Dominique-René de Lerma: 'Black Music Research Journal:' Toward A Contents Directory

Black Music Research Journal

Official Journal of the Center for Black Music Research
University of Illinois Press

BLACK MUSIC RESEARCH JOURNAL: TOWARD A CONTENTS DIRECTORY

Dominique-René de Lerma

The first journal recently issued on Black music established by Eileen Southern (1920-2002) – The Black perspective in music (BPIM), running from 1973 to 1990, funded by her Foundation for Research in the Afro-American Creative Arts, which was based on royalties principally from her Music of Black Americans; A history (New York: W. W. Norton, 1971, 1984 & 1989, 1997 [a French translation, Histoire de la musique noire américaine, translated by Claude Yeinick.  Paris: Buchet/Castel, 1992, 2ème edition]).   This is in distinction from those periodicals dedicated to a specific genre of Black music, such as jazz or blues.

During its life of 18 seasons, coverage ranged from traditional African music to that of contemporary composers (a bibliography of contents is forthcoming), authored by many of those personally known from professional gatherings or correspondence.  In addition to articles were such valuable features as reviews and citations of new books, recordings, and music, as well as a catch-all commentary regarding current events and activities.  With its demise, the hiatus was immediately obvious.  Samuel A. Floyd, Jr. (1937-), had already begun issuing the Black music research journal in 1980, tentatively at first, continuing the publication of articles (now jury-reviewed), but the supplementary data lacked an outlet until William J. Zick initiated his web site, AfricClassical.com in 2000, whose contents were subject to the voluntary submissions of individuals and others, but its mission not diluted by overt inclusion of the non-classical.  An inquiry was made to Dr. Southern, suggesting the continuation of her journal by the Center for Black Music Research, founded by Dr. Floyd at Columbia College Chicago in 1983, but she elected to allow BPIM to cease.

Perhaps it was indicative of an almost new generation, but the BMRJ most often attracted new authors – at least persons who had not been previously well known in the field.  This was an important development in that the authors, typically well-established academically in other research fields, now welcomed the new avenue for their interests that had not been always shared elsewhere, but for the ethnomusicological publications.  Just prior to this time, traditional musicology had been obligated to give note to American music because of the Bicentennial and the orientation of new faculty with heightened sensitivity to broader issues than the purely musical.  That innovation was already obvious in BPIM articles, where it was inevitably given the subject considered, but became inescapable with BMRJ.

The following is only a partial consideration of BMRJ contents, based on the following issues:

1984

1986

2002, vol. 22, no. ?  (Contents of those issues missing from the complete run were taken from announcements indicated in the previous issue.  These are evident below by the absence of pagination.)

2002, vol. 22, supplement (Dena J. Epstein, editor)

2004, vol.  24, no. 2.   missing (The legend and heritage of Harry T. Burleigh, Jean A. Snyder, editor)

2008, vol. 28.  missing (Becoming Blackness and the musical imagination; Guthrie P. Ramsey, ed.)

2001, vol. 21, no.2 (Fall 2001; Samuel Coleridge-Taylor; Jeffrey Green, editor)

2001, vol. 21, no. 1 (Spring 2001)

2002, vol. 22, no. 1 (Spring 2002)

2004, vol. 24, no. 1 (Spring 2004; African-American music of Appalachia; Fred J. Hay, editor)

2006, vol. 26, no. 1 (Spring 2006; The music of African-American women: Secular and sacred, uplift and self-assertion; Christopher A, Wilkinson, editor)

2006, vol. 26, no. 2 (Fall 2006; Challenging received opinions: Four studies of the African diaspora in the circum-Caribbean; Christopher A. Wilkinson, editor)

2007, vol. 27, no. 1 (Spring 2007)

2007, vol. 27, no. 2 (Fall 2007)

2009, vol. 29, no. 2 (Fall 2009; Southern Syncopated Orchestra; Howard Rye, guest editor)

2011, vol. 31, no. 2 (Fall 2011)

2003, vol. 23, no. 1/2 (Spring/Fall 2003; Fred J. Hay, guest editor)

2005, vol. 25, no. 1/2 (Fall 2005; Christopher A. Wilkinson, editor)

BMRJ is still flourishing, although Dr. Floyd has surrendered the editorial post to guest specialists, the issues now each often taking on a topical theme.

This torso must be expanded and made comprehensive, a task not presently viable in my case.  It would then be possible to develop a subject index and to provide a major reference tool for both students and established scholars.

Allen, Carrie A.  “’When we send up the praises’: Race, identity, and gospel music in Augusta, Georgia” 2007, vol. 27, no. 2 (Fall 2007) p79-95.

Allende-Goitia, Noel.  “The mulatta, the bishop, and dances in the cathedral: Race, music, and the power relations in seventeenth-century Puerto Rico” 2006, vol. 26, no. 2 (Fall 2006) p137-164.

Alleyne-Dettmers, Patricia.  “Black kings: Aesthetic representation in carnival: Trinidad, London, and New Orleans compared” 2002, vol. 22, no. 2

Béhague, Gerard.  “Bridging South America and the United States in Black music research”  2002, vol. 22, no. 1, p1-11.

Borgo, David.  “Negotiating free: Values and practices in contemporary improvised music” 2002, vol. 22, no. 2

Brackett, David.  “Questions of genre in Black popular music“ 2005, vol. 25, no.1/2 (Spring/Fall 2005) p73-92.

Butler, Melvin.  “’Nou kwe nan sentespri’ (We  believe in the Holy Spirit): Music, ecstasy, and identity in Haitian Pentecostal worship” 2002, vol. 22, no. 1, p85-125.

Byrnside, Ron. “The Black perspective in music: The first ten years”  1986, p11-21.

Carlson, Charles D.  “’Bridging the gap’; Creed Taylor, Grover Washington, Jr., and the crossover roots of smooth jazz“   2008, vol. 28

Carr, Catherine.  “From student to composer: The chamber works” [of Samuel Coleridge-Taylor] 2001, vol. 21, no. 2, p179-195.

Christopher Wilkinson, Christopher.  “Editor’s note”   2011, vol. 31, no. 2 (Fall 2011) pv-vi.

Conway, Cecilia.  “Black banjo songsters in Appalachia”   2003, vol. 23, no. 1/2, p149-166.

Coplan, David B.  “Sounds of the ‘third way’: Identity and the African renaissance in contemporary South African popular traditional music”  2001, vol. 21, no. 1, p107-124.

Crane, Frederick.  “Black American music in pictures: Some themes and opportunities”   1986, p27-47.

Crawford, Richard.  “On two traditions of Black music research”  1986, p1-9.

Cyrille, Dominique.  “Popular music and Martinican-Creole identity” 65-83.

Davenport, Doris.  “A candle for Queen Ida”  2003, vol. 23, no. 1/2, p91-102.

Dudley, Shannon.  “The steel band ‘Own tune’: Nationalism, festivity, and musical strategies in Trinidad’s Panorama Competition” 2002, vol. 22, no. 1, p13-36.

Eagle, Bob.  “Directory of African-Appalachian musicians“   2004, vol. 24, no. 1 (Spring 2004) p7-71.

Eagle, Bob.  “Predicting Black music innovation and integration: The 1850 Mance Index for Appalachia“  2004, vol. 24, no. 1 (Spring 2004) p73-90.

Epstein, Dena J.  “Editor’s introduction”   2002 (vol. 22 supplement) p1-4.

Feder, Lester.  “Unequal temperament: The somatic acoustics of racial difference in the symphonic music of John Powell“   2008, vol. 28

Fitzgerald, Jon.  “Black pop songwriting, 1963-1966: An analysis of U. S. top forty hits by Cooke, Mayfield, Stevenson, Robinson, and Holland-Dozier-Holland” 2007, vol. 27, no. 2 (Fall 2007) p97-140.

Floyd, Samuel A., Jr.  “Black music and writing Black music history: American music and narrative strategies“   2008, vol. 28.

Floyd, Samuel A., Jr.  “Ring shout!; Literary studies, historical studies, and Black music inquiry” 2002 (vol. 22 supplement)  p49-70.

Floyd, Samuel A., Jr.  “The sources and resources of classic ragtime music”   by Samuel A. Floyd, Jr. and Marsha Reiser.  1984, p22-59.

Floyd, Samuel A., Jr.  ”Harry T. Burleigh” v24, no.2

Freed, Mark.  “Preliminary bibliography of the best-known Black Appalachian musicians“  2004, vol. 24, no. 1 (Spring 2004) p91-169.

Goldman, Jon.  “A preliminary investigation into the preparation of a Black music dictionary” 1986, p67-78.

Graziano, John.  “The use of dialect in African-American spirituals, popular songs, and folk songs” v24, no.2

Green, Jeffrey.  “Requiem: Hiawatha in the 1920s and 1930s”  2001, vol. 21, no. 2, p283-294.

Green, Jeffrey.  “Samuel Coleridge-Taylor: The early years”  2001, vol. 21, no. 2, p133-137.

Greene, Oliver N.  “Ethnicity. modernity, and retention in the Garifuna punta” 2002, vol. 22, no. 2

Greenwald, Jeff.  “Hip-hop drumming: The rhythm may define but the groove makes you move” 2002, vol. 22, no. 2

Grenier, Robert.  “La mélodie vaudoo – Voodoo art songs: The genesis of a nationalistic music in the republic of Haiti”  2001, vol. 21, no. 1, p29-74.

Gushee, Lawrence .  “New Orleans-area musicians on the West Coast, 1908-1925”  2002 (vol. 22 supplement) p5-21.

Gushee, Lawrence.  “The nineteenth-century origins of jazz”  2002 (vol. 22 supplement) p151-174.

Haines, John.  “The emergence of Jesus rock: On taming the ‘African beat’”  2011, vol. 31, no. 2 (Fall 2011)  p229-260.

Hankins, Sarah.  “So contangious: Hybridity and subcultural exchange in hip-hop’s use of Indian samples”  2011, vol. 31, no. 2 (Fall 2011) p193-208.

Hay, Fred J.  “Black musicians in Appalachia: An introduction to Afrilachian music”  2003, vol. 23, no. 1/2, p1-19.

Hay, Fred J.  “Editor’s introduction“  2004, vol. 24, no. 1 (Spring 2004) p1-3.

Hay, Fred J.  “Music box meets the Toccoa Band: The godfather of soul music in Appalachia” 2003, vol. 23, no. 1/2, p103-133.

Jones, Arthur C.  “The foundational influence of spirituals in African-American culture” v24, no.2.

Jong, Nanette de.  “’Joe’l kórsou?’ (Who is the true Curaçaoan?): A musical dialogue on identity in twentieth-century Curaçao” 2006, vol. 26, no. 2 (Fall 2006) p165-179.

Kay, Charles. “The marriage of Samuel Coleridge-Taylor and Jessie Walmisley”  2001, vol. 21, no. 2, p159-177.

Kernodle, Tammy L.  “Work the works: The role of African-American women in the development of contemporary gospel” 2006, vol. 26, no. 1 (Spring 2006) p89-109.

Kramer, Lawrence.  “Powers of Blackness: Africanist discourse in modern concert music”  2002 (vol. 22 supplement) p197-214.

Kreiss, Daniel.  “Appropriating the master’s tools: Sun Ra, the Black Panthers, and Black consciousness, 1952-1973“  2008, vol. 28.

Kubik, Gerhard.  “The African matrix in jazz harmonic practices“ 2005, vol. 25, no.1/2 (Spring/Fall 2005) p167-222.

León, Javier F.  “Mass culture, commodification, and the consolidation of the Afro-Peruvian festejo”  2006, vol. 26, no. 2 (Fall 2006) p213-247.

Lerma, Dominique-René de.  “A concordance of scores and recordings of music by Black composers” by Dominique-René de Lerma, assisted by Doreene McKenzie and Leroy Vlaum.  1984, p60-140.

Lerma, Dominique-René de.  “Preface” 2001, vol. 21, no. 2, p126-132.

Lewis, George E.  “Improvised music after 1950: Afrological and Eurological perspectives” 2002 (vol. 22 supplement) p215-146.

Lewis, Nghana.  “Ýou sell your soul like you sell a piece of ass’: Rhythms of Black female sexuality and subjectivity in Meshell Ndegeocello’s Cookie; the anthological mixtape” 2006, vol. 26, no. 1 (Spring 2006) p111-130.

Lightfoot, William E.  “The three Doc(k)s: White blues in Appalachia” 2003, vol. 23, no.1/2, p167-193.

Lipsitz, George.  “New Orleans in the world and the world in New Orleans”  2011, vol. 31, no. 2 (Fall 2011) p261-290.

Long, Richard A.  “Black music biography: A research prospectus”  1986, p49-56.

Manuel, Peter.  “Mode, melody, and harmony in traditional Afro-Cuban music from Africa to Cuba”  2007, by Peter Manuel and Orlando Fiol, vol. 27, no. 1 (Spring 2007) p45-76.

Marcuzzi, Michael.  “Writing on the wall: Some speculations on Islamic Talismans, Catholic prayers, and the preparation of Cuban bata drums for Orisha worship” 2011, vol. 31, no. 2 (Fall 2011) p209-227.

Marshall, Arthur.  The peach; Sentimental rag [for piano]. 1984, p56-59.

Maxile, Horace J.  “Spirituals, symphonies, signifyin(g): African-American cultural topics as analytical approach to the music of Black composers“ 2008, vol. 28

McDaniel, Lorna.  “Musical thought on unresolved questions and recent findings in big drum research”  2002, vol. 22, no. 1, p127-139.

McGinty, Doris Evans.  “’That you came so far to see us’: Coleridge-Taylor in America” 2001, vol. 21, no. 2, p197-233.

Moddirzadeh, Hafez.  “Aural archetypes and cyclic perspectives in the work of John Coltrane and ancient Chinese music theory”  2001, vol. 21, no. 1, p75-105.

Moe, Orin.  “A question of value: Black concert music and criticism” 1986, p57-66.

Moon, Brian.  “Harry Burleigh as ethnomusicologist?: Transcription, arranging, and the Old songs hymnal” v24, no.2.

Morgenstern, Dan.  “Comments on Fifty years of Down beat solo jazz transcriptions” 1986, p23-24.

Murchison, Gayle.  “Current research twelve years after the William Grant Still centennial“ 2005, vol. 25, no.1/2 (Spring/Fall 2005) p119-154.

Narváez, Peter.  “The influences of Hispanic music cultures on African-American blues musicians” 2002 (vol. 22 supplement) p175-196.

Nketia, J. H. Kwabena.  “Musicology and linguistics: Integrating the phraseology of text and tune in the creative process” 2002, vol. 22, no. 2

Nowakowski, Konrad.  “’30 Negroes (ladies and gentlemen)’: The Syncopated Orchestra in Vienna” 2009, vol. 29, no. 2 (Fall 2009) p229-282.

Oja, Carol J.  “’New music’ and the ‘new Negro’: Background of William Grant Still’s Afro-American symphony”  2002 (vol. 22 supplement) p107-130.

Omojola, Bode.  “Black diasporic encounters: A study of the music of Fela Sowande”   2007, vol. 27, no. 2 (Fall 2007) p141-170.

Pearson, Barry Lee.  “Appalachian blues” 2003, vol. 23, no. ½, p23-51.

Ramsey, Guthrie P.  “Editor’s introduction “  2008, vol. 28

Rey, Mario.  “The rhythmic component of Afrocubanismo in the art music of Cuba”  2006, vol. 26, no. 2 (Fall 2006) p181-212.

Richards, Paul.  “A Pan-African composer?: Coleridge-Taylor and Africa” 2001, vol. 21, no. 2, p235-260.

Rollefson, J. Griffith.  “The ‘robot voodoo power’ thesis: Afrofuturism and the anti-anti-essentialism from Sun Ra to Kool Keith“  2008, vol. 28

Rommen, Timothy.  “Nationalism and the soul: Gospelypso as independence”   2002, vol. 22, no. 1, p37-63.

Ryan, Jennifer.  “Books and articles on Black music“  2008, vol. 28

Rye, Howard.  “Editor’s introduction” 2009, vol. 29, no. 2 (Fall 2009) p145-149.

Rye, Howard.  “The Southern Syncopated Orchestra” 2009, vol. 29, no. 2 (Fall 2009) p153-228.

Sakakeeny, Matt.  “New Orleans music as a circulatory system”  2011, vol. 31, no. 2 (Fall 2011) p291-325.

Schenbeck, Lawrence,  “Representing America, instructing Europe: The Hampton Choir tours Europe“ 2005, vol. 25, no.1/2 (Spring/Fall 2005) p3-42.

Schmallenberger, Sarah.  “Debuting her political voice: The lost opera of Shirley Graham”  2006, vol. 26, no. 1 (Spring 2006) p39-87.

Sears, Ann.  “’A certain strangeness’: Harry T. Burleigh’s art songs and spiritual arrangements” v24, no.2.

Seigel, Micol.  “The disappearing dance: Maxixe’s imperial erasure“  2005, vol. 25, no.1/2 (Spring/Fall 2005) p93-117.

Self, Geoffrey.  “Coleridge-Taylor and the orchestra”  2001, vol. 21, no. 2, p261-281.

Snyder, Jean E.  “Editor’s introduction)” v24, no.2.

Snyder, Jean E.  “Harry T Burleigh: ‘One of Erie’s most popular church singers’” v24, no.2

Spencer, Natalie.  “Tales of the Syncopated Orchestra” 2009, vol. 29, no. 2 (Fall 2009) p283-286.

Steingo, Gavin.  “The politicization of kwaito: >From the ‘party politic’ to party politics”  2007, vol. 27, no. 1 (Spring 2007) p23-44.

Tomlinson, Gary.  “Cultural dialogics and jazz: White historian signifies” 2002 (vol. 22 supplement) p71-105.

Tucker, Bruce.  “’Tell Tchaikovsky the news’: Postmodernism, popular culture, and the emergence of rock ‘n’ roll” 2002 (vol. 22 supplement) p23-47.

Tucker, Bruce.  “Prejudice lives: Toward a philosophy of Black music biography” 1984, p1-21.

Tucker, Mark.  “The genesis of Black, brown and beige”  2002 (vol. 22 supplement) p131-150.

Walker-Hill, Helen.  “Western University at Quitaro, Kansas (1865-1943) and its legacy of pioneering musical women”  2006, vol. 26, no. 1 (Spring 2006) p7-37.

Weekes, Melinda E.  “This house, this music: Exploring the interdependent interpretive relationship between the contemporary Black church and contemporary gospel music“  2005, vol. 25, no.1/2 (Spring/Fall 2005) p43-72.

Wells, Paul F.  “Fiddling as an avenue of Black-White musical interchange” 2003, vol. 23, no. 1/2, p135-147.

Wilburn, Ron.  “Toward theory and method with the jazz oral history project”  1986, p79-95.

Wilkinson, Christopher A.  “Editor’s introduction”  2006, vol. 26, no. 2 (Fall 2006) p133-135.

Wilkinson, Christopher A.  “Editor’s introduction”  2006, vol. 26, no. 1 (Spring 2006) p1-4.

Wilkinson, Christopher A.  “Editor’s note“  2005, vol. 25, no.1/2 (Spring/Fall 2005) p1.

Williams, Linda F.  “Reflexive ethnography: An ethnomusicologist’s experience as a jazz musician in Zimbabwe“  2005, vol. 25, no.1/2 (Spring/Fall 2005) p155-165.

Wriggle, John.  “Chappie Willet, Frank Fairfax, and Phil Edwards’ Collegians: From West Virginia to Philadelphia”  2007, vol. 27, no. 1 (Spring 2007) p1-22.

Wright, Todd.  “Appalachian jazz: Some preliminary notes” by Todd Wright and John Higby,  2003, vol. 23, no. 1/2, p53-67.

Yang, Mina.  “A thin blue line down Central Avenue: The LAPD and the demise of a musical hub” 2002, vol. 22, no. 2

Zenni, Stefano.  “The aesthetics of Duke Ellington’s suites: The case of Togo brava”  2001, vol. 21, no. 1, p1-28.

Zolten, Jerry.  “Movin’ the mountains: An overview of rhythm and blues and its presence in Appalachia´  2003, vol. 23, no. 1/2, p67-89.