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Journal Article
Black Sacred Music (1990) 4 (2): 67–70.
Published: 01 September 1990
...Cain Hope Felder Felder , Cain Hope . Troubling Biblical Waters: Race, Class, and Family . Maryknoll, N.Y. : Orbis Books , 1989 . Copyright © 1990 by Duke University Press 1990 BookReviews 6T Soviet republic in the Deep South (359) . Robeson's theology was indeed a synthesis...
Journal Article
Black Sacred Music (1992) 6 (1): 55–67.
Published: 01 March 1992
... Joyce in the person of Stephen Dedalus swore to express for the Irish nation: its uncreated conscience. The creators of blues were poets and prophets, visionaries announcing the advent of a new day, heralding with their blues the emerging of the lower-class Negro. The newly awakened prophets...
Journal Article
Black Sacred Music (1992) 6 (1): 282–294.
Published: 01 March 1992
... and funk. Needless to say, most black folk in the fifties listened weekly to 284 Black Sacred Music spiritual and gospel music in black churches-sung by young choir members such as Sam Cooke, Dionne Warwicke, Aretha Franklin, Gladys Knight, and Lou Rawls. With increased strata and class differentiation...
Journal Article
Black Sacred Music (1994) 8 (2): 99–104.
Published: 01 September 1994
... of black representation in popular culture; (2) questions of social justice as they relate to race, class, and gender; and (3) the politics of black religion and spirituality. In his section on popular culture, varied subjects combine to highlight the montage of comic, tragic, contested, and con- Book...
Journal Article
Black Sacred Music (1992) 6 (2): 144–149.
Published: 01 September 1992
... of a People's Cultural Pol­ icy." Mr. Foster's theme was that art is a potent weapon in the class struggle. He stated that in five thousand years of recorded history, ruling classes (including the modem capitalist class) have used art to buttress their regimes and to establish their domination over the working...
Journal Article
Black Sacred Music (1992) 6 (1): 274–281.
Published: 01 March 1992
...Michael Eric Dyson Copyright © 1992 by Duke University Press 1992 Rights and Responsibilities: 2 Live Crew and Rap's Moral Vision Michael Eric Dyson Sex, race, and class have played a critical role in numerous American cultural revolutions during this century. The civil rights, feminist...
Journal Article
Black Sacred Music (1994) 8 (1): 157–177.
Published: 01 March 1994
... manipulated the twelve tones, a number of similarities can be found. Both composers worked from the principle that all twelve pitch classes (the twelve notes that comprise the chromatic scale) must be used before any pitch class is repeated.6 The music therefore progresses according to twelve-note groups...
Journal Article
Black Sacred Music (1990) 4 (2): 116–117.
Published: 01 September 1990
... says: Like McKay, Hughes identified with the black lower classes and attempted to give voice to this class in his poetry. Hughes found the most basic expression of the black spirit in music, especially the blues and jazz, and attempted to capture this spirit, both in content and form, in his verse...
Journal Article
Black Sacred Music (1991) 5 (2): 51–53.
Published: 01 September 1991
... and their source has been the more or less itinerant Negro of the class forced to labor at menial tasks- those whose lives have been governed by circumstance and whose ambition has been the temporary gratification of very natural but very earthly desires. Construction camps, levees, corn and cotton fields, local...
Journal Article
Black Sacred Music (1992) 6 (2): 215–231.
Published: 01 September 1992
... for the broken window. Our traveling was done in Jim Crow cars, which were usually only half cars. They offered very little that was comfortable or desirable: cinders, smoke, unpleasant odors, and the feeling of humiliation, being compelled to pay first-class fare for third-rate accommoda­ tions. One time...
Journal Article
Black Sacred Music (1990) 4 (2): 102–104.
Published: 01 September 1990
... as the speech of the lower-class black populace. Conversely, the middleclass black populace tends to use only a few or none of the linguistic idioms customarily regarded as Black English (5). Therefore, Black English as used by middle-class blacks who speak both standard English and black dialect (termed...
Journal Article
Black Sacred Music (1990) 4 (2): 86–88.
Published: 01 September 1990
... lifespan (1946-1949)-sponsored concerts, produced recordings, circulated songsheets, published a songbook, and taught classes on the use of music as a political weapon. Pro-working class and antifascist, the left-wing People's Songsters believed that the proletariat would be the group to conduce...
Journal Article
Black Sacred Music (1992) 6 (2): 245–251.
Published: 01 September 1992
... up in the South. I knew neither wealth nor poverty, for I lived in a comfortable middle-class home, with luxuries such as books, musical instruments and phonograph records in quan­ tities found in few other homes of this sort. All of this was the result of my having had the good fortune to have been...
Journal Article
Black Sacred Music (1990) 4 (2): 65–67.
Published: 01 September 1990
... of a nude Robeson, entitled "Negro Spiritual For Robeson socialism was the answer to the race and class struggles of the nation and the world. Because of his socialist platform, he became "red-tainted," branded a Soviet apologist and communist propagandist. And eventually he was scrutinized by the House...
Journal Article
Black Sacred Music (1994) 8 (1): 92–106.
Published: 01 March 1994
... on age and class. It drops with increasing age and is more pronounced in the lower than in the upper classes. Contrary to a widely held belief, involvement is not, however, associated with aggressive feelings or readiness for violence. Ninety-three percent of the people asked did not want to experience...
Journal Article
Black Sacred Music (1990) 4 (2): 117–120.
Published: 01 September 1990
... his subject matter as he searched for the meaning and essence of the black experience. Wintz says: Like McKay, Hughes identified with the black lower classes and attempted to give voice to this class in his poetry. Hughes found the most basic expression of the black spirit in music, especially...
Journal Article
Black Sacred Music (1991) 5 (2): 84–90.
Published: 01 September 1991
..., with a hundred per cent attendance of our fellow travelers and a sprinkle of those from the first class deck. The program was enthusiastically received with ovations for chorus, soloists, and conductor at its conclusion. But the most striking feature of the evening was the amazement of the audience at what...
Journal Article
Black Sacred Music (1990) 4 (2): 53–54.
Published: 01 September 1990
... all black southerners-the more personal struggle of black Nadirian writers, says Bruce, was in their negotiating the tension between their middle-class mien and the unrelenting racial repression: Perhaps the most crucial force in black writing during this period was the interaction of racism...
Journal Article
Black Sacred Music (1991) 5 (1): 12–24.
Published: 01 March 1991
... blacks intergenerationally, and it also emphasizes the brazen economic barriers that increasingly blockade underclass blacks from middle- and upper-middle-class blacks. Rap, in short, is a testimony to the intraracial class division that has plagued African-American communities for the last thirty years...
Journal Article
Black Sacred Music (1988) 2 (1): 35–44.
Published: 01 March 1988
... who resented the idea of Christianity being presented to them in foreign garb. An identical point was made in a class discussion lead by the principal of a mission school in Malawi. Examining the importance of indigenous culture to a people, one of the conclusions the class derived was that music...