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摘要
摘要
A sequel to the award-winning The Black Composer Speaks (Scarecrow Press, 1978), this exploration of the creative world of African American composers traces the lives and careers of 40 talented individuals and, in their own words, provides perspectives on a world that has been slow to recognize their remarkable contributions to classical music. The discussion places the music of these composers within the greater context of Western art music, but analyzes it through the lenses of sociology, Western concepts of art and taste, and vernacular musical forms, including spirituals, blues, jazz, and contemporary popular music. Each chapter is devoted to an individual composer, who discusses his or her musical training, compositional techniques and style, and the composer's personal philosophy as reflected in his or her music. A selected list of compositions for each composer is included, as well as a photo and sample of the composer's "hand." Banfield offers unprecedented insight into the history and influence of the African American composer with this documentary, which will appeal to everyone from the music scholar to the general reader.
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The concept of a black classical composer might yet seem exotic to those nurtured solely on popular culture, but hundreds of such figures have been contributing to the written tradition for more than nine centuries. That number has grown enormously in the past two hundred years, in Africa, South America, Europe, China, Canada, and the US. Banfield (Univ. of St. Thomas, St. Paul, MN) focuses on 41 contemporary African Americans who have significantly enriched this tradition, from a senior figure (Pulitzer Prize winner George Walker) to those approaching mid-career, including the author himself. The author posed to each composer a set of questions, and the individuals' responses vary from Hale Smith's warm chattiness (so characteristic of him) to Dorothy Rudd Moore's important philosophical aesthetic stance. Thus, the reader is not subjected to a formulaic pattern of dull replies. The heritage of jazz, blues, R&B, rap, and popular music is evident, as expected, but the entries inevitably go past the confines of music. ^BSumming Up: Essential. All libraries with music collections; all levels. D.-R. de Lerma Lawrence University
目录
Dedication | p. v |
Foreword | p. vi |
Acknowledgments | p. vii |
Introduction | p. ix |
1 Laying the Foundations | p. 1 |
2 The Arrived and the Acknowledged, Part 1 (1922-1936) | p. 23 |
H. Leslie Adams | p. 24 |
Thomas J. Anderson | p. 29 |
David Baker | p. 38 |
Noel DaCosta | p. 53 |
George Russell | p. 58 |
Hale Smith | p. 63 |
Frederick C. Tillis | p. 80 |
George Walker | p. 90 |
3 The Arrived and the Acknowledged, Part 2 (1937-1945) | p. 95 |
Adolphus Hailstork | p. 96 |
Wendell Logan | p. 102 |
Dorothy Rudd Moore | p. 111 |
Olly Wilson | p. 121 |
4 Perspectives on Spirituality, Jazz, and Contemporary Popular Languages | p. 139 |
Dwight Andrews | p. 140 |
Ysaye Maria Barnwell | p. 149 |
Billy Childs | p. 158 |
George Duke | p. 165 |
Jester Hairston | p. 172 |
Herbie Hancock | p. 176 |
Stephen Newby | p. 183 |
Michael Powell | p. 189 |
Billy Taylor | p. 196 |
Tony Williams | p. 207 |
Michael Woods | p. 215 |
5 The Composer as Conductor and Composer | p. 221 |
Leslie Dunner | p. 222 |
Bobby McFerrin | p. 231 |
Coleridge-Taylor Perkinson | p. 238 |
Patrice Rushen | p. 248 |
Kevin Scott | p. 258 |
Julius Williams | p. 267 |
6 Generation X and Beyond (1950-1965) | p. 275 |
Michael Abels | p. 276 |
Lettie Beckon Alston | p. 283 |
William C. Banfield | p. 293 |
Regina Harris Baiocchi | p. 301 |
Anthony Davis | p. 311 |
Donal Fox | p. 317 |
Jonathan Holland | p. 329 |
Anthony Kelley | p. 333 |
Jeffrey Mumford | p. 340 |
Gary Powell Nash | p. 346 |
Evelyn Simpson-Curenton | p. 351 |
James Kimo Williams | p. 360 |
Postlude: Extensions of the Tradition--Linkages and Canon | p. 369 |
Index | p. 373 |
About the Author | p. 381 |