Music is a central element of African American culture. It is part of the oral tradition that began before Africans were enslaved and brought to North America, and it continues in the bicultural synthesis that is the African American experience. All black American music therefore represents the history, expressive styles, and important values of African America. Inherent in this consideration of culture is the psychology that has evolved from the historical experience of African Americans, particularly those mental dispositions and processes that have enhanced psychological self-preservation in the face of oppression. This essay collection elucidates the distinctive behavioral, emotional, and attitudinal modes as well as the values that are reflected in all types of African American music.
Although there are--and have been historically--a variety of forms and styles of black music, spirituals, blues, ragtime, jazz, rhythm and blues, rap, for example, there is a core African American cultural fabric that is found in all of the historical and contemporary forms. Accordingly, the contributors affirm the perspective that African American music is one root genre with several branches. They analyze the distinctive cultural and psychological features of several of these, from the psychological utility of the spirituals to the vibrancy of current day rap music, while demonstrating the persistent competency of their artists. Scholars, researchers, and lay readers concerned with African American cultural analysis and music will find this collection of particular interest.
William Grant Still and the Fusion of Cultures in American Music
Carefully structured to link information directly to the CIM syllabus, this coursebook text offers a range of cases, questions, activities, definitions and study tips to support and test your understanding...
(Amadeus). In this first of three volumes, Paul Jackson begins a rich and detailed history of the early years of the Metropolitan Opera broadcasts, bringing to life more than 200 recorded broadcasts.
45905-1-2-3 Floating Down The old Green River ( Kalmar ) 31 Jul 15 A - 1825 BERT WILLIAMS : Vocal , with orchestra . ... 45912-1-2-3 Spring Morning Serenade ( Aubade Printanière ) ( P. Lacombe ) 4 Aug 15 A - 1805 PALIE K.LUA - DAVID K.
... as leader of Beethoven's ' Quintett , ' his colleagues being F. Cramer , Moralt , H. Gattie , and Lindley ; at the sixth concert ( May 31 , 1813 ) , he played second violin in a Quartet by Mozart . 128 According to F.G. Edwards ...
11 James W. Palmer's Shape - note hymnal was for sale in Lexington in 1826 : NEW MUSICK BOOK Just published , and for sale at J. W. Palmer's and W. W. Worsley's Book - Stores , “ THE WESTERN HARMONIC COMPANION ; Containing most of the ...
The Minstrelsy of England
In exploring the art of those who knew their instrument both as composers and as pianists, this book serves, in the words of pianist Stephen Hough, "both as a fascinating, exhaustive study of the riches of the past and as a stimulating ...
'This book is about much more than the birth of opera: it is about why opera has the ingredients it does--its arias, laments, happy endings, and its struggles between men, and women, and gods.
据贝多芬的学生,贝多芬传记的作者辛德勒的记述,他曾向贝多芬请教关于第五交响曲第一乐章主导动机的寓意,贝多芬回答说:“这是命运的叩门,命运就是这样敲门的。”后来人们就称第五交响曲为“命运交响曲”。