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African-American music: Structure an...

Breckenridge, Stan Laroy.

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African-American music: Structure and analysis of vocal performance, 1955-1995.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	African-American music: Structure and analysis of vocal performance, 1955-1995./
作者:	Breckenridge, Stan Laroy.
面頁冊數:	247 p.
附註:	Source: Dissertation Abstracts International, Volume: 59-04, Section: A, page: 0999.
Contained By:	Dissertation Abstracts International59-04A.
標題:	History, Black. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9830339
ISBN:	9780591831429

African-American music: Structure and analysis of vocal performance, 1955-1995.
Breckenridge, Stan Laroy.

African-American music: Structure and analysis of vocal performance, 1955-1995. - 247 p.

Source: Dissertation Abstracts International, Volume: 59-04, Section: A, page: 0999.

Thesis (Ph.D.)--The Claremont Graduate University, 1998.

There exists validation and acceptance among scholars, musicians, and the general public, regarding the significance and value of African American music.

ISBN: 9780591831429Subjects--Topical Terms:

1017776
History, Black.

African-American music: Structure and analysis of vocal performance, 1955-1995.
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100 1 $a Breckenridge, Stan Laroy. $3 1684845
245 1 0 $a African-American music: Structure and analysis of vocal performance, 1955-1995.
300 $a 247 p.
500 $a Source: Dissertation Abstracts International, Volume: 59-04, Section: A, page: 0999.
500 $a Chair: Nancy van Deusen.
502 $a Thesis (Ph.D.)--The Claremont Graduate University, 1998.
520 $a There exists validation and acceptance among scholars, musicians, and the general public, regarding the significance and value of African American music.
520 $a The goals of this study are to show a range of different kinds of solo and ensemble performances of African American music that were remarkably successful as seen on music charts from 1955-95, including the significance and importance of this music and its performers to education in music.
520 $a Hence, the focus of this dissertation concerns the structure and analysis of vocal performers of African American music. Strategies utilized in organizing this research first included a discussion of aspects pertaining to the use of music charts as an assessment of a performer's success. This resulted in the identification and selection, over a large period, of popular vocal soloists and ensembles who recorded a "top 10" hit. Secondly, music transcriptions, time lines that display specific music style characteristics, timbre, responsorial practices, and rhythmic gestures, documented by this author, all provided vital data for an overall analysis of this work. Thirdly, differences of group size and gender membership, presented as theoretical claims, furnished a framework with respect to the structure and shape of several chapters of this work. Finally, the gathering of performance data was cross-referenced and utilized as the basis for intellectual discourse providing a framework for musicological, sociological, economic, and political associations.
520 $a With regards to methodological aspects, this work also draws upon my personal experiences as a performer of African American music. Through these experiences an ameliorative understanding of the relationship between styles and inherent elements of vocal performance helped to provide further musicological insights. Utilizing my computer skills, these insights are made available, for the first time, through music transcriptions. These transcriptions not only provide visual material for music analysis, but also tangible evidence of particular performance practices scored in a serious manner.
520 $a Performers examined in this study are extracted from The Billboard Book of Top 40 Hits, chosen for its comprehensive compilation and display of popular recordings (or "hits") from 1955 to 1995. The collection includes 854 "top 10" recordings by a total of 312 vocal soloists and ensembles.
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790 $a 0047
791 $a Ph.D.
792 $a 1998
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