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	African American Music - MSN Encarta
		Africans were first brought to North America in 1619 at Jamestown, Virginia, as indentured servants to white English settlers.
		The American Revolution (1775-1783) coincided with the rise of independent fl congregations in the North, where slavery would be largely abolished by the 1830s, and slave congregations in the South, where fls would not be freed until the end of the American Civil War (1861-1865).
		Slaves in the antebellum South generated a large repertory of folk music, particularly spirituals, work songs, field hollers, street cries, dance songs, lullabies, and love songs, as well as instrumental music that was syncopated (stressing notes on the normally weak beat).
	encarta.msn.com /encyclopedia_761564602/African_American_Music.html (1014 words)

	African American Music
		The contributions of African-Americans to the history of music in the United States began with the arrival of the first Blacks on the mainland in 1619.
		Although Africans who were sold into slavery were stripped of their possessions, clamped into irons, and wedged into foul vessels to make the dreaded "middle passage" from Africa to America, they nevertheless brought with them to the new land their memories of the rich music and dance traditions of the lands of their ancestors.
		They remembered the importance of music in the West African way of life—how almost every activity was accompanied by music appropriate to the occasion and how special kinds of music were provided for festivals (called "customs" in Africa)— and they continued these practices in the New World.
	afgen.com /music.html (298 words)

	African american music - African-American Music
		African-American music is very universal, but it appears to be dying; the music industry needs your help.
		The African American Music Collection is located in room 101B West Hall on the main campus of the University of Michigan.
		African American Music Spirituals: An Introduction to the Fundamental Folk Music of Black Americans.
	xn--m6tu28coge.com /znvd/african-american-music.html (373 words)

	Tune Your World :: calabashmusic.com
		Marcio Carneiro, born in Rio de Janeiro, holds a professorship at the State University for Music, Detmold, Germany Peter dauelsberg, born in Bremen, is professor for Chamber Music at the State University of São Paulo, Brazil Matias de Oliveira Pinto, born in São Paulo, teaches at the Berlin College for Music.
		Prince Ndedi Eyango emerged from the African music scene in the late '80s to become one of the continent's most popular musicians.
		Kabul Workshop is a workshop of musical research where the resulting melodies are a direct expression of the state of mind of their creators; a bridge between their different cultures.
	www.calabashmusic.com (2008 words)

	Spirituals and Gospel Music
		Spirituals and gospel music are related to each other, but they developed at different times in history: Spirituals rose out of the experience of enslaved Africans in Colonial America, and gospel music developed in the early twentieth century in cities.
		Although drums were banned by many slave owners because they were believed to be used to send signals, African Americans still "drummed" with their feet and used body movements to keep drumming styles alive as a part of religious singing and worship.
		A look at spirituals and gospel music reveals that although the musical style of the folk spiritual has changed over hundreds of years (as has much of America’s music), the core beliefs, strengths, and values of African American culture are still intact as expressed in spirituals and gospel music.
	www.sbgmusic.com /html/teacher/reference/styles/spirituals.html (1332 words)

	African American Music
		The contributions of African-Americans to the history of music in the United States began with the arrival of the first Blacks on the mainland in 1619.
		Although Africans who were sold into slavery were stripped of their possessions, clamped into irons, and wedged into foul vessels to make the dreaded "middle passage" from Africa to America, they nevertheless brought with them to the new land their memories of the rich music and dance traditions of the lands of their ancestors.
		They remembered the importance of music in the West African way of life—how almost every activity was accompanied by music appropriate to the occasion and how special kinds of music were provided for festivals (called "customs" in Africa)— and they continued these practices in the New World.
	www.afgen.com /music.html (298 words)

	AFRICAN-AMERICAN MUSIC,
		Comprising work songs, calls, field and street cries, hollers, rhyme songs, and spirituals, this music provided the slaves with a means of effectively pacing their work, with a form of sung prayer and praise, with a means of surreptitious intragroup communication, and with psychic relief from the degradation of bondage.
		The music of the fl minstrel shows, the string bands, the brass bands, and the honky-tonk pianos began to assert itself, and such genres as the cakewalk and ragtime gradually emerged.
		Latin American Music to fl music in the U.S. is most evident in the offbeat accents that are common in both.
	www.history.com /encyclopedia.do?vendorId=FWNE.fw..af033850.a#FWNE.fw..af033850.a (1736 words)

	African American Music Culture
		Music has always been a part of the church with repertoires changing and adapting over time. In the beginning, there was no piano, but the members sang “lined hymns”;, a practice continued to this very day.
		Dortch, author of Short Talks on Music, it was important that the participant practice the scales frequently in order to sing the notes of a song. ; The seven shapenote music had two connected staffs for each line of music. The connected staffs are also called the grand staff.
		Singing schools met frequently in the African American communities in both Alabama and Georgia. At Piney Grove, however, most of the participants did not attend a formal singing school. In Randolph County, all of the instructions for shape note singing were taught within the local churches.
	www.homestead.com /KemArtist/MusicResearchPage.html (2145 words)

	National Music Foundation: Lesson Area
		The unique approach elevates music to the status of “core curriculum,” which is a welcome change from its traditional status as an “enrichment” or “extracurricular” subject, often marginalized by grade inflation, budget cutters, and the “Back to the Basics” movement.
		This connection casts African-American music as an integral educational function of the American History experience, and, most importantly, it is an ongoing celebration of African-American music and its contribution to the melting pot of American culture.
		Music History is 20% of the overall interdisciplinary humanities grade that combines the grades of art history, music history, and narrative history.
	lessons.usamusic.org /32798.html (856 words)

	PBS - JAZZ A Film By Ken Burns: Jazz in Time - Slavery
		Africans were used to agricultural work and the tasks of farming; many had abilities as artisans and could work well with tools; they were not as susceptible to European diseases as Native American groups.
		The current revisionism of the subject of Africanity in American life and the depth of African cultures is very much related to the fact that in the past, American whites have made the charge of an African cultural nothingness, in part, to project onto fls their own fears about themselves as a rootless people.
		Africans in America adopted European languages, religions, styles of dress, kinship systems, and political and social philosophy, including a belief in individualism, a free market economy, and democracy, all of which were new ideas to Africans.
	www.pbs.org /jazz/time/time_slavery.htm (1915 words)

	African American Music \| Denyce Graves: Breaking the Rules \| WHYY
		Music tends to ease the burdens of people and the slaves often sang as a way of keeping their spiritual dignity strong.
		The sacred music of African Americans told stories that often related to the suffering of the Israelites who were once slaves in Egypt.
		African rhythms joined with more traditional European styles to form the beat that was at the foundation of Dixieland Band music and Ragtime.
	www.whyy.org /education/denycegraves/afammusic.html (1091 words)

	Colonial Williamsburg Journal
		From the beginning Colonial Williamsburg’s interpretation of African American music has been based on archival research, input from musical historians and ethnomusicologists, and a belief that music was important to colonial slaves.
		But he also believes that a failure to attempt to interpret African American music would run the risk of ignoring a vital aspect of the lives of slaves, and he is still researching the subject.
		Colonial Williamsburg presents African American music because guests respond to it emotionally, intellectually, and spontaneously, often tapping feet, clapping hands, and swaying to the rhythms.
	www.history.org /foundation/journal/winter02-03/music.cfm (1897 words)

	The Influence of African Rhythms
		The music of Africa informed the music of Charleston in a very central way; it is impossible to quantify the many influences, but it is possible to highlight three of the most recognizable and important contributions.
		The alternation between leader and chorus, often called call-and-response, is a defining characteristic of African music and became an important element of African American music.
		The traditional music from the Shona of Zimbabwe is known as mbira music.
	northbysouth.kenyon.edu /1998/music/rhythm/rhythm.htm (377 words)

	Celebrating African African American Music - Genres
		Since slaves were not allowed to bring their musical instruments from Africa to the Americas, they had to rely on their memory and their hearts to create new music.
		Many styles of African American music have emerged since slavery, but the major genres that have stood the test of time are spirituals, gospel, jazz and blues, and soul.
		The African American music styles that developed during slavery were passed on from generation to generation.
	www3.vjc.edu /academics/students/julius_eng212/harmon/genres.htm (1266 words)

	African American Music Collection: the holdings
		Cook became her mentor tutoring her in music theory and the ways of the music business, challenging her to "be the best" that she could be.
		Besides photographs of her choir members, Jessye collected many photographs, generally 8x10, of African American social activists and people in the Arts.
		One very important piece of music in the Collection is a choral arrangement for the James P. Johnson Langston Hughes collaborative "De Organizer." According to UM Music Professor James Dapogny, a choral part for this music piece was unknown until it was found in Jessye's material.
	www.umich.edu /~afroammu/jessye.html (768 words)

	African American Music
		African American music has been an inspiration to many writers, and this is particularly apparent in the novels The Autobiography of an Ex-Colored Man by James Weldon Johnson, Uncle Tom’s Children by Richard Wright, Invisible Man by Ralph Ellison, Mumbo Jumbo by Ishmael Reed, and Praisesong for the Widow by Paule Marshall.
		Because he recognized “the importance of music to his people, one of his first official acts as AME minister was to publish a hymnal for the specific use of his congregation” (Southern, 75).
		It was music that demanded physical response, patting of the feet, drumming of the fingers, or nodding of the head in time with the beat (72).
	www.radford.edu /~tmattson/african_american_music.htm (1927 words)

	UCLA African American Music Festival
		This multi-dimensional event will be presented to showcase the vast amount and variety of African American music and to show the widespread influence of that music throughout the world.
		Some of the main goals will be to acknowledge and discuss many of the main contributors to the development of African American music, show the interconnectedness of its various genres, and focus on its historical significance compared to other types of music.
		Another of the main purposes of the event is to expose to the UCLA campus community and the larger Los Angeles community the unique phenomenon of African American music and to further unveil the historic and present power and influence of the music as it is manifest in the United States and throughout the world.
	www.bunchecenter.ucla.edu /aamf/home.htm (268 words)

	African American Music Festivals, 1938-1943 - Folk Songs Audio CD
		Today, African American music itself has evolved into many forms, soul, rap, jazz and hip-hop to name a few which are immensely popular among music lovers.
		Sadly some of the music from this fest could not be preserved, but the numbers that have survived give us a fair idea of what their quality and influence may have been.
		An ardent lover of African American music in all its forms, I was delighted by the musical repast on this and the other titles on African American Music forms from a2zcds.com.
	www.a2zcds.com /Products/African_American_Music_Folk_Songs_Audio_CD_522.htm (834 words)

	SoWeirdProductions » African-American pop music styles (Site not responding. Last check: )
		Many vital elements of music cannot be notated precisely, or in some cases at all.
		The riff is thought to derive from the repetitive call-and-response patterns of West African music, and appeared prominently in fl American music from the earliest times.
		This approach was imported into the electronic dance music of the 1980s and 90s most notably in the psychedelic trance of groups including Astral Projection.
	www.soweirdproductions.com /?page_id=117 (1952 words)

	The Lyrics in African American Popular Music Popular Music and Society - Find Articles
		While the music of fl America has always had a profound influence on mainstream American culture, much of it has remained underground, invisible to the general public until it bursts into the light, seemingly full grown with no visible past.
		Robert Springer's volume, a collection of essays presented at the international conference on the lyrics of African-American popular music, held in Metz, France, in September 2000, reminds us that the past and the present are clearly linked when it comes to understanding the meanings of fl American music.
		The contributors to The Lyrics in African American Music are less theoretical in their approaches, presenting their findings as case studies of specific styles and eras.
	www.findarticles.com /p/articles/mi_m2822/is_3_27/ai_n6330594 (711 words)

	American Music
		Rock and Roll, the music of adolescent energy and rebellion, is built on the blues, the essential musical expression of African-American experience.
		Music includes demonstration of the basic blues/rock musical form and recordings of '50s rock, electric and acoustic blues, work songs, field hollers, and African antecedents.
		In his music and writing, Woody Guthrie chronicled the devastation of the great dust storms and Great Depression and the migration of thousands of destitute families to California in search of a new life.
	www.upstreetproductions.com /americanmusic.html (594 words)

	African American Music Resources - Compiled by Gerri Gribi
		This four CD set of 19th- and 20th- century African American sacred music was initially released as a companion to the 1995 Peabody Award-winning radio series of the same name produced by National Public Radio and the Smithsonian Institution.
		Though she is perhaps best known for her recordings of folk music for children, this CD presents songs that highlight the hardship, struggle, work and religious experience of African Americans.
		A dynamic force in the American folk music scene for decades, Odetta was born in Birmingham in 1930.
	creativefolk.com /blackhistory/blackmusic.html (8105 words)

	Theorizing the Body in African-American Music
		That is, given the ongoing struggle to have fl music perceived as music, fl culture recognized as culture, back people respected as people, it is tempting to pursue projects of legitimation that treat the body as a stumbling block in the way of full appreciation of fl artistic achievement.
		The ability of African-american music to bring into being or to enhance community is surely one of the reasons it has appealed so strongly to those who are repelled by the isolationism of modernist culture.
		Such myths are often projected by whites onto African Americans in a complex mechanism of denial and desire -a mechanism analyzed brilliantly by Nathan Huggins (1971, 244-301) in his account of the minstrel show.
	www.sibetrans.com /trans/trans3/mcclary.htm (3110 words)

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