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Journal Article
Black Sacred Music (1992) 6 (2): 173–176.
Published: 01 September 1992
... Copyright © 1992 by Duke University Press 1992 The Structure ofMusic Many people, attracted by the current frantic rush to discover new horizons in music, seem to think that musical form is a thing of the past. They believe that in order to compose one need only find a few bizarre harmonies...
Journal Article
Black Sacred Music (1994) 8 (2): 128–133.
Published: 01 September 1994
..., the language of the centered subject who stands in a position of power. Of course, Thurman was no colonialist; indeed he was far from it. Yet the search for common essences, a common piety that strips away the unwanted elements of various ways of religious life, is the telos of religion formed on the shores...
Journal Article
Black Sacred Music (1992) 6 (2): 257–260.
Published: 01 September 1992
... composer should be one whose studies in many fields, added to his natural talent, enable him to try, at last, to walk in the paths of those master musicians who wrote in larger forms: symphonies, operas, chamber music, and so on. Of course, writing songs and arranging Spirituals do call for many...
Journal Article
Black Sacred Music (1992) 6 (1): 47–54.
Published: 01 March 1992
... of black2 culture in virtually every area of the arts, including literature, music, dance, the visual arts, film, and a myriad of new and emerging forms . Many of the innovators presently setting the tempo and, in some areas, the direction of the contemporary art world are deeply indebted to the principles...
Journal Article
Black Sacred Music (1991) 5 (1): 12–24.
Published: 01 March 1991
... a passing fad, a playful, harmlessly nonsensical, and ephemeral form of cultural high jinks that steamed off the musical energies of urban black teens. As it became obvious that rap was here to stay, a permanent fixture in black ghetto youths' musical landscape, the reactions changed from dismissal...
Journal Article
Black Sacred Music (1991) 5 (2): 75–80.
Published: 01 September 1991
..., which were ejaculated without apparent regard for the general flow of the song. All natural divisions and cadences being preserved in the settings, the characteristic folk-form remains easily recognizable. "I Am Going to Travel" belongs to that rarer class of Negro spirituals wherein the form...
Journal Article
Black Sacred Music (1992) 6 (2): 91–94.
Published: 01 September 1992
... the facts that more than forty years have passed and that Negro music has profoundly influenced the music of all the Americas. Perhaps some people did not wish to give the Negro credit for the ability to affect an art-form in so great a measure. (In a comparatively recent article, the late American critic...
Journal Article
Black Sacred Music (1994) 8 (1): 205–217.
Published: 01 March 1994
...Jon Michael Spencer Copyright © 1994 by Duke University Press 1994 Overview of American Popular Music in a Theological Perspective Jon Michael Spencer Blues, jazz, rhythm and blues, soul, rock, and rap are among the American-born music forms that have had a vast impact on the musical cultures...
Journal Article
Black Sacred Music (1995) 9 (1-2): 35–65.
Published: 01 September 1995
... who are in sympathy with both sides and who practice both forms of dancing. This has never been studied on our part, but the principle is too evident to deny. Besides, there are many people above reproach as church members who do not dance for pleasure but who do not feel too strongly against...
Journal Article
Black Sacred Music (1991) 5 (2): 70–74.
Published: 01 September 1991
... for text and rhythm for mood, but a surprising tendency toward homophony or harmony of modem times. A popular idea of early church music conceives it as a tonal art, dubious of measure, key, and form, either a vague expression of man's regard for the supernatural or an elaborate embroidery of amazingly...
Journal Article
Black Sacred Music (1992) 6 (2): 102–104.
Published: 01 September 1992
.... It cannot be denied that some forms of jazz are of poor quality. But there are other forms that represent valuable contributions to musi- From Musica 1, no. 5 (August 1941): 105-8. Co-authored with Verna Arvey. Reprinted with the permission of William Grant Still Music. The Music of My Race 103 cal art...
Journal Article
Black Sacred Music (1994) 8 (1): 218–238.
Published: 01 March 1994
...-turn to rap music as "the last form of transcendence available." These young people are in search of the self-transcendence that is central to the human need for hope and survival, but they are not, in the main, reached by black religious organizations. Rather, they participate in the music and dance...
Journal Article
Black Sacred Music (1989) 3 (2): 98–124.
Published: 01 September 1989
... achievements in the wake of his pursuit are dazzling and at times monumental. It is the nature of these achievements that I want to examine in this essay. I understand Michael Jackson to represent a postmodern form of African-American secular spirituality that is primarily televisual and performance-oriented...
Journal Article
Black Sacred Music (1991) 5 (1): 51–59.
Published: 01 March 1991
...Angela Spence Nelson Copyright © 1991 by Duke University Press 1991 Theology in the Hip-Hop ol Pub/it Enemy and Koo/Moe Dee Angela Spence Nelson The racial oppression of black people in many ways has fueled and shaped black musical forms in America. One example is the blues, which originated...
Journal Article
Black Sacred Music (1992) 6 (1): 282–294.
Published: 01 March 1992
...Cornel West Copyright © 1992 by Duke University Press 1992 On Afro-American Popular Music: From Bebop to Rap Corne] West The salient feature of popular music in First World capitalist and Third World neocolonialist societies is the appropriation and imitation of Afro-American musical forms...
Journal Article
Black Sacred Music (1990) 4 (2): 112–116.
Published: 01 September 1990
...Kenny J. Williams Williams , Kenny J. A Storyteller and a City: Sherwood Anderson’s Chicago . DeKalb : Northern Illinois University Press , 1988 . Copyright © 1990 by Duke University Press 1990 cool, bebop, hard bop, fusion, free-form. It seems closer to articulating ever...
Journal Article
Black Sacred Music (1991) 5 (2): 20–22.
Published: 01 September 1991
... unless we utilize it, unless we treat it in such manner that it can be presented in choral form, in lyric and operatic works, in concertos and suites and salon music- unless our musical architects take the rough timber of Negro themes and fashion from it music which will prove that we, too, have national...
Journal Article
Black Sacred Music (1992) 6 (2): 232.
Published: 01 September 1992
... Copyright © 1992 by Duke University Press 1992 An Afro-American Composer's Viewpoint Melody, in my opinion, is the most important musical element. After melody comes harmony; then form, rhythm, and dynamics. I prefer music that suggests a program to either pure or program music in the strict...
Journal Article
Black Sacred Music (1991) 5 (2): 1–19.
Published: 01 September 1991
... Institute on February 12, 1928 . Douglas Gordon, "And the Truth Shall Make You Free," Southern Workman 57 (1928): 154-58. lnlrodumon 3 Dett as a young college professor. Courtesy of Hampton University Archives. ~ North Carolina (1937-42). At each of these schools Dett formed and directed touring choirs...
Journal Article
Black Sacred Music (1990) 4 (2): 109–112.
Published: 01 September 1990
..., fusion, free-form. It seems closer to articulating ever shifting American desires, values, and responses than any other form of African-American music, for it is both sacred and secular and not limited to religion as are church forms of music. However, it is only possible to see it as positing ethical...