What a difference a name makes two instances of African-American popular music

The Cultural Study of Music: A Critical Introduction

Volumn , Issue , 2013, Pages 238-250

  Brackett, David ^a  

^a BINGHAMTON UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 79956828399     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203821015     Document Type: Chapter

References (11)

1. Baraka, Amiri. 1967. Black music. New York: William Morrow.
2. Brackett, David. 1994. The practice and politics of crossover in American popular music, 1963–65. Musical Quarterly 78(4): 774–97.
3. Brackett, David. 2002. (In search of) musical meaning: Genres, categories, and crossover. Pp. 65–83 in Popular music studies. Edited by David Hesmondhalgh and Keith Negus. London: Arnold.
4. DeVeaux, Scott. 1997. The birth of bebop: A social and musical history. Berkeley: Univ. of California Press.
5. Floyd, Samuel A., Jr. 1991. Ring shout! Literary studies, historical studies, and black music inquiry. Black Music Research Journal 11(2): 265–88.
6. Floyd, Samuel A., Jr. 1995. The power of black music: Interpreting its history from Africa to the United States. New York: Oxford Univ. Press.
7. Gilroy, Paul. 1993. The black Atlantic: Modernity and double consciousness. Cambridge, Mass.: Harvard Univ. Press.
8. hooks, bell. 1992. Black looks: Race and representation. Boston, Mass.: South End Press.
9. Ivy, Marilyn. 1995. Discourses of the vanishing: Modernity, phantasm, Japan. Chicago: Univ. of Chicago Press.
10. Rose, Tricia. 1994. Black noise: Rap music and black culture in contemporary America. Hanover, N.H.: Univ. Press of New England.
11. Toynbee, Jason. 2002. Mainstreaming: Hegemony, market and the aesthetics of the centre in popular music. Pp. 149–63 in Popular music studies. Edited by David Hesmondhalgh and Keith Negus. London: Arnold.