Floyd, Samuel A. : Columbia College
Samuel A. Floyd, Jr. is Director of the Center for Black Music Research, Columbia College, Chicago. He is also
the editor of Black Music in the Harlem Rennaissance.
"Diligently traces the history of Black music--its African influences and evolution."
--Emerge
"Dares to take on the whole span of black musical history."
--Chicago Tribune
"Important...An exceptionally erudite and thoroughly readable work."
--I.S.A.M. Newsletter
"Impressive."
--Booklist
"Deeply personal and passionate....Striking and bold."
--Chicago Tribune
Oxford University Press Web Site, May, 2000
Bold and original, The Power of Black Music offers a new way of listening to the music of black America, and
appreciating its profound contribution to all American music. Striving to break down the barriers that remain between
high art and low art, it brilliantly illuminates the centuries-old linkage between the music, myths, and rituals
of Africa and the continuing evolution and enduring vitality of African-American music. Inspired by the pioneering
work of Sterling Stuckey and Henry Louis Gates, Jr., author Samuel A. Floyd, Jr. advocates a new critical approach
grounded in the forms and traditions of the music itself. He accompanies readers on a fascinating journey from
the original rings of dance, drum, and song shared by people across Africa, through the ring shout's powerful merging
of music and dance in the slave culture, to the funeral parade practices of the early new Orleans jazzmen, the
bluesmen in the twenties, the beboppers in the forties, and the free jazz, rock, Motown, and concert hall composers
of the sixties and beyond.
In The Power of Black Music , Floyd clearly shows that black folk culture remains a driving force in the black
music of America, a force with the power to enrich cultures the world over.
Introduction
1. African Music, Religion, and Narrative
2. Transformations
3. Syncretization and Synthesis: Folk and Written Traditions
4. African-American Modernism, Signifyin(g), and Black Music
5. The Negro Renaissance: Harlem and Chicago Flowerings
6. Transitions: Function and Difference in Myth and Ritual
7. Continuity and Discontinuity: The Fifties
8. The Sixties and After
9. Troping the Blues: From Spirituals to the COncert Hall
10. The Object of Call-Response: The Signifyin(g) Symbol
11. Implications and Conclusions
Appendix
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