03618cam a2200409 a 45000010006000000050017000060080041000230100017000640350023000810400058001040150015001620200015001770200018001920350054002100430012002640500024002760820018003001000021003182450114003392600049004533000029005025040113005315050551006445201000011955200515021956500053027106500049027636530052028126530052028646530011029166530018029276500017029456500027029626500026029898560089030158560104031047106620230410124112.0940103s1995    nyua     bkq  001 0 eng    a   94000021   a(OCoLC)ocm29670104  aDLCcDLCdUKMdBAKERdUKV3GdNLGGCdBTCTAdYDXCPdUAB  aGB96-78848  a0195082354  a9780195082357  a(OCoLC)29670104z(OCoLC)35911002z(OCoLC)60121488  an-us---14aML 3556bF645p 199500a780/.89/960731 aFloyd, Samuel A.14aThe power of Black music :binterpreting its history from Africa to the United States /cSamuel A. Floyd, Jr.  aNew York :bOxford University Press,cc1995.  a316 p. :bill. ;c25 cm.  aIncludes bibliographical references (p. 279-295), discography (p. 297-304), filmography (p. 305), and index.0 a1. 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.  aBold 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.8 aFloyd 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. 0aAfrican AmericansxMusicxHistory and criticism. 0aMusiczUnited StatesxHistory and criticism.0 aComposition (Music)aByaBlack personsaHistory0 aPerformance (Music)aByaBlack personsaHistory0 aAfrica0 aUnited States17aNegers.2gtt17aPopulaire muziek.2gtt17aBeèinvloeding.2gtt423Publisher descriptionuhttp://www.loc.gov/catdir/enhancements/fy0605/94000021-d.html423Contributor biographical informationuhttp://www.loc.gov/catdir/enhancements/fy0725/94000021-b.html