Dissertations / Theses: 'African American musicians'

1

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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9

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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Ferguson, Sheila Alease. "Making it in the Black Music industry: A study of career development and social support among African-American musicians, managers and entrepreneurs." Case Western Reserve University School of Graduate Studies / OhioLINK, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=case1055776862.

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Pugh-Patton, Danette Marie. "Images and lyrics: Representations of African American women in blues lyrics written by black women." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3235.

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The purpose of this thesis is to examine to what extent representations of double jeopardy and the stereotypical images of African American females: Mammy, Matriarch, Sapphire, and Strong Black Woman emerge in the blues lyrics of Alberta Hunter, Gertrude "Ma" Rainy, Memphis Minnie, and Victoria Spivey, using the theoretical framework of Black feminist rhetorical critique. The findings in this research entail several meanings regarding the lives of African American women during the 1920s and 1930s. Representations of racism, sexism, and classism also appear in the theme of relationships with various subthemes. The focus of this study is to explore the evolution of Black music and examine the role women have played in both the development and advancement of the blues genre. Additionally, the study will explore various concepts of cultural identity development in order to establish the process of how identity is constructed and negotiated in African Americans specifically African American women.

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Gaines, Adam W. "Work of Art : the life and music of Art Farmer." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.

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Ebert, Alexander. "Jazz und seine Musiker im Roman "vernacular and sophisticated"." Hamburg Kovač, 2009. http://d-nb.info/996277846/04.

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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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Scannell, John School of Media Film &amp Theatre UNSW. "James Brown: apprehending a minor temporality." Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.

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This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.

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17

Franklin, Serena. "Ill beats : black women rap artists and the representations of women in hip hop culture." Honors in the Major Thesis, University of Central Florida, 2004. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/336.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Anthropology

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18

Ferguson, Benny Pryor. "The Bands of the Confederacy: An Examination of the Musical and Military Contributions of the Bands and Musicians of the Confederate States of America." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc798486/.

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The purpose of this study was to investigate the bands of the armies of the Confederate States of America. This study features appendices of libraries and archives collections visited in ten states and Washington D.C., and covers all known Confederate bands. Some scholars have erroneously concluded that this indicated a lack of available primary source materials that few Confederate bands served the duration of the war. The study features appendices of libraries and archives collections visited in ten states and Washington, D.C., and covers all known Confederate bands. There were approximately 155 bands and 2,400 bandsmen in the service of the Confederate armies. Forty bands surrendered at Appomattox and many others not listed on final muster rolls were found to have served through the war. While most Confederate musicians and bandsmen were white, many black musicians were regularly enlisted soldiers who provided the same services. A chapter is devoted to the contributions of black Confederate musicians.

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19

Rijn, Guido van. "Roosevelt's blues : African-American blues and gospel artists on president Franklin D. Roosevelt /." Leiden : Rijksuniversiteit, 1996. http://catalogue.bnf.fr/ark:/12148/cb36961783p.

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O'Connell, Deirdre Mary. "The World of Crickett Smith: Remembering a Forgotten Trumpeter and Traveler (1881-1947)." Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21982.

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This thesis tracks the life of Crickett Smith, a little-remembered black American trumpeter whose life spanned from the end of Reconstruction to the first stirrings of the Civil Rights movement. Born in the midst of the Exoduster migration, Crickett Smith carved out a musical career on the streets and small stages of Kansas City, Chicago, New York, Paris, Moscow, and Bombay. A seminal figure in the creation and dissemination of cosmopolitan modernism, black internationalism and a distinctly American sound, Smith functioned as an unofficial cultural emissary at a time when black performers were seldom named. Even admirers devalued their artistry. To follow Crickett Smith’s journey is to travel the Exoduster’s musical path out of the contraband camps of Nashville and into the core of American culture. His story reveals the labor practices of travelling entertainers, the rise of black showbusiness, and the global circulation of cultural commodities, practices, and ideas. His career played out across imperial networks, in hyper-colonial cities, and in the city streets, cafes, and cabarets where an informal, grassroots network of black internationalism took root. Crickett Smith’s life reveals a wealth of information about cultural hierarchies, the logic of the marketplace, ways of hearing, the subjective nature of art, and unpredictable forms of fellowship both along and across the color line. Despite the extraordinary scope of his musical network and depth of engagement with the commercial, avant-garde, and anti-colonial world, Crickett Smith has barely dented the public record – an absence that speaks to the racialized nature of remembering and forgetting. My effort to recover this life, then, ranges beyond biography into a microhistorical study of the process of obfuscation and erasure.

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21

Henry, Lucas Aaron. "Freedom Now!: Four Hard Bop and Avant-Garde Jazz Musicians' Musical Commentary on the Civil Rights Movement, 1958-1964." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-1110104-224112/unrestricted/HenryL121004f.pdf.

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Thesis (M.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-1110104-224112 Includes bibliographical references. Also available via Internet at the UMI web site.

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22

Bakriges, Christopher G. "African American musical avant-gardism." 2001. http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67904.

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Thesis (Ph. D.)--York University, 2001. Graduate Programme in Music.
Typescript. Includes bibliographical references (leaves 388-421). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ67904.

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23

Jones, Eddie Wade. "Portrait of an unsung hero Roland Hayes and his music /." 1989. http://catalog.hathitrust.org/api/volumes/oclc/24620101.html.

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24

Marvin, Thomas Fletcher. "Children of Legba: African-American musicians of the jazz age in literature and popular culture." 1993. https://scholarworks.umass.edu/dissertations/AAI9408308.

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Among the Dahomey of West Africa, the spirit Legba presides over all transitions, and African-American blues and jazz musicians can be considered his "children," or followers, since their music provides a link between the physical and spiritual worlds, the past and the present, and between cultures. Chapter one provides a cross-cultural perspective on the role of the musician in various societies, with the emphasis on Western Europe and West Africa, including a description of the special status of female musicians. Chapter two considers how the derogatory stereotypes of black musicians created by the nineteenth-century minstrel show allowed performers to cross the racial, sexual, and class boundaries of American society. Only if we recognize the paradox of freedom offered by this vestige of slavery will we be able to make sense of the fact that black performers adapted the minstrel roles after the Civil War. The third chapter describes the social role of the black musician of the jazz age, beginning with the controversy surrounding jazz in the early twenties, and tracing the survival of African musical practices and beliefs in jazz and the blues. The careers of many musicians are analyzed to demonstrate the range of opportunities open to black performers in the period. Langston Hughes and Sterling Brown wrote poetry inspired by the blues, adopting the persona of the musician in order to speak with an authentic folk voice. Chapter four considers how musicians are represented in their writing and compares their blues poems to the recordings of contemporary blues performers. The great jazz musicians of the twenties and thirties fired the imaginations of many modern African-American writers by providing a living link to African spiritual traditions and a new model of what history can be when it breaks free from the academy. Chapter five examines the representations of blues and jazz musicians in novels by Ralph Ellison, Alice Walker and Ishmael Reed, showing that all three writers assume the role of improvising historian by adapting the narrative techniques of the West African griot and the repetition with variation of the jazz musician.

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25

McGee, Isaiah Rodriques Thomas André J. "The origin and historical development of prominent professional black choirs in the United States." Diss., 2007. http://etd.lib.fsu.edu/theses/available/etd-11132007-010920/.

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Dissertation (Ph.D.) Florida State University, 2007.
Advisor: André J. Thomas, Florida State University, College of Music. Title and description from dissertation home page (viewed 3-26-2008). Document formatted into pages; contains 200 pages. Includes biographical sketch. Includes bibliographical references.

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Reed, Roxanne Regina. "Preaching and piety : the politics of women's voice in African-American gospel music with special attention to gospel music pioneer Lucie E. Campbell /." 2003. http://www.library.wisc.edu/databases/connect/dissertations.html.

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27

Swan, Scott Grindal Bruce T. ""Music is my vessel" an exploration of african american musical culture through the life story of Lavell Kamma /." 2003. http://etd.lib.fsu.edu/theses/available/etd-09182003-185527.

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Thesis (M.S.)--Florida State University, 2003.
Advisor: Dr. Bruce T. Grindal, Florida State University, College of Arts and Sciences, Dept. of Anthropology. Title and description from dissertation home page (viewed Apr. 7, 2004). Includes bibliographical references.

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28

Lashley, Yorel F. "Walking into the sun after many rainy seasons the histories of the Association for the Advancement of Creative Musicians and the Mississippi Freedom Schools and their re-definition of African-American identity /." 1998. http://catalog.hathitrust.org/api/volumes/oclc/40254943.html.

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Thesis (M.A.)--University of Wisconsin--Madison, 1998.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 130-132).

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29

Ames, Jeffery La'Moun Thomas André J. "A pioneering twentieth century African-American musician The choral works of George T. Walker /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04112005-175424.

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Dissertation (PhD) Florida State University, 2005.
Advisor: André J. Thomas, Florida State University, College of Music. Title and description from dissertation home page (viewed 5-14-2007). Document formatted into pages; contains 187 pages. Includes biographical sketch. Includes musical examples. Includes bibliographical references.

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Dissertations / Theses on the topic 'African American musicians'

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