Overview

By the mid-1920s, the Harlem Renaissance was underway. As an effort to secure economic, social, and cultural equality with white citizens, the Renaissance years were a proving period for black composers and performers. Black Music in the Harlem Renaissance explores black music in the United States and England during the 1920s and its relationship to other arts of the time. The first collection on the subject, Black Music in the Harlem Renaissance seeks to revise previous assumptions about music during this era. The book features essays on various subjects including musical theatre, Duke Ellington, black music and musicians in England, concert singers and the interrelationships between black painters and music. In addition, the book includes a music bibliography of works composed during the period.

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9780313265464

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This anthology, produced by the Center for Black Music (CBM), Columbia College, Chicago, shows how the distinctive role of African American music can make a decisive contribution to shaping our understanding of the past. No general history of American music, excepting Eileen Southern's The Music of Black Americans, has discussed the 1920s Harlem Renaissance as the focal point for a worldwide movement that attempted, first, to establish the significance of black culture and, second, to widen the scope of black contribution to culture at large. In his illuminating introductory essay, editor Samuel Floyd, who is also CBM director, argues that, although the Harlem Renaissance may have been literary in origin, music became the most decisive vehicle for achieving its aims. Not just classical music and the concert spiritual, but jazz and the black musical revues as well, made significant contributions toward increasing the publics respect for black culture. The articles that follow are of equally high quality. They include the philosophical (Paul Burgett's The Writings of Alain Locke'), a genre overview (Rawn Spearman's Vocal Concert Music'), two classical composer studies (Georgia A. Ryder's Music of Robert Nathaniel Dett'; Rae Lina Brown's William Grant Still, Florence Price, and William Dawson'), essays on popular music (John Graziano's Black Music Theater'; Mark Tucker's Duke Ellington'), a study of artistic interaction (Richard A. Long's Writers and Music'), and international coverage (Jeffrey Green's Negro Renaissance in England'). A bibliography by Dominique-Rene de Lerma listing 725 concert pieces by 14 Harlem Renaissance composers concludes this enlightening volume. Recommended forall libraries. -Choice This book, from the series Contributions in Afro-American and African Studies, examines African-American musical activity during the Harlem Renaissance, a movement that began in the mid-1920s as an effort to secure economic, social, and cultural equality. The musicians whose compositions, performances, and lives are described worked primarily in the United States and England; the book includes a bibliography of works composed from 1919 to 1936. -Music Educators Journal Ten interesting essays survey the relationship of musicians to a movement largely fostered by black literati in the '20s. An overview by the editor sets the scene very well, and there follow essays on Alain Locke's writing; vocal concert music; composers Robert Nathaniel Dett, William Grant Still, Florence Price and William Dawson; black musical theatre; Duke Ellington; interaction between writers and the music, and between art and music; and, rather surprisingly, the Negro renaissance in England. One may conclude that jazz was lucky to survive as it did the attentions of so many schooled intellectuals. -Jazz Times ?This book, from the series Contributions in Afro-American and African Studies, examines African-American musical activity during the Harlem Renaissance, a movement that began in the mid-1920s as an effort to secure economic, social, and cultural equality. The musicians whose compositions, performances, and lives are described worked primarily in the United States and England; the book includes a bibliography of works composed from 1919 to 1936.?-Music Educators Journal ?Ten interesting essays survey the relationship of musicians to a movement largely fostered by black literati in the '20s. An overview by the editor sets the scene very well, and there follow essays on Alain Locke's writing; vocal concert music; composers Robert Nathaniel Dett, William Grant Still, Florence Price and William Dawson; black musical theatre; Duke Ellington; interaction between writers and the music, and between art and music; and, rather surprisingly, the Negro renaissance in England. One may conclude that jazz was lucky to survive as it did the attentions of so many schooled intellectuals.?-Jazz Times ?This anthology, produced by the Center for Black Music (CBM), Columbia College, Chicago, shows how the distinctive role of African American music can make a decisive contribution to shaping our understanding of the past. No general history of American music, excepting Eileen Southern's The Music of Black Americans, has discussed the 1920s Harlem Renaissance as the focal point for a worldwide movement that attempted, first, to establish the significance of black culture and, second, to widen the scope of black contribution to culture at large. In his illuminating introductory essay, editor Samuel Floyd, who is also CBM director, argues that, although the Harlem Renaissance may have been literary in origin, music became the most decisive vehicle for achieving its aims. Not just classical music and the concert spiritual, but jazz and the black musical revues as well, made significant contributions toward increasing the publics respect for black culture. The articles that follow are of equally high quality. They include the philosophical (Paul Burgett's The Writings of Alain Locke'), a genre overview (Rawn Spearman's Vocal Concert Music'), two classical composer studies (Georgia A. Ryder's Music of Robert Nathaniel Dett'; Rae Lina Brown's William Grant Still, Florence Price, and William Dawson'), essays on popular music (John Graziano's Black Music Theater'; Mark Tucker's Duke Ellington'), a study of artistic interaction (Richard A. Long's Writers and Music'), and international coverage (Jeffrey Green's Negro Renaissance in England'). A bibliography by Dominique-Rene de Lerma listing 725 concert pieces by 14 Harlem Renaissance composers concludes this enlightening volume. Recommended forall libraries.?-Choice

?This anthology, produced by the Center for Black Music (CBM), Columbia College, Chicago, shows how the distinctive role of African American music can make a decisive contribution to shaping our understanding of the past. No general history of American music, excepting Eileen Southern's The Music of Black Americans, has discussed the 1920s Harlem Renaissance as the focal point for a worldwide movement that attempted, first, to establish the significance of black culture and, second, to widen the scope of black contribution to culture at large. In his illuminating introductory essay, editor Samuel Floyd, who is also CBM director, argues that, although the Harlem Renaissance may have been literary in origin, music became the most decisive vehicle for achieving its aims. Not just classical music and the concert spiritual, but jazz and the black musical revues as well, made significant contributions toward increasing the publics respect for black culture. The articles that follow are of equally high quality. They include the philosophical (Paul Burgett's The Writings of Alain Locke'), a genre overview (Rawn Spearman's Vocal Concert Music'), two classical composer studies (Georgia A. Ryder's Music of Robert Nathaniel Dett'; Rae Lina Brown's William Grant Still, Florence Price, and William Dawson'), essays on popular music (John Graziano's Black Music Theater'; Mark Tucker's Duke Ellington'), a study of artistic interaction (Richard A. Long's Writers and Music'), and international coverage (Jeffrey Green's Negro Renaissance in England'). A bibliography by Dominique-Rene de Lerma listing 725 concert pieces by 14 Harlem Renaissance composers concludes this enlightening volume. Recommended forall libraries.?-Choice

Author Information

SAMUEL A. FLOYD, JR., is Director of the Center for Black Music Research, Columbia College, Chicago, Illinois. He has written Black Music in the United States, Black Music Biography, and numerous articles published in The Black Perspective in Music, 19th Century Music, Music Journal, and Black Music Research Journal.

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