Buch, Englisch, Band 7, 294 Seiten, Trade Paperback, Format (B × H): 152 mm x 229 mm, Gewicht: 454 g
Buch, Englisch, Band 7, 294 Seiten, Trade Paperback, Format (B × H): 152 mm x 229 mm, Gewicht: 454 g
Reihe: Music of the African Diaspora
ISBN: 978-0-520-24333-0
Verlag: University Press Group
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 1940s 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.
Autoren/Hrsg.
Fachgebiete
Weitere Infos & Material
List of Illustrations
Preface
1. Daddy’s Second Line: Toward a Cultural Poetics of Race Music
2. Disciplining Black Music: On History, Memory, and Contemporary Theories
3. "It’s Just the Blues": Race, Entertainment, and the Blues Muse
4. "It Just Stays with Me All of the Time": Collective Memory, Community Theater, and the Ethnographic Truth
5. "We Called Ourselves Modern": Race Music and the Politics and Practice of Afro-Modernism at Midcentury
6. "Goin’ to Chicago": Memories, Histories, and a Little Bit of Soul
7. Scoring a Black Nation: Music, Film, and Identity in the Age of Hip-Hop
8. "Santa Claus Ain’t Got Nothing on This!": Hip-Hop Hybridity and the Black Church Muse
Epilogue: "Do You Want It on Your Black-Eyed Peas?"
Notes
Selected Bibliography
Acknowledgments
Index