Relevant bibliographies by topics / Musical composition|African American studies|Music

Contents

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

Academic literature on the topic 'Musical composition|African American studies|Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Musical composition|African American studies|Music"

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Legg, Andrew. "A taxonomy of musical gesture in African American gospel music." Popular Music 29, no. 1 (January 2010): 103–29. http://dx.doi.org/10.1017/s0261143009990407.

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AbstractAfrican American gospel music seems without obvious parallel as a musical and social phenomenon of the twentieth century. It is a powerful musical and ‘spiritual’ expression that is to a larger extent defined by the musical style, vocal techniques and performance practices of one of its central figures: the gospel singer. Although these originally African American gospel vocal techniques and practices have now also significantly influenced the development of contemporary popular music and the broader gospel vocal style, the specific terminology used to describe them lacks precise definition, and also highlights the failure of conventional notation in successfully capturing or representing them.This article seeks then to firstly define and annotate some of the key descriptive terms commonly applied to African American gospel singing techniques in order that greater consistency and clarity can be achieved in relation to their usage within contemporary popular music research. Secondly, it will also introduce an analytical notational system, accompanied by a series of annotated musical transcriptions, that forms the basis of the author's taxonomy of musical gesture for African American gospel music, and which may provide a framework for comparative analytical research within the field of gospel-inspired contemporary popular music.
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Legg, Andrew, and Carolyn Philpott. "An analysis of performance practices in African American gospel music: rhythm, lyric treatment and structures in improvisation and accompaniment." Popular Music 34, no. 2 (April 30, 2015): 197–225. http://dx.doi.org/10.1017/s0261143015000264.

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AbstractAfrican American gospel music is a unique and distinctive idiom that has had a pervasive influence upon the development of contemporary popular music. While there are now many sources available on African American gospel music, the focus of the vast majority of these studies is on the sociological, historical and stylistic aspects of the genre, rather than on identifying and codifying specific musical characteristics and performance practices. This paper extends the discussion of gospel singing techniques in Andrew Legg's 2010 article ‘A taxonomy of musical gesture in African American gospel music’ (Popular Music, 29/1) by examining some of the key performance practices associated with rhythm and lyric treatment in African American gospel music, as well as common structures in gospel music improvisation and accompaniment. Through analysis of selected recordings, this research proposes a codified frame of reference for the definition and discussion of terminologies and performance practice techniques inherent within African American gospel music.
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Dhakal, Lekha Nath. "Musical Tradition and Cultural Vision in Langston Hughes’s Poetry." Literary Studies 33 (March 31, 2020): 41–45. http://dx.doi.org/10.3126/litstud.v33i0.38034.

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In American music, Langston Hughes is one of the literary figures that hold a place similar to the aforementioned luminaries. In the literary field, Hughes is respected as one of the most important figures of the twentieth century. With the rise of African American Studies as an academic field in the 1970s, his life, writing, and influence has received frequent attention. What has not been documented in more specific terms is his importance to America’s musical culture in the twentieth century. Whether directly or indirectly, Langston Hughes has been a fixture in American musical culture, both popular and concert music, since the 1920s. In addition to his personal affinity for blues, jazz and other specifically African American musical forms such as gospel music, his vast contribution to American music specifically and American music culture in a broader sense can be separated into four general categories.
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Shank, Barry L. "Sound + Bodies in Community = Music." JAAAS: Journal of the Austrian Association for American Studies 1, no. 2 (December 30, 2020): 177–89. http://dx.doi.org/10.47060/jaaas.v1i2.120.

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The analytical framework of sound studies is transforming our understanding of the political force of music. Following the lead of scholars like Nina Eidsheim and Salomé Voegelin, this essay considers the resonating force of listening bodies as a central factor in the musical construction of political community. This essay traces the tradition of African American music from congregational gospel singing through early rhythm and blues up to the twenty-first-century rap of Kendrick Lamar, showing how particular musical techniques engage the bodies in the room, allowing communities of difference to find their rhythms together.
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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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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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Demers, Joanna. "Sampling the 1970s in hip-hop." Popular Music 22, no. 1 (January 2003): 41–56. http://dx.doi.org/10.1017/s0261143003003039.

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Musical borrowings, or samples, have long been a means of creating lineage between hip-hop and older genres of African-American music such as funk, soul, and rhythm and blues. DJs who sample from this so-called ‘Old School’ attempt to link hip-hop to older, venerable traditions of black popular music. This article investigates the importance of 1970s pop and culture to hip-hop music. This era is depicted as a time in which African-American identity coalesced, and a new political consciousness was born. The primary source for images of the 1970s was and continues to be blaxploitation film, a genre of low-budget, black-oriented crime and suspense cinema. This article will detail how blaxploitation distilled certain societal concerns of the 1970s, and how in turn hip-hop feeds off blaxploitation both dramatically and musically, reusing its story lines and sampling its soundtracks.
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Witek, Maria A. G., Jingyi Liu, John Kuubertzie, Appiah Poku Yankyera, Senyo Adzei, and Peter Vuust. "A Critical Cross-cultural Study of Sensorimotor and Groove Responses to Syncopation Among Ghanaian and American University Students and Staff." Music Perception 37, no. 4 (March 11, 2020): 278–97. http://dx.doi.org/10.1525/mp.2020.37.4.278.

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The pleasurable desire to move to a beat is known as groove and is partly explained by rhythmic syncopation. While many contemporary groove-directed genres originated in the African diaspora, groove music psychology has almost exclusively studied European or North American listeners. While cross-cultural approaches can help us understand how different populations respond to music, comparing African and Western musical behaviors has historically tended to rely on stereotypes. Here we report on two studies in which sensorimotor and groove responses to syncopation were measured in university students and staff from Cape Coast, Ghana and Williamstown, MA, United States. In our experimental designs and interpretations, we show sensitivity towards the ethical implications of doing cross-cultural research in an African context. The Ghanaian group showed greater synchronization precision than Americans during monophonic syncopated patterns, but this was not reflected in synchronization accuracy. There was no significant group difference in the pleasurable desire to move. Our results have implications for how we understand the relationship between exposure and synchronization, and how we define syncopation in cultural and musical contexts. We hope our critical approach to cross-cultural comparison contributes to developing music psychology into a more inclusive and culturally grounded field.
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PRUETT, LAURA MOORE. "Porch and Playhouse, Parlor and Performance Hall: Traversing Boundaries in Gottschalk'sThe Banjo." Journal of the Society for American Music 11, no. 2 (May 2017): 155–83. http://dx.doi.org/10.1017/s1752196317000050.

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AbstractThis article reconsiders the cultural significance and historical impact of the well-known virtuosic piano compositionThe Banjoby Louis Moreau Gottschalk. Throughout the early nineteenth century, the banjo and the piano inhabited very specific and highly contrasting performance circumstances: black folk entertainment and minstrel shows for the former, white middle- and upper-class parlors and concert halls for the latter. InThe Banjo, Louis Moreau Gottschalk lifted the banjo out of its familiar contexts and placed it in the spaces usually privileged for the piano. Taking its inspiration from both African American and minstrel banjo playing techniques, Gottschalk's composition relaxed and muddled the boundaries among performance spaces, racial and class divisions, and two conspicuously different musical instruments in an egalitarian effort to demonstrate that, contrary to the opinions of some mid-nineteenth-century musical critics and tastemakers, both the piano and the banjo have a place in the shaping of American music culture.
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Lewis, George E. "Too Many Notes: Computers, Complexity and Culture in Voyager." Leonardo Music Journal 10 (December 2000): 33–39. http://dx.doi.org/10.1162/096112100570585.

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The author discusses his computer music composition, Voyager, which employs a computer-driven, interactive & “virtual improvising orchestra” that analyzes an improvisor's performance in real time, generating both complex responses to the musician's playing and independent behavior arising from the program's own internal processes. The author contends that notions about the nature and function of music are embedded in the structure of software-based music systems and that interactions with these systems tend to reveal characteristics of the community of thought and culture that produced them. Thus, Voyager is considered as a kind of computer music-making embodying African-American aesthetics and musical practices.
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Dissertations / Theses on the topic "Musical composition|African American studies|Music"

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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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Washington, Charles Gregory. "A commentary on African-American musical style with an analysis of the influences of African-American musical style on the composition Simple City /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487849696966734.

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Pendley, James. "Visualizing sound : a musical composition of aural architecture." [Tampa, Fla] : University of South Florida, 2009. http://purl.fcla.edu/usf/dc/et/SFE0003152.

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Stedman, Kyle D. "Musical Rhetoric and Sonic Composing Processes." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4229.

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This project is a study of musical rhetoric and music composition processes. It asks the questions, "How does the nature of music as sound-in-time affect its rhetorical functions, production, and delivery?" and "How do composers approach the task of communicating with audiences through instrumental music?" I answer these questions by turning to the history of musical rhetoric as practiced in the field of musicology and by interviewing composers themselves about their composition practices--approaches that are both underused in the rhetoric and composition community. I frame my research participants' responses with a discussion of the different degrees to which composers try to control the eventual meaning made from their compositions and the different ways that they try to identify with their audiences. While some composers express a desire to control audiences' emotions and experiences through the use of forms and careful predictions about an audience's reactions to certain genres and influences, other composers express a comfort with audiences composing their own meanings from musical sounds, perhaps eschewing or transforming traditional forms and traditional performance practices. Throughout, I argue for the importance of considering all of these perspectives in the context of actually hearing music, as opposed to taming and solidifying it into a score on a page. These composers' insights suggest the importance of understanding musical rhetoric as an act based in sound and time that guides meaning but can never control it. They also suggest new ways of teaching English composition courses that are inspired by the experiences and practices of music composition students. Specifically, I argue that English composition courses should better rely on the self-sponsored literacies that students bring to classrooms, stretch the ways these courses approach traditional rules of composing, and approach digital tools, collaboration, and delivery in ways that mirror the experiences of music students.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the Twenty-First Century American Musical." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Wellborn, Brecken. "Musicals and the Margins: African-Americans, Women, and Queerness in the 21st Century American Musical." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404583/.

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This thesis provides an overview of the various ways in which select marginalized identities are represented within the twenty-first century American musical film. The first intention of this thesis is to identify, define, and organize the different subgenres that appear within the twenty-first century iterations of the musical film. The second, and principal, intention of this thesis is to explore contemporary representations of African-Americans, women, and queerness throughout the defined subgenres. Within this thesis, key films are analyzed from within each subgenre to understand these textual representations.
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Curtis, Marvin Vernell. ""The People Could Fly": An original musical composition to enhance the learning environment of African-American school students and provide an additional resource for elementary multicultural education." Scholarly Commons, 1990. https://scholarlycommons.pacific.edu/uop_etds/2813.

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The public school learning environment is based on the learning styles of white middle class children. When African-American students enter this environment, they become frustrated because aspects of their culture, which affect how they learn, are excluded. This frustration may be responsible for the high drop-out rates among black students. The research suggests that incorporating African-American cultural attitudes, values, and behaviors in curriculum will help these students achieve. Because folklore and music are important parts of the African-American culture, an arts-based education program using these art forms would aid in teaching African-American students. In addition, involvement of all students in African-American folklore and music furthers the goals of multiethnic education. For this study, a musical was developed for elementary education. It incorporated an African-American folktale, "The People Could Fly", and elements of African-American music. A curriculum guide was developed containing information for the teacher on African-American culture and how it affects learning. A narrative was included for the teacher to read to the students about African-American life and culture, in particular, folklore and music. The guide contains activities for the students and additional resources for the teacher in the areas of African-American music, folklore and multicultural education. The guide was reviewed by twenty-two people from educational fields, revised and subsequently reviewed by four of the same reviewers and two new ones. The musical was performed for elementary school students, videotaped, and critiqued by the teacher involved. All comments were positive about the scope and the need for this kind of project. The researcher recommends that further study be done regarding learning styles of ethnic groups, that more musicals following the premise of this dissertation be created, and that evaluation of their effectiveness be initiated with specific African-American and general populations.
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Yeagle, Anna. "Bad Bitches, Jezebels, Hoes, Beasts, and Monsters: The Creative and Musical Agency of Nicki Minaj." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1374281548.

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Moreland, Kathleen A. "Of Thee We Sing: Roots of the American Songbook." University of Akron / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=akron1428148686.

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Graff, Peter. "Music, Entertainment, and the Negotiation of Ethnic Identity in Cleveland’s Neighborhood Theaters, 1914–1924." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1522858050676766.

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Books on the topic "Musical composition|African American studies|Music"

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All night, all day: A child's first book of African-American spirituals / selected and illustrated by Ashley Bryan ; musical arrangements by David Manning Thomas. New York: Atheneum, 1991.

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D, Chuck. Lyrics of a rap revolutionary: Times, rhymes & mind of Chuck D. Edited by Jah Yusuf, KRS-One (Musician), and Public Enemy (Musical group). Beverly Hills, CA: Off Da Books, 2006.

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Davis, Nathan T. African American music: A philosophical look at African American music in society. Needham Heights, MA: Simon & Schuster Custom Publishing, 1996.

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The music in African American fiction. New York: Garland Pub., 1995.

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Encyclopedia of African American music. Santa Barbara, Calif: ABC-CLIO, 2011.

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African American music, spirituals: The fundamental communal music of Black Americans. 3rd ed. Culver City, Calif: Ikoro Communications, 2003.

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African American music: An introduction. New York, NY: Routledge, 2015.

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Stewart, Earl L. African American music: An introduction. New York: Schirmer Books, 1998.

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Holland, Ted. This day in African-American music. San Francisco: Pomegranate Artbooks, 1993.

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This day in African-American music. San Francisco: Pomegranate Artbooks, 1993.

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Book chapters on the topic "Musical composition|African American studies|Music"

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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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Andemicael, Awet. "The Theology of Richard Allen’s Musical Worship." In Theology, Music, and Modernity, 260–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0013.

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This chapter examines the role music may have played in Bishop Richard Allen’s struggle for African-American liberation from slavery, and empowerment as full participants in church and state affairs. It begins with a broad survey of music in American and British abolitionist efforts in the late eighteenth and early nineteenth centuries, including two hymns of Allen’s own composition, to provide context for Allen’s engagement with music. In comparison to such protest songs, the hymns Allen selected for his hymnbooks were not overtly political. Nevertheless, the theology of music they represented resonated with socio-political significance, coalescing around three key themes: musical worship as (a) a means for conversion and a telos for the Christian life; (b) a bridge between heaven and earth; and (c) a reflection of, and aide to, the formation of community and ecclesial unity.
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Williams, James Gordon. "The Social Science Music of Terri Lyne Carrington." In Crossing Bar Lines, 71–104. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832108.003.0004.

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This chapter explores the music, life, and institutional building of drummer, feminist, and artistic director for the Berklee Institute for Jazz and Gender Justice, Terri Lyne Carrington. Through and examination of her cultural work, this chapter discusses Carrington’s attack on patriarchy in jazz culture through Black feminist thought reflected in her musical practices. Her work exposes the irony of the Black aesthetic values of inclusion at the foundation of African American improvised music in contrast with the patriarchal practice of marginalizing women improvisers. Carrington’s musical arrangement of Bernice Johnson Reagon’s composition “Echo” on The Mosaic Project (2011) is analyzed as linked critique of anti-blackness over and several compositions on Terri Lyne Carrington and Social Science (2019) are analyzed as an intersectional critique of police brutality, gay conversion therapy, celebration of Black feminism, and gender inequity represented respectively in “Bells (Ring Loudly),” “Pray the Gay Away,” “Anthem,” and “Purple Mountains.”
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Salkind, Micah E. "The Warehouse and The Music Box." In Do You Remember House?, 47–84. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190698416.003.0003.

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Chapter 2 examines Chicago house music’s emergence in post-industrial spaces of queer, Black, and Latino sociality through an analysis of its two foundational spaces, The Warehouse and The Music Box. Working from oral history interviews, newspaper and magazine articles, and autobiographical accounts, as well as through close readings of commercial and amateur musical recordings, this chapter foregrounds the cultural work of promoter Robert Williams and DJs Frankie Knuckles and Ron Hardy. It builds on scholarship in African American studies, performance studies, and affect theory (Henriques 2010; Johnson 1998; Vogel 2009) to account for the ways that Chicago artists and entrepreneurs adapted New York City’s queer of color social dance traditions to meet the needs of Chicago’s musically omnivorous dancers (Gibson 2006; Novak 2013).
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Williams, James Gordon. "Terence Blanchard and the Politics of Breathing." In Crossing Bar Lines, 25–44. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832108.003.0002.

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This chapter discusses trumpeter Terence Blanchard’s composition “Breathless” (2015). “Breathless” was Blanchard’s response to the 2014 killing of Eric Garner by members of the police on Staten Island and his musical connection to the Black Lives Matter social movement. Blanchard sonically represents breathlessness harmonically, rhythmically, and melodically within the values of Black musical space. It is argued that Blanchard’s orchestration of reverbed male and female sounds of exhalation with the spoken-word lyrics of JRei Oliver is a social critique of systemic violence. This chapter explains how Blanchard’s music is in conversation not only with the Black Lives Matter movement but with the archives and community repositories of improvised social justice music by past African American musicians who have historically created a Black sense of place through musical practices.
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Battegay, Caspar. "The Jewish Atlantic: Diaspora and Pop Music." In Connected Jews, 109–30. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781906764869.003.0005.

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This chapter discusses the emergence of pop music as a distinctive musical genre intended for very wide audiences and often controlled by the giants of the music business. It describes how pop is characterized by the specific conditions of religious and cultural minorities that are closely linked to African American history, such as jazz, blues, rock 'n' roll, reggae, disco music, soul, and hip hop. It also mentions the British scholar of cultural studies named Paul Gilroy, who defined the production conditions of hip hop as transnational structures of circulation and intercultural exchange. The chapter examines the relationship between the hip hop world and the real world that changed since Gilroy's observations in the 1990s. It talks about the insistence on the diasporic context of the 'Black Atlantic' and its kinship with Jewish modernity that remains pivotal to any pursuit of the diaspora in popular culture.
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Whitmore, Aleysia K. "Cuban Music Is African Music." In World Music and the Black Atlantic, 85–118. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.003.0004.

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Part II examines how AfroCubism and Orchestra Baobab musicians negotiate geographic, cultural, and linguistic boundaries as they mix musics across the black Atlantic and bring their music into the word music industry. In so doing, this section shows how musicians’ experiences are intertwined with the commodities they create, and that many of us consume (and critique). This chapter explores how musicians creatively combine African and Cuban musics. In bringing these musics together, musicians (re)negotiate and (re)imagine cultural, historical, political, and economic ties between Africans, Cubans, Europeans, and Americans. Their ideas conflict, diverge, and intersect as they strategically combine musics and social meanings, idealistically connect peoples and musics across the Atlantic, and pragmatically address the limits of musical mixing and collaboration.
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Brister, Wanda, and Jay Rosenblatt. "The Lady Composer at the End." In Madeleine Dring, 205–54. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979312.003.0008.

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The letters sent to American composer and pianist Eugene Hemmer allow Dring to speak in her own voice for the first time since the early diaries, documents that allow a glimpse into her musical as well as her personal life. There is a brief discussion of The Florida International Music Festival, which featured the US premiere of her most popular instrumental composition, the Trio for Flute, Oboe, and Piano, a work which provides a splendid example of her later musical style. Other works that are discussed include The Real Princess, a ballet written for Mari Bicknell’s Cambridge Ballet Workshop, and four song cycles: Dedications, Love and Time, Five Betjeman Songs, and Four Night Songs. Also documented are the first professional recordings of her compositions and the spiritual journey she undertook in her last years, the latter illustrated by talks that she gave at the Centre for Spiritual and Psychological Studies. Finally, her sudden death from a brain aneurysm is related through letters of Roger Lord and other documents, followed by her memorial service and concerts in her honor at the RCM.
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Wilson, Charles Reagan. "7. Hybrid sounds." In The American South, 100–113. Oxford University Press, 2020. http://dx.doi.org/10.1093/actrade/9780199943517.003.0008.

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‘Hybrid sounds’ highlights southern music. The first association of music with the American South came from the presence of African American slaves. The pre-Civil War blackface minstrel shows displayed southern connections in its imagery of the plantation. After emancipation, African Americans gained employment in such groups as the Georgia Minstrels, as they moved to New Orleans, Memphis, and St. Louis, where they adopted the trumpet, the piano, and other instruments that soon became familiar in the music of black southerners. Sacred music, blues music, jazz, and folk music were all important musical genres which shaped Southern culture and the importance of the commercialization of African American music played a role.
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Maultsby, Portia K., Mellonee V. Burnim, Dena J. Epstein, Susan Oehler, Jacqueline Cogdell DjeDje, David Evans, and Thomas Riis. "African American Musical Cultures." In Music Cultures in the United States, 185–242. Routledge, 2005. http://dx.doi.org/10.4324/9780203997161-9.

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Conference papers on the topic "Musical composition|African American studies|Music"

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Calilhanna, Andrea M., and Stephen Gbakobachukwu Onwubiko. "Decolonizing African music with visualizations and sonifications using beat-class theory." In 178th Meeting of the Acoustical Society of America. ASA, 2019. http://dx.doi.org/10.1121/2.0001134.

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Parra, Rodrigo, Jorge Ramirez, and Martin Abente Lahaye. "Design and implementation of a music composition application using speech recognition." In 2014 XL Latin American Computing Conference (CLEI). IEEE, 2014. http://dx.doi.org/10.1109/clei.2014.6965110.

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Reports on the topic "Musical composition|African American studies|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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