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22. Creole-and African-derived influences on the music of Louis Moreau Gottschalk (1829-1869)
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Simon,Stuart A. (Author)
- Format:
- Dissertation/Thesis
- Publication Date:
- 2012
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- 52 p., Gottschalk traveled extensively. A sojourn in Cuba during 1854 was the beginning of a series of trips to Central and South America. He also traveled to Puerto Rico after his Havana debut and at the start of his Caribbean period. Taken with the music he heard on the island, he composed a work entitled Souvenir de Porto Rico; Marche des gibaros, Op. 31 (RO250).
23. Diaspora and its theorization
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Bilby,Kenneth M. (Editor)
- Format:
- Journal Article
- Publication Date:
- Fall, 2012
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Black music research journal
- Journal Title Details:
- 32(2) : 1-93
- Notes:
- Special journal issue: New Perspectives on the Black Music Diaspora: Focus on the Caribbean., Includes Roger D. Abrahams, Questions of competency and performance in the black musical diaspora; Rose Mary Allen, Music in diasporic context: The case of Curaçao and intro-Caribbean migration; Nanette T. De Jong, Curaçao and the folding diaspora: Contesting the party tambú in the Netherlands; Elizabeth Mcalister, Listening for geographies: Music as sonic compass pointing toward African and Christian diasporic horizons in the Caribbean; and Raquel Z. Rivera, New York Afro-Puerto Rican and Afro-Dominican roots music: Liberation mythologies and overlapping diasporas.
24. Diasporal dimensions of Dominican folk religion and music
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Davis,Martha Ellen, (Author)
- Format:
- Journal Article
- Publication Date:
- Spring, 2012
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Black music research journal
- Journal Title Details:
- 32(1) : 161-191
- Notes:
- "Dominican culture and society can be characterized as a hybrid whose nature is expressed in various domains. For example, folk or popular Catholicism, the religion of some 90 percent of the national population, is in summary a cultural amalgamation. But deconstructed, it can be seen to retain elements of the various contributors to its eclectic configuration: Spanish of different regions, classes, Catholic religious orders, and even religions with regard to Judaic and Islamic features retained in Spanish folk Catholicism; West and Central African of various ethnic origins; continuities of native Taíno beliefs and practices; and other origins, such as the possible East Indian origin of the vodú deity of the “black” Guedé family, Santa Marta la Dominadora." -The Author
25. Distant Drums: The Unsung Contribution of African-Jamaican Percussion to Popular Music at Home and Abroad
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- BILBY,KENNETH (Author)
- Format:
- Journal Article
- Publication Date:
- 2010
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Caribbean Quarterly
- Journal Title Details:
- 56(4) : 1-21
- Notes:
- The article discusses the importance of percussionists and drummers in Jamaican popular music, especially reggae, arguing that their contributions have often been under-estimated. It emphasizes the traditional African roots of characteristic Jamaican drumming styles. An overview of the history of Jamaican percussion and drumming is provided. Musicians discussed include Babu Bryan, known for his Kumina drumming, Watta King, a drummer in the Buru tradition, and Oswald "Count Ossie" Williams, who developed the Nyabinghi style of Rastafarian drumming.
26. Flight as improvisational solo in jazz and blues fiction
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Kosse,Jeffrey P. (Author)
- Format:
- Dissertation/Thesis
- Publication Date:
- 2012
- Published:
- Lincoln, Nebraska: The University of Nebraska
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- ProQuest Dissertations and Theses
- Notes:
- 204 p., This dissertation examines the roles played by jazz and blues in African American fiction of the post-World War II era. The author contends that scholars of jazz and blues fiction generally discuss the authors' treatment of the music in terms of how it shows up, is alluded to, or is played; however, few address performative elements that are central to much African American literature. Their performances, whether as narratives or geosocial movements, often draw upon forms of flight as defining actions that send them into new territories and necessitate acts of improvisation. Forms of flight manifest themselves as improvised solos in numerous ways, including in this dissertation the path of Ellison's narrator going north and ultimately underground in Invisible Man , brothers leaving their Harlem pasts and coming together while on ever-divergent paths in James Baldwin's "Sonny's Blues," Milkman Dead discovering the secret of literal flight by improvising through a journey to his familial past in Toni Morrison's Song of Solomon , or the members of Macon Street's "flesh-and-blood triangle" choosing the expatriate route of Paris instead of America in Paule Marshall's The Fisher King.
27. From reggae to the creative industries
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Armstrong,Neil (Author)
- Format:
- Newspaper Article
- Publication Date:
- Aug 8-Aug 14, 2013
- Published:
- Jamaica, NY
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- The Weekly Gleaner
- Journal Title Details:
- p. 11
- Notes:
- [Carolyn Cooper] said there is a dissonance between "the brand" and the "representation of the brand" and that "until in Jamaica we come to acknowledge Jamaica is not an "out of many, one people" country but it is really a country of black people with small numbers of ethnic minorities, we're not going to get the brand right." 'At Independence, Emancipation Day just disappeared. Because if you have Emancipation Day, then you have to ask yourself what you were emancipated from. And then certain people would have to say, well, we were mixed up in it. Slavery, that is. So Emancipation Day was just erased,"she said. "But Garveyites and Rastafari kept the tradition of celebrating Emancipation Day. And it's now back on the national calendar. We even have an Emancipation Park!" "This book is a celebration of Brand Jamaica, the authentic Brand Jamaica and I hope that as you read it, you'll understand why I'm so passionate about the subject," said Cooper as she ended her remarks.
28. Haitian Jazz night Alix "Buyu" Ambroise to raise the Haitian Flag once more
- Collection:
- Black Caribbean Literature (BCL)
- Format:
- Newspaper Article
- Publication Date:
- Sep 7-Sep 14, 2005
- Published:
- Brooklyn, NY
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Haiti Observateur
- Journal Title Details:
- 36 : 21
- Notes:
- In the music's hundred year existence, the tradition's greatest innovators (Louis Armstrong, Duke Ellington, Billie Holiday, Charlie Parker, Thelonious Monk, John Coltrane, and Ornette Coleman, just to name a few...) have been black. However, Jazz music has since evolved into an international and even a universal level, to the point where we now have: Latin Jazz/Brazilian Jazz/Cuban Jazz/Japanese Jazz etc...Basically, most cultures around the world found their niches in Jazz music. Over the years, Haiti has been home to many great jazz musicians, unfortunately with the dominance of Konpa Music, many Haitians have sort-of ignored this genre of music, and these musicians, but there are a small minority of Haitians in Haiti and abroad that are very fond of Jazz music and have shown serious support to the Haitians musicians who dedicated their lives and craft to playing Jazz music, despite the fact that it's not the dominant and popular art form in Haiti.
29. Hallelujah! Former Desmond's star Ram John Holder appears in a musical about the life of Christ -- Caribbean style
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Pinkerton,Lee (Author)
- Format:
- Newspaper Article
- Publication Date:
- 1999-10-04
- Published:
- London, UK
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- The Voice
- Journal Title Details:
- 877 : 49
- Notes:
- It ran for more than six years and playing one of [Desmond]'s barbershop cronies was a highlight of [Ram John Holder]'s long career. "It only had half of the audience of Desmond's, but it had much bigger audiences than the shows they replaced it with." In it, the colourful and exuberant traditions of Trinidad's Carnival provide the setting for a stage event which transforms Handel's Messiah into an musical combining song, dance and spectacle with the spirit of Caribbean storytelling.
30. Inaugural World Creole Festival a hit
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Lee,Simon (Author)
- Format:
- Newspaper Article
- Publication Date:
- 1997-12-31
- Published:
- Miami, FL
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Caribbean Today
- Journal Title Details:
- 1 : 17
- Notes:
- Dominicans fete late, and even after three nights of nonstop music there must be upwards of 4,000 people waiting to hear the last band. As Haiti's most famous kompa group - Tabou Combo - takes the stage, exhaustion is dispelled by their relaxed "C'est Tambou", an invitation to a dancing-at-dawn session which continues long after the sun has climbed into the sky. The Haitians in the press box break into spontaneous dance, some straying on-stage; couples slip into each others' arms, moving in effortless elegance, and Dominica's minister of tourism, Norris Prevost, inquires whether this is not the best party I've ever seen. Haiti's Magnum Band with St. Lucian Luther Francois on sax blasted away the wee-hours fatigue with flowing funk and konpa over vodou rhythms and soaring lyrical soukous guitar. It was nearly 7:30 a.m. when Guadeloupe's Taxi Creole ended a tight, driving set which drew on zouk, salsa, merengue, beguine, reggae, jazz and funk.