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The Power of Black Music: Interpreting Its History from Africa to the United States Paperback – October 31, 1996
Editorial Reviews
From Booklist
African American music deserves but seldom gets as much attention from academics as from music critics. Floyd takes the rare scholarly approach to it and sets a standard for subsequent studies. The range of genres he discusses is comprehensive (it includes slaves' ring shouts, turn-of-the-century cotillion dances, jazz, R & B, etc.), and the connections he makes are particularly perceptive. Drawing on the works of prominent cultural theorists, such as Henry Louis Gates, Floyd traces the key elements in the music's panorama to an aesthetic that is still clearly linked to African myths and rituals (one example he cites is call-and-response technique, which is pervasive throughout many stylistic categories). A midwesterner, Floyd attends to the historically important but frequently overlooked Chicago Renaissance of black cultural activity and to the influential composers from that city as well as to the more familiar Harlem efflorescence. Complementing the discourse are plenty of musical examples. Academics, critics, scholars, and fans alike stand to gain much from carefully reading this impressive work. Aaron Cohen
--This text refers to the
Hardcover
edition.
Review
"Diligently traces the history of Black music--its African influences and evolution."--Emerge
"Dares to take on the whole span of black musical history."--Chicago Tribune
"Important...An exceptionally erudite and thoroughly readable work."--I.S.A.M. Newsletter
"Impressive."--Booklist
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Customer Reviews
Most Helpful Customer Reviews
10 of 10 people found the following review helpful
By
D. Miller
on November 29, 1997
Format: Hardcover
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This book is not an easy read, but it's worth it. It was written by a scholar for other scholars, but a lay person with patience will draw a great deal from the reading. It explains common threads -- basic components of African music-- in genres as diverse as blues,rock n' roll, be-bop, hip-hop, etc. What's nice is that the author, a noted scholar and head of Chicago's Collumbia College Center for Black Music Research, lends in his narration some playfulness, invoking elements of the music in the text, with lots of eye-witness discussions of African-American musical events that allow the reader to feel like an observer. You'll emerge from the reading a little exhausted, but with a greater appreciation of black music in the U.S., and a better understanding of how your favorite type of black music, or in the case of rock fans, black music derivative, came into being. (Note: For those lucky enough to live in the handful of cities where Dance Africa is performed each year, reading this book would be a great idea before you attend the next performance.)
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6 of 7 people found the following review helpful
By
nadav haber
on April 19, 2006
Format: Paperback
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I am thankful to Guthrie Ramsey who referred to this book in his book "Race Music", and made me buy it and read it. There is no doubt in my mind that this is a must for anyone interested in African American music.
The book begins with the spiritual-mythological aspects of African life - and their musical expressions. He shows how these aspects were brought to America with the tranplanted and enslaved Africans. Floyd generalizes these as "Ring Elements" - coming from the communal ring dance-song-drum of African culture. These elements are present, according to Floyd, in all African American music, sometimes to a great extent (gospel-blues) and sometimes to a lesser extent (composed music). Floyd moves along key points in African American history, and discusses their musical dimensions - the Harlem Renaissance, the Chicago Renaissance, and so on.
I have read books on music by Amiri Baraka, James Cone, Nelson George, Albert Murray and Charles Kiel before I read this book. They were all great and illuminating, but I think this book takes things to another level. It makes a lot of bold assumptions that could be used for further research, and develops the language needed for the academic discourse on this amazing music.
The book begins with the spiritual-mythological aspects of African life - and their musical expressions. He shows how these aspects were brought to America with the tranplanted and enslaved Africans. Floyd generalizes these as "Ring Elements" - coming from the communal ring dance-song-drum of African culture. These elements are present, according to Floyd, in all African American music, sometimes to a great extent (gospel-blues) and sometimes to a lesser extent (composed music). Floyd moves along key points in African American history, and discusses their musical dimensions - the Harlem Renaissance, the Chicago Renaissance, and so on.
I have read books on music by Amiri Baraka, James Cone, Nelson George, Albert Murray and Charles Kiel before I read this book. They were all great and illuminating, but I think this book takes things to another level. It makes a lot of bold assumptions that could be used for further research, and develops the language needed for the academic discourse on this amazing music.
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By
Ralph M. Jones
on July 25, 2013
Format: Paperback
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Samuel Floyd has written a masterful study of the research and philosophy of Black Music, it's innovators and creators. Floyd
is a true pioneer of black music research.
is a true pioneer of black music research.
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2 of 4 people found the following review helpful
By
Big Sistah Patty
on May 16, 2008
Format: Paperback
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I gained knowledge from reading this book, and I could relate completely. I am giving this book a four star simply because there was a lot of jargon that made some sections hard to read, if you are not a musician. Then again, it is a book about music.
Here are some excerpts that moved me:
"Through the history of black music in the United States, it has been through the repetition and revision of texts, through the interplay of black language and black music in a long chain of Signifyin(g) tropes, that African American peasants became and continue to be the poets in a land that initially denied them the right to be called artists of any stripe. But poets they have become, as makers of the spirituals and the blues, as creators of R&B and rock `n` roll, and as composers of works for the concert hall. It is clear from the nature of their texts and their tunes that the makers of this music--the repeaters and revisers of the musical derivatives of the ring--have privileged and honored the spirit of Esu as, for example, that spirit is personified in the redoubtable Harriet Tubman, who bid many thousands to come ride her train.." The only thing I can say is "preach brotha, preach!" - Big Sistah Pat
In the 1960s, gospel music became entertainment." Interesting! - Big Sistah Pat
"Sometimes when "new" sounds emerge in jazz they are perceived as foreign to the black-music tradition and, consequently, are unacceptable to many critics, mostly white, who reside on the margins of the culture. For example, John Coltrane's sound was strongly criticized as being inferior, but was applauded and appreciated by listeners from within the culture." Ain't that some bull! De folks ise all dat matters!Read more ›
Here are some excerpts that moved me:
"Through the history of black music in the United States, it has been through the repetition and revision of texts, through the interplay of black language and black music in a long chain of Signifyin(g) tropes, that African American peasants became and continue to be the poets in a land that initially denied them the right to be called artists of any stripe. But poets they have become, as makers of the spirituals and the blues, as creators of R&B and rock `n` roll, and as composers of works for the concert hall. It is clear from the nature of their texts and their tunes that the makers of this music--the repeaters and revisers of the musical derivatives of the ring--have privileged and honored the spirit of Esu as, for example, that spirit is personified in the redoubtable Harriet Tubman, who bid many thousands to come ride her train.." The only thing I can say is "preach brotha, preach!" - Big Sistah Pat
In the 1960s, gospel music became entertainment." Interesting! - Big Sistah Pat
"Sometimes when "new" sounds emerge in jazz they are perceived as foreign to the black-music tradition and, consequently, are unacceptable to many critics, mostly white, who reside on the margins of the culture. For example, John Coltrane's sound was strongly criticized as being inferior, but was applauded and appreciated by listeners from within the culture." Ain't that some bull! De folks ise all dat matters!Read more ›
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5 of 16 people found the following review helpful
By
A Customer
on September 21, 1997
Format: Hardcover
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Has anyone noticed that the Kirkus reviews tend to be fairly condescending about works from people of color and they tend to disparage the works as limited in their understanding when in fact it could well be that they themselves are the ones with the limited understanding
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