The interpreting its history from Africa to the United States Floyd, Samuel A. creator text bibliography nyu New York Oxford University Press c1995 1995 monographic eng

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316 p. : ill. ; 25 cm. 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. 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. Samuel A. Floyd, Jr. Includes bibliographical references (p. 279-295), discography (p. 297-304), filmography (p. 305), and index. n-us--- 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 Populaire muziek Beèinvloeding ML 3556 F645p 1995 780/.89/96073 0195082354 9780195082357 94000021 http://www.loc.gov/catdir/enhancements/fy0605/94000021-d.html http://www.loc.gov/catdir/enhancements/fy0725/94000021-b.html http://www.loc.gov/catdir/enhancements/fy0605/94000021-d.html http://www.loc.gov/catdir/enhancements/fy0725/94000021-b.html DLC 940103 20230410124112.0 71066