Cover image for The Cambridge companion to blues and gospel music
Title:
The Cambridge companion to blues and gospel music
Author:
Moore, Allan F.
Publication Information:
Cambridge ; New York : Cambridge University Press, [2002]

©2002
Physical Description:
xviii, 208 pages, 8 unnumbered pages of plates : illustrations, music ; 25 cm.
Language:
English
Added Author:
ISBN:
9780521806350

9780521001076
Format :
Book

Available:*

Library
Call Number
Material Type
Home Location
Status
Central Library ML3521 .C36 2002 Adult Non-Fiction Non-Fiction Area
Searching...
Central Library ML3521 .C36 2002 Adult Non-Fiction Central Closed Stacks
Searching...

On Order

Summary

Summary

From Robert Johnson to Aretha Franklin, Mahalia Jackson to John Lee Hooker, blues and gospel artists figure heavily in the mythology of twentieth-century culture. The styles in which they sang have proved hugely influential to generations of popular singers, from the wholesale adoptions of singers like Robert Cray or James Brown, to the subtler vocal appropriations of Mariah Carey. Their own music, and how it operates, is not, however, always seen as valid in its own right. This book provides an overview of both these genres, which worked together to provide an expression of twentieth-century black US experience. Their histories are unfolded and questioned; representative songs and lyrical imagery are analysed; perspectives are offered from the standpoint of the voice, the guitar, the piano, and also that of the working musician. The book concludes with a discussion of the impact the genres have had on mainstream musical culture.


Reviews 1

Choice Review

Comprising 11 chapters, a chronology, and quite brief bibliography, discography, and index, this volume includes several chapters especially suited for a reference work. These include Evans's balanced and succinct history of the blues, though he fails to recognize the pivotal role played by those musicians who broadcast over Arkansas stations KFFA and KWEM; Titon's discussion of the confusion in the labeling of African American music; Headlam's examination of popular music's appropriation of blues and gospel (apart from multiple errors, e.g., Ray Charles recorded for ABC not RCA, Flames were "Famous" not "Fabulous," Mance Lipscomb and others were not "re"-discovered), and York on keyboard techniques. Other chapters are inconclusive but suggestive for future research: Jungr on "vocal expression" and van Rijn on imagery in prewar lyrics. Tracey's excellent article on performance conditions for black artists explores an area that has generally been ignored. Moore's introduction is misleading, contains errors, and fails to mention important recent scholarship (e.g., by Angela Davis, Clyde Woods). Cusic on gospel demonstrates a lack of knowledge of both black music and American church history, and Backer's contribution on the guitar is rife with error. Typos, misspellings, and inconsistent citations are too common, so the book lacks authority and credibility. ^BSumming Up: Optional. Comprehensive graduate and research collections. F. J. Hay Appalachian State University


Table of Contents

1 Surveying the field: our knowledge of blues and gospel musicAllan Moore
2 Labels: identifying categories of blues and gospelJeff Todd Titon
3 The development of the bluesDavid Evans
4 The development of gospel musicDon Cusic
5 Twelve key recordingsGraeme Boone
6 'Black twice': performance conditions for blues and gospel artistsSteve Tracy
7 Vocal expression in the blues and gospelBarb Jungr
8 The guitarMatt Backer
9 Keyboard techniquesAdrian York
10 Imagery in the lyricsGuido van Rijn
11 Appropriations of blues and gospel in popular musicDave Headlam

Google Preview