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Chapter 1: The Translated African Cultural and Musical Past. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 3–22.
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Floyd, S. A. Introduction. In The Power of Black Music; Oxford University Press: New York, Oxford, 1995.
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Southern, E. The Music of Black Americans: A History, 3rd ed.; W. W. Norton: New York, 1997.
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Chapter 3: Secular Folk Music. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 34–49.
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Chapter 11: Music Theater. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 213–238.
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Chapter 6: Ragtime. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 97–118.
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Shank, B. From Rice to Ice: The Face of Race in Rock and Pop. In The Cambridge companion to pop and rock; Cambridge University Press: Cambridge, 2001; pp 256–271. https://doi.org/10.1017/CCOL9780521553698.016.
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Chapter 4: Spirituals. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 50–71.
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Lott, E. Love and Theft: Blackface Minstrelsy and the American Working Class, 20th-anniversary edition ed.; Oxford University Press: New York, 2013.
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Cockrell, D. Demons of Disorder: Early Blackface Minstrels and Their World; Cambridge University Press: Cambridge, 1997; Vol. 8.
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African American Music: An Introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge, Taylor & Francis Group: New York, NY, 2015.
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Chapter 7: Blues. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 119–137.
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Floyd, S. A. Chapter 3: Syncretization and Synthesis: Folk and Written Traditions. In The Power of Black Music; Oxford University Press: New York, Oxford, 1995.
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Floyd, S. A. Chapter 9: Troping the Blues: From Spirituals to the Concert Hall. In The Power of Black Music; Oxford University Press: New York, Oxford, 1995.
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Jones, L. Blues People. In The pop, rock, and soul reader: histories and debates; Oxford University Press: Oxford, 2005; pp 18–25.
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Oakley, G. City Blues. In The devil’s music: a history of the blues; Da Capo Press: [New York], 1997.
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Wald, E. Escaping the Delta: Robert Johnson and the Invention of the Blues; HarperCollins: New York, 2005.
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McClary, S. Bessie Smith: Thinking Blues. In The auditory culture reader; Berg: Oxford, 2003; pp 427–434.
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Chapter 9: Jazz. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 163–188.
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Floyd, S. A. Chapter 4: African-American Modernism, Signifyin(g) and Black Music. In The power of black music: interpreting its history from Africa to the United States; Oxford University Press: New York, 1995.
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Schuller, G. Origins. In Early jazz: its roots and musical development; Oxford University Press: New York, 1968; Vol. v.1, pp 3–62.
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Chapter 8: Art/Classical Music. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 138–159.
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Floyd, S. A. Chapter 5: The Negro Renaissance: Harlem and Chicago Flowerings. In The Power of Black Music; Oxford University Press: New York, Oxford, 1995.
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Howland, J. Chapter 3: The Blues Get Glorified: Harlem Entertainment, Negro Nuances, and Black Symphonic Jazz. In ‘Ellington uptown’: Duke Ellington, James P. Johnson, & the birth of concert jazz; University of Michigan Press: Ann Arbor, 2009.
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Smith, C. P. William Grant Still: A Study in Contradictions; University of California Press: Berkeley, Calif, 2000; Vol. 2.
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Hodeir, A.; Schuller, G. Ellington, Duke. 20AD.
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Murchinson, G.; Parsons Smith, C. Still, William Grant.
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Week 6: Reading Week.
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Chapter 7: Rhythm and Blues/R&B. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 239–276.
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Floyd, S. A. Chapter 10: The Object of Call-Response: The Signifyin(g) Symbol. In The Power of Black Music; Oxford University Press: New York, Oxford, 1995.
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Brackett, D. Chapter 19: The Growing Threat of Rhythm and Blues. In The pop, rock, and soul reader: histories and debates; Oxford University Press: Oxford, 2005; pp 76–80.
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Brackett, D. Chapter 24: Rock and Roll Meets the Popular Press. In The pop, rock, and soul reader: histories and debates; Oxford University Press: Oxford, 2005.
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Brackett, D. Chapter 25: The Chicago Defender Defends Rock and Roll. In The pop, rock, and soul reader: histories and debates; Oxford University Press: Oxford, 2005.
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Brackett, D. Chapter 26: The Music Industry Fight against Rock ‘n’ Roll. In The pop, rock, and soul reader: histories and debates; Oxford University Press: Oxford, 2005; pp 100–109.
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Taylor, T. D. His Name Was in Lights: Chuck Berry’s Johnny B. Goode. In Reading pop: approaches to textual analysis in popular music; Oxford University Press: Oxford, 2000; pp 163–182.
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Peterson, R. A. Why 1955? Explaining the Advent of Rock Music. Popular Music 1990, 9 (1).
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Bertrand, M. T. Race, Rock, and Elvis; University of Illinois Press: Urbana, Ill, 2005.
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Maultsby, P. K. Chapter 13: Soul. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge, Taylor & Francis Group: New York, NY, 2015.
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Chapter 14: Funk. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 301–319.
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Danielsen, A. Chapter 5: The Downbeat in Anticipation. In Presence and pleasure: the funk grooves of James Brown and Parliament; Wesleyan University Press: Middletown, Conn, 2006.
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Lordi, E. J. The Meaning of Soul: Black Music and Resilience since the 1960s; Duke University Press: Durham, 2020.
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Black to the Future. In Flame wars: the discourse of cyberculture; Dery, M., Ed.; Duke University Press: Durham, 1994; pp 179–222.
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Szwed, J. Chapter 2 - Excerpts. In Space is the place: the lives and times of Sun Ra; Pantheon: New York, 1997; pp 64–73.
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Ibrahim, A. Radical Re-Envisionings : Ancient Egypt, Afrofuturism, and FKA Twigs, 2015. https://doi.org/10.15781/T2763F.
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Eshun, K. More Brilliant than the Sun: Adventures in Sonic Fiction; Quartet Books: London, 1998.
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Eshun, K. Further Considerations of Afrofuturism. CR: The New Centennial Review 2003, 3 (2), 287–302. https://doi.org/10.1353/ncr.2003.0021.
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Chapter 15: Disco and House. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 320–334.
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Chang, J. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation; Ebury: London, 2007.
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Chapter 17: Hip-Hop and Rap. In African American music: an introduction; Burnim, M. V., Maultsby, P. K., Eds.; Routledge: New York, 2015; pp 354–390.
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Strauss, N. Sampling Is (A) Creative or (B) Theft? In The pop, rock, and soul reader: histories and debates; Oxford University Press: Oxford, 2005; pp 422–423.
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Hess, M. Hip-Hop Realness and the White Performer. Critical Studies in Media Communication 2005, 22 (5), 372–389. https://doi.org/10.1080/07393180500342878.
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Krims, A. Rap Music and the Poetics of Identity; Cambridge University Press: Cambridge, 2000.
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Rose, T. Black Noise: Rap Music and Black Culture in Contemporary America; Wesleyan University Press: Middletown, Connecticut, 1994.
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Schloss, J. G. Making Beats: The Art of Sample-Based Hip-Hop; Wesleyan University Press: Middletown, Conn, 2004.
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Naila Keleta-Mae. A Beyoncé Feminist. Atlantis: Critical Studies in Gender, Culture & Social Justice 2017, 38 (1), 236-246 PDF.
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