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Journal articles on the topic 'Music by African American women composers'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Schenbeck, Lawrence. "From Spirituals to Symphonies: African-American Women Composers and Their Music (review)." Notes 59, no. 3 (2003): 628–30. http://dx.doi.org/10.1353/not.2003.0037.

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2

Wright, Josephine. "New Perspectives on African American Women and MusicHelen Walker-Hill, From Spirituals to Symphonies: African-American Women Composers and Their MusicEileen M. Hayes and Linda F. Williams, Black Women and Music: More than the Blues." Journal of African American History 93, no. 3 (2008): 430–35. http://dx.doi.org/10.1086/jaahv93n3p430.

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3

Hayes, Deborah, and Judith Tick. "American Women Composers before 1870." American Music 3, no. 4 (1985): 478. http://dx.doi.org/10.2307/3051836.

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4

Crutcher, Ronald A., and Margery Hwang. "The Chamber Music of African-American Composers." American String Teacher 45, no. 4 (1995): 71–74. http://dx.doi.org/10.1177/000313139504500414.

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5

Williams, Patrice Jane. "African American Sheet Music." Charleston Advisor 24, no. 3 (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

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6

WILSON KIMBER, MARIAN. "Women Composers at the White House: The National League of American Pen Women and Phyllis Fergus's Advocacy for Women in American Music." Journal of the Society for American Music 12, no. 4 (2018): 477–507. http://dx.doi.org/10.1017/s1752196318000378.

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AbstractWomen composers' concerts, arranged by Phyllis Fergus, were held for Eleanor Roosevelt at the White House in 1934 and 1936. They featured music by members of the National League of American Pen Women—an organization for writers, artists, and composers—and were part of a substantial agenda proposed by Fergus, its music director and later president, to achieve national recognition for its composer members. Drawing on Fergus's scrapbooks and documentation in the FDR Library and Pen Women's archives, this article explores the events that Fergus helped to organize, including concerts in Mia

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7

Ellsworth, Therese. "Composers in academia: Women composers at American colleges and universities." Contemporary Music Review 16, no. 1-2 (1997): 27–36. http://dx.doi.org/10.1080/07494469700640041.

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8

Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 4 (2024): 487–89. http://dx.doi.org/10.53830/sing.00035.

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Abstract: The work of the composers and editors reviewed in this issue include editor Louise Toppin, for the Videmus African American Art Song Series’ 47 Art Songs by Harry T. Burleigh; American composer Natalie Draper for O sea-starved, hungry sea ; and editor Alejandro Garri for Medea in Corinto , one of more than two hundred cantatas created by Baroque master Antonio Caldara for alto, violins and continuo. The column ends with a reflection on the life and work of composer and collaborative pianist Alan Louis Smith, who passed away on October 31, 2023.

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9

Livingston, Carolyn. "Characteristics of American Women Composers: Implications for Music Education." Update: Applications of Research in Music Education 10, no. 1 (1991): 15–18. http://dx.doi.org/10.1177/875512339101000104.

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10

Roland-Silverstein, Kathleen. "Music Reviews." Journal of Singing 80, no. 1 (2023): 99–102. http://dx.doi.org/10.53830/pzwp7713.

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This column includes reviews of two women composers, American Gwyneth Walker (b. 1947) and Pole Grazyna Bacewicz (1909–1969.) The song anthologies presented are Walker’s “No Ordinary Women!” and Bacewicz’ twelve songs, the only ones published. The opera aria anthology series OperAria has released a new book in their series for lyric tenor, an important new collection that combines arias and range, fach, libretto information and provenance, performance history, and descriptions of the vocal/technical and stylistic.

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11

Choi, Eunjung, and Laura J. Keith. "Cultural Diversity." Music Educators Journal 103, no. 2 (2016): 35–40. http://dx.doi.org/10.1177/0027432116670459.

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Contemporary African-American classical composers Cedric Adderley, John Lane, and Trevor Weston intertwine strands of culture and individual experience to produce musical works whose distinct designs offer cultural resources that music educators can use to integrate diversity into instructional settings. Of special interest is their ability to combine traditional European styles and other musical styles, including jazz, gospel, and blues, in their music. The authors include recommendations for incorporating elements of these contemporary African-American–composed works into the curriculum.

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12

Wyatt, Lucius R. "The Inclusion of Concert Music of African-American Composers in Music History Courses." Black Music Research Journal 16, no. 2 (1996): 239. http://dx.doi.org/10.2307/779330.

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13

Djedje, Jacqueline Cogdell. "Los Angeles Composers of African American Gospel Music: The First Generations." American Music 11, no. 4 (1993): 412. http://dx.doi.org/10.2307/3052539.

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14

Brown, Rae Linda. "Kaleidoscope: Music by African-American Women." American Music 16, no. 1 (1998): 116. http://dx.doi.org/10.2307/3052687.

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15

MAXILE, HORACE J. "Implication, Quotation, and Coltrane in Selected Works By David N. Baker." Journal of the Society for American Music 7, no. 2 (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 composition

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16

Wilhoit, Mel R., and Bernice Johnson Reagon. "We'll Understand It Better by and by: Pioneering African American Gospel Composers." American Music 12, no. 4 (1994): 467. http://dx.doi.org/10.2307/3052345.

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17

Shirts, Peter. "The African American Collections Relating to Music at Emory University’s Rose Library." Notes 80, no. 4 (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

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18

Schüler, Nico. "Current Research Methodologies for Rediscovering Forgotten Composers: Using Commercial Genealogy and Newspaper Databases and Other Online Archives." English version, no. 10 (October 22, 2018): 369–86. http://dx.doi.org/10.51515/issn.2744-1261.2018.10.369.

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This paper describes the reconstruction of the life and work of African-American composer Jacob J. Sawyer and the correction of one biographical aspect of African-American composer Edmond Dédé with the help of commercial genealogy and newspaper databases as well as online collections of music scores.

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19

Sylvand, Thomas. "CONSIDERATIONS ABOUT CLASSICAL ORGAN MUSIC IN AFRICA." African Musicology Online 8, no. 2 (2021): xx. http://dx.doi.org/10.58721/amo.v8i2.11.

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African related pieces in the organ Repertoire is a question not often challenged even if few scholarly studies exist; most of them concerning Afro-American composers. Practically, this means that in order to schedule a concert, “usual” organists will not give many names and these names won’t be the same in New-York, Lagos or Paris, where the “reputation” of Jean-Louis Florentz, for instance did not go as far as the landscapes he used to dream. Because of a specific project (Myrelingues, born in Lyon, but involving international partners); this question of Organ Repertoire became a pragmatic i

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20

Southern, Eileen, and Bernice Johnson Reagon. "We'll Understand It Better by and by: Pioneering African American Composers." Notes 51, no. 2 (1994): 567. http://dx.doi.org/10.2307/898866.

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21

Cox, Donna McNeil, and Bernice Johnson Reagon. "We'll Understand It Better by and by: Pioneering African American Gospel Composers." Ethnomusicology 39, no. 2 (1995): 292. http://dx.doi.org/10.2307/924435.

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22

Grolman, Ellen K. "Women of Influence in Contemporary Music: Nine American Composers (review)." Notes 68, no. 3 (2012): 563–65. http://dx.doi.org/10.1353/not.2012.0027.

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23

Radano, Ronald M. "We'll Understand It Better by and by: Pioneering African American Gospel Composers . Bernice Johnson Reagon ." Journal of the American Musicological Society 48, no. 1 (1995): 144–54. http://dx.doi.org/10.1525/jams.1995.48.1.04x0075w.

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24

Lingold, Mary Caton. "In search of Mr Baptiste: on early Caribbean music, race, and a colonial composer." Early Music 49, no. 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 mus

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25

Dixon, Travis L., Yuanyuan Zhang, and Kate Conrad. "Self-Esteem, Misogyny and Afrocentricity: An Examination of the Relationship between Rap Music Consumption and African American Perceptions." Group Processes & Intergroup Relations 12, no. 3 (2009): 345–60. http://dx.doi.org/10.1177/1368430209102847.

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The aim of this study was to examine the relationships between African American audiences, rap music videos, Black collective self-esteem, and attitudes towards women. One-hundred and forty-one African American college students participated in a survey measuring their amount of rap music video viewing, collective self-esteem, Afrocentric identity, and their belief that rap degrades women. The results revealed that viewers who consumed more rap music videos also had a higher sense of collective self-esteem. Additionally, individuals who had strong Afrocentric features tended to identify with ra

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26

Furduy, Yulia, and Marharyta Husieva. "FEMALE IMAGES IN OPERA CREATIVITY OF THE AMERICAN COMPOSERS." Музикознавча думка Дніпропетровщини, no. 17 (November 20, 2019): 70–81. http://dx.doi.org/10.33287/222006.

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The purpose of this article is to analyze and understand the interpretation of female images in the works of Opera composer’s national American school. One of the reasons, which prompted the author to dive into the problem and answers Opera performances of American composers such as K. Floyd, John. K. Menotti, J. Gershwin. Methods. In achieving this goal, applied the following research methods a namely the source, comparison, systematization, analysis, generalization of the research problem, used many specialized works on the theory and history of culture. Scientific novelty of the work is tha

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27

Schüler, Nico. "Rediscovering Forgotten Composers with the Help of Online Genealogy and Music Score Databases: A Case Study on African-American Composer Jacob J. Sawyer (1856–1885)." Musicological Annual 51, no. 2 (2015): 85–97. http://dx.doi.org/10.4312/mz.51.2.85-97.

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This paper describes the reconstruction of life and work of African-American composer Jacob J. Sawyer (1856–1885) with the help of genealogy databases and online collections of music scores. During his life, Sawyer held positions with well-known music ensembles: Haverly’s Colored Minstrels, Hyers Sisters Troupe, and Slayton Ideal Company.

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28

MIYAKAWA, FELICIA M. "“A Long Ways from Home?” Hampton Institute and the Early History of “Sometimes I Feel like a Motherless Child”." Journal of the Society for American Music 6, no. 1 (2012): 1–49. http://dx.doi.org/10.1017/s1752196311000393.

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AbstractThe history of the well-known spiritual “Sometimes I Feel like a Motherless Child,” is wrapped up in the legacy of the Hampton Students, an ensemble of African American students modeled after the Fisk Jubilee Singers. The song's inclusion in the 1901 edition ofCabin and Plantation Songs as Sung by the Hampton Studentssolidified its place in the growing canon of spirituals. Although the tune remained in Hampton Institute's repertoire through subsequent printings ofCabin and Plantation Songs, it also entered the art music world, quickly becoming a favorite of performers and arrangers. Bu

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29

Power, Ian. "MaerzMusik. Lewis, Kaziboni, Wiget, Ensemble Modern Berlin. Stream, 24 March 2021." Tempo 75, no. 298 (2021): 92–93. http://dx.doi.org/10.1017/s0040298221000462.

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March 2021's online MaerzMusik Festival featured a trio of events on themes of Afro-diaspora and new music: one German discussion, one English discussion and the concert ‘Afro-Modernism in Contemporary Music’, each curated by prominent American composer George Lewis. The programme of, according to the MaerzMusik website, ‘composers of the African diaspora’ was performed by Ensemble Modern, who performed the same concert in Frankfurt in November 2020. At that concert each piece was a world or German premiere, repeated for the MaerzMusik version, at which we were treated to an empty hall with a

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30

Radano, Ronald M. "Review: We'll Understand It Better by and by: Pioneering African American Gospel Composers edited by Bernice Johnson Reagon." Journal of the American Musicological Society 48, no. 1 (1995): 144–54. http://dx.doi.org/10.2307/3128856.

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31

Gaunt, Kyra D., Debora Kodish, Barry Dornfeld, and Germaine Ingram. "Plenty of Good Women Dancers: African American Women Hoofers from Philadelphia." Ethnomusicology 44, no. 2 (2000): 359. http://dx.doi.org/10.2307/852549.

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32

Karwaszewska, Monika. "Krzysztof Knittel's chamber opera and Agnieszka Stulgińska's music theatre: Examples of a new syncretistic medium in contemporary Polish music." Zbornik Akademije umetnosti, no. 9 (2021): 136–54. http://dx.doi.org/10.5937/zbaku2109136k.

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This essay analyses and interprets the scores, recordings, and media used in Knittel and King's The Heart Piece - Double Opera (1999) and Stulgińska's Three Women for three women and ten instruments (2017), two semi-improvised Polish operas using performance art and interaction between sound, text, choreography, lighting, theatrical form and electronic medium. In Stuglińska's modern music theatre, the listener follows different sound sources and the setting: choreography, performers' and speakers' arrangement on stage, props and lighting, whose intensity dictates the form. The Heart Piece cham

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33

Miller, Carter. "The Postminimal is Political: Social Activism in the Music of Julius Eastman and Ann Southam." Nota Bene: Canadian Undergraduate Journal of Musicology 15, no. 1 (2022): 74–99. http://dx.doi.org/10.5206/notabene.v15i1.15033.

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The emergence of postminimalism around 1980 allowed composers to combine minimalist musical techniques with their own distinct compositional approaches. Some composers, including American Julius Eastman and Canadian Ann Southam, exercised a consciousness-raising approach to composition by infusing their postminimalist works with political messages relevant to the gay liberation and feminist movements of the late twentieth century. In the work Gay Guerrilla (1979), Eastman pursued an original compositional approach, which he called ‘organic music,’ to explore themes of heroism and courage in th

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34

MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.

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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publicat

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35

Helton, Caroline, and Emery Stephens. "Singing down the barriers: Encouraging singers of all racial backgrounds to perform music by African American composers." New Directions for Teaching and Learning 2007, no. 111 (2007): 73–79. http://dx.doi.org/10.1002/tl.288.

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36

Horn, David. "Eileen Southern." Popular Music 22, no. 3 (2003): 378–79. http://dx.doi.org/10.1017/s026114300300326x.

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Eileen Southern, who died in Florida in October 2002, was widely recognised as a pre-eminent figure in the study of African-American music. Her seminal history, The Music of Black Americans, first published in New York in 1971, was the first academic study to give serious scholarly attention to the totality of African-American music – from the congregational singing of slaves to all-black Broadway musicals, from blues and jazz to experimental composers – and was hugely influential. Resolutely unpolemical and meticulously balanced, it did more to establish the validity of the subject in the aca

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37

Winter, Eric. "Choral Music by African American Composers 2nd edition97256Evelyn Davidson White Compiled by. Choral Music by African American Composers 2nd edition. Lanham, Maryland and London: Scarecrow Press 1996. viii, 227 pp, ISBN: 0 8108 3037 X £57.50 UK distribution: Shelwing Ltd, Folkestone." Reference Reviews 11, no. 4 (1997): 33–34. http://dx.doi.org/10.1108/rr.1997.11.4.33.256.

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38

Dr. Raindrop Wright, Dr Dhiffaf Ibrahim Al-Shwillay,. "Property and Possession in Gayl Jones’s Novel Corregidora: A Study in African American Literature and Literary Theory." Psychology and Education Journal 58, no. 1 (2021): 5625–35. http://dx.doi.org/10.17762/pae.v58i1.1967.

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the traumatic memory of their ancestors. The novel navigates sites of trauma, memory, and blues music while resisting the bourgeoisie-capitalist relationships that permeated not only white society but also African American communities. Jones’s novel presents the plight of an African American woman, Ursa, caught between the memory of her enslaved foremothers and her life in an emancipated world. The physical and spiritual exploitation of African American women who bear witness to the history of slavery in Corregidora materializes black women’s individuality. This article is framed by trauma stu

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39

Shrivastava, Dr Ku Richa. "Black Feminism as a Literary Tradition." SMART MOVES JOURNAL IJELLH 7, no. 8 (2019): 13. http://dx.doi.org/10.24113/ijellh.v7i8.9277.

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The research paper posits to detail the black literary tradition.When the American art is viewed as a whole, the contribution of blacks is found in a miniature fraction, if we exclude their folk tradition of melody and dances. Merely, three generations have been passed of blacks’ early years. The black literary tradition has immediately passed its immaturity. At first, the silent era subsequent to slavery has existed. Folk tales and music inform readers about these black writers and artists who have lived and died. African - American literature has propagated the fact that blacks have been rep

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40

Chybowski, Julia J. "Becoming the “Black Swan” in Mid-Nineteenth-Century America:." Journal of the American Musicological Society 67, no. 1 (2014): 125–65. http://dx.doi.org/10.1525/jams.2014.67.1.125.

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Elizabeth Taylor Greenfield was first in a lineage of African American women vocalists to earn national and international acclaim. Born into slavery in Mississippi, she grew up in Philadelphia and launched her first North American concert tour from upstate New York in 1851. Hailed as the “Black Swan” by newspapermen involved in her debut, the soubriquet prefigured a complicated reception of her musical performances. As an African American musician with slavery in her past, she sang what many Americans understood to be “white” music (opera arias, sentimental parlor song, ballads of British Isle

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Dr, Divya Sharma. "Rock & Roll: A Discourse of "'Rethink' of the Dualism of the Centre and the Margin"." VEDA'S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) An International Peer Reviewed Journal 5, no. 2 (2018): 78–95. https://doi.org/10.5281/zenodo.6527217.

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Within the politics of the systematic subversion of subordinate through the logic of domination within the ontological divide African American women artists’ music emerges as a resistance mechanism at subverting the culture/nature Cartesian dualism initiating a discourse of “rethink” of the dualism of “the centre” and “the margin,” thwarting the myth of the “Otherness” in turn liberating the other, and implicitly all such “Other” groups through the celebration of the associative interconnectivity across these marginal groups. Th

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42

Henry, Jasmine A. "Black Diamond Queens: African American Women and Rock and Roll, by Maureen Mahon." Journal of the American Musicological Society 76, no. 2 (2023): 535–38. http://dx.doi.org/10.1525/jams.2023.76.2.535.

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43

Heile, Björn. "Uri Caine’s Mahler: Jazz, Tradition, and Identity." Twentieth-Century Music 4, no. 2 (2007): 229–55. http://dx.doi.org/10.1017/s1478572208000522.

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AbstractAlthough Uri Caine first made his mark as a relatively straight-ahead jazz pianist – ‘roots’ to which he returns regularly – he has, arguably, become most famous with his often controversial versions of works from the ‘classical music’ canon. These recompositions, which often involve a host of other styles from Latin to dub, are usually regarded as examples of postmodern eclecticism. While this view is certainly valid, it needs to be complemented by more detailed analysis of both Caine’s artistic methods and their aesthetic and ideological implications. Among his work on classical comp

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44

Wallace, Beverly R. "Absence and Presence – Living the Mystery: A Model of Care for African American Women Using the Theory of Ambiguous Loss." Black Women and Religious Cultures 1, no. 1 (2020): 1–25. http://dx.doi.org/10.53407/bwrc1.1.2020.100.01.

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This paper re-conceptualizes the theory of ambiguous loss to engage historical and contemporary realties of African American women’s lived experiences. Ambiguous Loss theory suggests that a family member can be emotionally or psychologically present but physically absent or physically present but psychologically absent. The paper asserts that African American women always have lived with ambiguity and suggests reclaiming tenets of the theory. As a case study, the paper uses the lives of women in Ava DuVerney’s Queen Sugar and lyrics of the series’ theme song to explore the dilemma of expected

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45

Mack, Kimberly. "Review: Black Diamond Queens: African American Women and Rock and Roll, by Maureen Mahon." Journal of Popular Music Studies 33, no. 3 (2021): 205–7. http://dx.doi.org/10.1525/jpms.2021.33.3.205.

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46

WELLS, CHRISTOPHER J. "“Spinnin' the Webb”: Representational Spaces, Mythic Narratives, and the 1937 Webb/Goodman Battle of Music." Journal of the Society for American Music 14, no. 2 (2020): 176–96. http://dx.doi.org/10.1017/s1752196320000061.

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AbstractBenny Goodman and Chick Webb's 1937 battle of music has become a mythic event in jazz historical narratives, enshrined as the unique spectacle that defines Harlem's Savoy Ballroom and its legacy. While this battle has been marked as exceptional and unique, as an event it was a relatively typical instantiation of the “battle of music” format, a presentational genre common in black venues during the 1920s and 1930s. Within African American communities, battles of music re-staged ballrooms as symbolically loaded representational spaces where dueling bands regularly served as oppositional

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47

Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiari

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48

DiClemente, Ralph J., Adannaa O. Alexander, Nikia D. Braxton, JaNelle M. Ricks, and Puja Seth. "African-American men’s exposure to music videos and their sexual attitudes and risk behaviour." Sexual Health 10, no. 3 (2013): 279. http://dx.doi.org/10.1071/sh12176.

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Background Media is a social determinant of HIV and sexually transmissible infection (STI) risk. However, limited empirical data have examined men’s media exposure and their sexual attitudes and behaviour towards women. Methods: Eighty heterosexual African-American men were assessed on their exposure to music videos, sexual attitudes and behaviour. They also were tested for STIs. Results: Findings indicated that men influenced by music videos reported more sexual adventurism, more condom barriers, more lifetime sexual partners, more condom request refusals, substance abuse and a history of inc

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49

Nandhini, C., and K. S. Mangayarkkarasi. "Mildred D. Taylor’s Song of the Tree: Role of Women in Protection of Nature." Shanlax International Journal of English 9, S1-i2-Dec (2020): 15–17. http://dx.doi.org/10.34293/english.v9is1-i2-dec.3683.

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Equal to man, every woman plays an important role in maintaining natural resources management and they have the respective knowledge and experience gained through close working with environment. Even in this present condition still some writers in their work concentrate on Nature and its importance. African American Literature, the body of the literature that produced in the United States by writers of African descent, highly concentrates on slavery before the American Civil War. Their oral culture is rich in poetry that includes spirituals, gospel, music, blues, and rap. Mildred D. Taylor is

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Nelson, Angela M. "“At This Age, This Is Who I Am”: CeCe Winans, Exilic Consciousness, and the American Popular Music Star System." Open Cultural Studies 2, no. 1 (2018): 475–85. http://dx.doi.org/10.1515/culture-2018-0043.

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Abstract My paper addresses the intersections of the American popular music star system, Black female Gospel singers, Gospel Music, and the exilic consciousness of the Sanctified Church with special attention to life and music of Gospelwoman Priscilla Marie “CeCe” Winans Love. I argue that CeCe Winans and the marketing campaign for Winans’ album Let Them Fall in Love, is indicative of the encroachment of American popular music’s star system into self-elected “exiled” Gospel Music and into the lives of “exiled” Gospelwomen. Gospelwomen are 20th and 21st century urban African American Protestant

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