The Power of Black Music: Interpreting Its History from Africa to the United States

I gained knowledge from reading this book, and I could relate completely. I am giving this book a four star simply because there was a lot of jargon that made some sections hard to read, if you are not a musician. Then again, it is a book about music.Here are some excerpts that moved me:"Through the history of black music in the United States, it has been through the repetition and revision of texts, through the interplay of black language and black music in a long chain of Signifyin(g) tropes, that African American peasants became and continue to be the poets in a land that initially denied them the right to be called artists of any stripe. But poets they have become, as makers of the spirituals and the blues, as creators of R&B and rock `n` roll, and as composers of works for the concert hall. It is clear from the nature of their texts and their tunes that the makers of this music--the repeaters and revisers of the musical derivatives of the ring--have privileged and honored the spirit of Esu as, for example, that spirit is personified in the redoubtable Harriet Tubman, who bid many thousands to come ride her train.." The only thing I can say is "preach brotha, preach!" - Big Sistah PatIn the 1960s, gospel music became entertainment." Interesting! - Big Sistah Pat"Sometimes when "new" sounds emerge in jazz they are perceived as foreign to the black-music tradition and, consequently, are unacceptable to many critics, mostly white, who reside on the margins of the culture. For example, John Coltrane's sound was strongly criticized as being inferior, but was applauded and appreciated by listeners from within the culture." Ain't that some bull! De folks ise all dat matters!" - Big Sistah PatReviewer's Note:This comment reminds me of how the mainstream critics hate Tyler Perry. Yet he is loved and supported by numerous regular folks in Black American society. The so-called critics have no value to the folks that support Tyler's productions. They determine what is worthy of their support, not self appointed outsiders. He speaks to them and aspects of Black American culture they can identify."In the late nineteenth century, the advertising of musical products became the primary means of developing, perpetuating, and communicating the negative images of black people in American society. The coon song was the vehicle for repeating these messages in American culture. The stereotypes perpetuated by these publications linger as both conscious and unconscious images of blacks in the memory of countless Americans." What fool said that images aren't powerful! -- Big Sistah Pat"Essentially and most fundamentally, the African-American musical experience is largely self-criticizing and self-validating. As such experiences unfold, for example, listeners show approval, disapproval, or puzzlement with vocal and physical responses to, and interaction with, events as they occur. African Americans serve critical notice on inferior music making either by withholding their participation or, as in New York's tough Apollo Theatre in the 1940's and 1950's, by addressing criticism directly to the performers on stage. The culturally attuned are aware when the notes and the rhythms do not fit the context and when the idiomatic orientation is wrong; they know when an act is a Signifyin(g) one, when it is effective, and when it is not". You got that right. You know how well you are doing right then by the audience response. We are going to let you know. - Big Sistah PatI would recommend this book if you have a strong interest in learning about the origins and the evolution of African American music in the United States.

I am thankful to Guthrie Ramsey who referred to this book in his book "Race Music", and made me buy it and read it. There is no doubt in my mind that this is a must for anyone interested in African American music.The book begins with the spiritual-mythological aspects of African life - and their musical expressions. He shows how these aspects were brought to America with the tranplanted and enslaved Africans. Floyd generalizes these as "Ring Elements" - coming from the communal ring dance-song-drum of African culture. These elements are present, according to Floyd, in all African American music, sometimes to a great extent (gospel-blues) and sometimes to a lesser extent (composed music). Floyd moves along key points in African American history, and discusses their musical dimensions - the Harlem Renaissance, the Chicago Renaissance, and so on.I have read books on music by Amiri Baraka, James Cone, Nelson George, Albert Murray and Charles Kiel before I read this book. They were all great and illuminating, but I think this book takes things to another level. It makes a lot of bold assumptions that could be used for further research, and develops the language needed for the academic discourse on this amazing music.

Great text on African American music. I currently use it as a supplemental resource for my classes. Thanks!!

Very wordy and hard to keep up with. Throws out a ton of names to the reader at a time and its hard to keep up with what the book is saying.

This book is a classic and seminal work researching Black Music. It is a must read for those interested in culture and history

Very Helpful and enjoyable. I believe has helped me achieve an A in the course.

Samuel Floyd has written a masterful study of the research and philosophy of Black Music, it's innovators and creators. Floydis a true pioneer of black music research.

This book contains a lot of useful information. This is a go-to book.

An impressive survey of the basis of African-American music in myth and ritual, finding its underlying power in aspects not addressed by the usual western (European) methods of analysis and criticism.This edition is 1995, and it would benefit greatly from updating to deal with hip-hop and rap - although the insights expressed in the book allow one to see modern African-American music as just the next step in the tradition, fully in line with the mythology and attitudes of the culture. In other words, that's a mark of the truths in the book: rap offers more evidence for its ideas, helping to confirm them.I've been studying (and playing) African-American popular music of various kinds for over 50 years now, and this book confirmed my views about it, as well as offering new revelations and clearer perspectives.It does also deal with "Art" music, by the way - i.e., African-American contributions to the European classical tradition, as well as the gospel, jazz, blues and R&B you'd expect.