MUSI 005F. Black Popular Music: From "Race Music" to the Mainstream (SC)

Covers material published in music and various other fields as they relate to music. Records appear in over a hundred languages. The majority of citations include abstracts. Articles, books, bibliographies, catalogues, conference proceedings, discographies, dissertations, Festschriften, films, and videos are all covered by RILM. Concert reviews, recording notes, and pedagogical manuals if they are of scholarly interest.

Provides abstracts and full-text to journal articles. Covers a broad spectrum of the arts and entertainment industry including dance, film, television, theater, opera, and broadcasting. Covers 1864-present.

A guide to exploring Africana and Black Studies resources available in the TriColleges.

2012. Extensive article with section on 1. Slavery, culture, and the black Atlantic. 2. Black cultural diversity in the North and the South.
3. The new popular culture. 4. Spirituals, black culture, and the art idea. 5. Black music and the modern pop culture industry. 6. Black musical worlds in art and pop. 7. Expanding the black vernacular: ragtime, blues, jazz, and gospel. 8. Black classical music in the art world. 9. Music in the black church. 10. New amalgamations: bebop and rhythm-and-blues. 11. Black music in the academy. 12. Post-World War II: black music into the mainstream. Includes an excellent bibliography.

2010. Introduction; A Timeline of Significant Moments in African American Music; Entries A-Z; Appendix 1. Significant Compositions by African American Concert, Jazz, and Gospel Composers; Appendix 2. Significant Music Videos of African American Music; Appendix 3. Major Archives, Research Centers, and Web Sites for African American Music; A Selected Bibliography of Resources and Reference Works in African American Music; A Selected Bibliography of African American Music: Genre Specific, 1989-2010

This encyclopedia's 30,000 entries cover all genres and periods of popular music from 1900 to the present day, including jazz, country, folk, rap, reggae, techno, musicals, and world music. The expanded Fourth Edition includes thousands of new entries on trends, styles, record labels, venues, and music festivals. Key dates, biographies, and further reading are provided for artists covered, along with complete discographies

2010. Despite the influence of African American music and study as a worldwide phenomenon, no comprehensive and fully annotated reference tool currently exists that covers the wide range of genres. This much needed bibliography fills an important gap in this research area and will prove an indispensable resource for librarians and scholars studying African American music and culture.

From Black Music Research Journal 28, no. 1 (2008): 139-66. "Included in this bibliography are articles on music created by or performed by people who identify themselves as "black" and who are from North America or the Circum-Caribbean. The bibliography reveals a great deal about the state of research on black music among scholars in North America and the United Kingdom. The methodological and topical focus of a particular journal can predict the coverage of black music."

2017. Issues in African American Music: Power, Gender, Race, Representation is a collection of twenty-one essays by leading scholars, surveying vital themes in the history of African American music. Bringing together the viewpoints of ethnomusicologists, historians, and performers, these essays cover topics including the music industry, women and gender, and music as resistance, and explore the stories of music creators and their communities. Revised and expanded to reflect the latest scholarship, with six all-new essays, this book both complements the previously published volume African American Music: An Introduction and stands on its own. Each chapter features a discography of recommended listening for further study. From the antebellum period to the present, and from classical music to hip hop, this wide-ranging volume provides a nuanced introduction for students and anyone seeking to understand the history, social context, and cultural impact of African American music.

2009. You can't judge a book by it's cover as the focus is not about classical concert music. Publisher's summary: "For almost half a century, Amiri Baraka has ranked among the most important commentators on African American music and culture. In this brilliant assemblage of his writings on music, the first such collection in nearly twenty years, Baraka blends autobiography, history, musical analysis, and political commentary to recall the sounds, people, times, and places he's encountered. As in his earlier classics, Blues People and Black Music, Baraka offers essays on the famous--Max Roach, Charlie Parker, Miles Davis, John Coltrane--and on those whose names are known mainly by jazz aficionados--Alan Shorter, Jon Jang, and Malachi Thompson. Baraka's literary style, with its deep roots in poetry, makes palpable his love and respect for his jazz musician friends. His energy and enthusiasm show us again how much Coltrane, Albert Ayler, and the others he lovingly considers mattered. He brings home to us how music itself matters, and how musicians carry and extend that knowledge from generation to generation, providing us, their listeners, with a sense of meaning and belonging."

2009. 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.

1997. This text provides comprehensive coverage of black American music, from the arrival of the first Africans in the English colonies to contemporary developments in African-American history. The book draws on authentic documents, from colonial times to the present, to illuminate the history of black music.

1995. 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 traditionbefore 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 traditionrooted 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-oldlinkage 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 andtraditions 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 inthe 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, herecognizes 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 Africancultural 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 justgrows 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 forcewith the power to enrich cultures the world over.

Black Music Research Journal includes articles about the philosophy, aesthetics, history, and criticism of black music. BMRJ is an official journal of the Center for Black Music Research.

from the Foundation for Research in the Afro-American Creative Arts. Published 1973-1990.

Founded in 1971, publishes articles, book reviews, and audio reviews on popular music of any genre, time period, or geographic location. Popular Music and Society is open to all scholarly orientations toward popular music, including (but not limited to) historical, theoretical, critical, sociological, and cultural approaches. The terms "popular" and "society" are broadly defined to accommodate a wide range of articles on the subject. The journal focuses especially on music as a manifestation of popular culture.
Recent and forthcoming Special Issue topics include: Fandom; Musical Autobiographies; Music, Heritage, and Memory; the Sex Pistols; Pussy Riot; and Music and Work. Popular Music and Society is published five times per year and is a peer-reviewed academic journal supported by an international editorial board.

2005. Soul music has conquered the world in the last 50 years - growing from the raw, electric rhythms of the black underclass, it is now a billion dollar industry with R&B and hip hop dominating the world's charts. It's been the soundtrack to some of the most extraordinary social, political and cultural shifts. Together with the civil rights movement, it has challenged white hegemony, helped break down segregation and encouraged the fight for racial equality. This new six-part series, made by the BBC team who produced the critically-acclaimed Lost Highway, Walk On By and Dancing In The Street series, charts the evolution of soul music - with a fascinating combination of rare archive footage and over 100 contemporary interviews. The movers and shakers from the world of soul – such as James Brown, Mary J Blige, Beyoncé and Martha Reeves, - plus some often overlooked talent, track the music that shaped our lives. Episodes: 1. The Birth of Soul 2. The Gospel Highway 3. The Sound of Young America 4. Southern Soul 5. Ain’t It Funky 6. From Ghetto to Fabulous. Guides to episodes at http://www.bbc.co.uk/music/souldeep/episodes/1/