How Black musicians and composers used their craft to define and influence public discourse. This groundbreaking work examines how Black music functions as rhetoric, considering its subject not merely reflective of but central to African American public discourse. Author, musician, and scholar Earl H. Brooks argues that there would have been no Harlem Renaissance, Civil Rights Movement, or Black Arts Movement as we know these phenomena without Black music. Through rhetorical studies, archival research, and musical analysis, Brooks establishes the "sonic lexicon of Black music," defined by a distinct constellation of sonic and auditory features that bridge cultural, linguistic, and political spheres with music. Genres of Black music such as blues and jazz are discursive fields, where swinging, improvisation, call-and-response, blue notes, and other musical idioms serve as rhetorical tools to articulate the feelings, emotions, and states of mind that have shaped African American cultural and political development. Examining the resounding artistry of iconic musicians such as Scott Joplin, Mary Lou Williams, Duke Ellington, John Coltrane, and Mahalia Jackson, this work offers an alternative register in which these musicians and composers are heard as public intellectuals, consciously invested in crafting rhetorical projects they knew would influence the public sphere.
The 1862 battle of Pea Ridge in northwestern Arkansas was one of the largest Civil War engagements fought on the western frontier, and it dramatically altered the balance of power in the Trans-Mississippi. This study of the battle is based on research in archives from Connecticut to California and includes a pioneering study of the terrain of the sprawling battlefield, as well as an examination of soldiers' personal experiences, the use of Native American troops, and the role of Pea Ridge in regional folklore. "A model campaign history that merits recognition as a major contribution to the literature on Civil War military operations.--Journal of Military History "Shines welcome light on the war's largest battle west of the Mississippi.--USA Today "With its exhaustive research and lively prose style, this military study is virtually a model work of its kind.--Publishers Weekly "A thoroughly researched and well-told account of an important but often neglected Civil War encounter.--Kirkus Reviews "Offers the rich tactical detail, maps, and order of battle that military scholars love but retains a very readable style combined with liberal use of recollections of the troops and leaders involved.--Library Journal "This book is assured of a place among the best of all studies that have been published on Civil War campaigns.--American Historical Review "Destined to become a Civil War classic and a model for writing military history.--Civil War History "A campaign study of a caliber that all should strive for and few will equal.--Journal of American History "An excellent and detailed book in all accounts, scholarly and readable, with both clear writing and excellent analysis. . . . Utterly essential . . . for any serious student of the Civil War.--Civil War News
This highly successful reader presents the interactionist approach to the study of deviance, examining deviance as a phenomenon that is constituted through social interpretations and the reactions of persons caught up in this social process. This book focuses on issues such as how individuals interpret and label people, how people relate to one another based on these interpretations, and the consequences of these social processes. This perspective helps students understand both social process in general and the sociology of deviance in particular.
How Black musicians and composers used their craft to define and influence public discourse. This groundbreaking work examines how Black music functions as rhetoric, considering its subject not merely reflective of but central to African American public discourse. Author, musician, and scholar Earl H. Brooks argues that there would have been no Harlem Renaissance, Civil Rights Movement, or Black Arts Movement as we know these phenomena without Black music. Through rhetorical studies, archival research, and musical analysis, Brooks establishes the "sonic lexicon of Black music," defined by a distinct constellation of sonic and auditory features that bridge cultural, linguistic, and political spheres with music. Genres of Black music such as blues and jazz are discursive fields, where swinging, improvisation, call-and-response, blue notes, and other musical idioms serve as rhetorical tools to articulate the feelings, emotions, and states of mind that have shaped African American cultural and political development. Examining the resounding artistry of iconic musicians such as Scott Joplin, Mary Lou Williams, Duke Ellington, John Coltrane, and Mahalia Jackson, this work offers an alternative register in which these musicians and composers are heard as public intellectuals, consciously invested in crafting rhetorical projects they knew would influence the public sphere.
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