... and Republic challenges theomusicology to do is to search for disclosures of scripturality and biblical iconography in the American Tradition via the study of its many gemes of secular and popular music. Ogren, Kathy J. The Jazz Revolution: Twenties America and the Meaning ofJazz. New York: Oxford University...

...Jay McDaniel Copyright © 1992 by Duke University Press 1992 Howling with the Wolves: Paul Winter's Earth Jazz fay McDaniel Prior to a cool summer's night in 1989, I had not often howled with wolves (at least not in public). Yet this night I was sitting with sixty or seventy others...

...Mtumishi St. Julien Copyright © 1992 by Duke University Press 1992 From the Heart: A Refledion on the Essence ol Jazz Mtumishi St. Julien True jazz is for me far more an act of worship than singing some of the so-called religious songs I learned back in Sunday School. . .. Jazz helps us...

...Eloise McKinney-Johnson Copyright © 1992 by Duke University Press 1992 Some Memories ol Duke Ellington's Premier Sacred Jazz Concert Eloise McKinney-fohnson The Dean and Chapter of Grace Cathedral present this Concert of Sacred Music with thanksgiving to God and with gratitude to Duke...

...Eloise McKinney-Johnson © Copyright 1987 JBSM /Jon Michael Spencer 1987 Some Memories of Duke Ellington's Premier Sacred Jazz Concert: A Report Eloise McKinney-Johnson The Dean and Chapter of Grace Cathedral present this Concert of Sacred Music with thanksgiving to God and with gratitude...

...J. Michael Jarrett Copyright © 1992 by Duke University Press 1992 On Jazzology: A Rapsody f. Michael Jarrett JJre Numismatic Discourse of Jazz Jazz is not a "form" like, let us say, the waltz or the fugue, that leaves the composer's imagination free within the form; it is a bundle of tricks...

... Copyright © 1992 by Duke University Press 1992 Introduction Throughout America in the 1920s, debate raged regarding whether jazz could have degenerative effects on the human psyche. While some whites perceived jazz to be a neoteric, exotic, and erotic thing to be daringly experienced, 1...

... and societal conventions, and leads along the spiritual journey of individuation.1 One such exceptional individual was Thelonius Monk, a jazz pianist, composer, and bandleader (19171982). Monk's spiritual journey outside the institution of the church was representative of many blues and jazz musicians before...

... break with American mainstream music, especially imitated and co-opted Afro-American popular music, by the so-called bebop jazz musicians-Charlie Parker, Theolonious Monk, Dizzy Gillespie, and others. Their particular way of Africanizing Afro-American jazz-with the accent on contrasting polyrhythms...

..., and so on. My own descriptions of North American Negro folk music are: Spir­ ituals (Songs of the Soul); Blues (Songs of the Heart); Jazz (Songs of the Senses), and Work Songs. One can't judge Negro music by Caucasian standards any more than an African native could judge Caucasian music by African stan­...

...Donald A. Petesch Petesch , Donald A. A Spy in the Enemy’s Country: The Emergence of Modern Black Literature . Iowa City : University of Iowa Press , 1989 . Copyright © 1990 by Duke University Press 1990 96 BladtSoaetlMusic mercialization of jazz by whites, who felt they could...

... Joplin evolved into ragtime, which, in turn, evolved into jazz. At first, Negroes dominated the minstrel shows. But as soon as Negro minstrelsy was established, white imitators sprang up. Among colored people, white minstrels were not admired, for they comically accentuated Negro traits. The folky Negro...

... can regions in which black people were slaves. I hear African rhythms in the Cuban rumba, in the Brazilian samba, the Colombian bambuco, in the Haitian merengue, in jazz, spirituals, blues, and the songs of North American workers. Of course, in all these countries music has taken on different...

... Music In North America, the Negroid influence is felt most universally in the Jazz that has since spread over the world. This was invented by Creole musicians and, at the outset, consisted mainly of tonal distor­ tions and barbaric rhythms. Later, the trend was toward smoothness and sophistication...

...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...

... jazz songs and refer to them as new spirituals, a sad day has come for them. It is a sadder day for American artistic values. Such profane, avowedly commercial attempts are always certain to place the perpetrators in the position of not being in harmony with art. When it is true that so many remarkable...

... that the literature of the Harlem literati captured a common theology in the blues and the jazz that black Harlemites heard and affirmed in the cabarets and on the streets-for example, the theology of Bessie Smith and Ethyl Waters. But for Langston Hughes, perhaps the most successful of the Harlem literati, Harlem...

... the title "If 'Jazz' Isn't Music to the Long 1. Lucius C. Harper, "We Prefer the 'Blues' to Our Essential Causes," Chicago Defender, October 1, 1938, 16. Black Sacred Music 6:1, Spring 1992. Copyright© 1992 by Duke University Press. CCC 1043-9455/92/$1.50. 34 Black Sacred Music Haired Gents, then What about...

... syllables and fitted them into his songs based on jazz rhythms. When this was done, people realized the thing as a part of themselves, but they did not know why. They did not realize they were listening to the cries of their vegetable man, their train caller, their charcoal vendor, their primitive ancestors...

... that mental reservation; we still have not eradicated it. Nonetheless today, fifty years later, we have advanced to the point where several Negro singers are acknowledged as superb interpreters of serious music; where Marian Anderson is often referred to as "America's first lady of song"; where jazz, which...