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Lists and describes both published and unpublished choral works by some 100 Afro-American composers and arrangers, encompassing works representing all styles from four-part settings to avant-garde pieces. The bulk of the book is an annotated list of compositions in tabular form, organized alphabetically by composer's name, listing publication dates and number of pages, vocal ranges, type of accompaniment, publishers, and catalog number. Includes a listing of collections, biographical sketches, a discography, and addresses of publishers and composers. Useful for conductors and researchers. Annotation copyright by Book News, Inc., Portland, OR
Compiles information and interpretations on the past 500 years of African American history, containing essays on historical research aids, bibliographies, resources for womens' issues, and an accompanying CD-ROM providing bibliographical entries.
Choral music represented an important part of American cultural life during the nineteenth century, whether integral to worship or merely for entertainment. Despite this history, choral music remains one of the more neglected studies in the scholarly community. In an effort to fill this gap, N. Lee Orr and W. Dan Hardin offer a new approach to the study of choral music by mapping out and bringing bibliographical control to this expansive and challenging field of study. Their unique guide focuses on literature related to choral music in the United States from the end of the second decade of the nineteenth century through the earlier part of the twentieth century. Choral Music in Nineteenth-Century America explores the entire range of choral music conceived, written, published, rehearsed, and performed by an ensemble of singers gathered specifically to present the music before an audience or congregation. The guide expertly sifts through the extensive literature to cite the most notable sources for study and provides individual chapters on the leading nineteenth-century composers who were instrumental in the development of choral music.
Cumulative index to all three volumes of Literature of American Music in Books and Folk Music Collections.
As Dr. Josey and Ms. DeLoach wrote in their Introduction to the second editionof The Handbook of Black Librarianship: “In designing the second edition of The Handbook of Black Librarianship, the editors felt that this work should be a reference tool related to the various aspects of African Americans in librarianship and their work in libraries.” That first edition covered issues faced by black library professionals in the various fields of librarianship; organizations formed; black library collections and books; resources and other areas of progress. The second edition, published twenty-three years later, highlighted more current events in Black librarianship: early and contemporary library organizations, vital issues, African American resources, discussions on and about librarianship, a focus on health librarianship, and information resources and education. It has now been another twenty-two years since the last edition and time to reflect on “various aspects of African Americans” in our profession as well as the advancements over the past two and a half decades and to review those issues African Americans still face and how modern technological advancements have impacted our profession and the lives of Black librarians. This third edition’s coverage includes: Pioneers and Landmark Episodes A Chronology of Events in Black Librarianship African American Forerunners in Librarianship Modern Day Black Library Organizations Vital Issues in Black Librarianship Library Service to Our Communities Library Technology and Black Librarianship Pearls from Our Retirees Issues in Diversity, Inclusion and Multiculturalism African Library Resources and Education Banned Books Significant Books and Periodicals for Black Collections
To borrow words from Stan “The Record Man” Lewis, Shreveport, Louisiana, is one of this nation's most important “regional-sound cities.” Its musical distinctiveness has been shaped by individuals and ensembles, record label and radio station owners, announcers and disc jockeys, club owners and sound engineers, music journalists and musicians. The area's output cannot be described by a single genre or style. Rather, its music is a kaleidoscope of country, blues, R&B, rockabilly, and rock. Shreveport Sounds in Black and White presents that evolution in a collection of scholarly and popular writing that covers institutions and people who nurtured the musical life of the city and surroundings. The contributions of icons like Leadbelly and Hank Williams, and such lesser-known names as Taylor-Griggs Melody Makers and Eddie Giles come to light. New writing explores the famed Louisiana Hayride, musicians Jimmie Davis and Dale Hawkins, local disc jockey “Dandy Don” Logan, and KWKH studio sound engineer Bob Sullivan. With glimpses into the lives of original creators, Shreveport Sounds in Black and White reveals the mix that emerges from the ongoing interaction between the city's black and white musicians.
Wright -- "A closed fist" from Spirals (for violin, viola, and cello) / Judith Lang Zaimont.