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LEADER 03464cam a2200433 a 4500

001 ocm34958746;

003 OCoLC;

005 20141212123601.0;

008 960612s1997 tnu b s001 0deng ;

010 a| 96025273;

020 a| 087049967X (pbk. : perm. paper);

035 a| (Sirsi) o34958746;

035 a| (OCoLC)34958746;

040 a| DLCc| DLCd| EREd| UtOrBLW;

049 a| EREMa| NPEE;

050 00 a| ML3556b| .S77 1997;

082 00 a| 780/.89/96073074712| 20;

092 a| 780.8996073b| Sp3n;

100 1 a| Jongintaba, Yahya,d| 1957-=| ^A194617;

245 14 a| The new Negroes and their music :b| the success of the Harlem Renaissance /c| Jon Michael Spencer.;

246 3 a| Success of the Harlem Renaissance;

250 a| First edition.;

300 a| xxii, 171 pages ;c| 23 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 159-163) and index.;

505 0 a| A power that will some day be applied to higher forms -- Wild dreams of bringing glory and honor to the Negro race -- The terrible handicap of working as a Negro composer -- A problem which could be solved by the simple rules of justice.;

520 a| Boldy conceived and compellingly argued, this revisionist work offers a new interpretation of the Harlem Renaissance by focusing on its music. The author challenges the emphasis of earlier historical studies--which have tended to bypass music in favor of literature--as well as their general conclusion that the Renaissance was a failure. The author's discussion encompasses the music and writings of a wide range of important figures, including James Weldon Johnson, Harry T. Burleigh, Roland Hayes, Marian Anderson, Alain Locke, William Grant Still, R. Nathaniel Dett, and Dorothy Maynor. He argues that the singular accomplishment of the Harlem Renaissance composers and musicians was to achieve a "two-tiered mastery" promoted by Johnson, Locke, the Harmon award, and Crisis and Opportunity magazines. Their work, he says, drew on the "mood and spirit" of African American folk music while mastering the forms and techniques of the European classical tradition in music. The author also contends, with Locke, that the Harlem Renaissance had its roots in the turn of the century and extended for three decades beyond the 1920s. He thus contests assertions that the arrival of the Great Depression effectively ended the Renaissance, as issues of economic survival allegedly subsumed artistic aspirations. In positing a much longer period for the Renaissance and offering evidence for it, he argues that this flowering of African American creative endeavor constitutes a major cultural legacy that can only be described as a resounding success.;

650 0 a| Harlem Renaissance.=| ^A128529;

651 0 a| Harlem (New York, N.Y.)x| Intellectual lifey| 20th century.=| ^A386420;

590 a| Little-304312--3051310099491;

590 a| Little-310379--3051310257970;

596 a| 3 5;

998 a| 613032;

999 a| ML3556 .S77 1997w| LCc| 1i| 30372009959419d| 7/16/2014e| 4/3/2011f| 4/24/2024g| 5l| MSTm| JMUSICn| 13r| Ys| Yt| MGESBKu| 5/9/1997x| BOOKz| MCIRCo| .STAFF. enhanced 10/25/23 -jjab;

The new Negroes and their music : the success of the Harlem Renaissance / Jon Michael Spencer.

Author/creator	Jongintaba, Yahya, 1957-
Format	Book
Edition	First edition.
Publication Info	Knoxville : University of Tennessee Press, ©1997.
Description	xxii, 171 pages ; 23 cm
Subjects	African Americans--New York (State). --New York. --Music. --History and criticism. Music--New York (State). --New York. --20th century. --History and criticism. Harlem Renaissance. Harlem (New York, N.Y.)--Intellectual life. --20th century.

Variant title	Success of the Harlem Renaissance
Contents	A power that will some day be applied to higher forms -- Wild dreams of bringing glory and honor to the Negro race -- The terrible handicap of working as a Negro composer -- A problem which could be solved by the simple rules of justice.
Abstract	Boldy conceived and compellingly argued, this revisionist work offers a new interpretation of the Harlem Renaissance by focusing on its music. The author challenges the emphasis of earlier historical studies--which have tended to bypass music in favor of literature--as well as their general conclusion that the Renaissance was a failure. The author's discussion encompasses the music and writings of a wide range of important figures, including James Weldon Johnson, Harry T. Burleigh, Roland Hayes, Marian Anderson, Alain Locke, William Grant Still, R. Nathaniel Dett, and Dorothy Maynor. He argues that the singular accomplishment of the Harlem Renaissance composers and musicians was to achieve a "two-tiered mastery" promoted by Johnson, Locke, the Harmon award, and Crisis and Opportunity magazines. Their work, he says, drew on the "mood and spirit" of African American folk music while mastering the forms and techniques of the European classical tradition in music. The author also contends, with Locke, that the Harlem Renaissance had its roots in the turn of the century and extended for three decades beyond the 1920s. He thus contests assertions that the arrival of the Great Depression effectively ended the Renaissance, as issues of economic survival allegedly subsumed artistic aspirations. In positing a much longer period for the Renaissance and offering evidence for it, he argues that this flowering of African American creative endeavor constitutes a major cultural legacy that can only be described as a resounding success.
Local note	Little-304312--3051310099491
Local note	Little-310379--3051310257970
Bibliography note	Includes bibliographical references (pages 159-163) and index.
LCCN	96025273
ISBN	087049967X (pbk. : perm. paper)

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML3556 .S77 1997	✔ Available	Place Hold

The new Negroes and their music : the success of the Harlem Renaissance / Jon Michael Spencer.

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