19th Century American Sheet Music Digitization Project, and: 19th-Century California Sheet Music, and: African-American Sheet Music, 1850-1920: Selected from the Collection of Brown University, and: Charles H. Templeton Sheet Music Collection, and: Florida Sheet Music Collection, and: Historic American Sheet Music, and: Historic American Sheet Music, 1850-1920: Selected from the Collections of Duke University, and: Inventions of Note Sheet Music Collection, and: Keffer Collection of Sheet Music, ca. 1790-18

Notes ◽  
2002 ◽  
Vol 58 (4) ◽  
pp. 889-900
Author(s):  
Victor Cardell
Keyword(s):  
African American ◽  
19Th Century ◽  
Sheet Music ◽  
Brown University ◽  
Music Collection ◽  
Duke University

The origins of syncopation in American popular music

Popular Music ◽  
2021 ◽  
Vol 40 (1) ◽  
pp. 18-41
Author(s):  
David Temperley
Keyword(s):  
African American ◽  
Popular Music ◽  
20Th Century ◽  
19Th Century ◽  
Vocal Music ◽  
Piano Music ◽  
Historical Process ◽  
American Popular Music ◽  
The 19Th Century ◽  
Fourth Position

AbstractThe origins of syncopation in 20th-century American popular music have been a source of controversy. I offer a new account of this historical process. I distinguish between second-position syncopation, an accent on the second quarter of a half-note or quarter-note unit, and fourth-position syncopation, an accent on the fourth quarter of such a unit. Unlike second-position syncopation, fourth-position syncopation tends to have an anticipatory character. In an earlier study I presented evidence suggesting British roots for second-position syncopation. in contrast, fourth-position syncopation – the focus of the current study – seems to have had no presence in published 19th-century vocal music, British or American. It first appears in notation in ragtime songs and piano music at the very end of the 19th century; it was also used in recordings by African-American singers before it was widely notated.

Toward Camden

2021 ◽  
Author(s):  
Mercy Romero
Keyword(s):  
African American ◽  
New Jersey ◽  
Puerto Rican ◽  
Walt Whitman ◽  
Vacant Lots ◽  
Award Recipient ◽  
Everyday Lives ◽  
Book Award ◽  
Duke University ◽  
The City

In Toward Camden, Mercy Romero writes about the relationships that make and sustain the largely African American and Puerto Rican Cramer Hill neighborhood in New Jersey where she grew up. She walks the city and writes outdoors to think about the collapse and transformation of property. She revisits lost and empty houses—her family's house, the Walt Whitman House, and the landscape of a vacant lot. Throughout, Romero engages with the aesthetics of fragment and ruin; her writing juts against idioms of redevelopment. She resists narratives of the city that are inextricable from crime and decline and witnesses everyday lives lived at the intersection of spatial and Puerto Rican diasporic memory. Toward Camden travels between what official reports say and what the city's vacant lots withhold. Duke University Press Scholars of Color First Book Award recipient

scholarly journals Second-Position Syncopation in European and American Vocal Music

2019 ◽  
Vol 14 (1-2) ◽  
pp. 66
Author(s):  
David Temperley
Keyword(s):  
African American ◽  
Popular Music ◽  
19Th Century ◽  
Vocal Music ◽  
Corpus Analysis ◽  
Pitch Contour ◽  
Text Setting

I define a second-position syncopation as one involving a long note or accent on the second quarter of a half-note or quarter-note unit. I present a corpus analysis of second-position syncopation in 19th-century European and American vocal music. I argue that the analysis of syncopation requires consideration of other musical features besides note-onset patterns, including pitch contour, duration, and text-setting. The corpus analysis reveals that second-position syncopation was common in English, Scottish, Euro-American, and African-American vocal music, but rare in French, German, and Italian vocal music. This suggests that the prevalence of such syncopations in ragtime and later popular music was at least partly due to British influence.

scholarly journals ‘Livres de Musique’ in the Leufsta Library

2021 ◽  
Vol 28 (1) ◽  
pp. 41-61
Author(s):  
Monika Glimskär ◽  
Helena Backman
Keyword(s):  
Seventeenth Century ◽  
The Netherlands ◽  
Close Contact ◽  
Sheet Music ◽  
Content Type ◽  
The Family ◽  
Music Collection ◽  
Long Lifetime

Abstract The De Geer family established themselves in Sweden as iron industrialists during the early seventeenth century, but they maintained close contact with the Netherlands. The family built up a prestigious library at Leufstabruk, in northern Uppland. The objects in the Leufsta Music Collection contained a significant amount of music in the form of printed sheet music and manuscripts, which were most likely gathered during the long lifetime of baron Charles De Geer (1720-1778). Compared to the works he collected in his youth in the Netherlands, the printed scores linked to Charles De Geer’s later period in Sweden show a change of taste in both repertoire and collecting behavior. This article deals with the bindings of the sheet music in the Leufsta collection, which give us clues of both De Geer’s acquisition and his approach to his music scores from their purchase to binding, labelling, cataloguing and practical use.

One, One, One… One Way to God? A review essay of "In Jesus Name": The History and Beliefs of Oneness Pentecostals

Pneuma ◽  
2009 ◽  
Vol 31 (2) ◽  
pp. 275-282
Author(s):  
Marlon Millner
Keyword(s):  
African American ◽  
19Th Century ◽  
Review Essay ◽  
Social Location ◽  
Exhaustive Study ◽  
The 19Th Century ◽  
Oneness Pentecostalism ◽  
American Evangelicalism

Abstract"In Jesus' Name" is a groundbreaking work on Oneness Pentecostalism. It seeks to be an exhaustive study, which historically situates OP culturally and theologically within a long tradition of Pietism dating back hundreds of years in Europe, and Christocentrism found in American Evangelicalism of the 19th century. However, in lifting up an African-American as the exemplar of Oneness Pentecostalism, the book introduces the person's "black heritage" as an interpretive key, but then fails to follow through on this insight, despite several works around Oneness Pentecostalism, in particular, and race. This leaves open the possibility that there is a significant hole in an otherwise comprehensive monograph. Indeed, closer attention to social location and the theological problem of race, would have paid off with material that indeed moves the tradition from so-called heterodoxy to a more robust, if contested, conversation with the dogmatic tradition, which the author seeks.

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