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Journal Article
Black Sacred Music (1990) 4 (1): 42–43.
Published: 01 March 1990
...John Howardton Smith Copyright © 1990 by Duke University Press 1990 18 The Harvest Field Is White 1. The har- vest fie ld is white, The la- bor- ers are 2. Oh, won ' t you en- ter in The se r- vice of your 3. And at the close of day, You wi ll re-joicewith 4. And when yo urwork ' sall done...
Journal Article
Black Sacred Music (1995) 9 (1-2): 182–194.
Published: 01 September 1995
... that the Negro borrowed his songs from the white man. In speaking to this subject, let me say that if Africa was incapable of creating the spiritual and the jubilee, so was America until the Negro came upon the scene. Two seem- ingly divergent continents found a medium in the black man, in whom they became...
Journal Article
Black Sacred Music (1991) 5 (1): 1–11.
Published: 01 March 1991
... churchgoers and preachers denounced it as mu- sic "taken up from the devil," in part because its lyrics were sexually explicit. But when jazz rose to popularity in the twenties, it was whites who debated whether the music could intoxicate them and seduce them into sexual promiscuity and interracial mixing...
Journal Article
Black Sacred Music (1990) 4 (2): 88–91.
Published: 01 September 1990
... through the Great Black Migration (1890-1930). Using the words of black Mississippians themselves, as recorded in ex-slave narratives and occasional blues songs, the author examines the nature and structure of white supremacy in the most "race-haunted" of American states during the epoch Roy Wilkins...
Journal Article
Black Sacred Music (1990) 4 (2): 117–120.
Published: 01 September 1990
... the blues and jazz, and attempted to capture this spirit, both in content and form, in his verse. "The Weary Blues" was one of the earliest and most successful examples of Hughes's experimenta- tion with the blues as a pattern for his poetry. (7 4) For those whites who were fearful of venturing...
Journal Article
Black Sacred Music (1990) 4 (2): 94–96.
Published: 01 September 1990
... the potential degenerative effects of jazz on the human psyche. Kathy Ogren's book not only attempts to comprehend the jazz controversy among black literati of the Harlem Renaissance and white critics of the era, but endeavors to decipher America's values as expressed through its concerns over jazz. The issue...
Journal Article
Black Sacred Music (1992) 6 (1): 68–97.
Published: 01 March 1992
... songs" by religious folk. The "seculars" expressed the skepticism of black slaves who found it difficult to take seriously anything sug- gesting the religious faith of white preachers. Sterling Brown re- ported: Bible stories, especially the creation, the fall of Man, and the flood, were spoofed. "Reign...
Journal Article
Black Sacred Music (1991) 5 (2): 23–28.
Published: 01 September 1991
.... As early as 18391 Thomas Rice, a white man in Cincinnati, blacked his face, donned the costume of a porter, and frequently delighted audiences with versions of a Negro song and dance which he had heard and seen a colored man do. Had the mimicry been confined to secular songs only, the idea would...
Journal Article
Black Sacred Music (1992) 6 (2): 177–188.
Published: 01 September 1992
.... In fact, at this time there was a widespread misconception that all Negroes were "wonderful singers and dancers." Unfortunately, most of the white people who subscribed to that view also held the mental reservation that Negroes were talented only in folk or theatrical music. We have had to fight to combat...
Journal Article
Black Sacred Music (1994) 8 (2): 43–63.
Published: 01 September 1994
... sheer white gowns and talking and playing together surrounded by a landscape of pastoral greens, yellows, and blues. I sit on the couch next to Miss Bertha's chair. Her pinned-up white hair and her small wire-frame glasses accentuate the roundness of her face, her delicate features, and her golden brown...
Journal Article
Black Sacred Music (1990) 4 (2): 96–97.
Published: 01 September 1990
...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 Bladt Soaetl Music mercialization of jazz by whites, who felt they could...
Journal Article
Black Sacred Music (1992) 6 (2): 169–172.
Published: 01 September 1992
..., people spread the idea that all Negroes were inferior and incapable of advancement, in comparison to the white race which was invariably superior and near human perfection. Today, people are apt to go to the other extreme and paint American white people as being wicked persecutors of the Negroes, who...
Journal Article
Black Sacred Music (1992) 6 (2): 114–123.
Published: 01 September 1992
... Copyright © 1992 by Duke University Press 1992 The Men behind American Music Several years ago, the director of music in the public schools of Washington, D.C., wrote a pamphlet on American music in which he said that a certain Virginia-born white composer "understands and interprets...
Journal Article
Black Sacred Music (1992) 6 (2): 215–231.
Published: 01 September 1992
... beautiful, but only as White, Brown, or Yellow are beautiful: when we make it so. The term has served its purpose, so I hope from this time forward we will all want to emphasize our American ties, as well as our African heritage. Our parents and grandparents, I think, wanted us above all else to be good...
Journal Article
Black Sacred Music (1994) 8 (1): 205–217.
Published: 01 March 1994
..., it was viewed as unreligious by blacks and whites alike. This view of the blues was especially common among the emerging black Christian middle class of the urban North, due in significant measure to their quest for approval by and integration into white society. A black journalist named Lucius Harper, who...
Journal Article
Black Sacred Music (1993) 7 (1): 17–28.
Published: 01 March 1993
.... As the dance crossed over to mainstream (white) America, it became redefined by whites as a fast-moving dance with virtually no isolated pelvic jerking. Rather, all jerking was concentrated in the upper torso and employed the arms in initiating and assisting the jerking motion. As done by African Americans...
Journal Article
Black Sacred Music (1992) 6 (2): 203–206.
Published: 01 September 1992
..., on the other hand, to the white cultural institutions and orthodoxies? a: I don't recognize this so-called "psychic" split. Instead, I feel a fusion of influences and backgrounds within myself. I compose as I wish to compose; in racial idioms if they serve my purpose; or ab­ stractly, when and if that seems...
Journal Article
Black Sacred Music (1992) 6 (2): 124–132.
Published: 01 September 1992
... cannot do so for the simple reason that many white people are coming to regard those simple characters as typical of an entire race, and that will not From Opportunity, Spring 1945, 74-77. Reprinted with the permission of William Grant Still Music. How Do We Stand in Hollywood? 125 aid good race...
Journal Article
Black Sacred Music (1991) 5 (1): 41–50.
Published: 01 March 1991
... critics, lawyers, politicians, and anachronistic clerics have belittled, indeed castigated, the genre of rap, treating it as a cancer eating away at the already declining moral fiber of American youth, black and white. As in the 1950s with the emergence of white rock-and-roll, the estab- lishment looks...
Journal Article
Black Sacred Music (1994) 8 (1): 64–77.
Published: 01 March 1994
... they were constructed of dry timber and had newspaper-covered walls) were a poor risk for insurance companies, so that blacks were charged high premiums. Since these homes were easily ignitable and were not a source of danger to white homes or buildings, fire agents would simply let them burn down when...