... “an immense amount” of recent scholarship and concentrating on the racial politics of blues or jazz, her investigation of “the valorization of ‘authenticity’” in modern music returns her to nineteenth-century European classics as well as to the innovative New World stepchild of ragtime (6). Richard Wagner’s...

... short story “Previous Condition” (1948); and the heroic sublime of the Fifth Symphony in Ellison’s bildungsroman Invisible Man (1952). Copyright © 2020 by Duke University Press 2020 Beethoven modernism African American literature musico-literary studies classical music In the June...

... reflects and engages the racial politics of early-twentieth- century American music. The ex-colored man’s various innovations (he claims to be the first to ‘‘rag the classics the first to conceive of classical music based...

...Brian Hochman Hochman's essay uses the work of George Washington Cable to examine a far-reaching set of debates about media technology, auditory perception, and cultural difference that emerged during the 1880s and 1890s. The first half focuses on Cable's classic dialect novel The Grandissimes...

... of American Classical Music , 166 – 69 . Berkeley : Univ. of California Press . Bercovitch Sacvan . 2002 . “ Deadpan Huck; or, What’s Funny about Interpretation .” Kenyon Review 24 , nos. 3/4 : 90 – 134 . Brown Fahamisha Patricia . 1999 . Performing the Word: African American...

... lieder, that she had performed at New York’s Town Hall in 1959. Given the com- plex significance of Price’s celebrity status, as a figure identified with the Civil Rights movement as well as with classical music, it is not surprising that Hughes accentuates the ironies of her life, mixing...

... habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke for an African American “serious music” and as the result of an intensifying call for Black...

..., for instance, and the way in which their con- tributions were habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke for an African American “serious...

... bands of the Swing Era, for instance, and the way in which their con- tributions were habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke...

... habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke for an African American “serious music” and as the result of an intensifying call for Black...

... bands of the Swing Era, for instance, and the way in which their con- tributions were habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke...

... habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke for an African American “serious music” and as the result of an intensifying call for Black...

..., for instance, and the way in which their con- tributions were habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke for an African American “serious...

... habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke for an African American “serious music” and as the result of an intensifying call for Black...

... habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke for an African American “serious music” and as the result of an intensifying call for Black...

... habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke for an African American “serious music” and as the result of an intensifying call for Black...

... bands of the Swing Era, for instance, and the way in which their con- tributions were habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke...

... habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke for an African American “serious music” and as the result of an intensifying call for Black...

... bands of the Swing Era, for instance, and the way in which their con- tributions were habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke...

... habitually appropriated by nationally prominent big bands. In a section titled “America’s Classical Music,” Thomas envisions late 1940s bop as fulfilling the call of Harlem Renaissance promoter Alain Locke for an African American “serious music” and as the result of an intensifying call for Black...