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

1.
Burnim MV, Maultsby PK, editors. Chapter 1: The translated African Cultural and Musical Past. African American music: an introduction [Internet]. Second edition. New York: Routledge; 2015. p. 3–22. Available from: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=20

2.
Floyd SA. Introduction. The Power of Black Music [Internet]. New York, Oxford: Oxford University Press; 1995. Available from: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

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

4.
Burnim MV, Maultsby PK, editors. Chapter 3: Secular Folk Music. African American music: an introduction [Internet]. Second edition. New York: Routledge; 2015. p. 34–49. Available from: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=51

5.
Burnim MV, Maultsby PK, editors. Chapter 11: Music Theater. African American music: an introduction. Second edition. New York: Routledge; 2015. p. 213–238.

6.
Burnim MV, Maultsby PK, editors. Chapter 6: Ragtime. African American music: an introduction. Second edition. New York: Routledge; 2015. p. 97–118.

7.
Shank B. From Rice to Ice: The Face of Race in Rock and Pop. The Cambridge companion to pop and rock. Cambridge: Cambridge University Press; 2001. p. 256–271.

8.
Burnim MV, Maultsby PK, editors. Chapter 4: Spirituals. African American music: an introduction. Second edition. New York: Routledge; 2015. p. 50–71.

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

10.
Cockrell D. Demons of disorder: early blackface minstrels and their world. Cambridge: Cambridge University Press; 1997.

11.
Burnim MV, Maultsby PK, editors. African American music: an introduction. Second edition. New York, NY: Routledge, Taylor & Francis Group; 2015.

12.
Burnim MV, Maultsby PK, editors. Chapter 7: Blues. African American music: an introduction. Second edition. New York: Routledge; 2015. p. 119–137.

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

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

15.
Jones L. Blues People. The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press; 2005. p. 18–25.

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

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

18.
McClary S. Bessie Smith: Thinking Blues. The auditory culture reader. Oxford: Berg; 2003. p. 427–434.

19.
Burnim MV, Maultsby PK, editors. Chapter 9: Jazz. African American music: an introduction. Second edition. New York: Routledge; 2015. p. 163–188.

20.
Floyd SA. Chapter 4: African-American Modernism, Signifyin(g) and Black Music. The power of black music: interpreting its history from Africa to the United States [Internet]. New York: Oxford University Press; 1995. Available from: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=273151

21.
Schuller G. Origins. Early jazz: its roots and musical development. New York: Oxford University Press; 1968. p. 3–62.

22.
Burnim MV, Maultsby PK, editors. Chapter 8: Art/Classical Music. African American music: an introduction [Internet]. Second edition. New York: Routledge; 2015. p. 138–159. Available from: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=155

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

24.
Howland J. 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.

25.
Smith CP. William Grant Still: a study in contradictions. Berkeley, Calif: University of California Press; 2000.

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

27.
Murchinson G, Parsons Smith C. Still, William Grant. Available from: 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.
Burnim MV, Maultsby PK, editors. Chapter 7: Rhythm and Blues/R&B. African American music: an introduction [Internet]. Second edition. New York: Routledge; 2015. p. 239–276. Available from: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=136

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

31.
Brackett D. Chapter 19: The growing threat of Rhythm and Blues. The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press; 2005. p. 76–80.

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

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

34.
Brackett D. Chapter 26: The music industry fight against rock ‘n’ roll. The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press; 2005. p. 100–109.

35.
Taylor TD. 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. p. 163–182.

36.
Peterson RA. Why 1955? Explaining the Advent of Rock Music. Popular Music [Internet]. Cambridge University Press; 1990;9(1). Available from: http://www.jstor.org/stable/852886

37.
Bertrand MT. Race, rock, and Elvis. Urbana, Ill: University of Illinois Press; 2005.

38.
Maultsby PK. Chapter 13: Soul. In: Burnim MV, Maultsby PK, editors. African American music: an introduction [Internet]. Second edition. New York, NY: Routledge, Taylor & Francis Group; 2015. Available from: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=294

39.
Burnim MV, Maultsby PK, editors. Chapter 14: Funk. African American music: an introduction [Internet]. Second edition. New York: Routledge; 2015. p. 301–319. Available from: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=317

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

41.
Lordi EJ. The meaning of soul: Black music and resilience since the 1960s. Durham: Duke University Press; 2020.

42.
Dery M, editor. Black to the Future. Flame wars: the discourse of cyberculture. Durham: Duke University Press; 1994. p. 179–222.

43.
Szwed J. Chapter 2 - excerpts. Space is the place: the lives and times of Sun Ra. New York: Pantheon; 1997. p. 64–73.

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

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

46.
Eshun K. Further Considerations of Afrofuturism. CR: The New Centennial Review. 2003;3(2):287–302.

47.
Burnim MV, Maultsby PK, editors. Chapter 15: Disco and House. African American music: an introduction [Internet]. Second edition. New York: Routledge; 2015. p. 320–334. Available from: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=337

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

49.
Burnim MV, Maultsby PK, editors. Chapter 17: Hip-hop and Rap. African American music: an introduction [Internet]. Second edition. New York: Routledge; 2015. p. 354–390. Available from: https://ebookcentral.proquest.com/lib/bristol/reader.action?docID=1843415&ppg=371

50.
Strauss N. Sampling is (A) Creative or (B) Theft? The pop, rock, and soul reader: histories and debates. Oxford: Oxford University Press; 2005. p. 422–423.

51.
Hess M. Hip-hop Realness and the White Performer. Critical Studies in Media Communication. 2005 Dec;22(5):372–389.

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

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

54.
Schloss JG. Making beats: the art of sample-based hip-hop. Middletown, Conn: Wesleyan University Press; 2004.

55.
Hansen KA. Empowered or Objectified? Personal Narrative and Audiovisual Aesthetics in Beyoncé’s Partition. Popular Music and Society [Internet]. 20170315;40(2). Available from: 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 [Internet]. 2017;38(1):236-246 PDF. Available from: https://journals.msvu.ca/index.php/atlantis/article/view/3407

57.
How #BlackLivesMatter started a musical revolution. Guardian [Internet]. 2016 Mar 13; Available from: 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 [Internet]. Available from: https://www.nytimes.com/2016/02/07/arts/music/beyonce-formation-super-bowl-video.html

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

60.
Harper P. BEYONCÉ: Viral Techniques and the Visual Album. Popular Music and Society [Internet]. 20190101;42(1). Available from: https://bris.on.worldcat.org/search?databaseList=638&queryString=paula harper beyonce viral techniques#/oclc/7989430864

61.
Kooijman J. Fierce, Fabulous, and In/Famous: Beyoncé as Black Diva. Popular Music and Society [Internet]. 20190101;42(1). Available from: 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 [Internet]. 6(1). Available from: 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 [Internet]. 6(1). Available from: https://bris.on.worldcat.org/search?databaseList=638&queryString=nathalie weidhase beyonce feminism &clusterResults=true#/oclc/5734256448

64.
Edgar AN. ‘She invited other people to that space’: audience habitus, place, and social justice in Beyoncé’s Lemonade. Feminist media studies [Internet]. 2019;19(1). Available from: https://bris.on.worldcat.org/search?databaseList=638&queryString=amanda nell edgar and ashton toone she invited other people&clusterResults=true#/oclc/7994441038

65.
Arzumanova I. The culture industry and Beyoncé’s proprietary blackness. Celebrity Studies [Internet]. 20160702;7(3). Available from: https://bris.on.worldcat.org/search?databaseList=638&queryString=inna arzumanova the culture industry &clusterResults=true#/oclc/6460435072

66.
Patrick S. Becky with the Twitter: Lemonade, social media, and embodied academic fandom. Celebrity Studies [Internet]. 20190403;10(2). Available from: https://bris.on.worldcat.org/search?databaseList=638&queryString=stephanie patrick becky with the twitter&clusterResults=true#/oclc/8102272270

67.
Brooks KD, Martin KL. The Lemonade reader: Beyoncé, black feminism and spirituality. London: Routledge; 2019.

68.
Trier-Bieniek AM, editor. 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 [Internet]. 14(2). Available from: 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 [Internet]. Cambridge University Press; 1992;11(3):309–324. Available from: http://www.jstor.org/stable/931312

71.
Cockrell D. Demons of disorder: early blackface minstrels and their world. Cambridge: Cambridge University Press; 1997.

72.
Cooke M, Horn D, editors. The Cambridge Companion to Jazz [Internet]. Cambridge: Cambridge University Press; 2003. Available from: http://universitypublishingonline.org/ref/id/companions/CBO9781139002233

73.
Murray Forman. ‘Represent’: Race, Space and Place in Rap Music. Popular Music [Internet]. Cambridge University Press; 2000;19(1):65–90. Available from: http://www.jstor.org/stable/853712

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

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

76.
Stan Hawkins. Prince: Harmonic Analysis of ‘Anna Stesia’. Popular Music [Internet]. Cambridge University Press; 1992;11(3):325–335. Available from: http://www.jstor.org/stable/931313

77.
Tim Hughes. Groove and Flow: Six Analytical Essays on the Music of Stevie Wonder [Internet]. [University of Washington]; 2003. Available from: 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.
Kajikawa L. Sounding race in rap songs. First edition. Oakland, California: University of California Press; 2015.

80.
Price EG, Kernodle TL, Maxile HJ. Encyclopedia of African American music: Volume 1: A-G [Internet]. Santa Barbara, Calif: ABC-CLIO; 2011. Available from: https://ebookcentral.proquest.com/lib/bristol/detail.action?docID=620092

81.
Maultsby PK. Africanisms in African-American Music. Africanisms in American culture. Bloomington, Ind: Indiana University Press; 1990.

82.
Maultsby PK. Soul Music: Its Sociological and Political Significance in American Popular Culture. The Journal of Popular Culture. 1983 Sep;17(2):51–60.

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

84.
Ramsey GP, Columbia College (Chicago, Ill.). Center for Black Music Research. Race music: black cultures from behop to hip-hop. Berkeley, Calif: University of California Press; 2003.

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

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

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

88.
Walser R. Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy. Ethnomusicology [Internet]. 1995 Spring;39(2). Available from: http://www.jstor.org/stable/924425

89.
Williams JA, editor. The Cambridge Companion to Hip-Hop [Internet]. Cambridge: Cambridge University Press; 2015. Available from: http://universitypublishingonline.org/ref/id/companions/CCO9781139775298

90.
Williams JA. The Construction of Jazz Rap as High Art in Hip-Hop Music. The Journal of Musicology [Internet]. 2010 Oct;27(4):435–459. Available from: http://www.jstor.org/stable/10.1525/jm.2010.27.4.435

91.
Zak III AJ. Bob Dylan and Jimi Hendrix: Juxtaposition and Transformation ‘All along the Watchtower’. Journal of the American Musicological Society [Internet]. 2004 Dec;57(3):599–644. Available from: http://www.jstor.org/stable/10.1525/jams.2004.57.3.599

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