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Thematische Bibliographien / African War songs / Bücher

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Bücher zum Thema „African War songs“

Autor: Grafiati

Veröffentlicht am 28. Juli 2024

Zuletzt aktualisiert am 31. Juli 2025

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1

Bart, Marthinus Van. Songs of the veld and other poems: Engelse gedigte oor die Anglo-Boereoorlog = English poems on the Anglo-Boer War. Cederberg, 2008.

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2

1832-1912, Borthwick J. Douglas, ed. Poems and songs on the South Arican war: An anthology from England, Africa, Australia, United States, but chiefly Canada. [s.n.], 1994.

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3

David, Locke. Kpegisu: A war drum of the Ewe. White Cliffs Media Co., 1992.

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4

1971-, Miller Stephen D., Schultz Lois 1944-, Duke University. Rare Book, Manuscript, and Special Collections Library., and Library of Congress. National Digital Library Program., eds. Historic American sheet music, 1850-1920: Selected from the collections of Duke University. Library of Congress, 2000.

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5

Abani, Christopher. Song for Night. akashic books, 2009.

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6

Scott, William R. The sons of Sheba's race: African-Americans and the Italo-Ethiopian War, 1935-1941. Indiana University Press, 1993.

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7

Tom, Willard. The stone ponies. Forge, 2000.

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8

Faulkner, William. The unvanquished. Thorndike Press, 2002.

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9

Faulkner, William. The unvanquished: The corrected text. Vintage Books, 1991.

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10

Faulkner, William. Pu pai che. Gui guan tu shu gu fen yu xian gong si, 1994.

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11

Hart, Alison. Gabriel's horses. Peachtree, 2007.

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12

Asim, Jabari. The road to freedom: A story of the Reconstruction. Waterbird Books, 2004.

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13

Poems and Songs on the South African War. Creative Media Partners, LLC, 2022.

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14

Borthwick, J. Douglas. Poems and Songs on the South African War. an Anthology from England, Africa, Australia. Creative Media Partners, LLC, 2023.

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15

Gunderson, Jessica Sarah, and Tony Foti. Songs of Stones River: A Civil War Novel. Capstone, 2015.

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16

Gunderson, Jessica Sarah, and Tony Foti. Songs of Stones River: A Civil War Novel. Capstone, 2021.

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17

Gunderson, Jessica Sarah, and Tony Foti. Songs of Stones River: A Civil War Novel. Capstone, 2015.

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18

Gunderson, Jessica Sarah, and Tony Foti. Songs of Stones River: A Civil War Novel. Capstone, 2015.

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19

Gunderson, Jessica Sarah. The Songs of Stones River: A Civil War Novel. Stone Arch Books, 2015.

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20

Kommandeer! Kommandeer!: Volksang uit die Anglo-Boereoorlog. J.P. Van der Walt, 1999.

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21

Locke, David, and Godwin Agbeli. Kpegisu: A War Drum of the Ewe (Performance in World Music Series). White Cliffs Media, 1992.

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22

Epstein, Dena J. Sinful Tunes and Spirituals: Black Folk Music to the Civil War (Music in American Life). University of Illinois Press, 1997.

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23

Langer, Howard J. World War II. Greenwood, 1999. http://dx.doi.org/10.5040/9798216039419.

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An all-encompassing book with more than a thousand quotations, this work breathes life into an era unprecedented in world history. Covering all aspects of the war, the volume includes more than 300 individuals from the Allies, the Axis, and the neutrals. It quotes the major political leaders, including Churchill, Hitler, Roosevelt, and Stalin, and military officers—not just Eisenhower, Marshall, and King, but also Montgomery, Rommel, Zhukov, and Yamamoto. It covers historians Shirer, Sherwood, and A.J.P. Taylor, journalists Pyle, Murrow, and Hersey, and diplomats Ciano and Ribbentrop. It also

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24

Sinful Tunes and Spirituals: BLACK FOLK MUSIC TO THE CIVIL WAR (Music in American Life). University of Illinois Press, 2003.

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25

Shearon, Stephen. The Sacred in Country Music. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.26.

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The key to understanding the vast majority of sacred expression in country music is understanding the gospel song and the religious developments for which it was the primary musical outlet. By the time the country market was established, gospel song had undergone a century or more of development. Changes in sacred country music, moreover, tracked the changes in gospel song. The earliest songs were northern product of the sort produced by Fanny Crosby. As southern production grew, songs such as those by Albert E. Brumley were added. And country artists themselves wrote new gospel songs. In the

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26

Redemption songs: Suing for freedom before Dred Scott. 2014.

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27

Redemption Songs: Suing for Freedom Before Dred Scott. Oxford University Press, Incorporated, 2014.

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28

Conjuring freedom: Music and masculinity in the Civil War's "Gospel Army". 2017.

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29

Songs of a War Boy. Hachette Australia, 2017.

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30

Ammen, Sharon. The Profoundly Troubling History of the Coon Song. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040658.003.0004.

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This chapter explores the origination of the coon song, a ragtime melody mixing jazz and march music and replete with degrading racial stereotypes. May Irwin was the most prominent white female coon shouter. Songs by Stephen Foster and those performed by William Walker and Bert Williams are discussed, as is the nationwide dissemination of sheet music from Tin Pan Alley. The author examines abolitionism and Radical Reconstruction in African American history and the increase of lynchings of African Americans in Jim Crow America. She then looks at the “Greedy Gal” and the “Idealized” and “Patheti

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31

Snyder, Jean E. Burleigh’s Singing Career. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0009.

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This chapter focuses on Harry T. Burleigh's singing career. When Burleigh auditioned for admission to the Artist's Course at the National Conservatory of Music, his goal was to become a classical concert singer. Like soprano Sissieretta Jones, he wanted to sing arias and art songs in recital. Like other well-known black singers, Burleigh sang for audiences in African American venues throughout the East and Midwest, as well as for mixed audiences, and on many occasions he sang for audiences that were primarily white. As he became known nationwide as “the premiere baritone of the race” and as th

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32

Snyder, Jean E. Bringing Spirituals to the Concert Stage. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0016.

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This chapter focuses on the popularity of Harry T. Burleigh's spirituals in recitals and other concerts. Burleigh published his first solo arrangement of spirituals from 1911 to 1916, at a time when the tide of interest in African American folk music, especially spirituals, was gathering momentum. At least nineteen white American composers joined the stream. Black composers also produced compositions reflecting their folk heritage during these years. From the 1916–1917 concert season, when his solo arrangement of “Deep River” became the hit of the recital season, Burleigh's role as pioneer arr

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33

Jack Toffey's war: A son's memoir. Fordham University Press, 2008.

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34

Garber, Michael G. Songs She Wrote. Rowman & Littlefield, 2025. https://doi.org/10.5040/9798881847753.

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Women built the popular song industry of Tin Pan Alley, yet many of their stories have seldom been told. They blazed the trail for women in music today and set an inspiring example for generations to come. Songs She Wrote celebrates women’s contributions to popular music by looking at dozens of well-known songwriters, lyricists, and composers in the first half of the twentieth century like Billie Holiday, Peggy Lee, and Dorothy Parker and unearths more unknown women who made major contributions. Learn about Maria Grever (“What a Difference a Day Made”) who was the first female Mexican to achie

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35

Song for night. Telegram, 2016.

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36

Abromeit, Kathleen A. An Index to African-American Spirituals for the Solo Voice. Greenwood Publishing Group, Inc., 1999. http://dx.doi.org/10.5040/9798400669514.

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Spirituals were an intrinsic part of the African-American plantation life and were sung at all important occasions and events. This volume is the first index of African-American spirituals to be published in more than half a century and will be an important research tool for scholars and students of African-American history and music. The first collection of slave songs appeared in 1843, without musical notation, in a series of three articles by a Methodist Church missionary identified simply as c. Collections that included musical notation began appearing in the 1850s. The earliest book-lengt

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37

The Sons of Sheba's Race: African-Americans and the Italo-Ethiopian War, 1935-1941. Indiana University Press, 1993.

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38

Jolaosho, Omotayo. You Can't Go to War Without Song: Performance and Community Mobilization in South Africa. Indiana University Press, 2022.

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39

Jolaosho, Omotayo. You Can't Go to War Without Song: Performance and Community Mobilization in South Africa. Indiana University Press, 2022.

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40

Jolaosho, Omotayo. You Can't Go to War Without Song: Performance and Community Mobilization in South Africa. Indiana University Press, 2022.

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41

Jolaosho, Omotayo. You Can't Go to War Without Song: Performance and Community Mobilization in South Africa. Indiana University Press, 2022.

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42

Graham, Sandra Jean. Composing in Black and White. Edited by Patricia Hall. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199733163.013.10.

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This chapter examines how Sam Lucas (1840–1916), one of the most popular black performers of the late 1870s and 1880s, was able to transcend the restrictions imposed on black entertainers in the last quarter of the nineteenth century, mainly through his songs that deploy ideologically laden codes to signify social constructions of race. Renowned for his songs, comic ingenuity, pleasing tenor voice, nimble dance steps, and dramatic intensity, Lucas holds the distinction of being the only African American to perform in the genres of blackface minstrelsy, variety and vaudeville, turn-of-the-centu

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43

Knight, Gladys, ed. Icons of African American Protest. Greenwood, 2009. http://dx.doi.org/10.5040/9798400667916.

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Protest has always been a catalyst for change. It is the cornerstone of America's own birth. Did not the first immigrants help America take its first steps upon the road to greatness when they long ago protested against the oppression of their native government and established new edicts promoting the ideals of freedom and opportunity? Since the first African slave was forced to board a ship bound for this continent, protest has been a major motif in the African American experience. It was a critical weapon during the raging violence against blacks following the end of Reconstruction, the Jim

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44

Mckelvey, Ben, and Deng Thiak Adut. Songs of a War Boy: The Bestselling Biography of Deng Adut - a Child Soldier, Refugee and Man of Hope. Hachette Australia, 2019.

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45

Morrison, Toni. Desdemona. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350429017.

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‘This is a remarkable, challenging and bravely original work.’ The Guardian Ripped from the world by her husband’s paranoia, Desdemona turns in death towards the memory of Barbary, the North African maid who raised her: together, they explore the contours of death, race, war, love and motherhood, in a moving elegy. Audacious with ambition, Desdemona is Toni Morrison’s intimate reimagining of the fourth act of Shakespeare’s Othello, mixing monologue with Rokia Traoré’s lyrical songs to re-examine the Bard’s presentation of race and female suffering. Part-play, part-concert, part-quest into the

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46

Empey, Heather J. The Mothers of the Caliph’s Sons. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190622183.003.0008.

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The chapter considers women taken as spoils of war (ghanima) and then distributed as concubines or sold into slavery, this during the rise to power of the Almohads, the dynasty that ruled the Islamic West (the Maghrib) from 1147 to 1269 CE. The story of these women provides a unique window onto a wider political and ideological shift—the rise of the Almohad state—in which they were significant pawns. Information on Almohad concubines and female slaves also provides a close glance at the conduct of Almohad warfare that we do not find elsewhere either in primary sources or modern secondary liter

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47

J Douglas (John Douglas) Borthwick. Poems and Songs on the South Arican War [microform]: An Anthology From England, Africa, Australia, United States, but Chiefly Canada. Legare Street Press, 2021.

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48

Marovich, Robert M. “Someday, Somewhere”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039102.003.0005.

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This chapter examines the roles played by Thomas A. Dorsey, Mahalia Jackson, Sallie Martin, Theodore R. Frye, and Magnolia Lewis Butts in the development of gospel music in Chicago. During the late 1920s and early 1930s, Dorsey, Jackson, Martin, Frye, and Butts formed an informal nexus that spread the new gospel songs and gospel music style throughout Chicago and, ultimately, across the country. Dorsey was a versatile pianist, composer, arranger, singer, and bandleader who helped incorporate jazz and blues styles into gospel. He met Jackson around 1928 and offered her to demonstrate his songs.

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49

Perry, Imani. May We Forever Stand. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469638607.001.0001.

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Singing and fighting for freedom have been inseparable in African American history. May We Forever Stand: A History of the Black National Anthem, tells an essential yet understudied part of that story. Lift Every Voice and Sing, penned by James Weldon Johnson and composed by his brother Rosamond in 1900, was embraced as an anthem that captured the story and the aspirations of Black Americans almost immediately. This book shares the story of that song, as it traveled from South to North, from churches to schools, and from civil rights to Black power, and beyond. Because it is an anthem, the sto

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50

Stowe, David W. Religion and Race in American Music. Edited by Paul Harvey and Kathryn Gin Lum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190221171.013.4.

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Religious music functions both to create group identities and to dissolve social boundaries. Historically, American music has been characterized by racial and religious crossover. While many ethnic groups have participated in constituting American music, the most seminal crossovers have occurred between African and European Americans. Jazz was shaped largely by the interactions of Jews and African Americans. Gospel music developed from the interaction of vernacular slave spirituals, Protestant hymns, and the secular blues. Christian hymns have been thoroughly indigenized by many Native America

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