Relevant bibliographies by topics / African American; Jazz music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Reports

Academic literature on the topic 'African American; Jazz music'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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Journal articles on the topic "African American; Jazz music"

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Brothers, Thomas. "Solo and Cycle in African-American Jazz." Musical Quarterly 78, no. 3 (1994): 479–509. http://dx.doi.org/10.1093/mq/78.3.479.

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Collins, John. "The early history of West African highlife music." Popular Music 8, no. 3 (October 1989): 221–30. http://dx.doi.org/10.1017/s0261143000003524.

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Highlife is one of the myriad varieties of acculturated popular dance-music styles that have been emerging from Africa this century and which fuse African with Western (i.e. European and American) and islamic influences. Besides highlife, other examples include kwela, township jive and mbaqanga from South Africa, chimurenga from Zimbabwe, the benga beat from Kenya, taraab music from the East African coast, Congo jazz (soukous) from Central Africa, rai music from North Africa, juju and apala music from western Nigeria, makossa from the Cameroons and mbalax from Senegal.
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Morrison, Steven J. "A Comparison of Preference Responses of White and African-American Students to Musical versus Musical/Visual Stimuli." Journal of Research in Music Education 46, no. 2 (July 1998): 208–22. http://dx.doi.org/10.2307/3345624.

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The purpose of this study was to examine the role of same- and other-group identification in musical preference decision-making. Subjects were African-American (n = 189) and white (n = 280) music students in Grades 6, 7, and 8. Each subject responded along a 9-point Likert scale to 10 instrumental music excerpts, five performed by African-American jazz artists and five performed by white jazz artists. Examples were presented according to one of three conditions: (1) music only, (2) music accompanied by a photograph of the performers, or (3) music accompanied by a photograph of different performers representing a different ethnicity. Results indicated that white subjects preferred examples by white performers regardless of presentation condition. African-American subjects preferred examples by white performers when presented with music alone, but preferred examples believed to be by African-American performers under the musical/visual conditions.
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Peretti, Burton W. "Caliban reheard: new voices on jazz and American consciousness." Popular Music 13, no. 2 (May 1994): 151–64. http://dx.doi.org/10.1017/s0261143000007017.

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Wilfrid Mellers was one of the first scholars of American music to recognise that jazz was situated within many of the major contexts and controversies of American civilisation. InMusic in a New Found Land(1965) andCaliban Reborn(1967), he argued eloquently that jazz was the music which both expressed and challenged urban alienation from a distinctly African-American point of view.
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Anderson, Gene, and Thomas Hennessey. "From Jazz to Swing: African-American Jazz Musicians and Their Music, 1890-1935." American Music 14, no. 1 (1996): 115. http://dx.doi.org/10.2307/3052463.

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Booker, Vaughn. "“An Authentic Record of My Race”: Exploring the Popular Narratives of African American Religion in the Music of Duke Ellington." Religion and American Culture: A Journal of Interpretation 25, no. 1 (2015): 1–36. http://dx.doi.org/10.1525/rac.2015.25.1.1.

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AbstractEdward Kennedy “Duke” Ellington (1899–1974) emerged within the jazz profession as a prominent exponent of Harlem Renaissance racial uplift ideals about incorporating African American culture into artistic production. Formed in the early twentieth century's middle-class black Protestant culture but not a churchgoer in adulthood, Ellington conveyed a nostalgic appreciation of African American Christianity whenever hewrote music to chronicle African American history. This prominent jazz musician's religious nostalgia resulted in compositions that conveyed to a broader American audience a portrait of African American religiosity that was constantly “classical” and static—not quite primitive, but never appreciated as a modern aspect of black culture.This article examines several Ellington compositions from the late 1920s through the 1960s that exemplify his deployment of popular representations of African American religious belief and practice. Through the short filmBlack and Tanin the 1920s, the satirical popular song “Is That Religion?” in the 1930s, the long-form symphonic movementBlack, Brown and Beigein the 1940s, the lyricism of “Come Sunday” in the 1950s, and the dramatic prose of “My People” in the 1960s, Ellington attempted to capture a portrait of black religious practice without recognition of contemporaneous developments in black Protestant Christianity in the twentieth century's middle decades. Although existing Ellington scholarship has covered his “Sacred Concerts” in the 1960s and 1970s, this article engages themes and representations in Ellington's work prefiguring the religious jazz that became popular with white liberal Protestants in America and Europe. This discussion of religious narratives in Ellington's compositions affords an opportunity to reflect upon the (un)intended consequences of progressive, sympathetic cultural production, particularly on the part of prominent African American historical figures in their time. Moreover, this article attempts to locate the jazz profession as a critical site for the examination of racial and religious representation in African American religious history.
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Drott, Eric. "Free Jazz and the French Critic." Journal of the American Musicological Society 61, no. 3 (2008): 541–81. http://dx.doi.org/10.1525/jm.2008.61.3.541.

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Abstract From the mid-1960s to the early 1970s, free jazz was the subject of considerable public interest in France. The present article examines the conditions that fueled enthusiasm for American avant-garde jazz, focusing on the politicization of discourse surrounding the ‘new thing.’ Critics hostile to the movement felt that it undermined jazz's claim to universality, a cornerstone of postwar attempts to valorize the genre in the French cultural sphere. Yet the tendency to identify free jazz with various forms of African American political radicalism presented no less of a challenge for the movement's advocates. By constructing an image of free jazz that stressed its irremediable difference from the norms and values of European culture, writers were compelled to find alternative ways of relating it to contemporary French concerns. A reading of Philippe Carles and Jean-Louis Comolli's text Free Jazz Black Power shows how the authors' attempt to reinscribe African American cultural nationalism as an expression of transnational anticolonial struggle not only helped bring free jazz closer to the French experience, but also served as a way of working through the unresolved legacies of colonialism.
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Stowe, David W., Thomas J. Hennessey, and William Howland Kenney. "From Jazz to Swing: African-American Jazz Musicians and Their Music, 1890- 1935." Journal of American History 82, no. 2 (September 1995): 777. http://dx.doi.org/10.2307/2082322.

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MAXILE, HORACE J. "Implication, Quotation, and Coltrane in Selected Works By David N. Baker." Journal of the Society for American Music 7, no. 2 (May 2013): 147–64. http://dx.doi.org/10.1017/s1752196313000059.

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AbstractThis article explores composer David N. Baker's use of elements of jazz and vernacular music to articulate formal structures and suggest extramusical commentaries in his concert works, with particular focus on the Sonata for Cello and Piano and the Sonata I for Piano. Themes of homage to and respect for jazz saxophonist John Coltrane resonate through these works. Various features bring the jazz legend to mind, but Baker's compelling play with implication and quotation provides fertile ground for studying musical signification and the use of vernacular emblems within Western compositional structures and the concert music of African American composers. Conventional analytical methods are combined with readings of referential symbols to work toward interpretations that address both structural and expressive domains. This approach allows discussions of compositional techniques to intersect with cultural and philosophical considerations. By addressing issues of musical structure and expressivity, this article seeks to move beyond commonplace surface-level descriptions of black vernacular emblems in the concert music of African American composers.
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Monson, Ingrid. "The Problem with White Hipness: Race, Gender, and Cultural Conceptions in Jazz Historical Discourse." Journal of the American Musicological Society 48, no. 3 (1995): 396–422. http://dx.doi.org/10.2307/3519833.

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This essay situates hipness within a broader range of African American history and moral debate than is generally presented in accounts of jazz history. The perspectives of Amiri Baraka, Mezz Mezzrow, Norman Mailer, and Dizzy Gillespie are used to develop the thesis that there is a problem with white presumptions about how hipness relates to African American cultural life and history. This problem requires addressing interrelationships between race and gender, as well as the legacy of primitivism embedded in common assumptions about how jazz since World War II relates to social consciousness, sexual liberation, and dignity.
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Dissertations / Theses on the topic "African American; Jazz music"

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Goecke, Norman Michael. "What is "Jazz Theory" Today? Its Cultural Dynamics and Conceptualization." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1395668797.

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Mazman, Alper. "Jazz talks : representations & self-representations of African American music and its musicians from bebop to free jazz." Thesis, University of Nottingham, 2010. http://eprints.nottingham.ac.uk/12890/.

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The main focus of this thesis is the representation of jazz music and its musicians, and the ways in which American (black and white) critics, novelists, and musicians interpret this music from the development of bebop to free jazz. My aim is to reveal the complexities of the dialogue between white and black representations of jazz, as well as among the self-representations of African American musicians. To this end, I discuss the discourses of jazz that are embedded within the broader cultural, political and ideological debates in this specific period, illustrating how the meaning of jazz is mediated through these conversations. Although jazz talks through the music itself, I argue that the representation of jazz largely depends on who talks about it. The introduction briefly sketches the context of earlier African American writings on music, from Frederick Douglass through the Harlem Renaissance and beyond. Chapter 1 deals with bebop and the ways in which it was seen as more or less expressive of a specific African American consciousness, and how critics shaped the general view of it. Chapter 2 further explores the African American views of music through James Baldwin short story, "Sonny's Blues". Chapter 3 traces the ways in which white writers used jazz for their own ends, focusing on some key terms such as 'hip' and 'cool'. Chapter 4 explores the complex relation between jazz and the new politics of black liberation through a number of key albums and figures, while Chapter 5 gives a more extended examination of these ideas through the figure of Charles Mingus. My conclusion attempts to look again at one of the themes of the thesis - who has the power to represent jazz - through a discussion of Ken Burns' Jazz.
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Rice, Alan J. "The structures and meanings of Toni Morrison's jazz prose style." Thesis, Keele University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362163.

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Chirwa, Kabelo Ufulu. "Encumbered Existence| A Three Movement Work for Jazz Orchestra." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10279545.

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Encumbered Existence is a three-movement programmatic work for jazz orchestra that uses specific events in African-American history to capture the struggle of African- Americans and emotions provoked by these events. The first movement, ?The State of the World,? and last movement, ?Between the World and Me,? capture painful events such as the shooting of Trayvon Martin. ?Between the World and Me? uses the dates of Martin?s birth and death as set classes to guide the piece. The second movement, ?The Dream,? portrays a hopeful attitude and is inspired by Dr. Martin Luther King Jr. and the ?I Have a Dream? speech. Encumbered Existence is 314 measure long. Prior to the score, an analysis of the piece provides an outline of the overall structure of the work as well as illustrations of the musical quotations used throughout the piece. The compositional decisions made during the creative process are explained by highlighting individual musical moments in the piece and then examining their correlation to the work. All inspirational material is also discussed.

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Fry, Andy. "De la musique negre au jazz francais : African-American music and musicians in interwar France." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399455.

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Stiegler, Morgen Leigh. "African Experience on American Shores: Influence of Native American Contact on the Development of Jazz." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1244856703.

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Perchard, Tom. "Lee Morgan (1938-72) : the life of one jazz trumpeter in African American culture, music and history." Thesis, Goldsmiths College (University of London), 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424374.

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Heller, Michael C. "Reconstructing We: History, Memory and Politics in a Loft Jazz Archive." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10328.

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This dissertation examines a recently discovered archive of films, recordings, photographs and documents relating to the New York jazz lofts of the 1970s. The work not only reconstructs historical details about the lofts, but also explores the significance of the archival project itself, an independent venture founded in 2005 by musician and former loft organizer Juma Sultan. By combining historical research in the Sultan archive and ethnographic engagement with former loft artists, the study examines the continued symbolic significance of the loft era for musicians, listeners and historians. The jazz lofts were independently owned, musician-run spaces in lower Manhattan that served as performance venues, rehearsal halls, living quarters, classrooms and in a variety of other functions. Their emergence is best considered as part of a widespread, politically informed impetus among musicians of the period to organize their own concerts and collective organizations. While the activities shared many similarities with other artist-organized groups emerging in Chicago, St. Louis and elsewhere, the lofts’ independence and lack of a central organizing body led to a more diffuse set of activities than manifested in other cities. The dissertation is structured around two primary goals. First, through archival study and ethnographic engagement, the text traces the musical and social significance of the loft period. Following a basic historical chapter, two thematic discourses are examined at length. The first deals with multivalent forms of freedom envisioned by artists, while the second explores ways that participants conceptualized community and social cohesion. The choice of these discourses is informed by descriptions offered in ethnographic interviews with former loft artists. Second, the research considers the role of the archive itself in the re/construction of historical discourses. A notable self-archiving impulse emerged among jazz artists during the years under study, resulting in thousands of amateur recordings in dozens of private collections. Using the Sultan Archive as the primary case study, the dissertation argues that this self-archiving impulse acts as an artist-initiated intervention into historiographic processes that mirrors the musician-organized ethos of the lofts themselves.
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Goecke, Norman Michael. "What Is at Stake in Jazz Education? Creative Black Music and the Twenty-First-Century Learning Environment." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461119626.

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Pinson, Koren Heather. "The music behind the image : a study of the social and cultural identity of jazz /." View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3266067.

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Books on the topic "African American; Jazz music"

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Deutsch, Lauren. Great Black music. Mosina, Poland]: Era Jazzu, 2002.

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Baraka, Imamu Amiri. The music: Reflections on jazz and blues. New York: Morrow, 1987.

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Jazz, the great American art. New York: Franklin Watts, 1995.

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From jazz to swing: African-American jazz musicians and their music, 1890-1935. Detroit: Wayne State University Press, 1994.

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Baraka, Imamu Amiri. Black music: Essays. New York: Akashic, 2010.

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Jazz. Detroit: Lucent Books, 2011.

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Jazz griots: Music as history in the 1960s African American poem. Lanham, Md: Lexington Books, 2012.

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America's music: Jazz in Newark. West Orange, New Jersey: Swing City Press, 2014.

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Negotiating temporal differences: Blues, jazz and narrativity in African American culture. Heidelberg: C.Winter, 2000.

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William, Gaines, ed. Jelly's blues: The life, music, and redemption of Jelly Roll Morton. Cambridge, MA: Da Capo, 2003.

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Book chapters on the topic "African American; Jazz music"

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Lawson, Bill E. "Jazz and the African-American Experience: The Expressiveness of African-American Music." In Language, Mind, and Art, 131–42. Dordrecht: Springer Netherlands, 1994. http://dx.doi.org/10.1007/978-94-015-8313-8_10.

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Leonard, Keith D. "Jazz and African American Literature." In A Companion to African American Literature, 286–301. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444323474.ch19.

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Dorf, Samuel N., Heather MacLachlan, and Julia Randel. "African American Religious Music." In Anthology to Accompany Gateways to Understanding Music, 232–33. New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003041542-36.

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Saito, Yoshiomi. "The genealogy of “American music”." In The Global Politics of Jazz in the Twentieth Century, 10–28. Abingdon, Oxon ; New York, NY : Routledge, 2020. |Series: Routledge advances in international relations and global politics ; 144: Routledge, 2019. http://dx.doi.org/10.4324/9780429060595-2.

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Elizabeth, M. Cizmar. "Ernie McClintock’s Jazz Acting." In The Routledge Companion to African American Theatre and Performance, 186–90. New York, NY : Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315191225-37.

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Reichardt, Ulfried. "African American music in the Americas." In Sonic Politics, 44–50. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: InterAmerican Research: Contact, Communication, Conflict ; ASHSER-1426: Routledge, 2019. http://dx.doi.org/10.4324/9780429423932-3.

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Vaughan, Umi. "African Flavor in Latin American Music." In The Routledge History of Latin American Culture, 67–77. New York : Routledge, 2017. | Series: The Routledge Histories: Routledge, 2017. http://dx.doi.org/10.4324/9781315697253-6.

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Smith, Virginia Whatley. "Jean Toomer Revisited in James Emanuel’s Postmodernist Jazz Haiku." In Cross-Cultural Visions in African American Literature, 81–108. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119123_5.

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Sacré, Robert. "Black Music USA: From African to African American Music." In Charley Patton, 3–12. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816139.003.0001.

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This chapter discusses the history of African American Music. Many of the roots of black American music lie in Africa more than four hundred years ago at the start of the slave trade. It is essential to realize that the importance given to music and dance in Africa was reflected among black people in America in the songs they sang, in their dancing, and at their folk gatherings. As such, every aspect of jazz, blues, and gospel music is African to some degree. Work songs and the related prison songs are precursors of the blues. One can assume that primitive forms of pre-blues appeared around 1885, mostly in the Deep South and predominantly in the state of Mississippi. However, it was several more years before the famous AAB twelve-bar structure appeared, and when it did, one of its leading practitioners was Charley Patton.
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Lowney, John. "“A New Kind of Music”." In Jazz Internationalism. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041334.003.0007.

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The concluding chapter considers the implications of jazz in Paule Marshall’s writing, specifically in her 2000 novel The Fisher King. Marshall has long been identified with her commitment to Pan-Africanism, but she is less frequently identified as a novelist who features music as a mode of affirming or restoring a consciousness of African heritage. Like Marshall’s previous novels, The Fisher King represents a Black Atlantic geography of migration through a resolutely feminist perspective. In portraying postwar Paris as a site of refuge—especially for jazz musicians like the novel’s Caribbean-American male protagonist—The Fisher King furthermore revisits the most prominent site of twentieth-century black internationalism. Interweaving narratives of African American and Caribbean migration with mythic narratives of African American expatriation and jazz history, The Fisher King invokes both the utopian desire associated with jazz improvisation and the more realist lyricism of the blues.
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Reports on the topic "African American; Jazz music"

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Mehegan, Laura, and G. Chuck Rainville. Music and Brain Health Among African American/Black Adults. Washington, DC: AARP Research, November 2020. http://dx.doi.org/10.26419/res.00387.004.

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