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1. |
Record Nr. |
UNINA9910482270003321 |
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Autore |
Anon |
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Titolo |
Apologie, ofte Verantwoordinge des doorluchtigen ende hoogh-geboren vorsts ende heers, Wilhelm ... Prince van Orangien ... Teghen den ban ofte edict, by forme van proscriptie, tegen hen ghepubliceert by den Coningh van Spangien ... Hier is bygevoegt, uyt de Nederlantsche Historie van P.C. Hooft, hoe den selven Prince ende Heere de souveraniteyt van den lande by eenighe op-gedraghen, doch by hen niet aengenomen is geworden [[electronic resource]] |
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Pubbl/distr/stampa |
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Leiden, : Cornelis Banheyningh, 1652 |
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Descrizione fisica |
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Online resource ([22], 287 p, 12°) |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Reproduction of original in Koninklijke Bibliotheek, Nationale bibliotheek van Nederland. |
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2. |
Record Nr. |
UNINA9910958218703321 |
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Autore |
Floyd Samuel A |
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Titolo |
The power of Black music : interpreting its history from Africa to the United States / / Samuel A. Floyd, Jr |
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Pubbl/distr/stampa |
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New York, : Oxford University Press, c1995 |
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ISBN |
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0-19-802437-1 |
9786610526796 |
1-4294-0641-0 |
1-280-52679-3 |
1-280-53503-2 |
9786610535033 |
0-19-510975-9 |
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Edizione |
[1st ed.] |
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Descrizione fisica |
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1 online resource (421 p.) |
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Disciplina |
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Soggetti |
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African Americans - Music - History and criticism |
Music - United States - History and criticism |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Description based upon print version of record. |
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Nota di bibliografia |
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Includes bibliographical references (p. 279-295), discography (p. 297-304), filmography (p. 305), and index. |
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Nota di contenuto |
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Cover Page; Title Page; Copyright Page; Dedication; Contents; Introduction; 1: African Music, Religion, and Narrative; 2: Transformations; 3: Syncretization and Synthesis: Folk and Written Traditions; 4: African-American Modernism, Signifyin(g), and Black Music; 5: The Negro Renaissance: Harlem and Chicago Flowerings; 6: Transitions: Function and Difference in Myth and Ritual; 7: Continuity and Discontinuity: The Fifties; 8: The Sixties and After; 9: Troping the Blues: From Spirituals to the Concert Hall; 10: The Object of Call-Response: The Signifyin(g) Symbol |
11: Implications and ConclusionsAppendix; Printed Works Cited; Sound Recordings Cited; Films and Videotapes Cited; Index; Footnotes |
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Sommario/riassunto |
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When Jimi Hendrix transfixed the crowds of Woodstock with his gripping version of ""The Star Spangled Banner,"" he was building on a foundation reaching back, in part, to the revolutionary guitar playing of |
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Howlin' Wolf and the other great Chicago bluesmen, and to the Delta blues traditionbefore him. But in its unforgettable introduction, followed by his unaccompanied ""talking"" guitar passage and inserted calls and responses at key points in the musical narrative, Hendrix's performance of the national anthem also hearkened back to a tradition even older than the blues, a traditionrooted in |
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