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1

Mwaniki, Henry Stanley Kabeca. Categories and substance of Embu traditional songs. [Nairobi]: Kenya Literature Bureau, 1986.

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2

Mwaniki, Henry Stanley Kabeca. Categories and substance of Embu traditional songs and dances. Nairobi: Kenya Literature Bureau, 1986.

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3

Songs of West Africa: A collection of over 80 traditional West African folk songs and chants in 6 languages with translations, annotations, and performance notes ... Forest Knolls, CA: Alokli West African Dance, 2000.

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4

David, Locke. Kpegisu: A war drum of the Ewe. Tempe, AZ: White Cliffs Media Co., 1992.

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5

Magbaily, Fyle C. Tradition, song, and chant of the Yalunka. Freetown: People's Educational Association of Sierra Leone, 1986.

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6

African banjo echoes in Appalachia: A study of folk traditions. Knoxville: University of Tennessee Press, 1995.

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7

Orawo, Charles Nyakiti. Lwimbo: Busia-Luhya song dance traditions. Kisumu, Kenya: Lake Publishers & Enterprises, 2002.

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8

Stewart, Carlyle Fielding. Joy songs, trumpet blasts, and hallelujah shouts!: Sermons in the African-American preaching tradition. Lima, Ohio: CSS Pub. Co., 1997.

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9

W, Turner Frederick. Remembering song: Encounters with the New Orleans jazz tradition. New York: Da Capo Press, 1994.

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10

Sumaili, Tobias W. C. The functions of the texts of songs in Nsenga oral narratives. [Lusaka?: Division for Cultural Research, Institute for African Studies, University of Zambia, 1986.

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11

The first Bushman's path: Stories, songs and testimonies of the /Xam of the northern Cape. Pietermaritzburg [South Africa]: University of Natal Press, 2001.

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12

Sidikou, Aïssata G. Women's voices from West Africa: An anthology of songs from the Sahel. Bloomington, Ind: Indiana University Press, 2011.

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13

If you don't go, don't hinder me: The African American sacred song tradition. Lincoln: University of Nebraska Press, 2001.

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14

Stephen, Watson. Song of the broken string: After the /Xam bushmen : poems from a lost oral tradition. Riverdale-on-Hudson, N.Y: Sheep Meadow Press, 1996.

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15

Abbott, Lynn. To do this, you must know how: Music pedagogy in the black gospel quartet tradition. Jackson: University Press of Mississippi, 2013.

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16

1942-, Wright Josephine, ed. African-American traditions in song, sermon, tale, and dance, 1600s-1920: An annotated bibliography of literature, collections, and artworks. New York: Greenwood Press, 1990.

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17

Red River blues: The blues tradition in the Southeast. Urbana: University of Illinois Press, 1986.

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18

International Conference on Oral Tradition (4th 1994 University of Natal). Oral tradition and its transmission: The many forms of message : papers given at the Fourth International Conference on Oral Tradition, University of Natal, Durban, 27-30 June 1994. Durban: The Campbell Collections and Centre for Oral Studies, University of Natal, 1994.

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19

Diamanka, Diawné. Le troupeau des songes: Le sacrifice du fils et l'enfant prophète dans les traditions des Peuls du Fouladou : récits. Paris: Editions de la Maison des sciences de l'homme, 1990.

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20

Landeg, White, ed. Power and the praise poem: Southern African voices in history. Charlottesville: University Press of Virginia, 1991.

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21

Ampene, Kwasi. Female song tradition and the Akan of Ghana: The creative process in Nnwonkoro. Burlington, VT: Ashgate, 2004.

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22

Akoha, A. Bienvenu, editor of compilation and Medagbe, Apollinaire, editor of compilation, eds. Chants de Béhanzin, le résistant. Paris: L'Harmattan, 2011.

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23

J, Morgan Gary, Merwe Arjen van de, and KuNgoni Centre of Culture and Art, eds. When animals sing and spirits dance: Gule wamkulu, the great dance of the Chewa people of Malawi. Mtakataka, Malawi: Kungoni Centre of Culture and Art, Mua Parish, 2012.

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24

Kapteijns, Lidwien. Women's voices in a man's world: Women and the pastoral tradition in Northern Somali orature, c. 1899-1980. Portsmouth, NH: Heinemann, 1999.

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25

Lonesome words: The vocal poetics of the Old English lament and the African-American blues song. New York: Palgrave Macmillan, 2006.

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26

Battle dress and fancy dress: An inquiry into the origins of the customs and traditions of the Trinidad and Tobago Carnival. Port of Spain, Trinidad and Tobago: Irwin Philip Ottley, 2012.

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27

Silverman, Jerry. Ballads (Traditional Black Music). Chelsea House Publications, 1995.

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28

Productions, Warren Mattox. Shake It to the One That You Love the Best Play Songs and Lullabies Songbook. JTG of Nashville, 1990.

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29

Caffery, Joshua Clegg. Traditional Music in Coastal Louisiana: The 1934 Lomax Recordings. LSU Press, 2013.

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30

Thompson, Katrina Dyonne. The Script. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038259.003.0002.

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This chapter examines seventeenth- and eighteenth-century European and American travel journals to reveal the manner in which they portrayed West Africans in order to create the moral and social justifications for slavery and racial stereotypes. It argues that European travelers often ignored the ritualistic purpose of West African music and dance and instead reduced West Africans to servants, prostitutes, and entertainers. These societal positions were developed on the premise of European hegemony and aimed to create an African commodity. Throughout West Africa, music, song, and dance were important cultural expressions. However, from the sixteenth to nineteenth centuries, European and American travelers distorted these expressions in order to project and fulfill their own desires. This chapter shows how travel narratives presented the identity of West Africans as malleable and capable of being shaped according to the desired purpose of the gazer. Through their creation of the innate dancers and singers, it contends that travel journals contributed to the subjugation and reconfiguration of the black body through its neglect of the actual culture and tradition of the performing arts.
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31

Locke, David, and Godwin Agbeli. Kpegisu: A War Drum of the Ewe (Performance in World Music Series). White Cliffs Media, 1992.

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32

Gough, Peter, and Peggy Seeger. “No One Sings as Convincingly as the Darkies Do”. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039041.003.0006.

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This chapter examines diversity in the Federal Music Project (FMP) programs. Throughout much of the country, the FMP engaged African American musicians to perform spirituals and other traditional songs; by nearly all accounts, these concerts were met with much appreciation and usually played to multiracial audiences. In the West—primarily in California, Oregon, and Washington—Federal Music also funded “all Negro” operas, musical plays, and other performances. However, despite these considerable achievements, African Americans and Hispanics encountered both stereotyping and discrimination throughout the duration of the project. Press accounts, supervisory reports, and personal correspondences all reveal instances of ethnic prejudice in the form of depreciating media descriptions of events, as well as procedural and administrative inequities.
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33

Snyder, Jean E. Burleigh’s Singing Career. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039942.003.0009.

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This chapter focuses on Harry T. Burleigh's singing career. When Burleigh auditioned for admission to the Artist's Course at the National Conservatory of Music, his goal was to become a classical concert singer. Like soprano Sissieretta Jones, he wanted to sing arias and art songs in recital. Like other well-known black singers, Burleigh sang for audiences in African American venues throughout the East and Midwest, as well as for mixed audiences, and on many occasions he sang for audiences that were primarily white. As he became known nationwide as “the premiere baritone of the race” and as the leading black composer in the early twentieth century, he was often invited to present full recitals, to represent African Americans as part of a program of American music, or to give a lecture-recital on spirituals. One of Burleigh's favorite accompanists was pianist R. Augustus Lawson. This chapter also examines Burleigh's contribution to the tradition of African American art music, along with his use of the works of American song composers and his collaboration with them.
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34

Carlyle Fielding Stewrat III Ph. D. and Stewrat Iii Carlyle Fielding. Joy Songs, Trumpet Blasts, and Hallelujah Shouts: Sermons in the African-American Preaching Tradition. CSS Publishing Company, 1997.

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35

James, Alan. The First Bushman's Path: Stories, Songs and Testimonies of the /Xam of the North Cape. Univ of Natal Pr, 2002.

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36

Manuel, Peter. Bhojpuri Diasporic Music and the Encounter with India. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038815.003.0004.

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This chapter is devoted to the more general topic of the Indo-Caribbean Bhojpuri legacy's confrontation with music flowing from North India itself in the postindenture period, in the form of mass-mediated film music and other pop, including panregional Hindi devotional songs. Of particular relevance is the influence of these imported sounds on wedding songs, Kabir-panthi music, and Ramayan singing. It argues that most Indo-Caribbeans do not regard imported Indian music as a stultifying hegemon; they see it, rather, as an inexhaustible potential resource that can provide a cultural depth and continuity unavailable to Afro-creoles, alienated as they are from the traditions of their African forebears.
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37

Wall, Nick. Around the World in 575 Songs : Africa: Traditional Music from All the World's Countries - Volume 2. Politically Correct Press, 2018.

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38

Oral Tradition & Its Transmission. The Nordic Africa Institute, 1998.

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39

Reagon, Bernice Johnson. If You Don't Go, Don't Hinder Me: The African American Sacred Song Tradition (Abraham Lincoln Lecture). University of Nebraska Press, 2000.

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40

Reagon, Bernice Johnson. If You Don't Go, Don't Hinder Me: The African American Sacred Song Tradition (Abraham Lincoln Lecture). University of Nebraska Press, 2000.

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41

Sharecroppers Troubadour John L Handcox The Southern Tenant Farmers Union And The African American Song Tradition. Palgrave MacMillan, 2012.

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42

The Epic in Africa: Toward a Poetics of the Oral Performance. Columbia University Press, 1991.

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43

1908-, Courlander Harold, ed. A treasury of Afro-American folklore: The oral literature, traditions, recollections, legends, tales, songs, religious beliefs, customs, sayings, and humor of peoples of African descent in the Americas. New York: Marlowe, 1996.

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44

Singing In The African American Tradition For Choirs Choruses And All Who Want To Blend Their Voices In Song. Hal Leonard Publishing Corporation, 2009.

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45

Bastin, Bruce. Red River Blues: THE BLUES TRADITION IN THE SOUTHEAST (Music in American Life). University of Illinois Press, 1995.

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46

Carlin, Richard, and Ken Bloom. Eubie Blake. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190635930.001.0001.

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The book tells the story of one of the key composers of 20th-century American popular song. Through his music, Eubie Blake rose from the slums of Baltimore to the heights of Broadway success. His show Shuffle Along was the first African American show to win a major white audience, becoming the tenth most popular show of the 1920s. The show introduced future black stars—including Josephine Baker, Paul Robeson, and Florence Mills—and the syncopated chorus line, and introduced jazz-styled music to Broadway. Blake’s composing skills were matched by his piano mastery. Even in the Depression, Eubie continued composing innovative new works. At 61, he studied the Schillinger Method to expand his harmonic knowledge and ability to compose beyond the confines of traditional popular song. Blake’s persistence in maintaining his ties to ragtime and Broadway paid off in the late 1960s, when he was rediscovered due to new recordings and personal appearances. In the last decade of his life he influenced an entirely new generation of pianists and composers from the jazz and classical worlds. This is the first biography to explore the wealth of personal records, interviews, and deep research to illuminate Blake’s life and impact on over 100 years of American culture. It tells the true story of African American performers struggling to achieve recognition and success in the popular music world at a time of deep racism. Blake’s career blazed a path for countless others to rise above the limitations previously faced by blacks in the popular music world.
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47

Black, Steven P. Speech and Song at the Margins of Global Health: Zulu Tradition, HIV Stigma, and AIDS Activism in South Africa. Rutgers University Press, 2019.

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48

Speech and Song at the Margins of Global Health: Zulu Tradition, HIV Stigma, and AIDS Activism in South Africa. Rutgers University Press, 2019.

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49

Talking Drums: Reading and Writing with African American Stories, Spirituals, and Multimedia Resources. Teacher Ideas Press, 2004.

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50

Harold, Courlander. A Treasury of Afro-American Folklore: The Oral Literature, Traditions, Recollections, Legends, Tales, Songs, Religious Beliefs, Customs, Sayings and Humor of Peoples of African Descent in. Diane Pub Co, 1996.

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