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A new edition of the classic text on African American music.
Beginning with the arrival of the first Africans in the English colonies, Eileen Southern weaves a fascinating narrative of intense musical activity. As singers, players, and composers, black American musicians are fully chronicled in this landmark book. Now in the third edition, the author has brought the entire text up to date and has added a wealth of new material covering the latest developments in gospel, blues, jazz, classical, crossover, Broadway, and rap as they relate to African American music. Over 50 photographs
- Sales Rank: #480372 in Books
- Published on: 1997-01-17
- Original language: English
- Number of items: 1
- Dimensions: 9.30" h x 1.50" w x 6.10" l, 2.18 pounds
- Binding: Paperback
- 704 pages
From Library Journal
The third edition of Southern's (music and Afro-American studies, emerita, Harvard) scholarly work chronicles the development of African American music, from the arrival of the first Africans at the English colonies in 1619 to the present. The evolution of various genres, instrumentation, minstrelsy, dance, religious aspects, recording companies, and musical theater are all dealt with meticulously. A chronology of important events at the beginning of each chapter and extensive bibliographies and discographies help greatly in navigating the massive amount of material. An important addition to this edition is expanded coverage of women composers and performers. The only drawback is the minimal coverage of the modern era: rhythm and blues, soul, rock'n'roll, and disco are covered in just ten pages. The social, cultural, and historical importance of this book make it essential for all libraries.?Dan Bogey, Clearfield Cty. P.L. Federation, Curwensville, Pa.
Copyright 1997 Reed Business Information, Inc.
About the Author
Eileen Southern, Professor Emerita of Music and Afro-American Studies at Harvard University, founded and edited the journal The Black Perspective in Music (1973―90). She lives in New York City.
Most helpful customer reviews
9 of 9 people found the following review helpful.
An invaluable reference work --
By kellytwo
Have you ever heard about The National Negro Opera Company? Founded by Mary Cardwell Dawson, the company made its debut in Pittsburgh in 1941. This is but one of the fascinating things you can discover in this marvelous book. If you have an interest in music of whatever variety, your library is incomplete without this book.
This 3rd edition was done in 1997, thus it is quite up-to-date in its coverage of classical, jazz, rock, pop, gospel, swing, ragtime or blues. If it is music as practiced, performed or composed by people of color, this is where you'll find valuable information about it. Beginning with Africa and continuing to the present day, the four sections detail this rich history: Song in a Strange Land (1619-1775); Let My People Go (1776-1865); Blow Ye the Trumpet (1865-1919) and Lift Every Voice (1920-1996). The latter section is particularly informative reading with sections on Jazz, The Harlem Renaissance, and the Mid-Century Decades. It is these years in which artists of color finally took their well-deserved place on the musical stages of the world. Of course, they had been visible in their own world, and the popularity of such major composers as Scott Joplin and Duke Ellington allowed them to more or less effortlessly cross-over to the 'white' world. Lena Horne, the Mills Brothers, Louis Armstrong, Cab Calloway were--and still are--names to be reckoned with in any list of fabulous performers.
And then there was Marion Anderson who finally made her way to the Metropolitan Opera at the very end of her career, making way for Robert McFerrin, Leontyne Price, Jessye Norman, Simon Estes and George Shirley, who were very much pioneers in their respective repertoire. Today, thankfully, artists of color are not at all rare on the concert and/or opera stages of the world. But lest we forget the individual trauma these artists suffered in order to be able to compete in this way, we need to remember the past while we are glorying in the present. This book will, if you let it, open your mind and your ears to wonderful, glorious sounds, without which our world would be a much quieter and poorer place.
The author of this book is the renowned Eileen Southern (Professor Emerita of Music and Afro-American Studies at Harvard University) who is herself a musician as well as a writer, and is eminently qualified to illuminate The Music of Black Americans to the world in general.
Pages 613 through 646 comprise a rich bibliography and discography; the index takes up 41 pages. NO music lover should be without this invaluable reference work.
3 of 7 people found the following review helpful.
Recensione in italiano
By Roberto Leopardi
Cosa consigliare ad un appassionato di musica afro-americana che, conoscendo un po' di inglese, decidesse di leggere qualcosa per cui valga veramente la pena di fare un po' di fatica?
Personalmente non avrei molti dubbi: credo che l'opera più completa che esiste sul mercato e che associa alla competenza una buona leggibilità anche per chi non è di madre lingua sia proprio questo.
Eileen Southern è Professor Emerita di Musica e Studi Afro-americani alla Harvard University di Boston, fondatrice ed editrice della rivista The Black Perspective in Music, che è stata pubblicata dal 1973 al 1990, e autrice, coautrice ed editrice di numerosi volumi sulla musica e la cultura afroamericana.
Il libro in questione, di 678 pagine, ripercorre tutta la storia della musica afroamericana dalle origini (1619) fino all'ultimo decennio del XX secolo. L'opera è suddivisa in 14 capitoli ed è completata con un'accurata bibliografia e discografia e un indice dei nomi e dei temi.
Il linguaggio è piano e comprensibile anche a chi non abbia una quotidiana familiarità con l'americano scritto.
Il libro della Southern affronta tutti i diversi generi musicali dei neri americani, dal canto in congregazione alla musica urbana del primo ottocento, dai worksongs ai traveling road shows, dal blues al ragtime, ecc..
Il taglio critico trasversale, che analizza l'emergere della musica nera all'interno della più ampia realtà sociologica e culturale dell'America Settentrionale, consente di cogliere con chiarezza le fasi dell'evolversi della cultura afroamericana, non solo musicale. Si tratta di un'opera più descrittiva che interpretativa, in tal senso più adatta a chi, volendo avviare la propria conoscenza del fenomeno musicale afroamericano, non è interessato all'analisi del significato profondo della musica e dei testi e a conoscere i diversi modelli interpretativi proposti dagli studiosi.
Fondamentale!
5 of 5 people found the following review helpful.
Great source on the subject!
By Octavia Holland
I am using this book for my masters thesis and I must say that I am very pleased. Ms. Southern did an excellent job researching the subject and the book is put together well. There is so much information involved!!! She starts from the VERY beginning and smoothly takes you through the ride of African-American music. Each section is very thorough. This text is perfect for anyone who is researching the subject or just wants to gain knowledge on this rich music. A+++
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