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Journal Article
Black Sacred Music (1994) 8 (2): 43–63.
Published: 01 September 1994
...D. Soyini Madison Copyright © 1994 by Duke University Press 1994 Story, History, and Performance: Interpreting Oral History through Black Performance Traditions D . Soyini Madison James Baldwin once said, "People are trapped in history and history is trapped in them." Baldwin reminds us...
Journal Article
Black Sacred Music (1991) 5 (1): 12–24.
Published: 01 March 1991
... an ethical perspective on the drug gangs that duplicate police violence in black-on-black crime. While rappers like NWA perform an invaluable service by rapping in poignant and realistic terms about urban underclass existence, they must be challenged to expand their moral vocabulary and to be more...
Journal Article
Black Sacred Music (1990) 4 (2): 1–13.
Published: 01 September 1990
..., and in teaching, lecturing, and performing. His associations with black colleges located in or near areas where folk traditions were still practiced offered rich fields for study. His work as an educator gave him opportunities to observe folk traditions among his students, and to inspire in them an appreciation...
Journal Article
Black Sacred Music (1992) 6 (2): 133–135.
Published: 01 September 1992
... were enjoyed only by wealthy people. A King or a Queen might patronize a composer, and command gala performances of anything that suited the royal fancy. Through the years, more and more poeple have become associated with the production, manage­ ment and enjoyment of music, until today it may rightly...
Journal Article
Black Sacred Music (1992) 6 (1): 155–161.
Published: 01 March 1992
... of the sacred and the profane. Addressing the controversy in the program's foreword, Rev. Bartlett asked: "Is liturgical worship the only form of public prayer?" and promptly responded: "We believe not!" Among other forms surely must be included all expressions of the creative and performing arts, especially...
Journal Article
Black Sacred Music (1989) 3 (2): 50–56.
Published: 01 September 1989
..., by means of the composition and performance of music, is not only the objectification of human will, but of God's Will. And further, as an expression of God's Will, such music, whether composed and performed for the edification of the Church or for the entertainment of the City, is inherently sacred. Jazz...
Journal Article
Black Sacred Music (1993) 7 (1): 17–28.
Published: 01 March 1993
... that govern the construction and use of the African kinetic vocabulary. Among these principles are segmentation and delineation of various body parts, angularity, asymmetrical balance and self-containment, mimetic performance, improvisation, and derision dances.2 These aesthetic and technical principles...
Journal Article
Black Sacred Music (1992) 6 (1): 146–154.
Published: 01 March 1992
... years, the Sacred Concerts, considered by many to contain some of his best music. A recent concert performance of this sacred music in Symphony Hall, Boston, prompted me to reflect on the legacy of this cultural figure, indeed, on religious perspectives of that legacy which extend beyond Ellington's...
Journal Article
Black Sacred Music (1987) 1 (2): 21–26.
Published: 01 September 1987
... believe not!" Among other forms surely must be included all expressions of the creative and performing arts, especially when such expressions are offered consciously by the artists and performers 1The Very Rev. C. Julian Bartlett, Dean of Grace Cathedral. Unless otherwise indicated, all quotations herein...
Journal Article
Black Sacred Music (1995) 9 (1-2): ix–xiv.
Published: 01 September 1995
..., composition, and performance. Willis Laurence James was born in Montgomery, Alabama, on September 18, 1900. As a child he was taken to Florida by his mother, Minnie James. They moved first to Pensacola and then to Jacksonville, where they settled down and attended the Bethel Institutional Baptist Church...
Journal Article
Black Sacred Music (1992) 6 (2): 1–77.
Published: 01 September 1992
... Conservatory of Music for part of the 1917-18 academic year.1 Then he studied privately in 1922 with George W Chadwick of the New England Conservatory of Music. Performing at the time in Eubie Blake's orchestra for the production of the broadway hit, Shuffle Along, Still carried on his compositional study...
Journal Article
Black Sacred Music (1992) 6 (2): 207–214.
Published: 01 September 1992
... created and performed and the professional activities of each individual. At times it has been a restricting influence, yet restrictions have not prevented the Negro musical idiom from ex­ panding to the point of being recognized at home and all over the world as the most typically American of all our...
Journal Article
Black Sacred Music (1991) 5 (2): 1–19.
Published: 01 September 1991
... Oen lleader Musicians, for which he served as chairman of the advisory board in 1919, president from 1924 to 1926, and treasurer in 1927. As a performer, he gave a series of successful piano and organ recitals throughout the United States and Canada in 1925, during which he performed his own piano...
Journal Article
Black Sacred Music (1991) 5 (1): 68–79.
Published: 01 March 1991
... lyrics are one popular medium about which there is current concern and controversy. A major issue is whether artists should be allowed to perform lyrics judged to be obscene or bigoted toward certain groups of people. This question regarding the boundaries of artistic freedom of expression became a major...
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 (1988) 2 (2): 23–28.
Published: 01 September 1988
... Henderson,3 the Minister of Music, the Sanctuary Choir has performed on Stevie Wonder's album, Songs in the Key of Life, and recorded their own album, Look to Jesus (Benson Records, Nashville, 1981), which was nominated for both Grammy and Dove awards in 1982. The newly formed orchestra at West Angeles...
Journal Article
Black Sacred Music (1994) 8 (2): 141–143.
Published: 01 September 1994
... and the Harlem School ol the Arts: The Diva and the Dream. Lewiston, N .Y.: Mellen, 1993. Pp. x, 286. Rogers's book is the very first written on Dorothy Maynor, the black soprano whose musical performance is widely believed to have equaled that of such other well-known concert artists as Roland Hayes and Marian...
Journal Article
Black Sacred Music (1992) 6 (1): 224–226.
Published: 01 March 1992
... father April r, 1984, in a tragic, and as yet unexplained, incident). First and foremost, Gaye was a Christian artist. He was also one of the most gifted performers produced by the Afro-American religious experience. Raised in his father's Pentecostal church, located in the East Capitol projects...
Journal Article
Black Sacred Music (1987) 1 (2): 33–36.
Published: 01 September 1987
... occasions to appear with such renowned gospel performers as Andrae Crouch, Walter Hawkins, James Cleveland, and Linda Hopkins. In addition to supplying most of the lead vocals for the Ford duo, Theresa also penned nearly all of the lyrics for their album-lyrics which, she attests, "come from God." She began...
Journal Article
Black Sacred Music (1989) 3 (2): 57–67.
Published: 01 September 1989
...Earlston E. DeSilva Copyright © 1989 by Duke University Press 1989 ffte Theology olB/11,k Power and B/11,k Song: Jomes Brown Earlston E. DeSilva James Brown is an Afro-American performing artist and soul singer who reigned as "Soul Brother No. 1" during the sixties and seventies, and whose...