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Hugh Davies

(b Kansas City, MO, Jan 23, 1940). American artist and educator, co-founder in 1989 and artistic director of Inner-City Arts in Los Angeles. He holds a BA from the Kansas City Art Institute and an MFA from the University of Cincinnati. Working in Los Angeles since ...

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One of the names used for the notation of Shape-note hymnody.

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Dominique-René de Lerma

Organization founded in 1919 in Chicago to promote interest in African American music. Earlier efforts to found such an organization had been made by Clarence Cameron White in 1916 and R. Nathaniel Dett in 1918, both of whom participated in the first convention of the association and served as president during the 1920s. Governed by a board of directors and elected officers, the organization has met annually in various cities during the summer for workshops, concerts, recitals, panel discussions, business meetings, and youth concerts. Its numerous regional branches have sponsored other activities throughout the year. Among the recipients of national awards and special tributes early in their careers have been Hazel Harrison, Marian Anderson, Julia Perry, Arthur LaBrew, Grace Bumbry, Leon Bates, and Awadagin Pratt....

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Charles Garrett

An inter-tribal movement of Native Americans; see Native American music.

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J. Richard Haefer

Generic term for Anglo instruments used by the Tohono O’odham (Papago) Indians of Southern Arizona and Northern Sonora, Mexico. Piastakuḍ (‘fiesta thing’) refers to those instruments used to perform waila (social dance music; from the Spanish bailar, called ‘chicken scratch’ by Anglos) and pascola dance tunes. They include the ...

Article

Loren Kajikawa

According to today’s social scientists, cultural theorists, and scholars in ethnic studies and related fields, race and ethnicity are best understood as distinct yet related social categories involved in the demarcation of human difference. In common parlance, the terms are often grouped together as in the heading of this entry, or with “ethnicity” serving as a euphemism for “race.” Like gender, class, or sexuality, the operations of race and ethnicity affect every aspect of music, including composition, performance, distribution, reception, theory, and the popular and analytic discourses around music. Attention to issues of race and ethnicity has therefore emerged as a fundamental component to both the history and the critical examination of music in the United States and beyond....

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Eldonna L. May

African American composers collective, established in 1968 and dissolved in 1973. Believing that black music was a catalyst for social change and community coalition building, an eclectic, politically active, visionary group of young composers came together in New York in 1968 to found the Society of Black Composers. Their agenda was tripartite: to develop their composition skills, to promote the work of black modern and classical composers, and to enrich the cultural life of black communities. In addition to supporting the work of African American composers, the collective sought to increase musical, political, and cultural awareness. It presented concerts, colloquia, and lectures to perform and discuss the music of its members. The society also broadened the scope of contemporary musical composition by incorporating elements of other cultural traditions....

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Aja Burrell Wood

National nonprofit organization founded in 1996 by University of Michigan graduates Aaron P(aul) Dworkin and Carrie Chester. Dworkin and Chester sought to increase cultural diversity in the field of classical music and simultaneously overcome cultural stereotypes. The mission of the organization is, first, to increase the participation of blacks and Latinos as students in music schools, as professional musicians, and as classical music audiences; and second, to administer youth development initiatives in underserved communities through music education and by providing high-quality musical instruments....

Article

Alex Harris Stein

(b Dayton, OH, Oct 14, 1957). American writer, guitarist, and bandleader. He was a staff writer for the Village Voice from 1987 to 2003 (a contributor since 1981) and one of a group of young African Americans writing for the Voice on black culture, politics, and identity. His work focuses on black music and culture from a postmodern, black nationalist perspective and is noteworthy for an unconventional style that Tate describes as blending academic and street culture. One of the first journalists to cover hip hop, he has written about Miles Davis, George Clinton, Jimi Hendrix, Carlos Santana, Bob Dylan, and others. He has contributed to the ...