Samuel A Floyd
Biographic Data
| ID | 2076199 |
|---|---|
| NAME | Samuel A Floyd |
| GIVEN NAMES | Samuel A |
| FAMILY NAME | Floyd |
| SIGNATURE | FLOYD S A |
| VERIFIED | No |
| TOTAL WORKS | 31 |
| TOTAL CITATIONS | 13 |
| AUTHOR COUNT | 31 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1974 |
| LATEST PUBLICATION YEAR | 2017 |
| H-INDEX | 3 |
The transformation of black music: The rhythms, the songs, and the ships of the African diaspora
The Transformation of Black Music includes a full spectrum of black musics from four continents as it argues for a re-codification of black musics and performers. Framed by a call and response argument, the authors present not only a more holistic and historically accurate understanding of musics in the African Diaspora, but also an intellectually robust future for the field of black music research.
Out of Africa
This chapter surveys the historical and geographical development of Africa and its Diaspora. The early empires of Ghana, Mali, and Songhay are positioned as important centers of intellectual activity on the continent. Other important kingdoms/empires are introduced, including Ethiopia, Kanem/Bornu, and Yorubaland. By exploring Ethiopia (of eastern Africa) and Kanem/Bornu (of central Africa), the author demonstrates the relevance of these two regi…
Ties That Bind
This chapter highlights the continuities between and among African rituals and Africa-derived and -influenced rituals and practices in the Diaspora. Religions such as Haitian Vodou are explored; Vodou’s components are considered with respect to their African roots as well as their Diasporic parameters. Music-and-dance constructs, such as rumba, are examined in detail; instrumental components, associated body movements, and historical and contempo…
The Making of the African Diaspora
This chapter presents an overview of examples of the forced migration of Africans and the resultant implications for the reestablishment of African traditions in new places. Slavery and colonization are positioned as conditions/institutions against which certain cultural and religious practices thrived, nonetheless. The survival of Africans in the Western hemisphere, for example, is emphasized, and their cultural retentions are highlighted. A les…
The Invisibility and Fame of Harry T. Burleigh: Retrospect and Prospect
April 2, 2003, saw the opening of a three-day conference, The Heritage and Legacy of Harry T. Burleigh (1866-1949), designed to address and celebrate the contributions of this singer, composer, vocal coach, pianist, teacher, editor, and producer. (1) The presenters explored issues ranging from who influenced Burleigh's career to whom he influenced; from his musical prowess to his work as a composer; from his arranging to his singing; from his son…
Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry
Over past ten years, black scholars in field of English literature have identified a black literary tradition and developed critical strategies for studying that tradition from within black culture. And black historians have also been writing black history and American history from a black perspective. In field of history, their works include Sterling Stuckey's Slave Culture: Nationalist Theory and Foundations of Black America (1987) and Mary Ber…
International Dictionary of Black Composers
Black Music in the Circum-Caribbean
In most circum-Caribbean locations,' the influence of Africa is evident in the musics that emerged from various mixtures of Yoruba, Bantu, Fon, Kongo, and other African peoples with Spanish, Portuguese, English, and French musical forms, structures, and genres. These intermixtures can be heard in the polyrhythms of the three batd drums and the call-and-response invocations of Cuban Santeria ceremonies; in the singing and drumming of Haitian vodun…
The Power of Black Music: Interpreting Its History from Africa to the United States
The Power of Black Music: Interpreting Its History from Africa to the United States. By Samuel Floyd, Jr. New York: Oxford University Press, 1995. [316 p. ISBN 0-19-508235-4. $30.00.] The argument that Samuel Floyd makes in The Power of Black Music demands serious consideration, especially by specialists. For those of us who have taught African-American music surveys or specialized seminars in the area, the book offers and affirms many ideas, cha…
The Power of Black Music: Interpreting Its History from Africa to th United States
Journal Article The Power of Black Music: Interpreting Its History from Africa to the United States. By Samuel A. Floyd Jr. (New York: Oxford University Press, 1995. xii, 316pp. $30.00, ISBN0-19-508235-4.) Get access Burton W. Peretti Burton W. Peretti Pellissippi State Technical Community College, Knoxville, Tennessee Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 83, Issue 4, March 1…
The Power of Black Music: Interpreting Its History from Africa to the United States
Black Music in the Harlem Renaissance: A Collection of Essays
New Perspectives on Music: Essays in Honor of Eileen Southern
Troping the Blues: From Spirituals to the Concert Hall
This article illustrates in part a mode of inquiry first introduced in my article Ring Literary Theory, Historical Studies, and Black Music Inquiry (1991), which posits an approach to the study of black music consistent with and grounded in the music itself. This piece is admittedly incomplete, since the book version of this extraction leads to the explication of a theory of criticism. As I stated in Ring Shout! the key to effective criticism lie…
The Quiet Revolutionary in Black American Music: An Essay-Review
Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry
On Researching Black Music in California: A Preliminary Report about Sources and Resources
In our various separate readings, we have found provocative the comments about and references to blues and jazz activity in California in the 1930s and earlier, particularly activities at Los Angeles clubs such as the Alabam, Little Harlem, Trocadero, Sebastian's, Cotton Club, and Plantation, all of which are mentioned in Helen Dance's book on T-Bone Walker, Stormy Monday: The T-Bone Walker Story (1987). This book also, aside from telling Walker'…
The New Harvard Dictionary of Music
THIS EDITION HAS BEEN REPLACED BY A NEWER 2003 EDITION This classic reference work is simply the best one-volume music dictionary available today. Its nearly 6,000 entries, written by more than 70 top musicologists, are consistently lucid and based on recent scholarship. The New Harvard Dictionary of Music contains among its riches superb articles on music of the 20th century, including jazz, rock, and mixed media as well as twelve-tone, serial, …
Black Music in the United States: An Annotated Bibliography of Selected Reference and Research Materials
Books on Black Music by Black Authors: A Bibliography
Black Music in America: A Bibliography
The Sources and Resources of Classic Ragtime Music
In an earlier study, we explored briefly the long-held assumption that classic ragtime1 emerged from two different musical sources-EuroAmerican social dance music and Afro-American folk dance music (Floyd and Reisser, 1980). At the close of that article, we promised a more detailed study; hence, the current piece. Some scholars have used the theory of syncretism to explain the merging of musical traits from two different cultures and the combinin…
Popular Music: An Annotated Guide to Recordings
On Black Music Research
On January 15, 1983 Joseph Schwantner's composition titled New Morning for the World was premiered at the Kennedy Center for the Performing Arts. The composition was commissioned and composed to honor the memory of Dr. Martin Luther King, Jr. It was based on a variety of Dr. King's writings and speeches from more than ten years of his life. The brainchild of Robert Freeman, Director of the Eastman School of Music, the work was performed by the Ea…
An Oral History: The Great Lakes Experience
Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry
Over past ten years, black scholars in field of English literature have identified a black literary tradition and developed critical strategies for studying that tradition from within black culture. And black historians have also been writing black history and American history from a black perspective. In field of history, their works include Sterling Stuckey's Slave Culture: Nationalist Theory and Foundations of Black America (1987) and Mary Ber…
Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry
The Sources and Resources of Classic Ragtime Music
In an earlier study, we explored briefly the long-held assumption that classic ragtime1 emerged from two different musical sources-EuroAmerican social dance music and Afro-American folk dance music (Floyd and Reisser, 1980). At the close of that article, we promised a more detailed study; hence, the current piece. Some scholars have used the theory of syncretism to explain the merging of musical traits from two different cultures and the combinin…
Toward a Philosophy of Black Music Scholarship
All scholarly endeavors proceed from a point of view, whether or not that point of view is coherently or explicitly stated. The basic assumptions of the present paper are that 1) the prevailing scholarly world-view is not adequate to meet the evolving needs of black music scholarship, and 2) we must replace it with a more effective and more explicit one. I will begin my explication by noting specific ways in which aspects of that philosophy mitig…
Troping the Blues: From Spirituals to the Concert Hall
This article illustrates in part a mode of inquiry first introduced in my article Ring Literary Theory, Historical Studies, and Black Music Inquiry (1991), which posits an approach to the study of black music consistent with and grounded in the music itself. This piece is admittedly incomplete, since the book version of this extraction leads to the explication of a theory of criticism. As I stated in Ring Shout! the key to effective criticism lie…
Black Music in the Driscoll Collection
The Great Lakes Experience: 1942-45
Alton Augustus Adams: The First Black Bandmaster in the U. S. Navy
Black American Music and Aesthetic Communication
p. 3, 3rd line from bottom: (1973, p.34) p. 5, 10th line from bottom: (de Lerma, 1970, p. 68). 2nd line from bottom: (1970, p. 73) p. 6, line 2: (quoted in Baker et al., 1979, p. 339). 6th line from bottom: (1934, p. 236). p. 7, line 8: (quoted in Baker et al., 1979, p. 19). p. 8, line 3: (Moore, quoted in Baker et al., 1979, p. 176). line 19: (quoted in Baker et al., 1979, p. 177). p.75, line 17: (Ewen, 1977, p. 552). line 22: (Hamm, 1979, p. 40…
Social Dance Music of Black Composers in the Nineteenth Century and the Emergence of Classic Ragtime
Samuel A. Floyd, Jr., Marsha J. Reisser, Social Dance Music of Black Composers in the Nineteenth Century and the Emergence of Classic Ragtime, The Black Perspective in Music, Vol. 8, No. 2 (Autumn, 1980), pp. 161-193
Toward a Philosophy of Black Music Scholarship
All scholarly endeavors proceed from a point of view, whether or not that point of view is coherently or explicitly stated. The basic assumptions of the present paper are that 1) the prevailing scholarly world-view is not adequate to meet the evolving needs of black music scholarship, and 2) we must replace it with a more effective and more explicit one. I will begin my explication by noting specific ways in which aspects of that philosophy mitig…
On Black Music Research
On January 15, 1983 Joseph Schwantner's composition titled New Morning for the World was premiered at the Kennedy Center for the Performing Arts. The composition was commissioned and composed to honor the memory of Dr. Martin Luther King, Jr. It was based on a variety of Dr. King's writings and speeches from more than ten years of his life. The brainchild of Robert Freeman, Director of the Eastman School of Music, the work was performed by the Ea…
An Oral History: The Great Lakes Experience
The Sources and Resources of Classic Ragtime Music
In an earlier study, we explored briefly the long-held assumption that classic ragtime1 emerged from two different musical sources-EuroAmerican social dance music and Afro-American folk dance music (Floyd and Reisser, 1980). At the close of that article, we promised a more detailed study; hence, the current piece. Some scholars have used the theory of syncretism to explain the merging of musical traits from two different cultures and the combinin…
Popular Music: An Annotated Guide to Recordings
Black Music in America: A Bibliography
Black Music in the United States: An Annotated Bibliography of Selected Reference and Research Materials
Books on Black Music by Black Authors: A Bibliography
The New Harvard Dictionary of Music
THIS EDITION HAS BEEN REPLACED BY A NEWER 2003 EDITION This classic reference work is simply the best one-volume music dictionary available today. Its nearly 6,000 entries, written by more than 70 top musicologists, are consistently lucid and based on recent scholarship. The New Harvard Dictionary of Music contains among its riches superb articles on music of the 20th century, including jazz, rock, and mixed media as well as twelve-tone, serial, …
On Researching Black Music in California: A Preliminary Report about Sources and Resources
In our various separate readings, we have found provocative the comments about and references to blues and jazz activity in California in the 1930s and earlier, particularly activities at Los Angeles clubs such as the Alabam, Little Harlem, Trocadero, Sebastian's, Cotton Club, and Plantation, all of which are mentioned in Helen Dance's book on T-Bone Walker, Stormy Monday: The T-Bone Walker Story (1987). This book also, aside from telling Walker'…
Ring Shout! Literary Studies, Historical Studies, and Black Music Inquiry
The Quiet Revolutionary in Black American Music: An Essay-Review
Black Music in the Harlem Renaissance: A Collection of Essays
New Perspectives on Music: Essays in Honor of Eileen Southern
Troping the Blues: From Spirituals to the Concert Hall
This article illustrates in part a mode of inquiry first introduced in my article Ring Literary Theory, Historical Studies, and Black Music Inquiry (1991), which posits an approach to the study of black music consistent with and grounded in the music itself. This piece is admittedly incomplete, since the book version of this extraction leads to the explication of a theory of criticism. As I stated in Ring Shout! the key to effective criticism lie…
The Power of Black Music: Interpreting Its History from Africa to the United States
The Power of Black Music: Interpreting Its History from Africa to th United States
Journal Article The Power of Black Music: Interpreting Its History from Africa to the United States. By Samuel A. Floyd Jr. (New York: Oxford University Press, 1995. xii, 316pp. $30.00, ISBN0-19-508235-4.) Get access Burton W. Peretti Burton W. Peretti Pellissippi State Technical Community College, Knoxville, Tennessee Search for other works by this author on: Oxford Academic Google Scholar Journal of American History, Volume 83, Issue 4, March 1…
The Power of Black Music: Interpreting Its History from Africa to the United States
The Power of Black Music: Interpreting Its History from Africa to the United States. By Samuel Floyd, Jr. New York: Oxford University Press, 1995. [316 p. ISBN 0-19-508235-4. $30.00.] The argument that Samuel Floyd makes in The Power of Black Music demands serious consideration, especially by specialists. For those of us who have taught African-American music surveys or specialized seminars in the area, the book offers and affirms many ideas, cha…
Black Music in the Circum-Caribbean
In most circum-Caribbean locations,' the influence of Africa is evident in the musics that emerged from various mixtures of Yoruba, Bantu, Fon, Kongo, and other African peoples with Spanish, Portuguese, English, and French musical forms, structures, and genres. These intermixtures can be heard in the polyrhythms of the three batd drums and the call-and-response invocations of Cuban Santeria ceremonies; in the singing and drumming of Haitian vodun…
International Dictionary of Black Composers
Art (22 works) · Music History and Culture (19 works) · Visual arts (15 works) · History (14 works) · Art history (11 works) · Theater, Performance, and Music History (10 works) · Aesthetics (9 works) · Black music (9 works) · Literature (8 works) · Race, History, and American Society (8 works)