occurred in the Americas and the Caribbean during and after slavery, is the major western music of the twentieth century. In showing why this is so, the author presents not only an account of African American music from its origins but also a more general consideration of the nature of the music act and of its function in human life. The two streams of discussion occupy alternate chapters so that each casts light on the other. The author offers also an answer to what the Musical Times called the "seldom posed though glaringly obtrusive" question: "why is it that the music of an alienated, oppressed, often persecuted black minority should have made so powerful an impact on the entire industrialized world, whatever the color of its skin or economic status?" Black Orpheus : Music in African American Fiction from the Harlem Renaissance to Toni Morrison https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=170329 Simawe, Saadi A.. Black Orpheus : Music in African American Fiction from the Harlem Renaissance to Toni Morrison, Routledge, 2000. ProQuest Ebook Central The legendary Greek
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