Marsha J Reisser

Biographic Data

ID6091520
NAMEMarsha J Reisser
GIVEN NAMESMarsha J
FAMILY NAMEReisser
SIGNATUREREISSER M J
VERIFIEDNo
TOTAL WORKS9
TOTAL CITATIONS3
AUTHOR COUNT9
EDITOR COUNT0
FIRST PUBLICATION YEAR1980
LATEST PUBLICATION YEAR1993
H-INDEX1

  • New Perspectives on Music: Essays in Honor of Eileen Southern

    Marsha J Reisser, Josephine Wright et al.ARTICLEAmerican Music1993

  • On Researching Black Music in California: A Preliminary Report about Sources and Resources

    Samuel A Floyd, Marsha J ReisserARTICLEBlack Music Research Journal1989References: 2

    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'…

  • Howard Swanson: Distinguished Composer

    Marsha J ReisserARTICLEThe Black Perspective in Music1989

  • The New Harvard Dictionary of Music

    Doris Evans Mcginty, Don Michael Randel et al.ARTICLEThe Black Perspective in Music1988

    THIS EDITION HAS BEEN REPLACED BY A NEWER 2003 EDITION This classic reference work is simply the best one-volume music dictionary available today.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

    D Antoinette Handy, Samuel A Floyd et al.ARTICLEAmerican Music1986

  • The Sources and Resources of Classic Ragtime Music

    Samuel A Floyd, Marsha J ReisserARTICLEBlack Music Research Journal1984Cited by: 3References: 1

    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

    Eileen Southern, Dean Tudor et al.ARTICLEThe Black Perspective in Music1984

  • Polytonal Considerations in Selected Works of Howard Swanson

    Marsha J ReisserARTICLEBlack Music Research Journal1981

    Stratification by rhythmic and timbral differentiation has been demonstrated by Oily Wilson (1974) to be a prominent characteristic in both African and Afro-American music. In the companion article that appears on pp. 15-33 of this issue of BMR Journal, Lee Cronbach has shown that polytonality is another means through which layers of sound are demarcated in some African music and in gospel music, jazz, and disco music. Through examination of sele…

  • Social Dance Music of Black Composers in the Nineteenth Century and the Emergence of Classic Ragtime

    Samuel A Floyd, Marsha J ReisserARTICLEThe Black Perspective in Music1980

    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