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xxiv, 405 p. ; 24 cm.
The South: to render all that it means to an African American takes someone acutely tuned to their senses, someone with a patience, a passion even, for the region's history and contradictions. It takes a poet. In this new anthology, the first of its kind, more than one hundred contemporary black poets laugh at and cry about, pray for and curse, flee and return to - the South. Voices new to the scene appear in "The Ringing Ear" alongside some of the leading names in American literature today, including Sonia Sanchez, Yusef Komunyakaa, Harryette Mullen, Nikki Giovanni, Kevin Young, Cornelius Eady, and Al Young. The southern worlds opened up by these poets are echoed in how their poems are grouped, under headings like "Music, Food, and Work: Heeding the Lamentation and Roar of Things Made by Hand, " or "Religion and Nature: The Lord Looks Out for Babies and Fools, " or "Love, Flesh, and Family: The Hush and Holler Portraits.".
(source: Nielsen Book Data)9780820329253 20160528
Green Library
xvi, 320 p. : ill. ; 24 cm.
  • List of Illustrations Preface Acknowledgments Introduction Part I. The Proverbial Trees: Patterns of Change in African American Music Making 1. "Blest Be the Tie That Binds": Part I: Congregational Singing as a Worship Ethos for Dr. Watts Hymns 2. "Blest Be the Tie That Binds": Part II: Regional Style Traditions of Dr. Watts Hymn Singing 3. "Our God, Our Help in Ages Past": The Tradition of Dr. Watts in English Historical Perspective 4. "Father, I Stretch My Hands to Thee": The Tradition of Dr. Watts in African Historical Perspective 5. "I Love the Lord, He Heard My Cries": The Role of Dr. Watts Hymns in the Musical Acculturation of African Americans 6. "Go Preach My Gospel, Saith the Lord": Words as Movers and Shakers in African American Music Part II. The Proverbial Forest: Webs of Significance in African American Music Making 7. "I Heard the Voice of Jesus Say": The Singing Life of the Reverend Doctor C.{ths}J. Johnson (1913-90) 8. "Come Ye That Love the Lord": The Lining Out-Ring Shout Continuum and the Five-Key Sequence 9. "God Moves in a Mysterious Way": The Lining Out-Ring Shout Continuum beyond Church Walls Conclusion Appendix A. Selection of Transcribed and Discussed Performances Appendix B. Partial Annotated List of Recorded Lining-Out Performances Held in the Archive of Folk Culture, Library of Congress Notes Bibliography Discography Index.
  • (source: Nielsen Book Data)9780520234482 20160528
This book, a milestone in American music scholarship, is the first to take a close look at an important and little-studied component of African American music, one that has roots in Europe, but was adapted by African American congregations and went on to have a profound influence on music of all kinds - from gospel to soul to jazz. 'Lining out', also called Dr. Watts hymn singing, refers to hymns sung to a limited selection of familiar tunes, intoned a line at a time by a leader and taken up in turn by the congregation. From its origins in seventeenth-century England to the current practice of lining out among some Baptist congregations in the American South today, William Dargan's study illuminates a unique American music genre in a richly textured narrative that stretches from Isaac Watts to Aretha Franklin and Ornette Coleman. "Lining Out the Word" traces the history of lining out from the time of slavery, when African American slaves adapted the practice for their own uses, blending it with other music, such as work songs. Dargan explores the role of lining out in worship and pursues the cultural implications of this practice far beyond the limits of the church, showing how African Americans wove African and European elements together to produce a powerful and unique cultural idiom. Drawing from an extraordinary range of sources - including his own fieldwork and oral sources - Dargan offers a compelling new perspective on the emergence of African American music in the United States.
(source: Nielsen Book Data)9780520234482 20160528
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