Sie sind auf Seite 1von 3

224 B i b li ograp hy

Daniel, Yvonne. Rumba: Dance and Social Change in Contemporary Cuba. Bloomington: Indiana


University Press, 1995.
Dargan, William T. Lining out the Word: Dr. Watts Hymn Singing in the Music of Black Americans.
Music of the African Diaspora. Berkeley: University of California Press; Chicago: Center
for Black Music Research, Columbia College Chicago, 2006.
Dathorne, O. R. Imagining the World: Mythical Belief Versus Reality in Global Encounters. Westport,
CT: Bergin & Garvey, 1994.
Davidson, Basil. Africa in History: Themes and Outlines. Rev. and expanded ed. New York: Collier
Books, 1991.
———. The African Genius: An Introduction to African Cultural and Social History. Boston: Little,
Brown, 1969.
———. The Lost Cities of Africa. Rev. ed. Boston: Little, Brown, 1987.
Davis, Martha Ellen. “‘Native Bi-Musicality’: Case Studies from the Caribbean.” Pacific Review of
Ethnomusicology, no. 4 (1987): 39–55.
de Lerma, Dominique-René. “Beethoven as a Black Composer.” Black Music Research Journal 10,
no. 1 (1990): 118–22.
———. “The Chevalier De Saint-Georges.” Black Perspective in Music 4, no. 1 (Spring 1976
1976): 3–21.
———. “Two Friends within the Saint-Georges Songs.” Black Perspective in Music 1, no. 2
(Autumn 1973): 115–19.
———. “The Life and Works of Nunes-Garcia: A Status Report.” Black Perspective in Music 14,
no. 2 (Spring 1986): 93.
Depestre, René. “Hello and Goodbye to Négritude.” Translated by Leonor Blum. In Africa in
Latin America:  Essays on History, Culture, and Socialization, edited by Manuel Moreno
Fraginals, 251–72. New York: Holmes & Meier, 1984.
Dewey, John. Art as Experience. New York: Minton, Balch, 1934.
Dickens, Charles. American Notes and Pictures from Italy. Gadshill edition, The Works of Charles
Dickens in Thirty-Four Volumes, with Introductions, General Essay, and Notes by Andrew
Lang. London: Chapman & Hill; New York: Charles Scribner’s Sons, 1898.
Diop, Cheikh Anta. Precolonial Black Africa: A Comparative Study of the Political and Social Systems
of Europe and Black Africa, from Antiquity to the Formation of Modern States. Westport,
CT: Lawrence Hill, 1987.
Dirks, Robert. The Black Saturnalia: Conflict and Its Ritual Expression on British West Indian Slave
Plantations. University of Florida Monographs— Social Sciences. Gainesville:  University
Presses of Florida, 1987.
Douglass, Frederick. The Frederick Douglass Papers, edited by John W. Blassingame, John R.
McKivigan, and Peter P. Hinks. Series Two:  Autobiographical Writings. New Haven,
CT: Yale University Press, 2003.
Drake, Sinclair. Black Folk Here and There:  An Essay in History and Anthropology. 2  vols. Los
Angeles: Center for Afro-American Studies, 1990.
Drewal, Henry John, and Margaret Thompson Drewal. G l d : Art and Female Power Among the
Yoruba. Traditional Arts of Africa. Bloomington: Indiana University Press, 1990.
Druesedow, John E. “José Joaquim Emérico Lobo De Mesquita.” In International Dictionary
of Black Composers, edited by Samuel A. Floyd Jr., 817–20. Chicago: Fitzroy Dearborn,
1999.
Du Bois, W. E. B. “The Negro Mind Reaches Out.” In The New Negro, an Interpretation, 385–414.
New York: Albert and Charles Boni, 1992 [1925].
———. The Souls of Black Folk: Essays and Sketches. Nashville, TN: Fisk University Press, 1979
[1903].
Dunham, Katherine. Island Possessed. Garden City, NY: Doubleday, 1969.
Earle, Thomas Foster, and K. J.  P. Lowe. Black Africans in Renaissance Europe. Cambridge:
Cambridge University Press, 2005.
Educational Catalog and Graded List of Victor Records for Home, School, and College. 12th rev. ed.
Camden, NJ: Educational Dept., Victor Talking Machine Co., 1929.
Elson, Louis Charles, and Ignace Jan Paderewski, eds. Modern Music and Musicians 10, 1918.
Bib li o gra p hy 225

Epstein, Dena J. Polacheck. Sinful Tunes and Spirituals: Black Folk Music to the Civil War. Music
in American Life. Urbana: University of Illinois Press, [1977] 2003.
Esedebe, Peter Olisanwuche. Pan-Africanism: The Idea and Movement, 1776–1963. Washington,
DC: Howard University Press, 1982.
Euba, Akin. Essays on Music in Africa. Vol. 1. Bayreuth:  IWALEWA-Haus, Universität
Bayreuth, 1988.
Evans, David. “Robert Johnson.” In International Dictionary of Black Composers, edited by
Samuel A. Floyd Jr., 650–56. Chicago: Fitzroy Dearborn, 1999.
Farquharson, Mary. Liner Notes to Africa in America: Corason MTCD 115/7, 1992.
Fatunmbi, Fá’lokun. Esu Elegba: Ifá and the Divine Messenger. Bronx, NY: Original Publications,
1992.
Faulkner, Anne Shaw. What We Hear in Music:  A  Laboratory Course of Study in Music History
and Appreciation, for Four Years of High School, Academy, College, Music Club or Home Study.
[2nd] ed. Camden, NJ: Educational Dept., Victor Talking Machine Co., 1913.
———. What We Hear in Music: A Course of Study in Music History and Appreciation, for High and
Normal Schools, Colleges, Universities, Conservatories, Music Clubs and Home Study. New rev.
ed. Camden, NJ: Educational Dept., Victor Talking Machine Company, 1916.
———. What We Hear in Music: A Laboratory Course of Study in Music History and Appreciation,
for High and Normal Schools, Colleges, Universities, Conservatories, Music Clubs and Home
Study. Camden, NJ: Educational Dept., Victor Talking Machine Co., 1917.
———. What We Hear in Music: A Course of Study in Music History and Appreciation, for Use in the
Home, Music Clubs, Conservatories, High Schools, Normal Schools, Colleges and Universities.
4th rev. ed. Camden, NJ: Educational Dept., Victor Talking Machine Co., 1921.
———. What We Hear in Music: A Course of Study in Music History and Appreciation, for Use in the
Home, Music Clubs, Conservatories, High Schools, Normal Schools, Colleges and Universities.
Camden, NJ: Educational Dept., Victor Talking Machine Co., 1924.
———. What We Hear in Music: A Course of Study in Music History and Appreciation, for Use in
the Home, High Schools, Normal Schools, Colleges, and Universities. Also for Special Courses in
Conservatories and Music Clubs. Camden, NJ: Educational Dept., Victor Talking Machine
Co., 1928.
———. What We Hear in Music: A Course of Study in Music Appreciation and History for Use in
the Home, High Schools, Normal Schools, Colleges, and Universities. Also for Special Courses
in Conservatories and Music Clubs. 8th rev. ed. Camden, NJ: RCA Victor Co., Educational
Division, 1931.
———. What We Hear in Music: A Course of Study in Music Appreciation and History, for Use in High
Schools, Normal Schools, Colleges, and Universities. Also for Special Courses in Conservatories,
Music Clubs and the Home. Camden, NJ: RCA Manufacturing Co., Educational Dept., RCA
Victor Division, 1936.
———. What We Hear in Music: A Course of Study in Music Appreciation and History, for Use in High
Schools, Normal Schools, Colleges, and Universities. Also for Special Courses in Conservatories,
Music Clubs and the Home. Camden, NJ: RCA Manufacturing Co., 1939.
———. What We Hear in Music: A Course of Study in Music Appreciation and History, for Use in High
Schools, Normal Schools, Colleges, and Universities. Also for Special Courses in Conservatories,
Music Clubs and the Home. Camden, NJ:  Educational Dept., RCA Victor Division, Radio
Corp. of America, 1943.
Fikes Jr., Robert. “They Made the Violin Sing:  Three Black Virtuosos.” The Crisis 89, no. 5
(1982): 32–34.
Finn, Julio. The Bluesman:  The Musical Heritage of Black Men and Women in the Americas. 1st
American ed. New York: Interlink Books, 1992.
Fleurant, Gerdès. Dancing Spirits:  Rhythms and Rituals of Haitian Vodun, the Rada Rite.
Contributions to the Study of Music and Dance. Westport, CT: Greenwood Press, 1996.
Floyd Jr., Samuel A. “Alton Augustus Adams.” Black Perspective in Music 5, no. 2 (1977): 173–87.
———. “Black American Music and Aesthetic Communication.” Black Music Research Journal 1
(1980): 1–17.
———. “Black Music in the Circum- Caribbean.” American Music 17, no. 1 (1999a): 1–38.
226 Bi b l i ograp hy

———. “Editor's Note.” Lenox Avenue: A Journal of Interarts Inquiry 5 (1999c): 1–2.


———. “Editor’s Preface.” Lenox Avenue: A Journal of Interartisic Inquiry 1 (1995a): 1–2.
———. “Foreword.” In The Memoirs of Alton Augustus Adams, Sr.: First Black Bandmaster of the
United States Navy, edited by Mark Clague, xi–xiv. Berkeley: University of California Press;
Chicago: Center for Black Music Research, 2008.
———, ed. International Dictionary of Black Composers. 2 vols. Chicago: Fitzroy Dearborn, 1999b.
———. “Music in the Harlem Renaissance:  An Overview.” In Black Music in the Harlem
Renaissance: A Collection of Essays, ed. Samuel A. Floyd Jr., 1–28. Contributions in Afro-
American and African Studies. New York: Greenwood Press, 1990.
———. The Power of Black Music:  Interpreting Its History from Africa to the United States.
New York: Oxford University Press, 1995b.
———. “Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry.” Black Music
Research Journal 11, no. 2 (1991): 265–87.
———. “Toward a Theory of Diaspora Aesthetics.” Lenox Avenue: A Journal of Interart Inquiry
4 (1998): 25–67.
———, and Ronald Radano. “Interpreting the African-American Musical Past:  A  Dialogue.”
Black Music Research Journal 29, no. 1 (2009): 1–10.
Forten, Charlotte. “Life on the Sea Islands.” Atlantic Monthly (May 1864):  587–96; (June
1864): 666–76.
Georgia Writers Project. Drums and Shadows: Survival Studies Among the Georgia Coastal Negroes.
Athens: University of Georgia Press, 1940 [1966].
Gerstin, Julian. “Interaction and Improvisation between Dancers and Drummers in Martinican
Bèlè.” Black Music Research Journal 18, no. 1/2 (1998): 121–65.
Gibson, Ian. Federico García Lorca: A Life. 1st American ed. New York: Pantheon Books, 1989.
Gluckman, Max. Custom and Conflict in Africa. Oxford: Blackwell, 1960.
González-Wippler, Migene. Tales of the Orishas. New York: Original Publications, 1985.
Goosman, Stuart L. “The Black Authentic:  Structure, Style, and Values in Group Harmony.”
Black Music Research Journal 17, no. 1 (1997): 81–99.
Gordon, Allan M. “‘Lenox Avenue’ 1938.” Lenox Avenue:  A  Journal of Interartistic Inquiry 1
(1995): ii–v.
Gordon, Robert Winslow. “Negro ‘Shouts’ from Georgia.” In Mother Wit from the Laughing
Barrel:  Readings in the Interpretation of Afro-American Folklore, edited by Alan Dundes,
445–51. Jackson: University Press of Mississippi, 1990.
Gottschild, Brenda Dixon. Digging the Africanist Presence in American Performance:  Dance
and Other Contexts. Contributions in Afro-American and African Studies. Westport,
CT: Greenwood Press, 1996.
Graziano, John. “The Early Life and Career of the ‘Black Patti’:  The Odyssey of an African
American Singer in the Late Nineteenth Century.” Journal of the American Musicological
Society 53, no. 3 (2000): 543–96.
———. “John Rosamond Johnson.” In International Dictionary of Black Composers, edited by
Samuel A. Floyd Jr., 625–31. Chicago: Fitzroy Dearborn, 1999.
Green, Jeffrey. “Edmund Jenkins of South Carolina.” Black Music Research Journal 30, no. 1
(2010): 183–95.
———. “The Negro Renaissance and England.” In Black Music in the Harlem Renaissance:
A  Collection of Essays, edited by Samuel A. Floyd Jr., 151–72. New  York:  Greenwood
Press, 1990.
———. “Roland Hayes in London, 1921.” Black Perspective in Music 10, no. 1 (1982): 29–42.
———. “West Indian Doctors in London.” Journal of Caribbean History 20, no. 1 (1986): 49–77.
Griffin, Farah Jasmine. Harlem Nocturne: Women Artists & Progressive Politics During World War
II. New York: Basic Civitas, 2013.
Grimes, John. “Caribbean Music and Dance.” Freedomways 4 (1964): 426–34.
Grout, Donald Jay, and Claude V. Palisca. A History of Western Music, 5th ed. New  York:
Norton, 1996.
Guillermoprieto, Alma. Samba. 1st Vintage Departures ed. New York: Vintage Books, 1991.
Hamm, Charles. Putting Popular Music in Its Place. Cambridge:  Cambridge University
Press, 1995.

Das könnte Ihnen auch gefallen