000			03515pam a2200421 i 4500
001			ocm29670104
003			OCoLC
005			20240726102254.0
008			940103s1995 nyua bkq 001 0 eng
010			_a94000021 /MN
039	0	2	_aCI ocm29670104
039	0	5	_aNG 0000014849
039	0	7	_aVO 94000021
040			_aDLC _beng _erda _cDLC _dSBI
043			_an-us---
049	0	2	_aSBIM
049	0	5	_aZKG
049	0	6	_aSGE
049	0	7	_aVCM
050	0	4	_aML3556.F645.P694 1995
100	1		_aFloyd, Samuel A, _e1
245	0	4	_aThe power of Black music : _binterpreting its history from Africa to the United States / _cSamuel A. Floyd, Jr. _hPR
260			_aNew York : _bOxford University Press, _c(c)1995.
300			_a316 pages : _billustrations ; _c25 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_a1 (pages 279-295), discography (pages 297-304), filmography (pages 305), and index.
505	0	0	_aAfrican music, religion, and narrative -- _tTransformations -- _tSyncretization and synthesis : folk and written traditions -- _tAfrican-American modernism, signifyin(g), and black music -- _tThe negro renaissance : Harlem and Chicago flowerings -- _tTransitions : function and difference in myth and ritual -- _tContinuity and discontinuity : the fifties -- _tThe sixties and after -- _tTroping the blues : From spirituals to the concert hall -- _tThe object of call-response : the signifyin(g) symbol -- _tImplications and conclusions.
520	0		_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. 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 [Publisher description]
530			_a2
650		0	_aAfrican Americans _xMusic _xHistory and criticism.
650		0	_aMusic _zUnited States _xHistory and criticism.
907			_a.b10854460 _b06-23-14 _c01-22-08
942			_cBK _hML _m1995
998			_acim _ang _aswg _avcr _b05-26-09 _cm _da _e- _feng _gnyu _h0
945			_g1 _i31923000883963 _j2 _lcimc _n"repair" status after fire _o- _p0.00 _q- _r- _s- -- _t61 _u2 _v0 _w2 _x0 _y.i11228295 _z01-22-08
999			_c41265 _d41265
902			_a1 _bCynthia Snell _c1 _dCynthia Snell