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

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

[2]
S. A. Floyd, ‘Introduction’, in The Power of Black Music, New York, Oxford: Oxford University Press, 1995 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

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

[4]
M. V. Burnim and P. K. Maultsby, Eds., ‘Chapter 3: Secular Folk Music’, in African American music: an introduction, Second edition., New York: Routledge, 2015, pp. 34–49 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=51

[5]
M. V. Burnim and P. K. Maultsby, Eds., ‘Chapter 11: Music Theater’, in African American music: an introduction, Second edition., New York: Routledge, 2015, pp. 213–238.

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

[7]
B. Shank, ‘From Rice to Ice: The Face of Race in Rock and Pop’, in The Cambridge companion to pop and rock, Cambridge: Cambridge University Press, 2001, pp. 256–271.

[8]
M. V. Burnim and P. K. Maultsby, Eds., ‘Chapter 4: Spirituals’, in African American music: an introduction, Second edition., New York: Routledge, 2015, pp. 50–71.

[9]
E. Lott, Love and theft: blackface minstrelsy and the American working class, 20th-anniversary edition ed. New York: Oxford University Press, 2013.

[10]
D. Cockrell, Demons of disorder: early blackface minstrels and their world, vol. 8. Cambridge: Cambridge University Press, 1997.

[11]
M. V. Burnim and P. K. Maultsby, Eds., ‘African American music: an introduction’, Second edition., New York, NY: Routledge, Taylor & Francis Group, 2015.

[12]
M. V. Burnim and P. K. Maultsby, Eds., ‘Chapter 7: Blues’, in African American music: an introduction, Second edition., New York: Routledge, 2015, pp. 119–137.

[13]
S. A. Floyd, ‘Chapter 3: Syncretization and Synthesis: Folk and Written Traditions’, in The Power of Black Music, New York, Oxford: Oxford University Press, 1995 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

[14]
S. A. Floyd, ‘Chapter 9: Troping the Blues: From Spirituals to the Concert Hall’, in The Power of Black Music, New York, Oxford: Oxford University Press, 1995 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

[15]
L. Jones, ‘Blues People’, in The pop, rock, and soul reader: histories and debates, Oxford: Oxford University Press, 2005, pp. 18–25.

[16]
G. Oakley, ‘City Blues’, in The devil’s music: a history of the blues, 2nd ed., [New York]: Da Capo Press, 1997.

[17]
E. Wald, Escaping the Delta: Robert Johnson and the invention of the Blues. New York: HarperCollins, 2005.

[18]
S. McClary, ‘Bessie Smith: Thinking Blues’, in The auditory culture reader, Oxford: Berg, 2003, pp. 427–434.

[19]
M. V. Burnim and P. K. Maultsby, Eds., ‘Chapter 9: Jazz’, in African American music: an introduction, Second edition., New York: Routledge, 2015, pp. 163–188.

[20]
S. A. Floyd, ‘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, 1995 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

[21]
G. Schuller, ‘Origins’, in Early jazz: its roots and musical development, vol. v.1, New York: Oxford University Press, 1968, pp. 3–62.

[22]
M. V. Burnim and P. K. Maultsby, Eds., ‘Chapter 8: Art/Classical Music’, in African American music: an introduction, Second edition., New York: Routledge, 2015, pp. 138–159 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=155

[23]
S. A. Floyd, ‘Chapter 5: The Negro Renaissance: Harlem and Chicago Flowerings’, in The Power of Black Music, New York, Oxford: Oxford University Press, 1995 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

[24]
J. Howland, ‘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, 2009.

[25]
C. P. Smith, William Grant Still: a study in contradictions, vol. 2. Berkeley, Calif: University of California Press, 2000.

[26]
A. Hodeir and G. Schuller, ‘Ellington, Duke’, 20AD [Online]. Available: http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000008731?rskey=NN2YZA&result=3

[27]
G. Murchinson and C. Parsons Smith, ‘Still, William Grant’ [Online]. Available: http://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000026776?rskey=csDbiQ&result=1

[28]
‘Week 6: Reading Week’. .

[29]
M. V. Burnim and P. K. Maultsby, Eds., ‘Chapter 7: Rhythm and Blues/R&B’, in African American music: an introduction, Second edition., New York: Routledge, 2015, pp. 239–276 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=136

[30]
S. A. Floyd, ‘Chapter 10: The Object of Call-Response: The Signifyin(g) Symbol’, in The Power of Black Music, New York, Oxford: Oxford University Press, 1995 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

[31]
D. Brackett, ‘Chapter 19: The growing threat of Rhythm and Blues’, in The pop, rock, and soul reader: histories and debates, Oxford: Oxford University Press, 2005, pp. 76–80.

[32]
D. Brackett, ‘Chapter 24: Rock and roll meets the popular press’, in The pop, rock, and soul reader: histories and debates, Oxford: Oxford University Press, 2005.

[33]
D. Brackett, ‘Chapter 25: The Chicago Defender defends rock and roll’, in The pop, rock, and soul reader: histories and debates, Oxford: Oxford University Press, 2005.

[34]
D. Brackett, ‘Chapter 26: The music industry fight against rock “n” roll’, in The pop, rock, and soul reader: histories and debates, Oxford: Oxford University Press, 2005, pp. 100–109.

[35]
T. D. Taylor, ‘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, 2000, pp. 163–182.

[36]
R. A. Peterson, ‘Why 1955? Explaining the Advent of Rock Music’, Popular Music, vol. 9, no. 1, 1990 [Online]. Available: http://www.jstor.org/stable/852886

[37]
M. T. Bertrand, Race, rock, and Elvis. Urbana, Ill: University of Illinois Press, 2005.

[38]
P. K. Maultsby, ‘Chapter 13: Soul’, in African American music: an introduction, Second edition., M. V. Burnim and P. K. Maultsby, Eds. New York, NY: Routledge, Taylor & Francis Group, 2015 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=294

[39]
M. V. Burnim and P. K. Maultsby, Eds., ‘Chapter 14: Funk’, in African American music: an introduction, Second edition., New York: Routledge, 2015, pp. 301–319 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=317

[40]
A. Danielsen, ‘Chapter 5: The Downbeat in Anticipation’, in Presence and pleasure: the funk grooves of James Brown and Parliament, Middletown, Conn: Wesleyan University Press, 2006.

[41]
E. J. Lordi, The meaning of soul: Black music and resilience since the 1960s. Durham: Duke University Press, 2020.

[42]
M. Dery, Ed., ‘Black to the Future’, in Flame wars: the discourse of cyberculture, Durham: Duke University Press, 1994, pp. 179–222.

[43]
J. Szwed, ‘Chapter 2 - excerpts’, in Space is the place: the lives and times of Sun Ra, New York: Pantheon, 1997, pp. 64–73.

[44]
A. Ibrahim, ‘Radical re-envisionings : ancient Egypt, Afrofuturism, and FKA twigs’, 2015 [Online]. Available: https://repositories.lib.utexas.edu/handle/2152/32447

[45]
K. Eshun, More brilliant than the sun: adventures in sonic fiction. London: Quartet Books, 1998 [Online]. Available: https://monoskop.org/images/b/b2/Eshun_Kodwo_More_Brilliant_Than_the_Sun_Adventures_in_Sonic_Fiction.pdf

[46]
K. Eshun, ‘Further Considerations of Afrofuturism’, CR: The New Centennial Review, vol. 3, no. 2, pp. 287–302, 2003, doi: 10.1353/ncr.2003.0021.

[47]
M. V. Burnim and P. K. Maultsby, Eds., ‘Chapter 15: Disco and House’, in African American music: an introduction, Second edition., New York: Routledge, 2015, pp. 320–334 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=337

[48]
J. Chang, Can’t stop won’t stop: a history of the hip-hop generation. London: Ebury, 2007.

[49]
M. V. Burnim and P. K. Maultsby, Eds., ‘Chapter 17: Hip-hop and Rap’, in African American music: an introduction, Second edition., New York: Routledge, 2015, pp. 354–390 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=371

[50]
N. Strauss, ‘Sampling is (A) Creative or (B) Theft?’, in The pop, rock, and soul reader: histories and debates, Oxford: Oxford University Press, 2005, pp. 422–423.

[51]
M. Hess, ‘Hip-hop Realness and the White Performer’, Critical Studies in Media Communication, vol. 22, no. 5, pp. 372–389, Dec. 2005, doi: 10.1080/07393180500342878.

[52]
A. Krims, Rap music and the poetics of identity. Cambridge: Cambridge University Press, 2000.

[53]
T. Rose, Black noise: rap music and black culture in contemporary America. Middletown, Connecticut: Wesleyan University Press, 1994 [Online]. Available: https://bris.on.worldcat.org/oclc/610269566

[54]
J. G. Schloss, Making beats: the art of sample-based hip-hop. Middletown, Conn: Wesleyan University Press, 2004.

[55]
K. A. Hansen, ‘Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition’, Popular Music and Society, vol. 40, no. 2, 20170315, doi: 10.1080/03007766.2015.1104906. [Online]. Available: https://bris.on.worldcat.org/search?databaseList=638&queryString=kai arne hansen empowered or objectified#/oclc/7065469272

[56]
Naila Keleta-Mae, ‘A Beyoncé Feminist’, Atlantis: Critical Studies in Gender, Culture & Social Justice, vol. 38, no. 1, pp. 236-246 PDF, 2017 [Online]. Available: https://journals.msvu.ca/index.php/atlantis/article/view/3407

[57]
‘How #BlackLivesMatter started a musical revolution’, Guardian, Mar. 2016 [Online]. Available: https://www.theguardian.com/us-news/2016/mar/13/black-lives-matter-beyonce-kendrick-lamar-protest

[58]
‘Beyoncé in “Formation”: Entertainer, Activist, Both? - The New York Times’. [Online]. Available: https://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.html

[59]
‘Moving Beyond Pain — bell hooks Institute’. [Online]. Available: http://www.bellhooksinstitute.com/blog/2016/5/9/moving-beyond-pain

[60]
P. Harper, ‘BEYONCÉ: Viral Techniques and the Visual Album’, Popular Music and Society, vol. 42, no. 1, 20190101, doi: 10.1080/03007766.2019.1555895. [Online]. Available: https://bris.on.worldcat.org/search?databaseList=638&queryString=paula harper beyonce viral techniques#/oclc/7989430864

[61]
J. Kooijman, ‘Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva’, Popular Music and Society, vol. 42, no. 1, 20190101, doi: 10.1080/03007766.2019.1555888. [Online]. Available: https://bris.on.worldcat.org/search?databaseList=638&queryString=jaap kooijman fierce&clusterResults=true#/oclc/7989433113

[62]
Nathalie Weidhase, ‘“Beyoncé feminism” and the contestation of the black feminist body’, Celebrity Studies, vol. 6, no. 1 [Online]. Available: https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448

[63]
Nathalie Weidhase, ‘“Beyoncé feminism” and the contestation of the black feminist body’, Celebrity Studies, vol. 6, no. 1 [Online]. Available: https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448

[64]
A. N. Edgar, ‘“She invited other people to that space”: audience habitus, place, and social justice in Beyoncé’s Lemonade’, Feminist media studies, vol. 19, no. 1, 2019 [Online]. Available: https://bris.on.worldcat.org/search?databaseList=638&queryString=amanda nell edgar and ashton toone she invited other people&clusterResults=true#/oclc/7994441038

[65]
I. Arzumanova, ‘The culture industry and Beyoncé’s proprietary blackness’, Celebrity Studies, vol. 7, no. 3, 20160702, doi: 10.1080/19392397.2016.1203613. [Online]. Available: https://bris.on.worldcat.org/search?databaseList=638&queryString=inna arzumanova the culture industry &clusterResults=true#/oclc/6460435072

[66]
S. Patrick, ‘Becky with the Twitter: Lemonade, social media, and embodied academic fandom’, Celebrity Studies, vol. 10, no. 2, 20190403, doi: 10.1080/19392397.2018.1462721. [Online]. Available: https://bris.on.worldcat.org/search?databaseList=638&queryString=stephanie patrick becky with the twitter&clusterResults=true#/oclc/8102272270

[67]
K. D. Brooks and K. L. Martin, The Lemonade reader: Beyoncé, black feminism and spirituality. London: Routledge, 2019.

[68]
A. M. Trier-Bieniek, Ed., The Beyoncé effect: essays on sexuality, race and feminism. Jefferson, North Carolina: McFarland & Company, Inc., Publishers, 2016.

[69]
Adams, Kyle, ‘Aspects of the Music/Text Relationship in Rap’, Music Theory Online, vol. 14, no. 2 [Online]. Available: http://www.mtosmt.org/issues/mto.08.14.2/mto.08.14.2.adams.html

[70]
David Brackett, ‘James Brown’s “Superbad” and the Double-Voiced Utterance’, Popular Music, vol. 11, no. 3, pp. 309–324, 1992 [Online]. Available: http://www.jstor.org/stable/931312

[71]
D. Cockrell, Demons of disorder: early blackface minstrels and their world, vol. 8. Cambridge: Cambridge University Press, 1997.

[72]
M. Cooke and D. Horn, Eds., The Cambridge Companion to Jazz. Cambridge: Cambridge University Press, 2003 [Online]. Available: http://universitypublishingonline.org/ref/id/companions/CBO9781139002233

[73]
Murray Forman, ‘“Represent”: Race, Space and Place in Rap Music’, Popular Music, vol. 19, no. 1, pp. 65–90, 2000 [Online]. Available: http://www.jstor.org/stable/853712

[74]
S. Frith, W. Straw, and J. Street, Eds., The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press, 2001 [Online]. Available: http://universitypublishingonline.org/ref/id/companions/CBO9781139002240

[75]
H. L. Gates, The signifying monkey: a theory of African-American literary criticism. Oxford: Oxford University Press, 1988 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=679616

[76]
Stan Hawkins, ‘Prince: Harmonic Analysis of “Anna Stesia”’, Popular Music, vol. 11, no. 3, pp. 325–335, 1992 [Online]. Available: http://www.jstor.org/stable/931313

[77]
Tim Hughes, ‘Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder’, University of Washington, 2003 [Online]. Available: https://www.academia.edu/217945/_Groove_and_Flow_Six_Analytical_Essays_on_the_Music_of_Stevie_Wonder_

[78]
Amiri Baraka (LeRoi Jones), Blues people: Negro music in white America. New York: W. Morrow, 1963.

[79]
L. Kajikawa, Sounding race in rap songs, First edition. Oakland, California: University of California Press, 2015.

[80]
E. G. Price, T. L. Kernodle, and H. J. Maxile, Encyclopedia of African American music: Volume 1: A-G. Santa Barbara, Calif: ABC-CLIO, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=620092

[81]
P. K. Maultsby, ‘Africanisms in African-American Music’, in Africanisms in American culture, Bloomington, Ind: Indiana University Press, 1990.

[82]
P. K. Maultsby, ‘Soul Music: Its Sociological and Political Significance in American Popular Culture’, The Journal of Popular Culture, vol. 17, no. 2, pp. 51–60, Sep. 1983, doi: 10.1111/j.0022-3840.1983.1702_51.x.

[83]
M. Forman and M. A. Neal, That’s the joint!: the hip-hop studies reader, 2nd ed. London: Routledge, 2012.

[84]
G. P. Ramsey and Columbia College (Chicago, Ill.). Center for Black Music Research, Race music: black cultures from behop to hip-hop, vol. 7. Berkeley, Calif: University of California Press, 2003.

[85]
C. Small, Music of the common tongue: survival and celebration in African American music. Hanover, N.H.: Wesleyan University Press, 1998.

[86]
E. Southern, The music of black Americans: a history, 3rd ed. New York: W. W. Norton, 1997.

[87]
S. Stuckey, Slave culture: nationalist theory and the foundations of black America, 25th anniversary edition. New York: Oxford University Press, 2014 [Online]. Available: https://bris.on.worldcat.org/oclc/870284452

[88]
R. Walser, ‘Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy’, Ethnomusicology, vol. 39, no. 2, Spring 1995, doi: 10.2307/924425. [Online]. Available: http://www.jstor.org/stable/924425

[89]
J. A. Williams, Ed., The Cambridge Companion to Hip-Hop. Cambridge: Cambridge University Press, 2015 [Online]. Available: http://universitypublishingonline.org/ref/id/companions/CCO9781139775298

[90]
J. A. Williams, ‘The Construction of Jazz Rap as High Art in Hip-Hop Music’, The Journal of Musicology, vol. 27, no. 4, pp. 435–459, Oct. 2010, doi: 10.1525/jm.2010.27.4.435. [Online]. Available: http://www.jstor.org/stable/10.1525/jm.2010.27.4.435

[91]
A. J. Zak III, ‘Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation “All along the Watchtower”’, Journal of the American Musicological Society, vol. 57, no. 3, pp. 599–644, Dec. 2004, doi: 10.1525/jams.2004.57.3.599. [Online]. Available: http://www.jstor.org/stable/10.1525/jams.2004.57.3.599

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