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Five Songs of Laurence Hope by Harry Thacker Burleigh,Laurence Hope Pdf
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
A Singer's Guide to the American Art Song: 1870-1980 by Victoria Etnier Villamil Pdf
Considers the lives and contributions of 144 significant composers in the field. Includes a general discography, bibliography, and indexes for both titles and poets.
Harry T. Burleigh (1866-1949) played a leading role in American music and culture in the twentieth century. Celebrated for his arrangements of spirituals, Burleigh was also the first African American composer to create a significant body of art song. An international roster of opera and recital singers performed his works and praised them as among the best of their time. Jean E. Snyder traces Burleigh's life from his Pennsylvania childhood through his fifty-year tenure as soloist at St. George's Episcopal Church in Manhattan. As a composer, Burleigh's pioneering work preserved and transformed the African American spiritual; as a music editor, he facilitated the work of other black composers; as a role model, vocal coach, and mentor, he profoundly influenced American song; and in private life he was friends with Antonín Dvořák, Marian Anderson, Will Marion Cook, and other America luminaries. Snyder provides rich historical, social, and political contexts that explore Burleigh's professional and personal life within an era complicated by changes in race relations, class expectations, and musical tastes.
Negro Musicians and their Music by Maud Cuney-Hare Pdf
In offering this study of Negro music, I do so with the admission that there is no consistent development as found in national schools of music. The Negro, a musical force, through his own distinct racial characteristics has made an artistic contribution which is racial but not yet national. Rather has the influence of musical stylistic traits termed Negro, spread over many nations wherever the colonies of the New World have become homes of Negro people. These expressions in melody and rhythm have been a compelling force in American music Ð tragic and joyful in emotion, pathetic and ludicrous in melody, primitive and barbaric in rhythm. The welding of these expressions has brought about a harmonic effect which is now influencing thoughtful musicians throughout the world. At present there is evidenced a new movement far from academic, which plays an important technical part in the music of this and other lands. The question as to whether there exists a pure Negro art in America is warmly debated. Many Negroes as well as Anglo-Americans admit that the so-called American Negro is no longer an African Negro. Apart from the fusion of blood he has for centuries been moved by the same stimuli which have affected all citizens of the United States. They argue rightly that he is a product of a vital American civilization with all its daring, its progress, its ruthlessness, and unlovely speed. As an integral part of the nation, the Negro is influenced by like social environment and governed by the same political institutions; thus page vi we may expect the ultimate result of his musical endeavors to be an art-music which embodies national characteristics exercised upon by his soul's expression. In the field of composition, the early sporadic efforts by people of African descent, while not without historic importance, have been succeeded by contributions from a rising group of talented composers of color who are beginning to find a listening public. The tendency of this music is toward the development of an American symphonic, operatic and ballet school led for the moment by a few lone Negro musicians of vision and high ideals. The story of those working toward this end is herein treated. Facts for this volume have been obtained from educated African scholars with whom the author sought acquaintanceship and from printed sources found in the Boston Public Library, the New York Public Library and the Music Division of the Library of Congress. The author has also had access to rare collections and private libraries which include her own. Folk material has been gathered in personal travel.
During the century of British rule of the Indian subcontinent known as the British Raj, the rulers felt the significant influence of their exotic subjects. Resonances of the Raj examines the ramifications of the intertwined and overlapping histories of Britain and India on English music in the last fifty years of the colonial encounter, and traces the effects of the Raj on the English musical imagination. Conventional narratives depict a one-way influence of Britain on India, with the 'discovery' of Indian classical music occurring only in the post-colonial era. Drawing on new archival sources and approaches in cultural studies, author Nalini Ghuman shows that on the contrary, England was both deeply aware of and heavily influenced by India musically during the Indian-British colonial encounter. Case studies of representative figures, including composers Edward Elgar and Gustav Holst, and Maud MacCarthy, an ethnomusicologist and performer of the era, integrate music directly into the cultural history of the British Raj. Ghuman thus reveals unexpected minglings of peoples, musics and ideas that raise questions about 'Englishness', the nature of Empire, and the fixedness of identity. Richly illustrated with analytical music examples and archival photographs and documents, many of which appear here in print for the first time, Resonances of the Raj brings fresh hearings to both familiar and little-known musics of the time, and reveals a rich and complex history of cross-cultural musical imaginings which leads to a reappraisal of the accepted historiographies of both British musical culture and of Indo-Western fusion.
Art Song in the United States, 1759-1999 by Judith E. Carman,William K. Gaeddert,Rita M. Resch Pdf
Originally created as a teaching tool, this bibliography has taken on a second life as a research tool for various facets of American art song, including, in this edition, both current and historical discography.
So You Want to Sing Spirituals by Randye Jones Pdf
With their rich and complicated history, spirituals hold a special place in the American musical tradition. This soul-stirring musical form is irresistible to singers seeking to diversify their performance repertoire, but it is also riddled with controversy, especially for singers of non-African descent. Singer and historian Randye Jones welcomes singers of all backgrounds into the style while she explores its folk song roots and transformation into choral and solo vocal concert repertoire. Profiling key composers and pioneers of the genre, Jones also discusses the use of dialect and other controversial performance considerations. Contributed chapters address elements of collaborative piano, studio teaching, choral arrangement, voice science, and vocal health as they apply to the performance of spirituals. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Spirituals features online supplemental material on the NATS website.
African American Concert Singers Before 1950 by Darryl Glenn Nettles Pdf
Marian Roberts, Roland Hayes, and Paul Robeson were among the most visible early African American concert singers, but they were not the only ones. Many others were involved in the arts as concert singers and, given the times in which they lived, achieved tremendous results in the face of great adversity and helped pave the way for the post-1950 African American vocal artist. Drawn from articles, reviews, programs, biographical sources, and interviews, this work is a survey of the unknown early African American concert singers. Much of the information from periodicals was taken from The New York Amsterdam News, The Chicago Defender, and The New York Age. The book covers the African Americans who came before Roberts, Hayes, and Robeson, and details the opportunities available in Europe for black concert singers.
The Negro in Literature and Art in the United States by Benjamin Griffith Brawley Pdf
DigiCat Publishing presents to you this special edition of "The Negro in Literature and Art in the United States" by Benjamin Griffith Brawley. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.
The Gift of Black Folk is a history book by W. E. B. Du Bois concerning the contributions of the African American community to life in the United States. Du Bois presents a well written book on the contributions of black people to the creation and establishment of the United States of America. He was a leader of the Niagara Movement, a group of African-American activists that wanted equal rights for blacks. Du Bois insisted on full civil rights and increased political representation, which he believed would be brought about by the African-American intellectual elite.
