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

Adams, Kyle (no date) ‘Aspects of the Music/Text Relationship in Rap’, Music Theory Online, 14(2). Available at: 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, I. (20160702) ‘The culture industry and Beyoncé’s proprietary blackness’, Celebrity Studies, 7(3). Available at: https://doi.org/10.1080/19392397.2016.1203613.

Bertrand, M.T. (2005) Race, rock, and Elvis. Urbana, Ill: University of Illinois Press.

Beyoncé in ‘Formation’: Entertainer, Activist, Both? - The New York Times (no date). Available at: https://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.html.

Brackett, D. (2005a) ‘Chapter 19: The growing threat of Rhythm and Blues’, in The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press, pp. 76–80.

Brackett, D. (2005b) ‘Chapter 24: Rock and roll meets the popular press’, in The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press.

Brackett, D. (2005c) ‘Chapter 25: The Chicago Defender defends rock and roll’, in The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press.

Brackett, D. (2005d) ‘Chapter 26: The music industry fight against rock “n” roll’, in The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press, pp. 100–109.

Brooks, K.D. and Martin, K.L. (2019) The Lemonade reader: Beyoncé, black feminism and spirituality. London: Routledge.

Burnim, M.V. and Maultsby, P.K. (eds) (2015a) ‘African American music: an introduction’, in. New York, NY: Routledge, Taylor & Francis Group.

Burnim, M.V. and Maultsby, P.K. (eds) (2015b) ‘Chapter 1: The translated African Cultural and Musical Past’, in African American music: an introduction. Second edition. New York: Routledge, pp. 3–22. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=20.

Burnim, M.V. and Maultsby, P.K. (eds) (2015c) ‘Chapter 3: Secular Folk Music’, in African American music: an introduction. Second edition. New York: Routledge, pp. 34–49. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=51.

Burnim, M.V. and Maultsby, P.K. (eds) (2015d) ‘Chapter 4: Spirituals’, in African American music: an introduction. Second edition. New York: Routledge, pp. 50–71.

Burnim, M.V. and Maultsby, P.K. (eds) (2015e) ‘Chapter 6: Ragtime’, in African American music: an introduction. Second edition. New York: Routledge, pp. 97–118.

Burnim, M.V. and Maultsby, P.K. (eds) (2015f) ‘Chapter 7: Blues’, in African American music: an introduction. Second edition. New York: Routledge, pp. 119–137.

Burnim, M.V. and Maultsby, P.K. (eds) (2015g) ‘Chapter 7: Rhythm and Blues/R&B’, in African American music: an introduction. Second edition. New York: Routledge, pp. 239–276. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=136.

Burnim, M.V. and Maultsby, P.K. (eds) (2015h) ‘Chapter 8: Art/Classical Music’, in African American music: an introduction. Second edition. New York: Routledge, pp. 138–159. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=155.

Burnim, M.V. and Maultsby, P.K. (eds) (2015i) ‘Chapter 9: Jazz’, in African American music: an introduction. Second edition. New York: Routledge, pp. 163–188.

Burnim, M.V. and Maultsby, P.K. (eds) (2015j) ‘Chapter 11: Music Theater’, in African American music: an introduction. Second edition. New York: Routledge, pp. 213–238.

Burnim, M.V. and Maultsby, P.K. (eds) (2015k) ‘Chapter 14: Funk’, in African American music: an introduction. Second edition. New York: Routledge, pp. 301–319. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=317.

Burnim, M.V. and Maultsby, P.K. (eds) (2015l) ‘Chapter 15: Disco and House’, in African American music: an introduction. Second edition. New York: Routledge, pp. 320–334. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=337.

Burnim, M.V. and Maultsby, P.K. (eds) (2015m) ‘Chapter 17: Hip-hop and Rap’, in African American music: an introduction. Second edition. New York: Routledge, pp. 354–390. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=371.

Chang, J. (2007) Can’t stop won’t stop: a history of the hip-hop generation. London: Ebury.

Cockrell, D. (1997a) Demons of disorder: early blackface minstrels and their world. Cambridge: Cambridge University Press.

Cockrell, D. (1997b) Demons of disorder: early blackface minstrels and their world. Cambridge: Cambridge University Press.

Cooke, M. and Horn, D. (eds) (2003) The Cambridge Companion to Jazz. Cambridge: Cambridge University Press. Available at: https://doi.org/10.1017/CCOL9780521663205.

Danielsen, A. (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), pp. 309–324. Available at: http://www.jstor.org/stable/931312.

Dery, M. (ed.) (1994) ‘Black to the Future’, in Flame wars: the discourse of cyberculture. Durham: Duke University Press, pp. 179–222.

Edgar, A.N. (2019) ‘“She invited other people to that space”: audience habitus, place, and social justice in Beyoncé’s Lemonade’, Feminist media studies, 19(1). Available at: https://bris.on.worldcat.org/search?databaseList=638&queryString=amanda nell edgar and ashton toone she invited other people&clusterResults=true#/oclc/7994441038.

Eshun, K. (1998) More brilliant than the sun: adventures in sonic fiction. London: Quartet Books. Available at: https://monoskop.org/images/b/b2/Eshun_Kodwo_More_Brilliant_Than_the_Sun_Adventures_in_Sonic_Fiction.pdf.

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

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

Floyd, S.A. (1995b) ‘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. New York: Oxford University Press. Available at: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151.

Floyd, S.A. (1995c) ‘Chapter 5: The Negro Renaissance: Harlem and Chicago Flowerings’, in The Power of Black Music. New York, Oxford: Oxford University Press. Available at: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151.

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

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

Floyd, S.A. (1995f) ‘Introduction’, in The Power of Black Music. New York, Oxford: Oxford University Press. Available at: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151.

Forman, M. and Neal, M.A. (2012) That’s the joint!: the hip-hop studies reader. 2nd ed. London: Routledge.

Frith, S., Straw, W. and Street, J. (eds) (2001) The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press. Available at: https://doi.org/10.1017/CCOL9780521553698.

Gates, H.L. (1988) The signifying monkey: a theory of African-American literary criticism [electronic resource]. Oxford: Oxford University Press. Available at: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=679616.

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

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

Hess, M. (2005) ‘Hip-hop Realness and the White Performer’, Critical Studies in Media Communication, 22(5), pp. 372–389. Available at: https://doi.org/10.1080/07393180500342878.

Hodeir, A. and Schuller, G. (20AD) ‘Ellington, Duke’. Available at: 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 [Preprint]. Available at: https://www.theguardian.com/us-news/2016/mar/13/black-lives-matter-beyonce-kendrick-lamar-protest.

Howland, J. (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, A. (2015) Radical re-envisionings : ancient Egypt, Afrofuturism, and FKA twigs. Available at: https://doi.org/10.15781/T2763F.

Jones, L. (2005) ‘Blues People’, in The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press, pp. 18–25.

Kajikawa, L. (2015) Sounding race in rap songs. First edition. Oakland, California: University of California Press.

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

Krims, A. (2000) Rap music and the poetics of identity. Cambridge: Cambridge University Press.

Lordi, E.J. (2020) The meaning of soul: Black music and resilience since the 1960s. Durham: Duke University Press.

Lott, E. (2013) Love and theft: blackface minstrelsy and the American working class. 20th-anniversary edition edn. New York: Oxford University Press.

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

Maultsby, P.K. (1990) ‘Africanisms in African-American Music’, in Africanisms in American culture. Bloomington, Ind: Indiana University Press.

Maultsby, P.K. (2015) ‘Chapter 13: Soul’, in M.V. Burnim and P.K. Maultsby (eds) African American music: an introduction. Second edition. New York, NY: Routledge, Taylor & Francis Group. Available at: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=294.

McClary, S. (2003) ‘Bessie Smith: Thinking Blues’, in The auditory culture reader. Oxford: Berg, pp. 427–434.

Moving Beyond Pain — bell hooks Institute (no date). Available at: http://www.bellhooksinstitute.com/blog/2016/5/9/moving-beyond-pain.

Murchinson, G. and Parsons Smith, C. (no date) ‘Still, William Grant’. Available at: 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), pp. 65–90. Available at: http://www.jstor.org/stable/853712.

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

Nathalie Weidhase (no date a) ‘“Beyoncé feminism” and the contestation of the black feminist body’, Celebrity Studies, 6(1). Available at: https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448.

Nathalie Weidhase (no date b) ‘“Beyoncé feminism” and the contestation of the black feminist body’, Celebrity Studies, 6(1). Available at: https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448.

Oakley, G. (1997) ‘City Blues’, in The devil’s music: a history of the blues. 2nd ed. [New York]: Da Capo Press.

Patrick, S. (20190403) ‘Becky with the Twitter: Lemonade, social media, and embodied academic fandom’, Celebrity Studies, 10(2). Available at: https://doi.org/10.1080/19392397.2018.1462721.

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

Price, E.G., Kernodle, T.L. and Maxile, H.J. (2011) Encyclopedia of African American music: Volume 1: A-G [electronic resource]. Santa Barbara, Calif: ABC-CLIO. Available at: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=620092.

Ramsey, G.P. and Columbia College (Chicago, Ill.). Center for Black Music Research (2003) Race music: black cultures from behop to hip-hop. Berkeley, Calif: University of California Press.

Rose, T. (1994) Black noise: rap music and black culture in contemporary America. Middletown, Connecticut: Wesleyan University Press. Available at: https://bris.on.worldcat.org/oclc/610269566.

Schloss, J.G. (2004) Making beats: the art of sample-based hip-hop. Middletown, Conn: Wesleyan University Press.

Schuller, G. (1968) ‘Origins’, in Early jazz: its roots and musical development. New York: Oxford University Press, pp. 3–62.

Shank, B. (2001) ‘From Rice to Ice: The Face of Race in Rock and Pop’, in The Cambridge companion to pop and rock. Cambridge: Cambridge University Press, pp. 256–271. Available at: https://doi.org/10.1017/CCOL9780521553698.016.

Small, C. (1998) Music of the common tongue: survival and celebration in African American music. Hanover, N.H.: Wesleyan University Press.

Smith, C.P. (2000) William Grant Still: a study in contradictions. Berkeley, Calif: University of California Press.

Southern, E. (1997a) The music of black Americans: a history. 3rd ed. New York: W. W. Norton.

Southern, E. (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), pp. 325–335. Available at: http://www.jstor.org/stable/931313.

Strauss, N. (2005) ‘Sampling is (A) Creative or (B) Theft?’, in The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press, pp. 422–423.

Stuckey, S. (2014) Slave culture: nationalist theory and the foundations of black America. 25th anniversary edition. New York: Oxford University Press. Available at: https://bris.on.worldcat.org/oclc/870284452.

Szwed, J. (1997) ‘Chapter 2 - excerpts’, in Space is the place: the lives and times of Sun Ra. New York: Pantheon, pp. 64–73.

Taylor, T.D. (2000) ‘His name was in Lights: Chuck Berry’s Johnny B. Goode’, in Reading pop: approaches to textual analysis in popular music. Oxford: Oxford University Press, pp. 163–182.

Tim Hughes (2003) Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder. Available at: https://www.academia.edu/217945/_Groove_and_Flow_Six_Analytical_Essays_on_the_Music_of_Stevie_Wonder_.

Trier-Bieniek, A.M. (ed.) (2016) The Beyoncé effect: essays on sexuality, race and feminism. Jefferson, North Carolina: McFarland & Company, Inc., Publishers.

Wald, E. (2005) Escaping the Delta: Robert Johnson and the invention of the Blues. New York: HarperCollins.

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

‘Week 6: Reading Week’ (no date).

Williams, J.A. (2010) ‘The Construction of Jazz Rap as High Art in Hip-Hop Music’, The Journal of Musicology, 27(4), pp. 435–459. Available at: https://doi.org/10.1525/jm.2010.27.4.435.

Williams, J.A. (ed.) (2015) The Cambridge Companion to Hip-Hop. Cambridge: Cambridge University Press. Available at: https://doi.org/10.1017/CCO9781139775298.

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

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