04123cam a2200577 a 4500 71066 20230410124112.0 940103s1995 nyua bkq 001 0 eng 94000021 (OCoLC)ocm29670104 DLC DLC UKM BAKER UKV3G NLGGC BTCTA YDXCP UAB GB96-78848 35911002 60121488 0195082354 9780195082357 UKM b9678848 NLGGC 114567611 YDXCP 1287109 YDXCP 104088 NZ1 4362833 AU@ 000010726236 (OCoLC)29670104 (OCoLC)35911002 (OCoLC)60121488 n-us--- ML 3556 F645p 1995 780/.89/96073 GRAL Floyd, Samuel A. The power of Black music : interpreting its history from Africa to the United States / Samuel A. Floyd, Jr. New York : Oxford University Press, c1995. 316 p. : ill. ; 25 cm. 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. 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. Composition (Music) By Black persons History Performance (Music) By Black persons History Africa United States Negers. gtt Populaire muziek. gtt Beèinvloeding. gtt Publisher description http://www.loc.gov/catdir/enhancements/fy0605/94000021-d.html Contributor biographical information http://www.loc.gov/catdir/enhancements/fy0725/94000021-b.html Baker and Taylor BTCP 94000021 Baker & Taylor BKTY 60.00 60.00 0195082354 0002437076 active YBP Library Services YANK 1287109 lcc bk C0 DRFGD 71048 71048 0 0 lcc 0 0 HU BJB BJB HU 2023-04-10 1 0 ML 3556 F645p 1995 00000062508 2018-10-25 00:00:00 1 2018-10-25 bk