Musicology Commons^™

Singing The Sermon: Where Musicology Meets Homiletics, Emmett G. Price Iii

Yale Journal of Music & Religion

From the beginning of the Christian Church, singing and preaching have served as major tools of communication. In fact, they remain the most utilized methods of articulating and explicating personal and communal theologies across the diverse and expansive expressions of Christianity.

From the life, ministry, and legacy of Jesus Christ through the teachings of the Apostle Paul, the roles and functions of singing and preaching are well known but not well studied as a unit. From the foundational writings of the early Church Fathers through the various theses of the reformers, the acts of singing and preaching have been studied …

Louis Armstrong, Gene H. Anderson

Music Faculty Publications

Despite his lifelong claim of 4 July 1900 as his birthday, Armstrong was actually born on 4 August 1901 as recorded on a baptismal certificate discovered after his death. Although calling himself “Louis Daniel Armstrong” in his 1954 autobiography, he denied knowledge of his middle name or its origin. Nevertheless, evidence of “Daniel” being a family name is strong: Armstrong's paternal great-great-grandfather, a third generation slave brought from Tidewater Virginia for sale in New Orleans in 1818, was named Daniel Walker, as was his son, Armstrong's great-grandfather. The latter's wife, Catherine Walker, sponsored her great-grandson's baptism at the family's home …

The Features Of The Voice Of African American Tradition: An Analysis Of African American Rhetoric For The Influence Of The Call Response Technique, Laura Venezia

Communication Studies

This project explicates the nature of the rhetorical strategies, especially the call response, used by various African American artists and orators (Frederick Douglass, Martin Luther King Jr., Malcolm X, Grandmaster Flash and the Furious Five, and Public Enemy). The techniques include the interplay of repetition and heightening emotion provided especially through 1. using the “call response” directly, 2. announcing jeremiad warnings and rallying cries, and 3. using potent images to arouse emotions—the objective correlative.

Making The "Birthplace Of Jazz": Tourism And Musical Heritage Marketing In New Orleans, J. Souther

History Faculty Publications

No abstract provided.

The Origin Of Armstrong's Hot Fives And Hot Sevens, Gene H. Anderson

Music Faculty Publications

It has been almost fifty years since Louis Armstrong's Hot Five and Hot Seven recordings of 1925-1928 were first recognized in print as a watershed of jazz history and the means by which the trumpeter emerged as the style's first transcendent figure. Since then these views have only intensified. The Hot Fives and Hot Sevens have come to be regarded as harbingers of all jazz since, with Armstrong's status as the “single most creative and innovative force in jazz history” and an “American genius” now well beyond dispute. This study does not question these claims but seeks, rather, to determine …

From Jazz To Swing: African-American Jazz Musicians And Their Music, 1890-1935 By Thomas Hennessey (Book Review), Gene H. Anderson

Music Faculty Publications

According to Hennessey, the purpose of the present text, an extension of his dissertation, "From Jazz Age to Swing: Black Musicians and Their Music, 1917-1935" (Ph.D. diss., Northwestern University, 1973), is to trace the interaction between the enormous sociological changes in America and the music of African American musicians from the origin of jazz to the beginning of the swing era. He claims that "the transformation of jazz from a primarily local music rooted in black folk traditions to the tightly managed product of a national industry controlled by white businessmen and aimed at a predominantly white mass market paralleled …

Blues For You Johnny: Johnny Dodds And His "Wild Man Blues" Recordings Of 1927 And 1938, Gene H. Anderson

Music Faculty Publications

Shortly after Johnny Dodd's death Sidney Bechet invited Johnny's brother to join his New Orleans Feetwarmers in a recording honoring Bechet's hometown musical colleague and lifelong friend. Although Baby Dodds pronounced "Blues for You, Johnny," recorded in Chicago on September 6, 1940, a "fine tribute," Down Beat found vocalist Herb Jeffries "from hunger on blues." A more fitting memorial would have been "Wild Man Blues" cut by Bechet a few months previously. Said to be his favorite number, "Wild Man Blues" was recorded by Dodds three times in 1927 and once again in 1938. This study examines Johnny Dodds's style …

The Genesis Of King Oliver's Creole Jazz Band, Gene H. Anderson

Music Faculty Publications

Although far from overlooked by jazz writers, the origins of Oliver's Creole Band remain confused and obscure. This article attempts to clarify the Creole Band's lineage by collating and interpreting relevant material from oral histories, newspapers, census records, photographs, and other primary sources. To the extent that there may exist undiscovered and unexamined documents, these findings must remain incomplete and should be considered a report in progress.