Foreword

Preface

Why study black music?

Black music and its roots. Rhythmic character ; Call-and-response patterns ; Mode, scale, and harmony ; Variety of timbre ; Heterophony ; Improvisation and theme-with-variations form ; Predominance of human voice and percussion ; Instrumentation ; Persistent moods in lyrics and music ; Functionality ; Dance

Black music forms before 1900. Spirituals. Modes ; Work song ; Cries, calls, and hollers ; The blues. Blues form (W. C. Handy) ; Black Creole music

Black music forms after 1900. Ragtime. Scott Joplin ; Jazz. New Orleans jazz (Instrumentation ; The jazz composer ; Jelly Roll Morton) ; The roots of swing (Chicago ; Louis Armstrong ; New York ; Duke Ellington ; Kansas City and the southwest ; Bennie Moten) ; Bebop (The bebop pioneers) ; Cool jazz (Miles Davis ; John Lewis and the modern jazz quartet) ; Hard bop ; Free form jazz (Sonny Rollins ; Miles Davis ; John Coltrane ; Ornette Coleman) ; Jazz/rock fusion ; Rhythm and blues, rock and roll, and soul (Chuck Berry) ; Gospel songs (Thomas Dorsey) ; Gospel style

The black musician in American society. Black musicians prior to 1865. The slave musician ; The free black musician during slavery (The Chevalier de Saint-Georges) ; Black musicians after the Civil War. The black musician and minstrelsy (James A. Bland) ; Black musical comedy (Will Marion Cook ; J. Rosamond Johnson) ; Gussie Davis ; Black college musical groups ; The black musician and the European concert tradition ; Black musicians in the twentieth century. The black musician in jazz, blues, and popular music ; The black musician and symphony, theater, and television orchestras (Black conductors) ; The black singer in concert and opera ; The black musician and the musicians' union

American black composers in the European tradition. New Orleans composers ; Synthesizers of two traditions. Clarence Cameron White (Ouanga) ; Robert Nathaniel Dett (The Ordering of Moses) ; William Grant Still (Afro-American Symphony) ; William Levi Dawson (Negro Folk Symphony) ; The eclectics. Howard Swanson (Short Symphony) ; Ulysses Kay (Fantasy Variations) ; George T. Walker (Piano Sonata No. 1) ; Julia Perry (Stabat Mater) ; Hale Smith (Contours) ; Thomas J. Anderson (Squares) ; Arthur Cunningham (Lullabye for a Jazz Baby) ; Frederick C. Tillis (Music for alto flute, violoncello, and piano) ; William S. Fischer (A Quiet Movement) ; Olly Wilson (In Memoriam Martin Luther King, Jr.) ; John Carter (Cantata) ; Wendell Logan (Songs of Our Times) ; Talib Rasul Hakim (Sound-Gone)

Appendix A. List of compositions by composers included in this study ; Appendix B. List of recordings of compositions by composers included in this study.