Bibliography for MUSI20066 & MUSI30105: African American Music in the 20th Century BETA

Adams, Kyle. n.d. ‘Aspects of the Music/Text Relationship in Rap’. Music Theory Online 14 (2). http://www.mtosmt.org/issues/mto.08.14.2/mto.08.14.2.adams.html.

Amiri Baraka (LeRoi Jones). 1963. Blues People: Negro Music in White America. New York: W. Morrow.

Arzumanova, Inna. 20160702. ‘The Culture Industry and Beyoncé’s Proprietary Blackness’. Celebrity Studies 7 (3). https://doi.org/10.1080/19392397.2016.1203613.

Bertrand, Michael T. 2005. Race, Rock, and Elvis. Urbana, Ill: University of Illinois Press.

‘Beyoncé in “Formation”: Entertainer, Activist, Both? - The New York Times’. n.d. https://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.html.

Brackett, David. 2005a. ‘Chapter 19: The Growing Threat of Rhythm and Blues’. In The Pop, Rock, and Soul Reader: Histories and Debates, 76–80. Oxford: Oxford University Press.

———. 2005b. ‘Chapter 24: Rock and Roll Meets the Popular Press’. In The Pop, Rock, and Soul Reader: Histories and Debates. Oxford: Oxford University Press.

———. 2005c. ‘Chapter 25: The Chicago Defender Defends Rock and Roll’. In The Pop, Rock, and Soul Reader: Histories and Debates. Oxford: Oxford University Press.

———. 2005d. ‘Chapter 26: The Music Industry Fight against Rock “n” Roll’. In The Pop, Rock, and Soul Reader: Histories and Debates, 100–109. Oxford: Oxford University Press.

Brooks, Kinitra Dechaun, and Kameelah L. Martin. 2019. The Lemonade Reader: Beyoncé, Black Feminism and Spirituality. London: Routledge.

Burnim, Mellonee V., and Portia K. Maultsby, eds. 2015a. ‘African American Music: An Introduction’. In , Second edition. New York, NY: Routledge, Taylor & Francis Group.

———, eds. 2015b. ‘Chapter 1: The Translated African Cultural and Musical Past’. In African American Music: An Introduction, Second edition, 3–22. New York: Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=20.

———, eds. 2015c. ‘Chapter 3: Secular Folk Music’. In African American Music: An Introduction, Second edition, 34–49. New York: Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=51.

———, eds. 2015d. ‘Chapter 4: Spirituals’. In African American Music: An Introduction, Second edition, 50–71. New York: Routledge.

———, eds. 2015e. ‘Chapter 6: Ragtime’. In African American Music: An Introduction, Second edition, 97–118. New York: Routledge.

———, eds. 2015f. ‘Chapter 7: Blues’. In African American Music: An Introduction, Second edition, 119–37. New York: Routledge.

———, eds. 2015g. ‘Chapter 7: Rhythm and Blues/R&B’. In African American Music: An Introduction, Second edition, 239–76. New York: Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=136.

———, eds. 2015h. ‘Chapter 8: Art/Classical Music’. In African American Music: An Introduction, Second edition, 138–59. New York: Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=155.

———, eds. 2015i. ‘Chapter 9: Jazz’. In African American Music: An Introduction, Second edition, 163–88. New York: Routledge.

———, eds. 2015j. ‘Chapter 11: Music Theater’. In African American Music: An Introduction, Second edition, 213–38. New York: Routledge.

———, eds. 2015k. ‘Chapter 14: Funk’. In African American Music: An Introduction, Second edition, 301–19. New York: Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=317.

———, eds. 2015l. ‘Chapter 15: Disco and House’. In African American Music: An Introduction, Second edition, 320–34. New York: Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=337.

———, eds. 2015m. ‘Chapter 17: Hip-Hop and Rap’. In African American Music: An Introduction, Second edition, 354–90. New York: Routledge. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=371.

Chang, Jeff. 2007. Can’t Stop Won’t Stop: A History of the Hip-Hop Generation. London: Ebury.

Cockrell, Dale. 1997a. Demons of Disorder: Early Blackface Minstrels and Their World. Vol. 8. Cambridge: Cambridge University Press.

———. 1997b. Demons of Disorder: Early Blackface Minstrels and Their World. Vol. 8. Cambridge: Cambridge University Press.

Cooke, Mervyn, and David Horn, eds. 2003. The Cambridge Companion to Jazz. Cambridge: Cambridge University Press. https://doi.org/10.1017/CCOL9780521663205.

Danielsen, Anne. 2006. ‘Chapter 5: The Downbeat in Anticipation’. In Presence and Pleasure: The Funk Grooves of James Brown and Parliament. Middletown, Conn: Wesleyan University Press.

David Brackett. 1992. ‘James Brown’s “Superbad” and the Double-Voiced Utterance’. Popular Music 11 (3): 309–24. http://www.jstor.org/stable/931312.

Dery, Mark, ed. 1994. ‘Black to the Future’. In Flame Wars: The Discourse of Cyberculture, 179–222. Durham: Duke University Press.

Edgar, Amanda Nell. 2019. ‘“She Invited Other People to That Space”: Audience Habitus, Place, and Social Justice in Beyoncé’s Lemonade’. Feminist Media Studies 19 (1). https://bris.on.worldcat.org/search?databaseList=638&queryString=amanda nell edgar and ashton toone she invited other people&clusterResults=true#/oclc/7994441038.

Eshun, Kodwo. 1998. More Brilliant than the Sun: Adventures in Sonic Fiction. London: Quartet Books. https://monoskop.org/images/b/b2/Eshun_Kodwo_More_Brilliant_Than_the_Sun_Adventures_in_Sonic_Fiction.pdf.

———. 2003. ‘Further Considerations of Afrofuturism’. CR: The New Centennial Review 3 (2): 287–302. https://doi.org/10.1353/ncr.2003.0021.

Floyd, Samuel A. 1995a. ‘Chapter 3: Syncretization and Synthesis: Folk and Written Traditions’. In The Power of Black Music. New York, Oxford: Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151.

———. 1995b. ‘Chapter 4: African-American Modernism, Signifyin(g) and Black Music’. Electronic resource. In The Power of Black Music: Interpreting Its History from Africa to the United States. New York: Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151.

———. 1995c. ‘Chapter 5: The Negro Renaissance: Harlem and Chicago Flowerings’. In The Power of Black Music. New York, Oxford: Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151.

———. 1995d. ‘Chapter 9: Troping the Blues: From Spirituals to the Concert Hall’. In The Power of Black Music. New York, Oxford: Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151.

———. 1995e. ‘Chapter 10: The Object of Call-Response: The Signifyin(g) Symbol’. In The Power of Black Music. New York, Oxford: Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151.

———. 1995f. ‘Introduction’. In The Power of Black Music. New York, Oxford: Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151.

Forman, Murray, and Mark Anthony Neal. 2012. That’s the Joint!: The Hip-Hop Studies Reader. 2nd ed. London: Routledge.

Frith, Simon, Will Straw, and John Street, eds. 2001. The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press. https://doi.org/10.1017/CCOL9780521553698.

Gates, Henry Louis. 1988. The Signifying Monkey: A Theory of African-American Literary Criticism. Electronic resource. Oxford: Oxford University Press. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=679616.

Hansen, Kai Arne. 20170315. ‘Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition’. Popular Music and Society 40 (2). https://doi.org/10.1080/03007766.2015.1104906.

Harper, Paula. 20190101. ‘BEYONCÉ: Viral Techniques and the Visual Album’. Popular Music and Society 42 (1). https://doi.org/10.1080/03007766.2019.1555895.

Hess, Mickey. 2005. ‘Hip-Hop Realness and the White Performer’. Critical Studies in Media Communication 22 (5): 372–89. https://doi.org/10.1080/07393180500342878.

Hodeir, Andre, and Gunther Schuller. 20AD. ‘Ellington, Duke’. http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000008731?rskey=NN2YZA&result=3.

‘How #BlackLivesMatter Started a Musical Revolution’. 2016. Guardian, March. https://www.theguardian.com/us-news/2016/mar/13/black-lives-matter-beyonce-kendrick-lamar-protest.

Howland, John. 2009. ‘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. Ann Arbor: University of Michigan Press.

Ibrahim, Amina. 2015. ‘Radical Re-Envisionings : Ancient Egypt, Afrofuturism, and FKA Twigs’. https://doi.org/10.15781/T2763F.

Jones, LeRoi. 2005. ‘Blues People’. In The Pop, Rock, and Soul Reader: Histories and Debates, 18–25. Oxford: Oxford University Press.

Kajikawa, Loren. 2015. Sounding Race in Rap Songs. First edition. Oakland, California: University of California Press.

Kooijman, Jaap. 20190101. ‘Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva’. Popular Music and Society 42 (1). https://doi.org/10.1080/03007766.2019.1555888.

Krims, Adam. 2000. Rap Music and the Poetics of Identity. Cambridge: Cambridge University Press.

Lordi, Emily J. 2020. The Meaning of Soul: Black Music and Resilience since the 1960s. Durham: Duke University Press.

Lott, Eric. 2013. Love and Theft: Blackface Minstrelsy and the American Working Class. 20th-anniversary edition ed. New York: Oxford University Press.

Maultsby, Portia K. 1983. ‘Soul Music: Its Sociological and Political Significance in American Popular Culture’. The Journal of Popular Culture 17 (2): 51–60. https://doi.org/10.1111/j.0022-3840.1983.1702_51.x.

———. 1990. ‘Africanisms in African-American Music’. In Africanisms in American Culture. Bloomington, Ind: Indiana University Press.

———. 2015. ‘Chapter 13: Soul’. In African American Music: An Introduction, edited by Mellonee V. Burnim and Portia K. Maultsby, Second edition. New York, NY: Routledge, Taylor & Francis Group. https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=294.

McClary, Susan. 2003. ‘Bessie Smith: Thinking Blues’. In The Auditory Culture Reader, 427–34. Oxford: Berg.

‘Moving Beyond Pain — Bell Hooks Institute’. n.d. http://www.bellhooksinstitute.com/blog/2016/5/9/moving-beyond-pain.

Murchinson, Gayle, and Catherine Parsons Smith. n.d. ‘Still, William Grant’. http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000026776?rskey=csDbiQ&result=1.

Murray Forman. 2000. ‘“Represent”: Race, Space and Place in Rap Music’. Popular Music 19 (1): 65–90. http://www.jstor.org/stable/853712.

Naila Keleta-Mae. 2017. ‘A Beyoncé Feminist’. Atlantis: Critical Studies in Gender, Culture & Social Justice 38 (1): 236-246 PDF. https://journals.msvu.ca/index.php/atlantis/article/view/3407.

Nathalie Weidhase. n.d. ‘“Beyoncé Feminism” and the Contestation of the Black Feminist Body’. Celebrity Studies 6 (1). https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448.

———. n.d. ‘“Beyoncé Feminism” and the Contestation of the Black Feminist Body’. Celebrity Studies 6 (1). https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448.

Oakley, Giles. 1997. ‘City Blues’. In The Devil’s Music: A History of the Blues, 2nd ed. [New York]: Da Capo Press.

Patrick, Stephanie. 20190403. ‘Becky with the Twitter: Lemonade, Social Media, and Embodied Academic Fandom’. Celebrity Studies 10 (2). https://doi.org/10.1080/19392397.2018.1462721.

Peterson, Richard A. 1990. ‘Why 1955? Explaining the Advent of Rock Music’. Popular Music 9 (1). http://www.jstor.org/stable/852886.

Price, Emmett George, Tammy L. Kernodle, and Horace Joseph Maxile. 2011. Encyclopedia of African American Music: Volume 1: A-G. Electronic resource. Santa Barbara, Calif: ABC-CLIO. https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=620092.

Ramsey, Guthrie P. and Columbia College (Chicago, Ill.). Center for Black Music Research. 2003. Race Music: Black Cultures from Behop to Hip-Hop. Vol. 7. Berkeley, Calif: University of California Press.

Rose, Tricia. 1994. Black Noise: Rap Music and Black Culture in Contemporary America. Middletown, Connecticut: Wesleyan University Press. https://bris.on.worldcat.org/oclc/610269566.

Schloss, Joseph Glenn. 2004. Making Beats: The Art of Sample-Based Hip-Hop. Middletown, Conn: Wesleyan University Press.

Schuller, Gunther. 1968. ‘Origins’. In Early Jazz: Its Roots and Musical Development, v.1:3–62. New York: Oxford University Press.

Shank, Barry. 2001. ‘From Rice to Ice: The Face of Race in Rock and Pop’. In The Cambridge Companion to Pop and Rock, 256–71. Cambridge: Cambridge University Press. https://doi.org/10.1017/CCOL9780521553698.016.

Small, Christopher. 1998. Music of the Common Tongue: Survival and Celebration in African American Music. Hanover, N.H.: Wesleyan University Press.

Smith, Catherine Parsons. 2000. William Grant Still: A Study in Contradictions. Vol. 2. Berkeley, Calif: University of California Press.

Southern, Eileen. 1997a. The Music of Black Americans: A History. 3rd ed. New York: W. W. Norton.

———. 1997b. The Music of Black Americans: A History. 3rd ed. New York: W. W. Norton.

Stan Hawkins. 1992. ‘Prince: Harmonic Analysis of “Anna Stesia”’. Popular Music 11 (3): 325–35. http://www.jstor.org/stable/931313.

Strauss, Neil. 2005. ‘Sampling Is (A) Creative or (B) Theft?’ In The Pop, Rock, and Soul Reader: Histories and Debates, 422–23. Oxford: Oxford University Press.

Stuckey, Sterling. 2014. Slave Culture: Nationalist Theory and the Foundations of Black America. 25th anniversary edition. New York: Oxford University Press. https://bris.on.worldcat.org/oclc/870284452.

Szwed, John. 1997. ‘Chapter 2 - Excerpts’. In Space Is the Place: The Lives and Times of Sun Ra, 64–73. New York: Pantheon.

Taylor, Timothy D. 2000. ‘His Name Was in Lights: Chuck Berry’s Johnny B. Goode’. In Reading Pop: Approaches to Textual Analysis in Popular Music, 163–82. Oxford: Oxford University Press.

Tim Hughes. 2003. ‘Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder’. University of Washington. https://www.academia.edu/217945/_Groove_and_Flow_Six_Analytical_Essays_on_the_Music_of_Stevie_Wonder_.

Trier-Bieniek, Adrienne M., ed. 2016. The Beyoncé Effect: Essays on Sexuality, Race and Feminism. Jefferson, North Carolina: McFarland & Company, Inc., Publishers.

Wald, Elijah. 2005. Escaping the Delta: Robert Johnson and the Invention of the Blues. New York: HarperCollins.

Walser, Robert. 1995. ‘Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy’. Ethnomusicology 39 (2). https://doi.org/10.2307/924425.

‘Week 6: Reading Week’. n.d.

Williams, Justin A. 2010. ‘The Construction of Jazz Rap as High Art in Hip-Hop Music’. The Journal of Musicology 27 (4): 435–59. https://doi.org/10.1525/jm.2010.27.4.435.

Williams, Justin A, ed. 2015. The Cambridge Companion to Hip-Hop. Cambridge: Cambridge University Press. https://doi.org/10.1017/CCO9781139775298.

Zak III, Albin J. 2004. ‘Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation “All along the Watchtower”’. Journal of the American Musicological Society 57 (3): 599–644. https://doi.org/10.1525/jams.2004.57.3.599.