Relevant bibliographies by topics / African American musicians

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

Academic literature on the topic 'African American musicians'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "African American musicians"

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Burke, Patrick. "Tear down the walls: Jefferson Airplane, race, and revolutionary rhetoric in 1960s rock." Popular Music 29, no. 1 (January 2010): 61–79. http://dx.doi.org/10.1017/s0261143009990389.

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AbstractWhile the notion of the ‘rock revolution’ of the 1960s has by now become commonplace, scholars have rarely addressed the racial implications of this purported revolution. This article examines a notorious 1968 blackface performance by Grace Slick, lead singer of Jefferson Airplane, to shed light on a significant tendency in 1960s rock: white musicians casting themselves as political revolutionaries by enacting an idealised vision of African American identity. Rock, a form dominated by white musicians and audiences but pervasively influenced by black music and style, conveyed deeply felt but inconsistent notions of black identity in which African Americans were simultaneously subjected to insensitive stereotypes and upheld as examples of moral authority and revolutionary authenticity. Jefferson Airplane's references to black culture and politics were multifaceted and involved both condescending or naïve radical posturing and sincere respect for African American music. The Airplane appear to have been engaged in a complex if imperfect attempt to create a contemporary musical form that reflected African American influences without asserting dominance over those influences. Their example suggests that closer attention to racial issues allows us to address the revolutionary ambitions of 1960s rock without romanticising or trivialising them.
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Gazit, Ofer, and Nili Belkind. "Affective Authenticity." Journal of Popular Music Studies 36, no. 1 (March 1, 2024): 51–78. http://dx.doi.org/10.1525/jpms.2024.36.1.51.

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This article develops the concept of “affective authenticity” to explore the experiences and reception of US-based African migrant musicians in the 1960s and 1970s. Based on interviews, archival sources and musical analysis, we trace the migration stories of South African singer Letta Mbulu and the ways in which she negotiated conflicting demands for “authenticity” in her musical performances on the American stage. Affective authenticity represents a heterogenous, explorative sound, reflecting pan-African politics and aesthetics that created the very conditions for African and African American musical collaborations. This aesthetic was countered with expectations for “scientific authenticity:” an ethno-linguistically circumscribed performance that catered to colonial ears and conceptualized African musics as insular, ancient and unchanging – an aesthetic held and policed primarily by (white) music critics. Through analysis of the Yoruba hymn Ise Oluwa (1927) and its “translations” in Mbulu’s performance on the soundtrack for the television show Roots (1977), we show the careful balance of voices, texts, instruments, and rhythms African migrant musicians perform in order to adhere to conflicting demands for authenticity, and the rebuke they experience when they transgress them. We also place conceptualizations of affective and scientific authenticity applied to popular music in broader discourses occurring during the height of the civil rights movement in the United States, the decolonization of Africa, and the entrenchment of the apartheid regime in South Africa.
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Williams, Patrice Jane. "African American Sheet Music." Charleston Advisor 24, no. 3 (January 1, 2023): 5–9. http://dx.doi.org/10.5260/chara.24.3.5.

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African American Sheet Music is a database created by the Center for Digital Scholarship located in John Hay Library at Brown University. It is a culturally rich database filled with sheet music, illustrations, lyrics, and music publishing history centering around the lives of African American composers, musicians, singers, dancers, and stage actors. Various descriptions have the holdings set between different collection dates; however, in the search filters researchers can search items between 1800 and 1926, with some years missing in between. African American Sheet Music contains a wealth of information about African American theater during eras such as the Antebellum South, the Civil War, Reconstruction, and Post-Reconstruction. In addition, there are important illustrations for blackface minstrelsy. Approximately 1,455 items are digitized and readily available for research usage.
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Sutton, Matthew. "The Burden of Racial Innocence: British-Invasion Rock Memoirs and the U.S. South." European Journal of Life Writing 11 (April 21, 2022): 21–40. http://dx.doi.org/10.21827/ejlw.11.38627.

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Mid-sixties British rock musicians have rationalized their firsthand experience and profitable interactions with American racial segregation by adopting a stance of racial innocence, or a belief that youth and virtue make one immune to charges of complicity with organized structures of racism. This almost childlike subject-positioning disingenuously separates musicians’ expertise on African American blues from a more mature acknowledgement of the oppressive racial conditions that shaped the music, implicitly excluding them from culpability in the continued imbalance of power between black and white musicians.
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Dorsch, Hauke. "“Indépendance Cha Cha”: African Pop Music since the Independence Era." Africa Spectrum 45, no. 3 (December 2010): 131–46. http://dx.doi.org/10.1177/000203971004500307.

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Investigating why Latin American music came to be the sound-track of the independence era, this contribution offers an overview of musical developments and cultural politics in certain sub-Saharan African countries since the 1960s. Focusing first on how the governments of newly independent African states used musical styles and musicians to support their nation-building projects, the article then looks at musicians’ more recent perspectives on the independence era.
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Shirts, Peter. "The African American Collections Relating to Music at Emory University’s Rose Library." Notes 80, no. 4 (June 2024): 605–31. http://dx.doi.org/10.1353/not.2024.a928765.

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ABSTRACT: United States music history has for years privileged whiteness and largely ignored or disregarded the contributions of African Americans. The Stuart R. Rose Manuscript, Archives, and Rare Book Library at Emory University in Atlanta, Georgia, houses over thirty collections (and growing) related to African American musicians that could be used to both uncover and recover the critical role African Americans played in the music culture of the United States. This article presents a brief overview of these holdings to date, including the papers of composers (such as William Dawson, George Walker, and Undine Smith Moore), entertainers (such as Victoria Spivey, Bricktop, and Geoffrey Holder), and researchers (such as Rae Linda Brown, Geneva Southall, and Delilah Jackson). Types of materials held include manuscript letters and scores, photographs, and published music (both print and recorded) by and about African Americans.
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Moshugi, Kgomotso. "Reception and Makings of African Vocal Ensemble Sounds beyond Binaries." Religion and the Arts 27, no. 4 (October 6, 2023): 483–97. http://dx.doi.org/10.1163/15685292-02704002.

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Abstract Since 1877, the Seventh-day Adventist (SDA) Church from North America has established its presence in Southern Africa. As with missionization in other denominations, this introduced a variety of primarily Euro-American musical influences into African religious practices. Over the years, Adventist musicians have constantly negotiated a complex relationship to their African contexts, often yielding musical outcomes that cannot be reduced simply to an indigenous vs exogenous or ‘African’ vs ‘Western’ binary evaluation. This intersectional phenomenon is not thoroughly explored in the current scholarship on SDA music. This paper provides background and details on collaborations and exchanges in various repertoires since the 1980s. I argue that these embody intersectional ideas that emerge beyond geographical, cultural, and chronological boundaries. The study is developed from analyzing unstructured interviews and audio recordings to illustrate perpetually blurred boundaries in musical practices that have conventionally distinguished “African” vocal sound.
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Boye, Gary R. "Lagniappe: Country Music in North Carolina: Pickin' in the Old North State." North Carolina Libraries 61, no. 3 (January 20, 2009): 103. http://dx.doi.org/10.3776/ncl.v61i3.167.

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While all Southern states share historical connections in culture and geography, North Carolina is in many ways unique. From the Outer Banks to the industrial Piedmont to the High Country of the west, the state has a unique mix of regions and cultures. Music figures prominently in North Carolina, and its musicians reflect the diversity of the geography. The state’s earliest musicians were the Native Americans, especially the Cherokee, whose music has been recorded and studied in some detail. European-American music has flourishedsince colonial days: in Salem, the Moravian church has sponsored the development of sacred choral and instrumental music for over 200 years. In the early twentieth century a distinct African American blues style originated from the textile mill and tobacco towns of the Piedmont region.
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Lingold, Mary Caton. "In search of Mr Baptiste: on early Caribbean music, race, and a colonial composer." Early Music 49, no. 1 (February 1, 2021): 49–66. http://dx.doi.org/10.1093/em/caab002.

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Abstract Mr Baptiste was a musician living in late 17th-century Jamaica who composed music portraying African traditions as they were performed by enslaved musicians on the island. This article argues that Baptiste was probably a free person of colour and perhaps one of the earliest-known Black American composers to have published Western notation. His music was printed in Hans Sloane’s 1707 travelogue and natural history of Jamaica. The article also addresses broader issues concerning the underrepresentation of marginalized performers in colonial music histories, with special attention to musical life in the early modern Caribbean.
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Ohman, Marian M. "African and African-American Musicians Seeking Progress at A Century of Progress." Journal of the Illinois State Historical Society (1998-) 102, no. 3-4 (October 1, 2009): 368–401. http://dx.doi.org/10.2307/25701241.

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Dissertations / Theses on the topic "African American musicians"

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Ross, Larry. "Jazz musicians in the diaspora /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946292.

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Stiegler, Morgen. "African experience on American shores influence of Native American contact on the development of jazz /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1244856703.

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Hayes, Eileen M. "Black women performers of women-identified music : "they cut off my voice, I grew two voices" /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10623.

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Strother, Eric Scott. "The development of Duke Ellington's compositional style a comparative analysis of three selected works /." Lexington, Ky. : [University of Kentucky Libraries], 2001. http://lib.uky.edu/ETD/ukymuth2001t00012/thesistext.pdf.

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Thesis (M.A.)--University of Kentucky, 2001.
Title from document title page. Document formatted into pages; contains viii, 69 p. : ill. Includes abstract. Includes bibliographical references (p. 67-68).
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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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Lyle-Smith, Eva Diane. "Nathaniel Clark Smith (1877-1934): African-American Musician, Music Educator and Composer." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277721/.

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This study is a biography of the life experiences of Nathaniel Clark Smith (1877-1934), an African-American musician, music educator and composer who lived during the early part of America's music education's history. Smith became one of the first international bandmasters to organize bands, orchestras, and glee clubs in schools and industries in the United States. Smith was raised and attended school on a military post. He later received a B.S.M.A. from the Chicago Musical College and a Masters in Composition from the Sherwood School of Music. He taught music at five educational institutions: Tuskegee Institute, Western University, Lincoln, Wendell Phillips and Sumner High Schools. Some of his students became prominent musicians. They were Lionel Hampton, Nat "King" Cole, Milton Hinton, Bennie Moten and Charlie Parker. Smith also worked with industries. He conducted the newsboys band for the Chicago Defender Newspaper and he became the music supervisor for the porters of the Pullman Railroad Company. Smith was stated to have introduced the saxophone to African-Americans and he was considered as one of the first composers to notate spirituals. Smith published over fifty works in America. One of his compositions received a copyright from England. His Negro Folk Suite, published by the Lyon and Healy Publishing Company, was performed by the St. Louis Symphony Orchestra. It received a John Wanamaker Award. His Negro Choral Symphony received a copyright in 1934. Smith became co-owner of the first Music Publishing Company owned by African-Americans, the Smith Jubilee Music Company.
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McRae, Richard. "Musicians Association Local 533 of the American Federation of Musicians and its role in the development of black music in Buffalo, New York /." Buffalo, N. Y, 1993. http://ubdigit.buffalo.edu/u?/lib-mus017,888.

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Lee, Jooyoung Kim. "Rap dreams." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997614291&sid=2&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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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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Thomas, Rebecca Ann. "The color of music : race and the making of America's country music /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974690.

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Books on the topic "African American musicians"

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Hegel, Claudette. African-American musicians. Philadelphia: Mason Crest, 2012.

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Hegel, Claudette. African-American musicians. Philadelphia: Mason Crest, 2012.

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1941-, Haskins James, ed. African American musicians. New York: Wiley, 2000.

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Feinstein, Stephen. Incredible African-American jazz musicians. Berkeley Heights, NJ: Enslow, 2011.

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Cuney-Hare, Maud. Negro musicians and their music. Washington, D.C: The Associated Publishers, Inc., 1987.

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Donovan, Richard X. Black musicians of America. Portland, Or: National Book Co., 1991.

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Hacker, Carlotta. Great African Americans in jazz. New York: Crabtree Pub., 1997.

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Taylor, Art. Notes and tones: Musician-to-musician interviews. New York: Da Capo Press, 1993.

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Frankl, Ron. Charlie Parker, musician. New York: Chelsea House, 1992.

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Handy, D. Antoinette. Black women in American bands and orchestras. 2nd ed. Lanham, Md: Scarecrow Press, 1998.

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Book chapters on the topic "African American musicians"

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Lespinasse, Patricia G. "Reunited." In The Drum Is a Wild Woman, 16–27. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496836038.003.0002.

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This chapter explores the Bebop Era, a particular moment in jazz history bereft of stories pertaining to African American female musicians, in order to provide a counter- narrative that places the black female musician/improviser as central to jazz discourse. This chapter contends that Angelou’s short story becomes a “site” or a repository for the cultural memory of African American women and jazz music. Angelou's “Reunion,” read through a womanist lens, underscores the evolution of the “wild woman” or female jazz musician from object to subject, the nature of cry and response, and highlights the “jazz moment” as a moment of resistance, one that enables African American female musicians to transcend racial and gendered boundaries in order to gain agency and subjectivity through the music.
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Whitmore, Aleysia K. "Musicians and the Industry." In World Music and the Black Atlantic, 119–48. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.003.0005.

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This chapter shows how musicians translate their musics and cultures for European and North American audiences. Acting as businesspeople and artists, musicians work with industry personnel’s and audiences’ expectations to build their images, personae, and musics in ways that are satisfying for themselves and appealing to foreign audiences. The chapter shows how these musicians are historically aware cosmopolitan artists who continually (re)position themselves as they mediate personal identities, career goals, audience (mis)understandings, and the legacies of colonialism and postcolonial nationalism to create valuable musical experiences and products for themselves and for their European and American audiences. They (re)create ideas about their cultures, Africa, and the African diaspora as they use and push against discourses of alterity and universality.
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"Plantation Gatherings and the Foundation of Black American Music." In African Musicians in the Atlantic World, 67–93. University of Virginia Press, 2023. http://dx.doi.org/10.2307/jj.7583918.8.

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Jr., Samuel A. Floyd. "African Roots of Jazz." In The Oxford Companion To Jazz, 7–16. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195125108.003.0002.

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Abstract African-American musical practices in the United States cannot be traced directly to specific populations in Africa with any degree of certainty. But it is possible to document certain general practices that are common to music in Africa and to black music in the United States and widespread in both. Thus we can draw reasonable conclusions about possible relationships between musical practices in Africa and those among jazz musicians in the United States. It can be hypothesized, for example, and determined to a high degree of certainty, that particular musical tendencies were brought with Africans to the New World, preserved within and outside the dancing ring of slave culture, and spread throughout African-derived populations in the United States, eventually becoming an integral part of the music we now know as jazz.
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Gazit, Ofer. "History." In Jazz Migrations, 92–113. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197682777.003.0005.

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Abstract Chapter 4, “History,” uses the notion of storytelling to consider the ways in which Japanese migrant musicians negotiate the jazz canon as a “musical border” in their performances. Building on recent debates about the marginalization and audibility of Asian American musicians in jazz scholarship, the chapter considers the relationships of several New York–based Japanese musicians to the African American jazz tradition. It then provides an analysis of a performance by the Kenji Yoshitake Trio at the Japanese-owned Tomi Jazz club, to show how musicians reflect these relationships in their playing. Finally, it considers how these musicians evoke the African American history of jazz while negotiating demands for originality, sonic identity, and “freedom.”
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Booker, Vaughn A. "Virtuoso Ancestors." In Lift Every Voice and Swing, 231–62. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479892327.003.0010.

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This chapter examines the reverence for departed jazz musicians and the practices of fellow musicians, creative artists, institutions, and the public to celebrate their memory. By heralding its prominent members who are now its ancestors, the jazz community proclaims the importance of memorializing these musicians, of continuing to perform their music, and of inheriting the improvisational spirit to interpret their works according to the religious and spiritual locations of the reverential performers themselves. African American religious practices of celebrating Duke Ellington, Ella Fitzgerald, and Mary Lou Williams chart the new lives—or afterlives—that these deceased musicians gain from those left to interpret their legacies anew. And among African American celebrants, the creative works of many African American women produce a significant record of religious and spiritual interpretations of jazz virtuosity.
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Shadle, Douglas W. "The Fiery Debate." In Antonín Dvořák's New World Symphony, 91–112. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190645625.003.0006.

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About eight months after Antonín Dvořák became director of Jeannette Thurber’s National Conservatory of Music in New York, he weighed in publicly on the question of American musical identity and argued that African American vernacular music (or “negro melodies”) should become the foundation of a national classical style. The New York Herald, which first printed his remarks, stoked a months-long debate that exposed deep-seated anti-Black racism throughout the country’s classical music industry as many musicians rejected the Bohemian’s suggestions outright. Dvořák remained supportive of African American music and musicians but did not fully understand the political implications of his positions.
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Melnick, Jeffrey. "A Black Man in Jewface." In Race and The Modern Artist, 126–39. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195123234.003.0008.

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Abstract In his printed autobiography, the African American stride pianist Willie the Lion Smith outlines unflinchingly how musical materials circulated in New York during the 1910s and 1920s. Throughout this “as-told-to” memoir Smith relates how non-African Americans (usually Jews) appropriated musical styles developed by African Americans. Smith offers one anecdote in particular that provides a sharp accounting of the complex interactions between Jewish and African American musicians in the age of ragtime and jazz. He tells of a party he attended in 1924 (along with fellow piano players Fats Waller and James P. Johnson) that celebrated the debut of George Gershwin’s Rhapsody in Blue at Paul Whiteman’s famous Aeolian Hall concert.
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Jackson, Eric R. "The Creative Expressions of African Americans." In An Introduction to Black Studies, 197–212. University Press of Kentucky, 2023. http://dx.doi.org/10.5810/kentucky/9780813196916.003.0016.

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Music has been a major influence on the construction of Black American culture since the first person of African descent arrived in the Western Hemisphere during the discovery period. During their journey to the Americas, persons of color performed music and built instruments they brought with them from their homeland in West and Central Africa. These activities operated as a unifying intellectual and emotional vehicle where the body and mind were inseparable as well as where the sacred and secular worlds were understood as a whole. Music also served as a place that integrated function and meaning for all of those who would listen. Additionally, Black American music has had a powerful and lasting influence on the history of the United States since the nation's inception. Finally, Black American music has helped to direct many high profile social causes and events. Many Black American performers have become trailblazers from whom many non-Black American musicians and artists have followed, copied, and borrowed from over the centuries. This chapter examines these themes.
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"The Giant Is Awakened." In The Dark Tree, 69–116. Duke University Press, 2023. http://dx.doi.org/10.1215/9781478027416-004.

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A small, working-class enclave tucked into south central Los Angeles County, Watts played a leading role in the life of the African American community in 1965, when African Americans took to the streets en masse in response to growing social and economic inequalities. In the years that followed it became a focal point for many of the social, political, and cultural movements that emerged. It was also to serve as the hub of a grassroots arts movement that spread throughout the African American community, in many ways exemplifying ideas about the role of art and artists in the community that had been germinating in the Underground Musicians Association.
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