Relevant bibliographies by topics / Musical composition|African American studies|Music / Books
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Books on the topic 'Musical composition|African American studies|Music'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

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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2

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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3

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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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

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

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12

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

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13

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

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14

Woll, Allen L. Black musical theatre: From Coontown to Dreamgirls. New York, N.Y: Da Capo, 1991.

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15

Woll, Allen L. Black musical theatre: From Coontown to Dreamgirls. Baton Rouge: Louisiana State University Press, 1989.

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16

C, DuPree Herbert, ed. African-American good news (gospel) music. Washington, D.C: Middle Atlantic Regional Press, 1993.

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17

Gospel music: An African American art form. Washington, D.C: Middle Atlantic Regional Press, 1990.

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18

Caldwell, Hansonia L. African American music: A chronology : 1619-1995. Los Angeles, Ca: Ikoro Communications, 1995.

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19

Geoffrey, Haydon, and Marks Dennis, eds. Repercussions: A celebration of African-American music. London: Century Pub., 1985.

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20

David, Nicholls. American experimental music, 1890-1940. Cambridge [England]: Cambridge University Press, 1990.

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21

The queer composition of America's sound: Gay modernists, American music, and national identity. Berkeley, CA: University of California Press, 2005.

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22

A right to sing the blues: African Americans, Jews, and American popular song. Cambridge, Mass: Harvard University Press, 1999.

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23

Barsamian, Jacques. Encyclopédie black music. Paris: M. Lafon, 1994.

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24

Eric, Jensen, ed. The Negro music journal, 1902-1903, Pro-Musica quarterly, 1923-1929, Musical mercury, 1934-1939. Baltimore: NISC, 2003.

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25

Roots of Black music: The vocal, instrumental and dance heritage of Africa and Black America. Trenton,N.J: Africa World Press, 1995.

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26

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

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27

Harreld, Love Josephine, ed. Negro musicians and their music. New York: G.K. Hall & Co., 1996.

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28

Clendinning, Elizabeth A. American Gamelan and the Ethnomusicological Imagination. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043383.001.0001.

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The book seeks to answer these questions: Why are there more than 150 gamelans (Indonesian percussion ensembles) in North America, and why are more than half of them associated with American colleges and universities? How and why did gamelan ensembles spark the ethnomusicological imagination? What impact have these ensembles had on college music programs, their local communities, and transnational Indonesian performing arts scenes? How does a lifetime of teaching foreign college students shape the lives of non-American music teachers? First providing an overview of gamelan and its incorporation in education in North America, this book uses the story of the career and community of one performer-teacher, I Made Lasmawan of Bali and Colorado, as a case study to examine the formation and sustenance academic world music ensembles. It examines the way students develop musical and cultural competence by learning gamelan in traditional ethnomusicology ensemble courses and analyzes the merits of including gamelan ensembles in studies in percussion, composition, and music education. More broadly, the book argues that beyond the classroom, the presence of these ensembles shapes transnational arts education and touristic performing arts scenes in Bali. Finally, it advocates for world music ensemble courses as a powerful means for teaching musical and cultural diversity and sparking transnational exchanges, both in and outside the classroom.
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29

Stowe, David W. Religion and Race in American Music. Edited by Paul Harvey and Kathryn Gin Lum. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190221171.013.4.

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Religious music functions both to create group identities and to dissolve social boundaries. Historically, American music has been characterized by racial and religious crossover. While many ethnic groups have participated in constituting American music, the most seminal crossovers have occurred between African and European Americans. Jazz was shaped largely by the interactions of Jews and African Americans. Gospel music developed from the interaction of vernacular slave spirituals, Protestant hymns, and the secular blues. Christian hymns have been thoroughly indigenized by many Native American groups. Compared to Buddhists and Jews, American Hindus and Muslims have made few musical adaptations of their worship music, but their music has been widely sampled in American popular styles. In recent decades, mainline Protestant hymnals have come to reflect the deeply multicultural reality of American sacred song.
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30

Snyder, Jean E. Introducing Antonín Dvořák to African American Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0005.

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This chapter focuses on how Harry T. Burleigh, during his study at the National Conservatory of Music, became Czech composer Antonín Dvořák's most direct link to the African American music traditions in which he was keenly interested. Burleigh's second year at the conservatory would be a momentous one not only for him but also for the conservatory and for American music when Dvořák was appointed director. By the end of the academic year, Dvořák would complete the composition of his most famous American work, Symphony No. 9 in E Minor, “From the New World.” Burleigh would be intimately involved in the process of its creation. Dvořák validated the artistic value of African Americans' folk music during his time at the conservatory.
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31

Jah, Yusuf, and Chuck D. Chuck D: Lyrics of a Rap Revolutionary. Off Da Books, 2007.

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32

Slobin, Mark. Motor City Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882082.001.0001.

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The book combines memoir, interview, and archival sources to survey the musical life of the author’s hometown, Detroit, in his youth during the city’s heyday, 1940s–1960s. After an opening chapter on the formation of personal musical identity, the focus shifts to the formative role of the public school system in educating and shaping the careers of waves of highly talented youth, many of whom became leading figures in African American and classical music nationally. Next comes a panorama of the “neighborhood” subcultural musics of European, southern white, and southern black immigrants to Detroit, followed up by a close-up of the Jewish community’s special case. “Merging Traffic” considers the way that industry, labor, the counterculture, Motown, and the media brought many streams of music together. A final retrospective chapter cites the work of Detroit writers and artists who, like the author, have been looking back at the city’s impact on their work. This is the first-ever comprehensive survey of the musical life of any American city in a given time period.
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33

Anderson, Crystal S. Soul in Seoul. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830098.001.0001.

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Soul in Seoul: African American Popular Music and K-pop examines how K-pop cites musical and performative elements of Black popular music culture as well as the ways that fans outside of Korea understand these citations. K-pop represents a hybridized mode of Korean popular music that emerged in the 1990s with global aspirations. Its hybridity combines musical elements from Korean and foreign cultures, particularly rhythm and blues-based genres (R&B) of African American popular music. Korean pop, R&B and hip-hop solo artists and groups engage in citational practices by simultaneously emulating R&B’s instrumentation and vocals and enhancing R&B by employing Korean musical strategies to such an extent that K-pop becomes part of a global R&B tradition. Korean pop groups use dynamic images and quality musical production to engage in cultural work that culminates the kind of global form of crossover pioneered by Black American music producers. Korean R&B artists, with a focus on vocals, take the R&B tradition beyond the Black-white binary, and Korean hip-hop practitioners use sampling and live instrumentation to promote R&B’s innovative music aesthetics. K-pop artists also cite elements of African American performance in Korean music videos that disrupt limiting representations. K-pop’s citational practices reveal diverse musical aesthetics driven by the interplay of African American popular music and Korean music strategies. As a transcultural fandom, global fans function as part of K-pop’s music press and deem these citational practices authentic. Citational practices also challenge homogenizing modes of globalization by revealing the multiple cultural forces that inform K-pop.
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34

Music in African American Fiction: Representing Music in African American Fiction. Taylor & Francis Group, 2019.

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35

Cataliotti, Robert H. Music in African American Fiction: Representing Music in African American Fiction. Taylor & Francis Group, 2019.

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36

Cataliotti, Robert H. Music in African American Fiction: Representing Music in African American Fiction. Taylor & Francis Group, 2019.

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37

Cataliotti, Robert H. Music in African American Fiction: Representing Music in African American Fiction. Taylor & Francis Group, 2019.

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38

Cataliotti, Robert H. Music in African American Fiction: Representing Music in African American Fiction. Taylor & Francis Group, 2019.

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39

(Editor), George R. Keck, and Martin (Editor), eds. Feel the Spirit: Studies in Nineteenth-Century Afro-American Music (Contributions in Afro-American and African Studies). Greenwood Press, 1988.

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40

Bomberger, E. Douglas. Making Music American. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872311.001.0001.

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Nineteen seventeen, the year the United States entered World War I, was transformative for American musical culture. The European performers who had dominated classical concert stages for generations came under intense scrutiny, and some of the compositions of Austro-German composers were banned. This year saw the concurrent rise of jazz music from a little-known regional style to a national craze. Significant improvements in recording technology facilitated both the first million-selling jazz record and the first commercial recordings of full symphony orchestras. In a segregated country, as the US military wrestled with how to make use of several million African Americans who had registered for the draft, James Reese Europe broke down racial barriers with his Fifteenth New York National Guard Band. This book tells the story of this year through the lives of eight performers: orchestral conductors Karl Muck and Walter Damrosch, violinist Fritz Kreisler, pianist Olga Samaroff, contralto Ernestine Schumann-Heink, jazz cornetists Dominic LaRocca and Freddie Keppard, and army bandmaster James Reese Europe. Their individual stories, traced month by month through the eventful year of 1917, illuminate the larger changes that convulsed the country’s musical culture and transformed it in uniquely American ways.
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41

Smith, Thérèse. Music and Religiosity among African American Fundamentalist Christians. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.15.

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This chapter discusses the relationship of a church to its surrounding secular context. It outlines the relationship of an African American Missionary Baptist Church congregation to its surrounding community in Mississippi in the 1980s, drawing on the insider binary of “saint-sinner”; points to the strong role that individual scriptural interpretation and performance play in this church; and traces several church performances that show the nuanced and flexible nature of the boundary between “saint” and “sinner.” While the dominant local popular music, blues, is generally categorized as “sinner’s” music, it is sometimes allowed for listening to (but not performance) because of a nuanced understanding of the relationship of listening and performance to the Christian believer. In addition, knowledge of blues and other popular genres is important for believers in interpreting sermons, in which speech slides into musical performance and references these genres as symbols to narrate the “saint-sinner” binary.
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42

African American Music Trails Of Eastern North Carolina. The University of North Carolina Press, 2013.

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43

Patterson, Beverly, Sarah Bryan, and Michelle Lanier. African American Music Trails of Eastern North Carolina. University of North Carolina Press, 2013.

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44

Moore, Celeste Day. Soundscapes of Liberation. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021995.

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In Soundscapes of Liberation, Celeste Day Moore traces the popularization of African American music in postwar France, where it signaled new forms of power and protest. Moore surveys a wide range of musical genres, soundscapes, and media: the US military's wartime records and radio programs; the French record industry's catalogs of blues, jazz, and R&B recordings; the translations of jazz memoirs; a provincial choir specializing in spirituals; and US State Department-produced radio programs that broadcast jazz and gospel across the French empire. In each of these contexts, individual intermediaries such as educators, producers, writers, and radio deejays imbued African American music with new meaning, value, and political power. Their work resonated among diverse Francophone audiences and transformed the lives and labor of many African American musicians, who found financial and personal success as well as discrimination in France. By showing how the popularity of African American music was intertwined with contemporary structures of racism and imperialism, Moore demonstrates this music's centrality to postwar France and the convergence of decolonization, the expanding globalized economy, the Cold War, and worldwide liberation movements.
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45

Bomberger, E. Douglas. Afterword. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190872311.003.0014.

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Examining the aftermath of 1917, this section traces the impact of the year’s events on future US musical directions. Recording technology advances made the spread of jazz possible, led to heightened fidelity of sound reproduction in classical music, and eventually altered the entire culture of live performance. Classical music did not disappear, but the advent of jazz presaged the coming dominance of popular music. World War I’s aftermath spawned a culture war between rural and urban Americans, and gains made by African American servicemen encountered a backlash of racial violence and discrimination in the 1920s. The negative stereotypes of the war years hastened German American assimilation. World War II saw different cultural and musical responses, and American classical composers benefited from World War II patriotism in ways their predecessors had not. Finally, the ability of “The Star-Spangled Banner” to unite and divide Americans is an ongoing legacy of World War I.
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46

Mather, Olivia Carter. Race in Country Music Scholarship. Edited by Travis D. Stimeling. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780190248178.013.8.

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This chapter reviews how country music scholarship deals with race. It then suggests how scholarship might move forward toward a more critical stance. While evidence points toward African American innovation at the origins of country, survey histories of country music trace the music’s origins to British culture in Appalachia. Revisionist scholarship attempts to uncover black contributions in most periods of country’s history. Its most common topics are the construction of whiteness by the country music industry and the segregation of southern music in the 1920s into “race” and “hillbilly” marketing categories. This chapter ends by suggesting that country scholarship focus on race as a chief concern of the field, complicate its view of segregation, and give more attention to musical sound.
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47

1950-, Burnim Mellonee V., and Maultsby Portia K, eds. African American music: An introduction. New York: Routledge, 2006.

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48

(Editor), Mellonee V. Burnim, and Portia K. Maultsby (Editor), eds. African American Music: An Introduction. Routledge, 2005.

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49

(Editor), Mellonee V. Burnim, and Portia K. Maultsby (Editor), eds. African American Music: An Introduction. Routledge, 2005.

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50

Music in African American Fiction. Taylor & Francis Group, 2018.

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