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The power of Black music interpreting its history from Africa to the United States

Bibliographic Details
Main Author: Floyd, Samuel A. Jr. (Author)
Title Statement: Samuel A. Floyd
Type of Resource: Book
Language: English
published:
New York [u.a.] Oxford University Press 1995
Physical Description: 316 S; Notenbeisp; 25 cm
Subjects:
USA
RVK Notation: HD 570
  • Anglistik. Amerikanistik
    • Allgemeines und Englischunterricht
      • Landeskunde
        • Landeskundliche Kunstgeschichte (Einführungen, soweit nicht Literatur, Theater, Film)
          • USA
            • Allgemeines
BK Notation: 24.65 Jazzmusik, Popmusik, Rockmusik
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520 |a 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 
520 |a 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 
520 |a 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 
520 |a 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 
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contents 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
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footnote Includes bibliographical references (p. 279-295), discography (p. 297-304), filmography (p. 305), and index
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spelling Floyd, Samuel A. Jr. 1937-2016 (DE-588)1026049830 (DE-627)725980796 (DE-576)371041775 aut, The power of Black music interpreting its history from Africa to the United States Samuel A. Floyd, New York [u.a.] Oxford University Press 1995, 316 S Notenbeisp 25 cm, Text txt rdacontent, ohne Hilfsmittel zu benutzen n rdamedia, Band nc rdacarrier, Includes bibliographical references (p. 279-295), discography (p. 297-304), filmography (p. 305), and index, 1. African Music, Religion, and Narrative -- 2. Transformations -- 3. Syncretization and Synthesis: Folk and Written Traditions -- 4. African-American Modernism, Signifyin(g), and Black Music -- 5. The Negro Renaissance: Harlem and Chicago Flowerings -- 6. Transitions: Function and Difference in Myth and Ritual -- 7. Continuity and Discontinuity: The Fifties -- 8. The Sixties and After -- 9. Troping the Blues: From Spirituals to the Concert Hall -- 10. The Object of Call-Response: The Signifyin(g) Symbol -- 11. Implications and Conclusions., Literaturverz., Discogr. und Filmogr. S. 281 - 305, 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, 580:S1LB/sng ; 720 ff. bvb ; 720 ff. (DDC): GBV/LOC ; IMD-Felder und 1131 maschinell ergänzt (SWB), African Americans Music History and criticism, Music United States History and criticism, (DE-588)4116433-7 (DE-627)104219890 (DE-576)209501537 Schwarze gnd, (DE-588)4040802-4 (DE-627)104137754 (DE-576)209042346 Musik gnd, Music, (DE-588)4078704-7 (DE-627)106076612 (DE-576)209209682 USA gnd, g (DE-588)4000695-5 (DE-627)10437036X (DE-576)208839046 Afrika gnd, g (DE-588)4078704-7 (DE-627)106076612 (DE-576)209209682 USA gnd, s (DE-588)4116433-7 (DE-627)104219890 (DE-576)209501537 Schwarze gnd, s (DE-588)4040802-4 (DE-627)104137754 (DE-576)209042346 Musik gnd, z gnd Geschichte 1890-1994, (DE-627), http://www.loc.gov/catdir/enhancements/fy0605/94000021-d.html Verlag Verlagsangaben, http://www.loc.gov/catdir/enhancements/fy0725/94000021-b.html Verlag Autorenbiografie, http://www.loc.gov/catdir/enhancements/fy0605/94000021-d.html Verlag Publisher description, http://www.loc.gov/catdir/enhancements/fy0725/94000021-b.html Verlag Contributor biographical information, DE-14 1995-12-05T00:00:00Z 2015-10-21
spellingShingle Floyd, Samuel A. Jr., The power of Black music: interpreting its history from Africa to the United States, 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, African Americans Music History and criticism, Music United States History and criticism, Schwarze, Musik, Music, USA, Afrika, Geschichte 1890-1994
swb_id_str 043806120
title The power of Black music: interpreting its history from Africa to the United States
title_auth The power of Black music interpreting its history from Africa to the United States
title_full The power of Black music interpreting its history from Africa to the United States Samuel A. Floyd
title_fullStr The power of Black music interpreting its history from Africa to the United States Samuel A. Floyd
title_full_unstemmed The power of Black music interpreting its history from Africa to the United States Samuel A. Floyd
title_list_str The power of Black music, interpreting its history from Africa to the United States
title_short The power of Black music
title_sort power of black music interpreting its history from africa to the united states
title_sub interpreting its history from Africa to the United States
topic African Americans Music History and criticism, Music United States History and criticism, Schwarze, Musik, Music, USA, Afrika, Geschichte 1890-1994
topic_facet African Americans, Music, Schwarze, Musik, History and criticism, Afrika, USA, Geschichte 1890-1994
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