|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910780832803321 |
|
|
Autore |
Banfield William C. <1961-> |
|
|
Titolo |
Cultural codes [[electronic resource] ] : makings of a Black music philosophy : an interpretive history from spirituals to hip hop / / William C. Banfield |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Lanham, Md., : Scarecrow Press, 2010 |
|
|
|
|
|
|
|
ISBN |
|
1-282-48047-2 |
9786612480478 |
0-8108-7287-0 |
|
|
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (255 p.) |
|
|
|
|
|
|
Collana |
|
African American cultural theory and heritage |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
African Americans - Music - History and criticism |
Popular music - United States - History and criticism |
|
|
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Description based upon print version of record. |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references and index. |
|
|
|
|
|
|
Nota di contenuto |
|
Contents; Preface; Acknowledgments; Part I. A CULTURAL CHARGE; Ch01. Black Notes and Cultural Codes:Makings of a Black Music Philosophy; Ch02. A New Black Music Arts Aesthetic; Ch03. A History of Aesthetic Definitions; Ch04. Hip to the Hop; Part II. BUILDING A BLACKMUSIC PHILOSOPHY; Ch05. A Cultural Education; Ch06. Black Music Studies; Part III. MAPPING BLACK MUSIC,HISTORY, MEANING,CODES, AND ARTISTRY; Ch07. African Roots toBlues, New Orleans, and Ragtime; Photospread; Ch08. Jazz: The NewModern Mode of Being; Ch09. Race Records, Gospel,R&B, and Urban Blues |
Ch10. Urban Contemporary:Soul, Funk, and GlobalCh11. Hip Hop: Connecting the Dots; Part IV. CODA: CLOSING THEMES; Ch12. Core Values and the Black Aesthetic Code; Appendix: Recommended Music and Songs; Notes; Index; About the Author |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
By providing a focused examination of the historical development of Black music artistry, William C. Banfield formulates a usable philosophy tied to how such music is made, shaped, and functions. He explores Black music culture from three angles: history, education, and the creative work of the musicians-engaging the reader in a conversation about the aesthetics and meanings that inform the cultural codes of |
|
|
|
|