Due to planned maintenance, your school has disabled school system log-ins at this time.
You may continue shopping as a guest, or by creating a bookstore-only account.
Please complete the purchase of any items in your cart before going to this third-party site.
Also note that if you qualify for financial aid, items purchased through this site will not be subject to
reimbursement.
Pale green cloth boards with gilt spine lettering; white dj with green
[...]
Pale green cloth boards with gilt spine lettering; white dj with green lettering and bw illustration; mylar cover; xix, 433 pp; bw illustrations and music. Prologue. The African heritage and the Middle Passage--Early reports of African music in British and French America. La calinda and the banza; Other African dancing--More Black instruments and early white reaction. Drums and other African instruments; The balafo; Legal restrictions on instruments--The role of music in daily life. Funerals; Pinkster and other African clelebrations in the North; Worksongs and other kinds of African singing--The acculturation of African music in the new world. The arrival of Africans and their music; Acculturation in New Orleans--Conversion to Christianity--Acculturated Black music in the thirteen colonies. The African jig, a Black-to-white exchange--African survivals. Persisting musical and cultural patterns; Black music in New Orleans, 1820-67--Acculturated dancing and associated instruments. Patting juba; Drums, quills, banjo, bones, triangle, tambourine; Fiddlers; Instrumental combinations--Worksongs. Field work and domestic chores; Industrial and steamboat workers; Boat songs; Corn, cane, and other harvest songs; Singing on the march; Street cries and field hollers--Distinctive characteristics of secular Black folk music. Whistling; Improvisation; Satire; Style of singing; Other secular music--The religious background of sacred Black folk music, 1801-67. Opposition to religious instruction of slaves; Camp meetings; Missions to the slaves; Black religious groups; Oppostion to secular music and dancing--Distinctive Black religious music. Spirituals; Attempts to suppress Black religious singing; The shout; Funerals--Early wartime reports and the first publication of a spiritual and its music--The Port Royal experiment. Historical background; Earliest published reports; Wartime publication of song texts and music--Reports of Black folk music, 1863-67. Criticism of "this barbaric music"; Recognition of a distinctive folk music; The shout; Worksongs; Performance style; Introduction of "new songs" by the teachers--Slave songs of the United States: its editors. William Francis Allen; Charles Pickard Ware; Lucy McKim Garrison--Slave songs of the United States: its publication. The contirbutors; Problems of notation; Assembling the collection; Publication and reception--Conclusion--Appendix I. Musical excerpts from the manuscript diaries of William Francis Allen--Appendix II. Table of sources for the banjo, chronologically arranged--Appendix III. Earliest published versions of "Go down, Moses."
Pale green cloth boards with gilt spine lettering; white dj with green
[...]
Pale green cloth boards with gilt spine lettering; white dj with green lettering and bw illustration; mylar cover; xix, 433 pp; bw illustrations and music. Prologue. The African heritage and the Middle Passage--Early reports of African music in British and French America. La calinda and the banza; Other African dancing--More Black instruments and early white reaction. Drums and other African instruments; The balafo; Legal restrictions on instruments--The role of music in daily life. Funerals; Pinkster and other African clelebrations in the North; Worksongs and other kinds of African singing--The acculturation of African music in the new world. The arrival of Africans and their music; Acculturation in New Orleans--Conversion to Christianity--Acculturated Black music in the thirteen colonies. The African jig, a Black-to-white exchange--African survivals. Persisting musical and cultural patterns; Black music in New Orleans, 1820-67--Acculturated dancing and associated instruments. Patting juba; Drums, quills, banjo, bones, triangle, tambourine; Fiddlers; Instrumental combinations--Worksongs. Field work and domestic chores; Industrial and steamboat workers; Boat songs; Corn, cane, and other harvest songs; Singing on the march; Street cries and field hollers--Distinctive characteristics of secular Black folk music. Whistling; Improvisation; Satire; Style of singing; Other secular music--The religious background of sacred Black folk music, 1801-67. Opposition to religious instruction of slaves; Camp meetings; Missions to the slaves; Black religious groups; Oppostion to secular music and dancing--Distinctive Black religious music. Spirituals; Attempts to suppress Black religious singing; The shout; Funerals--Early wartime reports and the first publication of a spiritual and its music--The Port Royal experiment. Historical background; Earliest published reports; Wartime publication of song texts and music--Reports of Black folk music, 1863-67. Criticism of "this barbaric music"; Recognition of a distinctive folk music; The shout; Worksongs; Performance style; Introduction of "new songs" by the teachers--Slave songs of the United States: its editors. William Francis Allen; Charles Pickard Ware; Lucy McKim Garrison--Slave songs of the United States: its publication. The contirbutors; Problems of notation; Assembling the collection; Publication and reception--Conclusion--Appendix I. Musical excerpts from the manuscript diaries of William Francis Allen--Appendix II. Table of sources for the banjo, chronologically arranged--Appendix III. Earliest published versions of "Go down, Moses."
Pale green cloth boards with gilt spine lettering; white dj with green
[...]
Pale green cloth boards with gilt spine lettering; white dj with green lettering and bw illustration; mylar cover; xix, 433 pp; bw illustrations and music. Prologue. The African heritage and the Middle Passage--Early reports of African music in British and French America. La calinda and the banza; Other African dancing--More Black instruments and early white reaction. Drums and other African instruments; The balafo; Legal restrictions on instruments--The role of music in daily life. Funerals; Pinkster and other African clelebrations in the North; Worksongs and other kinds of African singing--The acculturation of African music in the new world. The arrival of Africans and their music; Acculturation in New Orleans--Conversion to Christianity--Acculturated Black music in the thirteen colonies. The African jig, a Black-to-white exchange--African survivals. Persisting musical and cultural patterns; Black music in New Orleans, 1820-67--Acculturated dancing and associated instruments. Patting juba; Drums, quills, banjo, bones, triangle, tambourine; Fiddlers; Instrumental combinations--Worksongs. Field work and domestic chores; Industrial and steamboat workers; Boat songs; Corn, cane, and other harvest songs; Singing on the march; Street cries and field hollers--Distinctive characteristics of secular Black folk music. Whistling; Improvisation; Satire; Style of singing; Other secular music--The religious background of sacred Black folk music, 1801-67. Opposition to religious instruction of slaves; Camp meetings; Missions to the slaves; Black religious groups; Oppostion to secular music and dancing--Distinctive Black religious music. Spirituals; Attempts to suppress Black religious singing; The shout; Funerals--Early wartime reports and the first publication of a spiritual and its music--The Port Royal experiment. Historical background; Earliest published reports; Wartime publication of song texts and music--Reports of Black folk music, 1863-67. Criticism of "this barbaric music"; Recognition of a distinctive folk music; The shout; Worksongs; Performance style; Introduction of "new songs" by the teachers--Slave songs of the United States: its editors. William Francis Allen; Charles Pickard Ware; Lucy McKim Garrison--Slave songs of the United States: its publication. The contirbutors; Problems of notation; Assembling the collection; Publication and reception--Conclusion--Appendix I. Musical excerpts from the manuscript diaries of William Francis Allen--Appendix II. Table of sources for the banjo, chronologically arranged--Appendix III. Earliest published versions of "Go down, Moses."
