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

Adams, Kyle. ‘Aspects of the Music/Text Relationship in Rap’. Music Theory Online 14.2 n. pag. Web. <http://www.mtosmt.org/issues/mto.08.14.2/mto.08.14.2.adams.html>.

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

Arzumanova, Inna. ‘The Culture Industry and Beyoncé’s Proprietary Blackness’. Celebrity Studies 7.3 (20160702): n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=inna arzumanova the culture industry &amp;clusterResults=true#/oclc/6460435072>.

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

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

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

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

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

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

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

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

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

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

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

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

---, eds. ‘Chapter 7: Blues’. African American Music: An Introduction. Second edition. New York: Routledge, 2015. 119–137. Print.

---, eds. ‘Chapter 7: Rhythm and Blues/R&B’. African American Music: An Introduction. Second edition. New York: Routledge, 2015. 239–276. Web. <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&amp;ppg=136>.

---, eds. ‘Chapter 8: Art/Classical Music’. African American Music: An Introduction. Second edition. New York: Routledge, 2015. 138–159. Web. <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&amp;ppg=155>.

---, eds. ‘Chapter 9: Jazz’. African American Music: An Introduction. Second edition. New York: Routledge, 2015. 163–188. Print.

---, eds. ‘Chapter 11: Music Theater’. African American Music: An Introduction. Second edition. New York: Routledge, 2015. 213–238. Print.

---, eds. ‘Chapter 14: Funk’. African American Music: An Introduction. Second edition. New York: Routledge, 2015. 301–319. Web. <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=317>.

---, eds. ‘Chapter 15: Disco and House’. African American Music: An Introduction. Second edition. New York: Routledge, 2015. 320–334. Web. <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&amp;ppg=337>.

---, eds. ‘Chapter 17: Hip-Hop and Rap’. African American Music: An Introduction. Second edition. New York: Routledge, 2015. 354–390. Web. <https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=371>.

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

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

---. Demons of Disorder: Early Blackface Minstrels and Their World. Vol. 8. Cambridge: Cambridge University Press, 1997. Print.

Cooke, Mervyn, and David Horn, eds. The Cambridge Companion to Jazz. Cambridge: Cambridge University Press, 2003. Web. <http://universitypublishingonline.org/ref/id/companions/CBO9781139002233>.

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

David Brackett. ‘James Brown’s “Superbad” and the Double-Voiced Utterance’. Popular Music 11.3 (1992): 309–324. Web. <http://www.jstor.org/stable/931312>.

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

Edgar, Amanda Nell. ‘“She Invited Other People to That Space”: Audience Habitus, Place, and Social Justice in Beyoncé’s Lemonade’. Feminist media studies 19.1 (2019): n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=amanda nell edgar and ashton toone she invited other people&amp;clusterResults=true#/oclc/7994441038>.

Eshun, Kodwo. ‘Further Considerations of Afrofuturism’. CR: The New Centennial Review 3.2 (2003): 287–302. Web.

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

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

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

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

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

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

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

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

Frith, Simon, Will Straw, and John Street, eds. The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press, 2001. Web. <http://universitypublishingonline.org/ref/id/companions/CBO9781139002240>.

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

Hansen, Kai Arne. ‘Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition’. Popular Music and Society 40.2 (20170315): n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=kai arne hansen empowered or objectified#/oclc/7065469272>.

Harper, Paula. ‘BEYONCÉ: Viral Techniques and the Visual Album’. Popular Music and Society 42.1 (20190101): n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=paula harper beyonce viral techniques#/oclc/7989430864>.

Hess, Mickey. ‘Hip-Hop Realness and the White Performer’. Critical Studies in Media Communication 22.5 (2005): 372–389. Web.

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

‘How #BlackLivesMatter Started a Musical Revolution’. Guardian (2016): n. pag. Web. <https://www.theguardian.com/us-news/2016/mar/13/black-lives-matter-beyonce-kendrick-lamar-protest>.

Howland, John. ‘Chapter 3: The Blues Get Glorified: Harlem Entertainment, Negro Nuances, and Black Symphonic Jazz’. ‘Ellington Uptown’: Duke Ellington, James P. Johnson, & the Birth of Concert Jazz. Ann Arbor: University of Michigan Press, 2009. Print.

Ibrahim, Amina. ‘Radical Re-Envisionings : Ancient Egypt, Afrofuturism, and FKA Twigs’. N.p., 2015. Web. <https://repositories.lib.utexas.edu/handle/2152/32447>.

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

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

Kooijman, Jaap. ‘Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva’. Popular Music and Society 42.1 (20190101): n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=jaap kooijman fierce&amp;clusterResults=true#/oclc/7989433113>.

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

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

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

Maultsby, Portia K. ‘Africanisms in African-American Music’. Africanisms in American Culture. Bloomington, Ind: Indiana University Press, 1990. Print.

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

---. ‘Soul Music: Its Sociological and Political Significance in American Popular Culture’. The Journal of Popular Culture 17.2 (1983): 51–60. Web.

McClary, Susan. ‘Bessie Smith: Thinking Blues’. The Auditory Culture Reader. Oxford: Berg, 2003. 427–434. Print.

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

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

Murray Forman. ‘“Represent”: Race, Space and Place in Rap Music’. Popular Music 19.1 (2000): 65–90. Web. <http://www.jstor.org/stable/853712>.

Naila Keleta-Mae. ‘A Beyoncé Feminist’. Atlantis: Critical Studies in Gender, Culture & Social Justice 38.1 (2017): 236-246 PDF. Web. <https://journals.msvu.ca/index.php/atlantis/article/view/3407>.

Nathalie Weidhase. ‘“Beyoncé Feminism” and the Contestation of the Black Feminist Body’. Celebrity Studies 6.1 n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=nathalie weidhase beyonce feminism &amp;clusterResults=true#/oclc/5734256448>.

---. ‘“Beyoncé Feminism” and the Contestation of the Black Feminist Body’. Celebrity Studies 6.1 n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=nathalie weidhase beyonce feminism &amp;clusterResults=true#/oclc/5734256448>.

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

Patrick, Stephanie. ‘Becky with the Twitter: Lemonade, Social Media, and Embodied Academic Fandom’. Celebrity Studies 10.2 (20190403): n. pag. Web. <https://bris.on.worldcat.org/search?databaseList=638&amp;queryString=stephanie patrick becky with the twitter&amp;clusterResults=true#/oclc/8102272270>.

Peterson, Richard A. ‘Why 1955? Explaining the Advent of Rock Music’. Popular Music 9.1 (1990): n. pag. Web. <http://www.jstor.org/stable/852886>.

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

Ramsey, Guthrie P. 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. Print.

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

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

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

Shank, Barry. ‘From Rice to Ice: The Face of Race in Rock and Pop’. The Cambridge Companion to Pop and Rock. Cambridge: Cambridge University Press, 2001. 256–271. Web.

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

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

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

---. The Music of Black Americans: A History. 3rd ed. New York: W. W. Norton, 1997. Print.

Stan Hawkins. ‘Prince: Harmonic Analysis of “Anna Stesia”’. Popular Music 11.3 (1992): 325–335. Web. <http://www.jstor.org/stable/931313>.

Strauss, Neil. ‘Sampling Is (A) Creative or (B) Theft?’ The Pop, Rock, and Soul Reader: Histories and Debates. Oxford: Oxford University Press, 2005. 422–423. Print.

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

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

Taylor, Timothy D. ‘His Name Was in Lights: Chuck Berry’s Johnny B. Goode’. Reading Pop: Approaches to Textual Analysis in Popular Music. Oxford: Oxford University Press, 2000. 163–182. Print.

Tim Hughes. ‘Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder’. N.p., 2003. Web. <https://www.academia.edu/217945/_Groove_and_Flow_Six_Analytical_Essays_on_the_Music_of_Stevie_Wonder_>.

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

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

Walser, Robert. ‘Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy’. Ethnomusicology 39.2 (1995): n. pag. Web. <http://www.jstor.org/stable/924425>.

‘Week 6: Reading Week’. : n. pag. Print.

Williams, Justin A, ed. The Cambridge Companion to Hip-Hop. Cambridge: Cambridge University Press, 2015. Web. <http://universitypublishingonline.org/ref/id/companions/CCO9781139775298>.

Williams, Justin A. ‘The Construction of Jazz Rap as High Art in Hip-Hop Music’. The Journal of Musicology 27.4 (2010): 435–459. Web. <http://www.jstor.org/stable/10.1525/jm.2010.27.4.435>.

Zak III, Albin J. ‘Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation “All along the Watchtower”’. Journal of the American Musicological Society 57.3 (2004): 599–644. Web. <http://www.jstor.org/stable/10.1525/jams.2004.57.3.599>.