Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This powerful book covers the vast and various terrain of African American music, from bebop to hip-hop. Guthrie P. Ramsey, Jr., begins with an absorbing account of his own musical experiences with family and friends on the South Side of Chicago, evoking Sunday-morning worship services, family gatherings with food and dancing, and jam sessions at local nightclubs. This lays the foundation for a brilliant discussion of how musical meaning emerges in the private and communal realms of lived experience and how African American music has shaped and reflected identities in the black community. Deeply informed by Ramsey's experience as an accomplished musician, a sophisticated cultural theorist, and an enthusiast brought up in the community he discusses, Race Music explores the global influence and popularity of African American music, its social relevance, and key questions regarding its interpretation and criticism. Beginning with jazz, rhythm and blues, and gospel, this book demonstrates that while each genre of music is distinct-possessing its own conventions, performance practices, and formal qualities-each is also grounded in similar techniques and conceptual frameworks identified with African American musical traditions. Ramsey provides vivid glimpses of the careers of Dinah Washington, Louis Jordan, Dizzy Gillespie, Cootie Williams, and Mahalia Jackson, among others, to show how the social changes of the 1940's elicited an Afro-modernism that inspired much of the music and culture that followed. Race Music illustrates how, by transcending the boundaries between genres, black communities bridged generational divides and passed down knowledge of musical forms and styles. It also considers how the discourse of soul music contributed to the vibrant social climate of the Black Power Era. Multilayered and masterfully written, Race Music provides a dynamic framework for rethinking the many facets of African American music and the ethnocentric energy that infused its creation.

African Americans in popular culture --- Afro-Americains dans la culture populaire --- Afro-Amerikanen in de volkscultuur --- African Americans - Music - History and criticism. --- African Americans in popular culture. --- Popular music - Social aspects - United States. --- Music History & Criticism, National - Folk, Patriotic, Political --- Music --- Music, Dance, Drama & Film --- African Americans --- Popular music --- History and criticism. --- Social aspects --- Afro-Americans in popular culture --- Popular culture --- Music, Popular --- Music, Popular (Songs, etc.) --- Pop music --- Popular songs --- Popular vocal music --- Songs, Popular --- Vocal music, Popular --- Cover versions --- History and criticism --- United States --- african american music. --- african americans. --- afro modernism. --- american history. --- bebop. --- black americans. --- black communities. --- black culture. --- black music. --- black power era. --- chicago. --- cootie williams. --- cultural theorists. --- dinah washington. --- dizzy gillespie. --- ethnocentric. --- gospel music. --- hip hop. --- jam sessions. --- jazz. --- louis jordan. --- mahalia jackson. --- music and culture. --- musical meaning. --- musical styles. --- musicology. --- nonfiction. --- racial issues. --- rhythm and blues. --- social changes.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Florence B. Price (1887-1953) was the first African American woman composer to achieve national recognition. She grew up in Little Rock, Arkansas, studied at the new England Conservatory, and spent her professional career in Chicago (1927-53), where her Symphony in E Minor, premiered by the Chicago Symphony Orchestra in 1933 under the direction of Frederick Stock, marks the first large-scale work by an African American woman composer (and the second work by an African American composer) to be performed by a major American orchestra. A prolific composer, she wrote more than 300 works in all genres: orchestra music (symphonies, orchestral suites, and concerti), vocal music, art songs and arrangements of spirituals, piano music (including teaching pieces), organ music, chamber music, and music for chorus. Her compositions reflect not only her cultural heritage, but also the romantic nationalist style of the period in which she was most active (beginning in the 1920s). Brown discusses Price in the context of the Harlem Renaissance and deals with issues of race, gender, and class. She draws on interviews with Price's colleagues, on music manuscripts located in major repositories of African American material and in private collections, on contemporary black newspapers and journals, on census records, and on archival materials as well as the relevant published sources."--

African American women composers --- African American composers --- Women composers --- Composers --- Price, Florence,

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The Transformation of Black Music includes a full spectrum of black musics from four continents as it argues for a re-codification of black musics and performers. Framed by a call and response argument, the authors present not only a more holistic and historically accurate understanding of musics in the African Diaspora, but also an intellectually robust future for the field of black music research.

Blacks --- Africans --- Noirs --- Music --- History and criticism. --- Musique --- Histoire et critique --- Black people

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Jack Whitten's alluring and inventive paintings are part of the collections of some of the world's most prominent museums and galleries--but this profoundly inventive artist worked primarily under the radar for most of his life. This book, conceived with Whitten's collaboration shortly before his death in 2018, brings his work into focus, highlighting in particular the themes of history, politics, and music. As a young man in Alabama, Whitten was angered by the racism he experienced. When he moved to New York City, he was inspired by the Abstract Expressionists dominating the art scene there. This book examines Whitten's influences and alliances--including his relationship to his mentors Norman Lewis and Willem de Kooning--to trace how the artist never stopped experimenting and innovating. His riotously colorful oils gave way to massive acrylic "Slab" paintings. These were followed by kaleidoscopic mosaic paintings that capture and redirect light; the "Black Monoliths" series, memorializing Whitten's personal heroes; and his later works, which embrace technology and the digital age.

Whitten, Jack