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Articles 1 - 3 of 3
Full-Text Articles in African American Studies
“Ab-Soul’S Outro,” “Hiiipower,” And The Vernacular: Kendrick Lamar’S Rap As Literature, Tyler S. Bunzey
“Ab-Soul’S Outro,” “Hiiipower,” And The Vernacular: Kendrick Lamar’S Rap As Literature, Tyler S. Bunzey
Senior Honors Theses
Kendrick Lamar’s “Ab-Soul’s Outro” and “HiiiPower” employ complex patterns of Signifyin(g), testifyin’, and other classical African-American literary tropes in order to construct a nuanced style. Lamar creates a double-voiced text not only within his narrative, but also within the form itself. Lamar plays on rap's unique status in African-American literature as an oral text; it is an extension of the vernacular. Through this oral text, Lamar decentralizes the Eurocentric focus of classical interpretation and qualification of literature to a new Afrocentric perspective that privileges the oral text. These raps are complex, wrapped up in their current context along with a …
Southern Black Gospel Music: Qualitative Look At Quartet Sound During The Gospel `Boom' Period Of 1940-1960, Beatrice Pate
Southern Black Gospel Music: Qualitative Look At Quartet Sound During The Gospel `Boom' Period Of 1940-1960, Beatrice Pate
Masters Theses
The purpose of this work is to identify features of southern black gospel music, and to highlight what makes the music unique. One goal is to present information about black gospel music and distinguishing the different definitions of gospel through various ages of gospel music. A historical accounting for the gospel music is necessary, to distinguish how the different definitions of gospel are from other forms of gospel music during different ages of gospel. The distinctions are important for understanding gospel music and the `Southern' gospel music distinction. The quartet sound was the most popular form of music during the …
When Black Meets White In The Heart Of Worship: A Case-Study Of Musical Changes In A Multiracial Church, Serge Volpe
When Black Meets White In The Heart Of Worship: A Case-Study Of Musical Changes In A Multiracial Church, Serge Volpe
Masters Theses
The Worldwide Church of God began as a denomination relying on certain Jewish practices and other Euro-centric distinctions to define its' identity. In the New York City area, African-American churchgoers exceeded that of whites; yet church liturgy retained its European-American flavor. When the denomination underwent transformation in the 1990s, many congregants were unable to accept changes, including new musical styles, and reacted in a manner inconsistent with what church leaders had hoped for. This thesis examines what some African-Americans experienced during this period when liturgy changed to include music representative of their culture. Interviews were conducted with African-American churchgoers from …