Please use this identifier to cite or link to this item: 192.168.6.56/handle/123456789/10065
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dc.contributor.authorMelanie E., Bratcher-
dc.contributor.editorGraham Hodges-
dc.date.accessioned2018-10-12T13:12:33Z-
dc.date.available2018-10-12T13:12:33Z-
dc.date.issued2007-
dc.identifier.isbn0‑415‑98029‑1-
dc.identifier.urihttp://10.6.20.12:80/handle/123456789/10065-
dc.descriptionIn this chapter, I explore some functions of traditional African aesthetics and discuss how certain scholars utilize aesthetics in the study of Black music. I highlight specific aesthetic features such as sound quality and stylization that are common in the song performances of Smith, Holiday, and Simone, and show how sound quality and stylization of African singing have remained intact through centuries. Smith, Holiday, and Simone are musical icons because of their unique vocal expressiveness. Their songs function in the capacity of preserving African heritage for Black people and encourage alternative models of behavior and attitude toward Black women. The Harlem Renaissance, the Civil Rights movement, the Black Power movement, and the Black Arts movement are proof of ideological evolutions nurtured through African artistic achievements.-
dc.language.isoenen_US
dc.publisherRoutledgeen_US
dc.subjectAfrican Americans‑‑Music‑‑History and criticismen_US
dc.titleWords and Songs of Bessie Smith, Billie Holiday, and Nina Simoneen_US
dc.title.alternativeSound Motion, Blues Spirit, and African Memoryen_US
dc.typeBooken_US
Appears in Collections:African Studies

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