Issues in African American Music: Power, Gender, Race, Representation is a collection of twenty-one essays by leading scholars, surveying vital themes in the history of African American music. Bringing together the viewpoints of ethnomusicologists, historians, and performers, these essays cover topics including the music industry, women and gender, and music as resistance, and explore the stories of music creators and their communities. Revised and expanded to reflect the latest scholarship, with six all-new essays, this book both complements the previously published volume African American Music: An Introduction and stands on its own. Each chapter features a discography of recommended listening for further study. From the antebellum period to the present, and from classical music to hip hop, this wide-ranging volume provides a nuanced introduction for students and anyone seeking to understand the history, social context, and cultural impact of African American music.

This collection of liturgical music for congregations represents Euro-Anglicanism as well as American Anglican and African styles, along with Caribbean, gospel, blues, and jazz. The set consists of the score settings of the two masses ("The St. Mary Mass" and "St. Luke Mass for Healing"), Morning Prayer, and Evensong. Choral and congregational parts along with a full score are included. The accompaniments are fully notated for organ and/or piano.

Have you ever wished you could play piano in the spirited and rhythmic gospel style? This book will help you get started. Carl MaultsBy gives a brief history of the gospel style and describes the techniques used to embellish printed music. Ten written arrangements of selections from the popular gospel music standard, Lift Every Voice and Sing II from Church Publishing have been provided to give the accompanist additional practice in the style.

Issues in African American Music: Power, Gender, Race, Representation is a collection of twenty-one essays by leading scholars, surveying vital themes in the history of African American music. Bringing together the viewpoints of ethnomusicologists, historians, and performers, these essays cover topics including the music industry, women and gender, and music as resistance, and explore the stories of music creators and their communities. Revised and expanded to reflect the latest scholarship, with six all-new essays, this book both complements the previously published volume African American Music: An Introduction and stands on its own. Each chapter features a discography of recommended listening for further study. From the antebellum period to the present, and from classical music to hip hop, this wide-ranging volume provides a nuanced introduction for students and anyone seeking to understand the history, social context, and cultural impact of African American music.

American Music: An Introduction, Second Edition is a collection of seventeen essays surveying major African American musical genres, both sacred and secular, from slavery to the present. With contributions by leading scholars in the field, the work brings together analyses of African American music based on ethnographic fieldwork, which privileges the voices of the music-makers themselves, woven into a richly textured mosaic of history and culture. At the same time, it incorporates musical treatments that bring clarity to the structural, melodic, and rhythmic characteristics that both distinguish and unify African American music. The second edition has been substantially revised and updated, and includes new essays on African and African American musical continuities, African-derived instrument construction and performance practice, techno, and quartet traditions. Musical transcriptions, photographs, illustrations, and new downloadable resources bring the music to life.

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar's "Alright," J. Cole's "Be Free," D'Angelo and the Vanguard's "The Charade," The Game's "Don't Shoot," Janelle Monae's "Hell You Talmbout," Usher's "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In this collection of critical studies, contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world.

Music has always been integral to the Black Lives Matter movement in the United States, with songs such as Kendrick Lamar's "Alright," J. Cole's "Be Free," D'Angelo and the Vanguard's "The Charade," The Game's "Don't Shoot," Janelle Monae's "Hell You Talmbout," Usher's "Chains," and many others serving as unofficial anthems and soundtracks for members and allies of the movement. In this collection of critical studies, contributors draw from ethnographic research and personal encounters to illustrate how scholarly research of, approaches to, and teaching about the role of music in the Black Lives Matter movement can contribute to public awareness of the social, economic, political, scientific, and other forms of injustices in our society. Each chapter in Black Lives Matter and Music focuses on a particular case study, with the goal to inspire and facilitate productive dialogues among scholars, students, and the communities we study. From nuanced snapshots of how African American musical genres have flourished in different cities and the role of these genres in local activism, to explorations of musical pedagogy on the American college campus, readers will be challenged to think of how activism and social justice work might appear in American higher education and in academic research. Black Lives Matter and Music provokes us to examine how we teach, how we conduct research, and ultimately, how we should think about the ways that black struggle, liberation, and identity have evolved in the United States and around the world.

American Music: An Introduction, Second Edition is a collection of seventeen essays surveying major African American musical genres, both sacred and secular, from slavery to the present. With contributions by leading scholars in the field, the work brings together analyses of African American music based on ethnographic fieldwork, which privileges the voices of the music-makers themselves, woven into a richly textured mosaic of history and culture. At the same time, it incorporates musical treatments that bring clarity to the structural, melodic, and rhythmic characteristics that both distinguish and unify African American music. The second edition has been substantially revised and updated, and includes new essays on African and African American musical continuities, African-derived instrument construction and performance practice, techno, and quartet traditions. Musical transcriptions, photographs, illustrations, and new downloadable resources bring the music to life.

Coping Better...Anytime, Anywhere lets mentally normal people instantly start learning to be as happy and emotionally satisfied as they choose to be. With clear, everyday language, this self-help handbook shows you the easy, yet medically proven, A B C way to daily cope better and better with any negative event and thereby really be the only self-help book you will ever need. You probably know, happiness and emotional satisfaction don't usually grab you when you are not looking. You have to choose them. So why not go now to page one and start learning how to be as happy and emotionally satisfied as you choose to be. today and everyday? You'll have nothing but emotional misery to lose

Col. Chuck Maultsby was born in Greenville, North Carolina on June 7th, 1926. After his mother's death (when he was eight years old), and subsequent rejection by a callous father, he went to live with an aunt and uncle in Norfolk, Virginia. Chuck Maultsby was born to fly and was fixated on aircraft from the time he could walk. He spent much of his youth hanging around the small municipal airport near his Norfolk home doing anything he had to do to be near airplanes and their pilots, while hoping someone would offer him a ride. He worked multiple jobs after school to raise the money necessary to take flying lessons and soloed on his sixteenth birthday. He applied for the Army Air Corps cadet program on his eighteenth birthday; only to suffer the disappointment of seeing the program's suspension at the end of World War II. The Korean War provided the next oportunity to become a jet pilot, and Chuck Maultsby grabbed it, only to be shot out of the sky during his 17th combat mission; and then he endured 22 months as a Chinese prisoner of war all the while suffering "unpleasant" treatment. After the Korean War, he became a pilot-instructor at Nellis Air Force Base, Nevada and won a spot on the Nellis Fighter Weapons Team of 1957; the team that swept every event at the "William Tell" competition, beating every other military fighter-pilot team in the U.S. and rest of the free world. From there the Colonel became a member of the USAF Arial Demonstration Team, The THUNDERBIRDS (1958-1960). As a U-2 spyplane pilot, the Colonel found himself in the very dicey predicament of being detected by the Russians over their airspace at the height of the Cuban Missile Crisis of October 1962. It's true to say that he very nearly was the cause of World War III. The next major phase of the Colonel's life was spent in Vietnam in 1967 where he flew 216 combat missions (a full third of those missions were flown in North Vietnam). He was awarded the Silver Star for gallantry in action for his mission in close support of American ground troops in dire straights. After the Vietnam experience, Col. Maultsby continued as a pilot-instructor and squadron commander at Davis-Monthan AFB, Tucson, Arizona, a staff officer at Tactical Air Command Headquarters at Langley AFB, Virginia, and finally, as the standards and evaluation officer for NATO Forces South in Naples, Italy. Col. Maultsby was married to his wife, Jeanne, from 1949 until his death in 1998. They had three sons. P.S. The Colonel even retells the story of his involvement in one of the most shocking scandals in military history involving the Chief of Staff of the Royal Australian Air Force.

An important work in the field of diaspora studies for the past decade, this collection has inspired scholars and others to explore a trail blazed originally by Melville J. Herskovits, the father of New World African studies. Since its original publication, the field has changed considerably. Africanism has been explored in its broader dimensions, particularly in the area of white Africanisms. Thus, the new edition has been revised and expanded. Joseph E. Holloway has written three essays for the new volume. The first uses a transnational framework to examine how African cultural survivals have changed over time and readapted to diasporic conditions while experiencing slavery, forced labor, and racial discrimination. The second essay is "Africanisms in African American Names in the United States." The third reconstructs Gullah history, citing numerous Africanisms not previously identified by others. In addition, "The African Heritage of White America" by John Phillips has been revised to take note of many more instances of African cultural survivals in white America and to present a new synthesis of approaches.