Music Library- Selected African-American Music

Home , Beach music, Blues People, Monk (soundtrack), Music as a Weapon, Of Black America, Orpheus (ballet)

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

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

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 figure Orpheus was said to have possessed magical powers capable of moving all living and inanimate things through the sound of his lyre and voice. Over time, the Orphic theme has come to indicate the power of music to unsettle, subvert, and ultimately bring down oppressive realities in order to liberate the soul and expand human life without limits. The liberating effect of music has been a particularly important theme in twentieth-century African American literature. The nine original essays in Black Orpheus 3

examines the Orphic theme in the fiction of such African American writers as Jean Toomer, Langston Hughes, Claude McKay, James Baldwin, Nathaniel Mackey, Sherley Anne Williams, Ann Petry, Ntozake Shange, Alice Walker, Gayl Jones, and Toni Morrison. The authors discussed in this volume depict music as a mystical, shamanistic, and spiritual power that can miraculously transform the realities of the soul and of the world. Here, the musician uses his or her music as a weapon to shield and protect his or her spirituality. Written by scholars of English, music, women's studies, American studies, cultural theory, and black and Africana studies, the essays in this interdisciplinary collection ultimately explore the thematic, linguistic structural presence of music in twentieth-century African American fiction. Music Cultures in the United States : An Introduction https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=241996 Music Cultures in the United States : An Introduction, edited by Ellen Koskoff, Routledge, 2005. ProQuest Ebook Central. Music Cultures in the United States is a basic textbook for an Introduction to American Music course. Taking a new, fresh approach to the study of American music, it is divided into three parts. In the first part, historical, social, and cultural issues are discussed, including how music history is studied; issues of musical and social identity; and institutions and processes affecting music in the U.S. The heart of the book is devoted to American musical cultures: American Indian; European; African American; Latin American; and Asian American. Each cultural section has a basic introductory article, followed by case studies of specific musical cultures. Finally, global musics are addressed, including Classical Musics and Popular Musics, as they have been performed in the U.S.. Each article is written by an expert in the field, offering in-depth, knowledgeable, yet accessible writing for the student. The accompanying CD offers musical examples tied to each article. Pedagogic material includes chapter overviews, questions for study, and a chronoloogy of key musical events in American music and definitions in the margins. Lifting My Voice : A Memoir https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=1684829 Hendricks, Barbara. Lifting My Voice : A Memoir, Chicago Review Press, 2014. ProQuest Ebook Central Growing up African American in segregated Arkansas in the 1950s, Barbara Hendricks witnessed firsthand the painful struggle for civil rights. After graduation from the Juilliard School of Music, Hendricks immediately won a number of important international prizes, and began performing in recitals and operas throughout the world. A Goodwill Ambassador for the United Nations High Commission for Refugees, she is as devoted to humanitarian work as she is to her music. Always the anti-diva, Hendricks is a down-to-earth and straightforward woman, whether singing Mozart or black spirituals. She challenges stereotypes and puts the music first and presents a warm, engaging, and honest self-portrait of one of the great women of music.

A City Called Heaven : Chicago and the Birth of Gospel Music

https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3414442 Marovich, Robert M.. A City Called Heaven : Chicago and the Birth of Gospel Music, University of Illinois Press, 2015. ProQuest Ebook Central 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. Quincy Jones : His Life in Music https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=1181916 Henry, Clarence Bernard. Quincy Jones : His Life in Music, University Press of Mississippi, 2013. ProQuest Ebook Central Quincy Jones (b. 1933) is one of the most prolific composers, arrangers, bandleaders, producers, and humanitarians in American music history and the recording and film industries. Among pop music fans he is perhaps most famous for producing Michael Jackson's album, Thriller. Clarence Bernard Henry focuses on the life, music, career, and legacy of Jones within the social, cultural, historical, and artistic context of American, African American, popular, and world music traditions. Jones's career has spanned over sixty years, generating a substantial body of work with over five hundred compositions and arrangements. The author focuses on this material as well as many of Jones's accomplishments: performing as a young trumpeter in the bands of Lionel Hampton and Dizzy Gillespie, becoming the first African American to hold an executive position in the competitive white-owned recording industry, breaking racial barriers as a composer in the Hollywood film and television industries, producing the best-selling album of all time, and receiving numerous Grammy Awards. That's Got 'Em! : The Life and Music of Wilbur C. Sweatman. https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=515566 Wilbur C. Sweatman (1882-1961) is one of the most important, yet unheralded, African American musicians involved in the transition of ragtime into jazz in the early twentieth century. In That's Got 'Em!, Mark Berresford tracks this energetic pioneer over a seven-decade career. His talent transformed every genre of black music before the advent of rock and roll?"pickaninny" bands, minstrelsy, circus sideshows, vaudeville

(both black and white), night clubs, and cabarets. Sweatman was the first African American musician to be offered a long-term recording contract, and he dazzled listeners with jazz clarinet solos before the Original Dixieland Jazz Band's so-called "first jazz records." Sweatman toured the vaudeville circuit for over twenty years and presented African American music to white music lovers without resorting to the hitherto obligatory "plantation" costumes and blackface makeup. His bands were a fertile breeding ground of young jazz talent, featuring such future stars as Duke Ellington, Coleman Hawkins, and Jimmie Lunceford. Sweatman subsequently played pioneering roles in radio and recording production. His high profile and sterling reputation in both the black and white entertainment communities made him a natural choice for administering the estate of Scott Joplin and other notable black performers and composers. That's Got 'Em! is the first full-length biography of this pivotal figure in black popular culture, providing a compelling account of his life and times. Rhythms of the Afro-Atlantic World : Rituals and Remembrances https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3414963 Rhythms of the Afro-Atlantic World : Rituals and Remembrances, edited by Ifeoma C. K. Nwankwo, and Mamadou Diouf, University of Michigan Press, 2010. ProQuest Ebook Central "Collecting essays by fourteen expert contributors into a trans-oceanic celebration and critique, Mamadou Diouf and Ifeoma Kiddoe Nwankwo show how music, dance, and popular culture turn ways of remembering Africa into African ways of remembering. With a mix of Nuyorican, Cuban, Haitian, Kenyan, Senegalese, Trinidagonian, and Brazilian beats, Rhythms of the Afro-Atlantic World proves that the pleasures of poly- rhythm belong to the realm of the discursive as well as the sonic and the kinesthetic." ---Joseph Roach, Sterling Professor of Theater, Yale University "As necessary as it is brilliant, Rhythms of the Afro-Atlantic World dances across, beyond, and within the Black Atlantic Diaspora with the aplomb and skill befitting its editors and contributors." ---Mark Anthony Neal, author of Soul Babies: Black Popular Culture and the Post-Soul Aesthetic Along with linked modes of religiosity, music and dance have long occupied a central position in the ways in which Atlantic peoples have enacted, made sense of, and responded to their encounters with each other. This unique collection of essays connects nations from across the Atlantic---Senegal, Kenya, Trinidad, Cuba, Brazil, and the United States, among others---highlighting contemporary popular, folkloric, and religious music and dance. From Jim Crow to Jay-Z : Race, Rap, and the Performance of Masculinity https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3413906 White, Miles. From Jim Crow to Jay-Z : Race, Rap, and the Performance of Masculinity, University of Illinois Press, 2011. ProQuest Ebook Central This multilayered study of the representation of black masculinity in musical and cultural performance takes aim at the reduction of African American male culture to stereotypes of deviance, misogyny, and excess. Broadening the significance of hip-hop culture by linking it to other expressive forms within popular culture, Miles White examines how these representations have both encouraged the demonization of young black 6

males in the United States and abroad and contributed to the construction of their identities. From Jim Crow to Jay-Z traces black male representations to chattel slavery and American minstrelsy as early examples of fetishization and commodification of black male subjectivity. Continuing with diverse discussions including black action films, heavyweight prizefighting, Elvis Presley's performance of blackness, and white rappers such as Vanilla Ice and Eminem, White establishes a sophisticated framework for interpreting and critiquing black masculinity in hip-hop music and culture. Arguing that black music has undeniably shaped American popular culture and that hip-hop tropes have exerted a defining influence on young male aspirations and behavior, White draws a critical link between the body, musical sound, and the construction of identity. African Diaspora : A Musical Perspective https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=182948 African Diaspora : A Musical Perspective, edited by Ingrid Monson, Routledge, 2003. ProQuest Ebook Central The African Diaspora presents musical case studies from various regions of the African diaspora, including Africa, the Caribbean, Latin America, and Europe, that engage with broader interdisciplinary discussions about race, gender, politics, nationalism, and music. Ramblin' on My Mind : New Perspectives on the Blues https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3413873 Ramblin' on My Mind : New Perspectives on the Blues, edited by David Evans, University of Illinois Press, 2010. ProQuest Ebook Central This compilation of essays takes the study of the blues to a welcome new level. Distinguished scholars and well-established writers from such diverse backgrounds as musicology, anthropology, musicianship, and folklore join together to examine blues as literature, music, personal expression, and cultural product. Ramblin' on My Mind contains pieces on Ella Fitzgerald, Son House, and Robert Johnson; on the styles of vaudeville, solo guitar, and zydeco; on a comparison of blues and African music; on blues nicknames; and on lyric themes of disillusionment. Contributors are Lynn Abbott, James Bennighof, Katharine Cartwright, Andrew M. Cohen, David Evans, Bob Groom, Elliott Hurwitt, Gerhard Kubik, John Minton, Luigi Monge, and Doug Seroff. Representing African Music : Postcolonial Notes, Queries, Positions https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=1679883 Agawu, Kofi. Representing African Music : Postcolonial Notes, Queries, Positions, Routledge, 2003. ProQuest Ebook Central The aim of this book is to stimulate debate by offering a critique of discourse about African music. Who writes about African music, how, and why? What assumptions and prejudices influence the presentation of ethnographic data? Even the term "African music" suggests there is an agreed-upon meaning, but African 7

music signifies differently to different people. This book also poses the question then, "What is African music?" Agawu offers a new and provocative look at the history of African music scholarship that will resonate with students of ethnomusicology and post-colonial studies. He offers an alternative "Afro-centric" means of understanding African music, and in doing so, illuminates a different mode of creativity beyond the usual provenance of Western criticism. This book will undoubtedly inspire heated debate--and new thinking--among musicologists, cultural theorists, and post-colonial thinkers. Also includes 15 musical examples. Ethnomusicology : A Research and Information Guide https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=182794 Post, Jennifer. Ethnomusicology : A Research and Information Guide, Routledge, 2003. ProQuest Ebook Central Ethnomusicology: A Research and Information Guide is an annotated bibliography of books, recordings, videos, and websites in the field of ethnomusicology. The book is divided into two parts; Part One is organised by resource type in catagories of greatest concern to students and scholars. This includes handbooks and guides; encyclopedias and dictionaries; indexes and bibliographies; journals; media sources; and archives. It also offers annotated entries on the basic literature of ethnomusicological history and research. Part Two provides a list of current publications in the field that are widely used by ethnomusicologists. Multiply indexed, this book serves as an excellent tool for librarians, researchers, and scholars in sorting through the massive amount of new material that has appeared in the field over the past decades. Jazz Religion, the Second Line, and Black New Orleans https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=516833 Turner, Richard Brent. Jazz Religion, the Second Line, and Black New Orleans, Indiana University Press, 2009. ProQuest Ebook Central In his new book, Richard Brent Turner explores the history and contemporary significance of the popular religious traditions, identities, and performance forms celebrated in the second lines of the jazz street parades of black New Orleans. The second line is the group of dancers who follow the first procession of church and club members, brass bands, and grand marshals. Here musical and religious traditions interplay. Jazz Religion, the Second Line, and Black New Orleans examines the relationship of jazz to indigenous religion and spirituality. It explores how the African diasporist religious identities and musical traditions -- from Haiti and West and Central Africa -- are reinterpreted in New Orleans jazz and popular religious performances, while describing how the participants in the second line create their own social space and become proficient in the arts of political disguise, resistance, and performance. Soul Music : Tracking the Spiritual Roots of Pop from Plato to Motown https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3414944

Rudinow, Joel. Soul Music : Tracking the Spiritual Roots of Pop from Plato to Motown, University of Michigan Press, 2010. ProQuest Ebook Central "Exceptionally illuminating and philosophically sophisticated." ---Ted Cohen, Professor of Philosophy, University of Chicago "In this audacious and long-awaited book, Joel Rudinow takes seriously a range of interrelated issues that most music theorizing is embarrassed to tackle. People often ask me about music and spirituality. With Soul Music, I can finally recommend a book that offers genuine philosophical insight into the topic." ---Theodore Gracyk, Professor of Philosophy, Minnesota State University Moorhead The idea is as strange as it is commonplace---that the "soul" in soul music is more than just a name, that somehow the music truly taps into something essential rooted in the spiritual notion of the soul itself. Or is it strange? From the civil rights movement and beyond, soul music has played a key, indisputable role in moments of national healing. Of course, American popular music has long been embroiled in controversies over its spiritual purity (or lack thereof). But why? However easy it might seem to dismiss these ideas and debates as quaint and merely symbolic, they persist. In Soul Music: Tracking the Spiritual Roots of Pop from Plato to Motown, Joel Rudinow, a philosopher of music, takes these peculiar notions and exposes them to serious scrutiny. How, Rudinow asks, does music truly work upon the soul, individually and collectively? And what does it mean to say that music can be spiritually therapeutic or toxic? This illuminating, meditative exploration leads from the metaphysical idea of the soul to the legend of Robert Johnson to the philosophies of Plato and Leo Strauss to the history of race and racism in American popular culture to current clinical practices of music therapy. Joel Rudinow teaches in the Philosophy and Humanities Departments at Santa Rosa Junior College and is the coauthor of Invitation to Critical Thinking and the coeditor of Ethics and Values in the Information Age. Saying Something : Jazz Improvisation and Interaction https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=432268 Monson, Ingrid. Saying Something : Jazz Improvisation and Interaction, University of Chicago Press, 1997. ProQuest Ebook Central This fresh look at the neglected rhythm section in jazz ensembles shows that the improvisational interplay among drums, bass, and piano is just as innovative, complex, and spontaneous as the solo. Ingrid Monson juxtaposes musicians' talk and musical examples to ask how musicians go about "saying something" through music in a way that articulates identity, politics, and race. Through interviews with Jaki Byard, Richard Davis, Sir Roland Hanna, Billy Higgins, Cecil McBee, and others, she develops a perspective on jazz improvisation that has "interactiveness" at its core, in the creation of music through improvisational interaction, in the shaping of social communities and networks through music, and in the development of cultural meanings and ideologies that inform the interpretation of jazz in twentieth-century American cultural life. Replete with original musical transcriptions, this broad view of jazz improvisation and its emotional and cultural power will have a wide audience among jazz fans, ethnomusicologists, and anthropologists.

Blackness in Opera https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3414176

André, Naomi. Blackness in Opera, edited by Karen M. Bryan, and Eric Saylor, University of Illinois Press, 2012 Blackness in Opera critically examines the intersections of race and music in the multifaceted genre of opera. A diverse cross-section of scholars places well-known operas (Porgy and Bess, Aida, Treemonisha) alongside lesser-known works such as Frederick Delius's Koanga, William Grant Still's Blue Steel, and Clarence Cameron White's Ouanga! to reveal a new historical context for re-imagining race and blackness in opera. The volume brings a wide-ranging, theoretically informed, interdisciplinary approach to questions about how blackness has been represented in these operas, issues surrounding characterization of blacks, interpretation of racialized roles by blacks and whites, controversies over race in the theatre and the use of blackface, and extensions of blackness along the spectrum from grand opera to musical theatre and film. In addition to essays by scholars, the book also features reflections by renowned American tenor George Shirley. Contributors are Naomi André, Melinda Boyd, Gwynne Kuhner Brown, Karen M. Bryan, Melissa J. de Graaf, Christopher R. Gauthier, Jennifer McFarlane-Harris, Gayle Murchison, Guthrie P. Ramsey Jr., Eric Saylor, Sarah Schmalenberger, Ann Sears, George Shirley, and Jonathan O. Wipplinger. Encyclopedia of American Gospel Music https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=1487198 Encyclopedia of American Gospel Music, edited by W. K. McNeil, Routledge, 2005. ProQuest Ebook Central The Encyclopedia of American Gospel Music is the first comprehensive reference to cover this important American musical form. Coverage includes all aspects of both African-American and white gospel from history and performers to recording techniques and styles as well as the influence of gospel on different musical genres and cultural trends. Monk's Music : Thelonious Monk and Jazz History in the Making https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=318098 Solis, Gabriel. Monk's Music : Thelonious Monk and Jazz History in the Making, University of California Press, 2007. ProQuest Ebook Central Thelonious Monk (1917-1982) was one of jazz's greatest and most enigmatic figures. As a composer, pianist, and bandleader, Monk both extended the piano tradition known as Harlem stride and was at the center of modern jazz's creation during the 1940s, setting the stage for the experimentalism of the 1960s and '70s. This pathbreaking study combines cultural theory, biography, and musical analysis to shed new light on Monk's music and on the jazz canon itself. Gabriel Solis shows how the work of this stubbornly nonconformist composer emerged from the jazz world's fringes to find a central place in its canon. Solis reaches well beyond the usual life-and-times biography to address larger issues in jazz scholarship--ethnography and the role of memory in history's construction. He considers how Monk's stature has grown, from the narrowly focused wing of the avant-garde in the 1960s and '70s to the present, where he is claimed as an influence by musicians of all kinds. He looks at the ways musical lineages are created in the jazz world and, in the process, addresses

the question of how musicians use performance itself to maintain, interpret, and debate the history of the musical tradition we call jazz. Music Is My Life : Louis Armstrong, Autobiography, and American Jazz https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3415058 Stein, Daniel. Music Is My Life : Louis Armstrong, Autobiography, and American Jazz, University of Michigan Press, 2012. ProQuest Ebook Central Music Is My Life is the first comprehensive analysis of Louis Armstrong's autobiographical writings (including his books, essays, and letters) and their relation to his musical and visual performances. Combining approaches from autobiography theory, literary criticism, intermedia studies, cultural history, and musicology, Daniel Stein reconstructs Armstrong's performances of his life story across various media and for different audiences, complicating the monolithic and hagiographic views of the musician. The book will appeal to academic readers with an interest in African American studies, jazz studies, musicology, and popular culture, as well as general readers interested in Armstrong's life and music, jazz, and twentieth-century entertainment. While not a biography, it provides a key to understanding Armstrong's oeuvre as well as his complicated place in American history and twentieth-century media culture. Rebel Dance, Renegade Stance : Timba Music and Black Identity in Cuba https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3415103 Vaughan, Umi. Rebel Dance, Renegade Stance : Timba Music and Black Identity in Cuba, University of Michigan Press, 2012. ProQuest Ebook Central Rebel Dance, Renegade Stance shows how community music-makers and dancers take in all that is around them socially and globally, and publicly and bodily unfold their memories, sentiments, and raw responses within open spaces designated or commandeered for local popular dance. As an African American anthropologist, musician, dancer, and photographer who lived in Cuba, Vaughan reveals a unique perspective on contemporary Cuban society during the 1990s, the peak decade of timba, and beyond, as the Cuban leadership transferred from Fidel Castro to his brother. Simultaneously, the book reveals popular dance music in the context of a young and astutely educated Cuban generation of fierce and creative performers. By looking at the experiences of black Cubans and exploring the notion of "Afro Cuba," Rebel Dance, Renegade Stance explains timba's evolution and achieved significance in the larger context of Cuban culture. Vaughan discusses a maroon aesthetic extended beyond the colonial era to the context of contemporary society; describes the dance spaces of Cuba; and examines the performance of identity and desire through the character of the "especulador." Musical Landscapes in Color : Conversations with Black American Composers https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=1565722

Banfield, Bill. Musical Landscapes in Color : Conversations with Black American Composers, Scarecrow Press, 2003. ProQuest Ebook Central A sequel to the award-winning The Black Composer Speaks (Scarecrow Press, 1978), this exploration of the creative world of African American composers traces the lives and careers of 40 talented individuals and, in their own words, provides perspectives on a world that has been slow to recognize their remarkable contributions to classical music. The discussion places the music of these composers within the greater context of Western art music, but analyzes it through the lenses of sociology, Western concepts of art and taste, and vernacular musical forms, including spirituals, blues, jazz, and contemporary popular music. Each chapter is devoted to an individual composer, who discusses his or her musical training, compositional techniques and style, and the composer's personal philosophy as reflected in his or her music. A selected list of compositions for each composer is included, as well as a photo and sample of the composer's "hand." Banfield offers unprecedented insight into the history and influence of the African American composer with this documentary, which will appeal to everyone from the music scholar to the general reader. Digging : The Afro-American Soul of American Classical Music https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=470929 Baraka, Amiri. Digging : The Afro-American Soul of American Classical Music, University of California Press, 2009. ProQuest Ebook Central For almost half a century, Amiri Baraka has ranked among the most important commentators on African American music and culture. In this brilliant assemblage of his writings on music, the first such collection in nearly twenty years, Baraka blends autobiography, history, musical analysis, and political commentary to recall the sounds, people, times, and places he's encountered. As in his earlier classics, Blues People and Black Music, Baraka offers essays on the famous--Max Roach, Charlie Parker, Miles Davis, John Coltrane--and on those whose names are known mainly by jazz aficionados--Alan Shorter, Jon Jang, and Malachi Thompson. Baraka's literary style, with its deep roots in poetry, makes palpable his love and respect for his jazz musician friends. His energy and enthusiasm show us again how much Coltrane, Albert Ayler, and the others he lovingly considers mattered. He brings home to us how music itself matters, and how musicians carry and extend that knowledge from generation to generation, providing us, their listeners, with a sense of meaning and belonging. Dvorák to Duke Ellington : A Conductor Explores America's Music and Its African American Roots https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3051942 Peress, Maurice. Dvorák to Duke Ellington : A Conductor Explores America's Music and Its African American Roots, Oxford University Press USA - OSO, 2004. ProQuest Ebook Central Drawing upon a remarkable mix of intensive research and the personal experience of a career devoted to the music about which Dvorák so presciently spoke, Maurice Peress's lively and convincing narrative treats readers to a rare and delightful glimpse behind the scenes of the burgeoning American school of music and beyond.In

Dvorák to Duke Ellington, Peress begins by recounting the music's formative years: Dvorák's three year residency as Director of the National Conservatory of Music in New York (1892-1895), and his students, in particular Will Marion Cook and Rubin Goldmark, who would in turn become the teachers of Ellington, Gershwin, and Copland. We follow Dvorák to the famed Chicago World's Fair of 1893, where he directed a concert of his music for Bohemian Honor Day. Peress brings to light the little known African American presence at the Fair: the piano professors, about-to-be-ragtimers; and the gifted young artists Paul Dunbar, Harry T. Burleigh, and Cook, who gathered at the Haitian Pavilion with its director, Frederick Douglass, to organize their own gala concert for Colored Persons Day.Peress, a distinguished conductor, is himself a part of this story; working with Duke Ellington on the Suite from Black, Brown and Beige and his "opera comique," Queenie Pie; conducting the world premiere of Leonard Bernstein's Mass; and reconstructing landmark American concerts at which George Antheil's Ballet Mecanique, George Gershwin's Rhapsody in Blue, James Reese Europe's Clef Club (the first all-black concert at Carnegie Hall), and Ellington's Black, Brown and Beige, were first presented. Concluding with an astounding look at Ellington and his music, Dvorák to Duke Ellington offers an engrossing, elegant portrait of the Dvorák legacy, America's music, and the inestimable African- American influence upon it. Bessie : Revised and expanded edition https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3420210 Albertson, Chris. Bessie : Revised and expanded edition, Yale University Press, 2003. ProQuest Ebook Central Considered by many to be the greatest blues singer of all time, Bessie Smith was also a successful vaudeville entertainer who became the highest paid African-American performer of the roaring twenties. This book—a revised and expanded edition of the classic biography of this extraordinary artist—debunks many of the myths that have circulated since her untimely death in 1937. Chris Albertson writes with insight and candor about the singer’s personal life and her career, supplementing his historical research with dozens of interviews with her relatives, friends, and associates, in particular Ruby Walker Smith, a niece by marriage who toured with Bessie for over a decade. For this new edition he includes more details of Bessie’s early years, new interview material, and a chapter devoted to events and responses that followed the original publication in 1971. Africa in Stereo : Modernism, Music, and Pan-African Solidarity https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3055860 Jaji, Tsitsi Ella. Africa in Stereo : Modernism, Music, and Pan-African Solidarity, Oxford University Press, 2014. ProQuest Ebook Central Africa in Stereo analyzes how Africans have engaged with African American music and its representations in the long twentieth century (1890-2011) to offer a new cultural history attesting to pan-Africanism's ongoing and open theoretical potential. Tsitsi Jaji argues that African American popular music appealed to continental Africans as a unit of cultural prestige, a site of pleasure, and most importantly, an expressive form already encoded with strategies of creative resistance to racial hegemony. Ghana, Senegal and South Africa are considered as three distinctive sites where longstanding pan-African political and cultural affiliations gave 13

expression to transnational black solidarity. The book shows how such transnational ties fostered what Jaji terms "stereomodernism." Attending to the specificity of various media through which music was transmitted and interpreted-poetry, novels, films, recordings, festivals, live performances and websites-stereomodernism accounts for the role of cultural practice in the emergence of solidarity, tapping music's capacity to refresh our understanding of twentieth-century black transnational ties. Freedom Is, Freedom Ain't : Jazz and the Making of the Sixties https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=3300359 Saul, Scott. Freedom Is, Freedom Ain't : Jazz and the Making of the Sixties, Harvard University Press, 2009. ProQuest Ebook Central In the long decade between the mid-fifties and the late sixties, jazz was changing more than its sound. The age of Max Roach's Freedom Now Suite, John Coltrane's A Love Supreme, and Charles Mingus's The Black Saint and the Sinner Lady was a time when jazz became both newly militant and newly seductive, its example powerfully shaping the social dramas of the Civil Rights movement, the Black Power movement, and the counterculture. Freedom Is, Freedom Ain't is the first book to tell the broader story of this period in jazz--and American--history. Fascinating Rhythm : Reading Jazz in American Writing https://ecsu1891.idm.oclc.org/login?url=https://ebookcentral.proquest.com/lib/ecsu- ebooks/detail.action?docID=445577 Yaffe, David. Fascinating Rhythm : Reading Jazz in American Writing, Princeton University Press, 2005. ProQuest Ebook Central How have American writers written about jazz, and how has jazz influenced American literature? In Fascinating Rhythm, David Yaffe explores the relationship and interplay between jazz and literature, looking at jazz musicians and the themes literature has garnered from them by appropriating the style, tones, and innovations of jazz, and demonstrating that the poetics of jazz has both been assimilated into, and deeply affected, the development of twentieth-century American literature. Yaffe explores how Jewish novelists such as Norman Mailer, J. D. Salinger, and Philip Roth engaged issues of racial, ethnic, and American authenticity by way of jazz; how Ralph Ellison's descriptions of Louis Armstrong led to a "neoconservative" movement in contemporary jazz; how poets such as Wallace Stevens, Hart Crane, Langston Hughes, and Frank O'Hara were variously inspired by the music; and how memoirs by Billie Holiday, Charles Mingus, and Miles Davis both reinforced and redeemed the red light origins of jazz. The book confronts the current jazz discourse and shows how poets and novelists can be placed in it--often with problematic results. Fascinating Rhythm stops to listen for the music, demonstrating how jazz continues to speak for the American writer.