Bøger i African American Cultural Theory and Heritage serien

In this collection of essays, interviews, and profiles, William Banfield reflects on his life as a musician and educator, as he weaves together pieces of cultural criticism and artistry, all the while paying homage to Black music of the last 40 years and beyond. In Representing Black Music Culture: Then, Now, and When Again?, Banfield honors the legacy of artists who have graced us with their work for more than half a century.The essays and interviews in this collection are enhanced by seven years of daily diary entries, which reflect on some of the countrys most respected Black composers, recording artists, authors, and cultural icons. These include Ornette Coleman, Bobby McFerrin, Toni Morrison, Amiri Baraka, Gordon Parks, the Marsalis brothers, Spike Lee, Maya Angelou, Patrice Rushen, and many others. Though many of the individuals Banfield lauds are well-known to most readers, he also turns his attention to musicians and artists whose work, while perhaps unheralded by the world at large, are no less deserving of praise and respect for their contributions to the culture. In addition, this volume is filled with candid photographs of many of these fellow artists as they participate in expressive culture, whether on stage, on tour, in clubs, behind the scenes, in rehearsal, or even during meals and teaching class.This unique book of essays, interviews, diary entries, and Banfields personal photographs will be of interest to scholars and students, of course, but also to general readers interested in absorbing and appreciating the beauty of Black culture.

In this collection of provocative essays, leading thinkers, preachers, and scholars from around the country challenge both the Black church and the hip-hop generation to realize their shared responsibilities to one another and to the greater society.

In this collection of provocative essays, leading thinkers, preachers, and scholars from around the country challenge both the Black church and the hip-hop generation to realize their shared responsibilities to one another and to the greater society.

The Jazz Trope takes a look at the African American lifestyle through the lens of jazz, blues, and spirituals. Through the pioneering efforts of Albert Murray, Ralph Ellison, Houston Baker, Henry Louis Gates, Jr., Ishmael Reed, Amiri Baraka, and other notable scholars who have related jazz, spirituals, and blues to African American life and culture, The Jazz Trope offers an opportunity to add scholarship to the perception of African American identity as a creative attempt to survive a unique history and struggle.

No art can survive without an understanding of, and dedication to, the values envisioned by its creators. No culture over time has existed without a belief system to sustain its survival. Black music is no different. In Cultural Codes: Makings of a Black Music Philosophy, William C. Banfield engages the reader in a conversation about the aesthetics and meanings that inform this critical component of our social consciousness.By providing a focused examination of the historical development of Black music artistry, Banfield formulates a useable philosophy tied to how such music is made, shaped, and functions. In so doing, he explores Black music culture from three angles: history, education, and the creative work of the musicians who have moved the art forward. In addition to tracing Black music from its African roots to its various contemporary expressions, including jazz, soul, R&B, funk, and hip hop, Banfield profiles some of the most important musicians over the last century: W.C. Handy, Scott Joplin, Louis Armstrong, Duke Ellington, Count Basie, Mary Lou Williams, John Coltrane, James Brown, Jimi Hendrix, and Stevie Wonder, among others. Cultural Codes provides an educational and philosophical framework for students and scholars interested in the traditions, the development, the innovators, and the relevance of Black music.

Musicologist Bill Banfield weaves a treasure trove of primary source material-including interviews with Patrick's family, friends, and associates-into a tapestry of Patrick's remarkable life as the musical right hand of some of America's greatest Black musical artists.

This book examines the career of Willie Dixon, detailing his skills as a singer, songwriter, arranger, and producer. This volume also charts the development of his songwriting techniques from his early professional career to his mature period, exploring his philosophy of songwriting and its social, historical, and cultural background.

In this book, conductor and scholar Rufus Jones, Jr. brings to light a literal treasure trove of unpublished primary sources to tell the compelling story of the great American conductor, Dean Dixon.

Today, the number of African Americans who hold chairs in major American symphony orchestras are few and far between, and Watt is the first in many years to write about this uniquely exhilarating-and at times painful-experience.

Despite its extraordinary popularity and worldwide influence, the world of rap and hip hop is under constant attack. Impressions and interpretations of its meaning and power are perpetually being challenged. Somewhere someone is bemoaning the negative impact of rap music on contemporary culture. In In the Heart of the Beat: The Poetry of Rap, bestselling author and scholar Alexs Pate argues for a fresh understanding of rap as an example of powerful and effective poetry, rather than a negative cultural phenomenon.Pate articulates a way of reading rap that makes visible both its contemporary and historical literary values. He encourages the reader to step beyond the dominance of the beat and the raw language and come to an appreciation of raps literary and poetic dimensions. What emerges is a vision of rap as an exemplary form of literary expression, rather than a profane and trendy musical genre. Pate focuses on works by several well-known artists to reveal in rap music, despite its penchant for vulgarity, a power and beauty that is the heart of great literature.

Today, the number of African Americans who hold chairs in major American symphony orchestras are few and far between, and Watt is the first in many years to write about this uniquely exhilarating-and at times painful-experience.