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Covering the vast and various terrain of African American music, this text begins with an account of the author's own musical experiences with family and friends on the South Side of Chicago. It goes on to explore the global influence and social relevance of African American music.
From Jim Crow to Eminem, white culture has been transformed by black music. To be so influenced by the boundless imagination of a race brought to America in chains sets up a fascinating irony, andSouled American, an ambitious and comprehensive look at race relations as seen through the prism of music, examines that irony fearlessly—with illuminating results. Tracing a direct line from plantation field hollers to gangsta rap, author Kevin Phinney explains how blacks and whites exist in a constant tug-of-war as they create, re-create, and claim each phase of popular music. Meticulously researched, the book includes dozens of exclusive celebrity interviews that reveal the day-to-day struggles and triumphs of sharing the limelight. Unique, intriguing, Souled Americanshould be required reading for every American interested in music, in history, or in healing our country’s troubled race relations. • Combines social history and pop culture to reveal how jazz, blues, soul, country, and hip-hop have developed • Includes interviews with Ray Charles, Willie Nelson, B. B. King, David Byrne, Sly Stone, Donna Summer, Bonnie Raitt, and dozens more • Confronts questions of race and finds meaningful answers • Ideal for Black History Month
Music of the Common Tongue by Christopher Small Pdf
In clear and elegant prose, Music of the Common Tongue, first published in 1987, argues that by any reasonable reckoning of the function of music in human life the African American tradition, that which stems from the collision between African and European ways of doing music which occurred in the Americas and the Caribbean during and after slavery, is the major western music of the twentieth century. In showing why this is so, the author presents not only an account of African American music from its origins but also a more general consideration of the nature of the music act and of its function in human life. The two streams of discussion occupy alternate chapters so that each casts light on the other. The author offers also an answer to what the Musical Times called the "seldom posed though glaringly obtrusive" question: "why is it that the music of an alienated, oppressed, often persecuted black minority should have made so powerful an impact on the entire industrialized world, whatever the color of its skin or economic status?"
Harry Justin Elam,Kennell A. Jackson,Kennell Jackson
Author : Harry Justin Elam,Kennell A. Jackson,Kennell Jackson Publisher : University of Michigan Press Page : 408 pages File Size : 49,5 Mb Release : 2005-12-02 Category : Social Science ISBN : 9780472068401
Black Cultural Traffic by Harry Justin Elam,Kennell A. Jackson,Kennell Jackson Pdf
Black Cultural Traffic traces how blackness travels globally in performance, engaging the work of an international and interdisciplinary mix of scholars, critics, and practicing artists.
No art can survive without an understanding of, and dedication to, the values envisioned by its creators. No culture over time has existed without a belief system to sustain its survival. Black music is no different. In Cultural Codes: Makings of a Black Music Philosophy, William C. Banfield engages the reader in a conversation about the aesthetics and meanings that inform this critical component of our social consciousness. By providing a focused examination of the historical development of Black music artistry, Banfield formulates a useable philosophy tied to how such music is made, shaped, and functions. In so doing, he explores Black music culture from three angles: history, education, and the creative work of the musicians who have moved the art forward. In addition to tracing Black music from its African roots to its various contemporary expressions, including jazz, soul, R&B, funk, and hip hop, Banfield profiles some of the most important musicians over the last century: W.C. Handy, Scott Joplin, Louis Armstrong, Duke Ellington, Count Basie, Mary Lou Williams, John Coltrane, James Brown, Jimi Hendrix, and Stevie Wonder, among others. Cultural Codes provides an educational and philosophical framework for students and scholars interested in the traditions, the development, the innovators, and the relevance of Black music.
From its beginnings in hip hop culture, the dense rhythms and aggressive lyrics of rap music have made it a provocative fixture on the American cultural landscape. In Black Noise: Rap Music and Black Culture in Contemporary America, Tricia Rose, described by the New York Times as a "hip hop theorist," takes a comprehensive look at the lyrics, music, cultures, themes, and styles of this highly rhythmic, rhymed storytelling and grapples with the most salient issues and debates that surround it. Assistant Professor of Africana Studies and History at New York University, Tricia Rose sorts through rap's multiple voices by exploring its underlying urban cultural politics, particularly the influential New York City rap scene, and discusses rap as a unique musical form in which traditional African-based oral traditions fuse with cutting-edge music technologies. Next she takes up rap's racial politics, its sharp criticisms of the police and the government, and the responses of those institutions. Finally, she explores the complex sexual politics of rap, including questions of misogyny, sexual domination, and female rappers' critiques of men. But these debates do not overshadow rappers' own words and thoughts. Rose also closely examines the lyrics and videos for songs by artists such as Public Enemy, KRS-One, Salt N' Pepa, MC Lyte, and L. L. Cool J. and draws on candid interviews with Queen Latifah, music producer Eric "Vietnam" Sadler, dancer Crazy Legs, and others to paint the full range of rap's political and aesthetic spectrum. In the end, Rose observes, rap music remains a vibrant force with its own aesthetic, "a noisy and powerful element of contemporary American popular culture which continues to draw a great deal of attention to itself."
Representing Black Music Culture by Bill Banfield Pdf
In this collection of essays, interviews, and profiles, William Banfield reflects on his life as an musician and educator, weaving together pieces of cultural criticism that pay homage to artists who have created and sustained Black music for more than forty years.
Author : Samuel A. Floyd Jr. Publisher : Oxford University Press Page : 336 pages File Size : 53,5 Mb Release : 1996-10-31 Category : Social Science ISBN : 9780199839292
The Power of Black Music by Samuel A. Floyd Jr. Pdf
When Jimi Hendrix transfixed the crowds of Woodstock with his gripping version of "The Star Spangled Banner," he was building on a foundation reaching back, in part, to the revolutionary guitar playing of Howlin' Wolf and the other great Chicago bluesmen, and to the Delta blues tradition before him. But in its unforgettable introduction, followed by his unaccompanied "talking" guitar passage and inserted calls and responses at key points in the musical narrative, Hendrix's performance of the national anthem also hearkened back to a tradition even older than the blues, a tradition rooted in the rings of dance, drum, and song shared by peoples across Africa. Bold and original, The Power of Black Music offers a new way of listening to the music of black America, and appreciating its profound contribution to all American music. Striving to break down the barriers that remain between high art and low art, it brilliantly illuminates the centuries-old linkage between the music, myths and rituals of Africa and the continuing evolution and enduring vitality of African-American music. Inspired by the pioneering work of Sterling Stuckey and Henry Louis Gates, Jr., author Samuel A. Floyd, Jr, advocates a new critical approach grounded in the forms and traditions of the music itself. He accompanies readers on a fascinating journey from the African ring, through the ring shout's powerful merging of music and dance in the slave culture, to the funeral parade practices of the early new Orleans jazzmen, the bluesmen in the twenties, the beboppers in the forties, and the free jazz, rock, Motown, and concert hall composers of the sixties and beyond. Floyd dismisses the assumption that Africans brought to the United States as slaves took the music of whites in the New World and transformed it through their own performance practices. Instead, he recognizes European influences, while demonstrating how much black music has continued to share with its African counterparts. Floyd maintains that while African Americans may not have direct knowledge of African traditions and myths, they can intuitively recognize links to an authentic African cultural memory. For example, in speaking of his grandfather Omar, who died a slave as a young man, the jazz clarinetist Sidney Bechet said, "Inside him he'd got the memory of all the wrong that's been done to my people. That's what the memory is....When a blues is good, that kind of memory just grows up inside it." Grounding his scholarship and meticulous research in his childhood memories of black folk culture and his own experiences as a musician and listener, Floyd maintains that the memory of Omar and all those who came before and after him remains a driving force in the black music of America, a force with the power to enrich cultures the world over.
Soul music and country music propel American popular culture. Using ethnomusicological tools, Shonekan examines their socio-cultural influences and consequences: the perception of and resistance to hegemonic structures from within their respective constituencies, the definition of national identity, and the understanding of the 'American Dream.'
Representing Black Music Culture by William C. Banfield Pdf
In this collection of essays, interviews, and profiles, William C. Banfield reflects on his life as a musician and educator, weaving together pieces of cultural criticism and artistry and paying homage to Black music of the last forty years and beyond. The essays and interviews in Representing Black Music Culture: Then, Now, and When Again? are enhanced by seven years of daily diary entries that reflect on some of the country's most respected Black composers, recording artists, authors, and cultural icons, including Ornette Coleman, Bobby McFerrin, Toni Morrison, Amiri Baraka, Gordon Parks, the Marsalis brothers, Maya Angelou, Patrice Rushen, Billy Taylor, Herbie Hancock, and Quincy Jones. Although many of the individuals Banfield lauds are well known to most readers, he also turns his attention to musicians and artists whose work, while perhaps unheralded by the world at large, is no less deserving of praise and respect for their contributions. In addition, this volume is filled with candid photographs of many artists participating in expressive culture, whether on stage, on tour, in clubs, in rehearsal, or teaching class. This unique book will be of interest to scholars and students, as well as general readers interested in absorbing and appreciating Black culture. Book jacket.
Assembling a Black Counter Culture by Deforrest Brown Pdf
In this critical history, DeForrest Brown, Jr "makes techno Black again" by tracing the music's origins in Detroit and beyond In Assembling a Black Counter Culture, writer and musician DeForrest Brown, Jr, provides a history and critical analysis of techno and adjacent electronic music such as house and electro, showing how the genre has been shaped over time by a Black American musical sensibility. Brown revisits Detroit's 1980s techno scene to highlight pioneering groups like the Belleville Three before jumping into the origins of today's international club floor to draw important connections between industrialized labor systems and cultural production. Among the other musicians discussed are Underground Resistance (Mad Mike Banks, Cornelius Harris), Drexciya, Juan Atkins (Cybotron, Model 500), Derrick May, Jeff Mills, Robert Hood, Detroit Escalator Co. (Neil Ollivierra), DJ Stingray/Urban Tribe, Eddie Fowlkies, Terrence Dixon (Population One) and Carl Craig. With references to Theodore Roszak's Making of a Counter Culture, writings by African American autoworker and political activist James Boggs, and the "techno rebels" of Alvin Toffler's Third Wave, Brown approaches techno's unique history from a Black theoretical perspective in an effort to evade and subvert the racist and classist status quo in the mainstream musical-historical record. The result is a compelling case to "make techno Black again." DeForrest Brown, Jris a New York-based theorist, journalist and curator. He produces digital audio and extended media as Speaker Music and is a representative of the Make Techno Black Again campaign.
From Jim Crow to Eminem, white culture has been transformed by black music. To be so influenced by the boundless imagination of a race brought to America in chains sets up a fascinating irony, andSouled American, an ambitious and comprehensive look at race relations as seen through the prism of music, examines that irony fearlessly—with illuminating results. Tracing a direct line from plantation field hollers to gangsta rap, author Kevin Phinney explains how blacks and whites exist in a constant tug-of-war as they create, re-create, and claim each phase of popular music. Meticulously researched, the book includes dozens of exclusive celebrity interviews that reveal the day-to-day struggles and triumphs of sharing the limelight. Unique, intriguing, Souled Americanshould be required reading for every American interested in music, in history, or in healing our country’s troubled race relations. • Combines social history and pop culture to reveal how jazz, blues, soul, country, and hip-hop have developed • Includes interviews with Ray Charles, Willie Nelson, B. B. King, David Byrne, Sly Stone, Donna Summer, Bonnie Raitt, and dozens more • Confronts questions of race and finds meaningful answers • Ideal for Black History Month