BIBLIOGRAPHY

Articles

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Abbott, Lynn, and Seroff, Doug, “America’s Blue Yodel,” Musical Traditions, Late 1993.
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Author unknown, “Jewish Jazz Becomes Our National Music,” The Dearborn Independent (The Ford International Weekly), Dearborn, MI, August 6, 1921.
Badger, R. Reid, “James Reese Europe and the Prehistory of Jazz,” American Music, Vol. 7 No. 1, Spring 1989, 48-67.
Baker, Houston A., Jr., “Hybridity, the rap race, and pedagogy for the 1990s,” Black Music Research Journal, 11:2, 1991, 217-228.
Barol, Bill, “The Kings of Rap, together: Run-D.M.C. and the Beastie Boys hit the road,” Newsweek, June 29, 1987, 71.
Berry, Jason. 1988-90. “African Cultural Memory in New Orleans       Music,” Black Music Research, Vol 8, #1, 1988-90.
Bernard-Donals, Michael, “Jazz, Rock ‘n’ Roll, Rap and Politics,” Journal of Popular Culture, 28:2, 1994, 127-38.
Brown, Cecil, “Doing That ‘Ole Oscar Soft-Shoe,” San Francisco Examiner Magazine, March 26, 1995.
Brown, Farnum, “The kids are all white,” Mother Jones, Sept-Oct., 1991, 73-74.
Cable, George Washington. “The Dance in Place Congo & Creole Slave Songs,” in Katz, Bernard, The Social Implications of Early Negro Music in the United States, New York:Arno, 1969.
Calt, Stephen, “The Myth of Rock and Roll,” 78 Quarterly,Vol I No. 6, 1991.
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Collins, Gail, “Rap as a second language: Three middle-aged mothers master the possibilities,” Ms., January-February 1989, 56-58.
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Handelman, David, “Sold on Ice,”, Rolling Stone, January 1, 1991, 40-44+.
Hammond, John, “An Experience in Jazz History,” in Black Music in Our Culture, Kent:Kent State U., 1970, 42-61.
Hardy, Ernest, “Devil’s Helper: Tricky: Between rock and a harder place,” L.A. Weekly, October 4, 1996, 47.
Hay, Fred J., “Black Musicians in Appalachia: An Introduction to Affrilachian Music,” Black Music Research Journal, 23:1/2, Spring/Fall 2003, 1-19.
Henderson,Alex, “Active Indies,” Billboard, December 24, 1988.
Herskovitz, Mellville. 1935. “What Has Africa Given America?,” New Republic, September 4, 1935.
_____________. 1941. “Patterns of Negro Music,” Illinois Academy of Science Transactions, 34:1, September 1941, 19-23.
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Jennings, Derek, “Bring the noise!: A headbanging guide to hip-hop,” Independent Weekly (Raleigh), November 12, 1996, 13-14.
Jennings, Nicholas, “Snow business: an Irish-Canadian is all the rage in rap,” Maclean’s, May 3, 1993, 106:18, 48-9.
Johnson, Thomas F., “That Ain’t Country: The Distinctiveness of Commercial Western Music,” JEMF Quarterly, Summer 1981, 75-84.
Jung, Carl G., “Your Negroid and Indian Behavior,” Forum, April 1930, 193-99.
Kaplan, Michael, “Oy, Word! Rappers David and Lauren Lawrence are just your ordinary middle-aged Jewish couple ‘n the hood,” New York, December 18, 1995, 46-7.
Kennard, James J. Jr., “Who Are Our National Poets?”, The Knickerbocker 26, Oct. 1845.
Kenney, William Howland III, “The Influence of Black Vaudeville on Early Jazz,” in The Black Perspective in Music, Vol 14, No. 3, Fall 1986.
Kienzle, Rich, “The Evolution of Country Fingerpicking,” Guitar Player, May 1984, 38-48.
Lawrence, Keith, “Arnold Shultz: Godfather of Bluegrass?”, Bluegrass Unlimited, November 1989, 39-43.
Lawrence, Keith, “Arnold Shultz: The Greatest (?) Guitar   Picker’s Life Ended Before Promise Realized,” JEMF Quarterly, Vol. 17, No. 61, Spring 1981, 3-8.
Leland, John, “Rap and Race,” Newsweek, June 29, 1992, 47-51.
Light, Alan, “What does a white girl, Monica Lynch, know about hip-hop music?”, Vogue, January 1992, 73-74.
Lightfoot, William E., “A Regional Style: The Legacy of Arnold Shultz,” in Allen, Barbara and Schlereth, Thomas J., eds., Sense of Place: American Regional Cultures, Lexington:University Press of Kentucky, 1990.
_________, “The Three Doc(k)s: White Blues in Appalachia,” Black Music Researach Journal 23:1/2, Spring/Fall 2003, 167-93.
Locke, Alain, The Negro and His Music” Bronze Booklet Number 2, 1936. Washington: The Associates in Negro Folk Education.
Lomax, Alan, “Bluegrass Background: Folk Music With Overdrive,”Esquire. Oct 1959, 108.
Lornell, Kip, “Brownie’s Buddy: Leslie Riddles,” Living Blues, No. 12, Spring 1973, 20-23.
Lornell, Kip, “I Used To Go Along And Help: Leslie Riddles Remembers Songhunting With A.P.,” The Carter Family, Old Time Music Booklet 1, 1974.
Lott, Eric. 1991. “The Seeming Counterfeit: Racial Politics and Early Blackface Minstrelsy,” American Quarterly, Vol 43, No.2.
Martin, Denis-Constant.. “Filiation or Innovation? Some Hypotheses to Overcome the Dilemma of Afro-American Music’s Origins,” Black Music Research Journal, Spring 1991. 
Marsalis, Wynton, “What Is Jazz?”, interview with Tony Scherman, American Heritage, October 1995.
Maultsby, Portia K. 1990. “Africanisms in African‑American Music,” in Holloway, Joseph E. ed., Africanisms in American Culture, Indiana U.
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Ostendorf, Berndt, “Minstrelsy and Early Jazz,” Massachusetts Review, Autumn 1979
Ogren, Kathy J. 1989. “Controversial Sounds: Jazz Performance as Theme and Language in the Harlem Renaissance,” in Singh, Shiver, Brodwin, eds., The Harlem Renaissance: Revaluations, New York, London:Garland.
O’Neal, Jim, “Kentucky Blues,” Living Blues, Summer 1981.
Perry, Steve. 1988. “Ain’t No Mountain High Enough: The Politics of Crossover,” in Frith, Simon, ed., Facing the Music, New York:Pantheon.
Philips, John Edward. 1990. “The African Heritage of White America.” in Holloway, Joseph E. ed., Africanisms in American Culture, Indiana U.
“The Real Color of Black Music: Racism in the Music Industry, Grammy Magazine, Vol.9, No.2, April 1991.
Redd, Lawrence N. 1985. “Rock! It’s Still Rhythm and Blues,” The Black Perspective in Music, Vol. 13, Number 1.
Ressner, Jeffrey, “Thrashers pay tribute to rap,” Rolling Stone, August 8, 1991, 21.
Reynolds, J.R., “Labels Struggle to gain acceptance here for European hip-hop artists,” Billboard, June 25, 1994, 1+.
Root, Deane L. “The “Mythtory” of Stephen C. Foster or Why His True Story Remains Untold,” The American Music Research Center Journal, Vol 1, 1991. 
Rosen, Craig, “Modern rock opens doors to rap tracks,” Billboard, June 25, 1994, 1+.
Samuels, David, “The rap on rap,” New Republic, November 11, 1991, 24-29.
Seroff, Doug. 1989, Program notes, Gospel Arts Day, Nashville, TN, June 18, 1989.
Shaw, Arnold, “The Panorama,” in “Black Music: A Geneaology of Sound,” Billboard Magazine, June 9. 1979.
Shusterman, Richard, “Rap Remix: Pragmatism, postmodernism, and other issues in the house,” Critical Inquiry, 22:1, autumn 1995, 150-61.
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Stephens, Gregory, “Interracial Dialogue in Rap Music: Call-and-Response In a Multicultural Style,” New Formation, Spring 1992, 62-79.
Stephens, Robert W., “Soul: A Historical Reconstruction of Continuity and Change in Black Popular Music,” The Black Perspective in Music, Vol 12, No. 1, Spring 1984, 21-43.
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Various authors, “Black Music: A Genealogy of Sound,” Billboard, June 9, 1979.
Wald, Elijah, “John Jackson: Down Home Rappahannock Blues,” Sing Out, 39:1
Waterman, Richard A., “’Hot’ Rhythm in Negro Music,” J. American Musicological Society, Spring 1948, 24-37.
Wells, Paul F., “Fiddling As An Avenue of Black-White Musical Interchange,” Black Music Research Journal, 23:1/2, Spring/Fall 2003, 135-47.
White, Shane, “It Was A Proud Day: African-American Fesivals and Parades in the North, 1741-1834,” Journal of American History 81(I), 1994, 13-50.
Wilgus, D.K., “The Negro-White Spiritual,” in Dundes, Alan, ed., Mother Wit From the Laughing Barrel, New York:Garland, 1981.
Winans, Robert, “The Folk, the Stage, and the Five-String Banjo in the Nineteenth Century,” Journal of American Folklore 89(1976),407-37.
Wolfe, Charles, Liner notes for “Altamont: Black Stringband Music from the Library of Congress,” Rounder 0238. 1989.
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Books

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Andrews, George Reid. 1980. The Afro-Argentines of Buenos Aires, 1800-1900. Madison: University of Wisconsin.
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Balliett, Whitney. 1988. American Singers: Twenty-seven Portraits in Song, New York: Oxford.
Bane, Michael. 1982. White Boy Singin’ the Blues: The Black Roots of White Rock, New York:Da Capo.
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Belden, Henry M., and Hudson, Arthur Palmer, eds., Folk Songs From North Carolina, Vol 3 of The Frank C. Brown Collection of North Carolina Folklore, Durham:Duke U., 1952.
Berlin, Edward A. 1980. Ragtime: A Musical and Cultural History, Boulder:U.Colorado.
Booth, Stanley. 1991. Rythm Oil, London: Jonathan Cape.
Borneman, Ernest. “The Roots of Jazz,” in Nat Hentoff and Albert J. McCarthy. 1978. Jazz, ed. New York:DaCapo.
Brown, Sterling A., Davis, Arthur P., and Lee, Ulysses. 1941.The Negro Caravan, New York:Dryden.
Buerkle, James, and Barker, Danny. 1973. Bourbon Street Black: The New Orleans Black Jazzman, New York:Oxford.
Burnim, Mellonee V. and Maultsby, Portia K., eds., African American Music: An Introduction, Second Edition. New York:Routledge, 2015
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Cantor, Louis. 1992. Wheelin’ On Beale. New York:Pharos.
Campbell, Olive Dame, and Cecil J. Sharp. 1917. English Folks Songs From the Southern Appalachians: Comprising 122 Songs and Ballads, and 323 Tunes. New York:G.P. Putnam’s Sons.
Cantwell, Robert. 1984. Bluegrass Breakdown: The Making of the Old Southern Sound, Urbana:U.Illinois.
Chappel, W. 1965. The Ballad Literature and Popular Music of the Olden Time, New York:Dover.
Chapple, Steve, and Garofalo, Reebee, 1977. Rock ‘N’ Roll Is Here To Pay, Chicago:Nelson-Hall.
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Charters, Samuel and Kunstadt, Leonard. 1981. Jazz: A History of the New York Scene. NewYork:Da Capo.
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Conway, Cecilia. 1995. African Banjo Echoes in Appalachia: A study of Folk Traditions, Knoxville:The University of Tennessee Press.
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Daniel, Wayne W. 1990. Pickin’ on Peachtree: A History of Country Music in Atlanta, Georgia, Urbana:U. Illinois.
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Dyson, Michael Eric, Between God and Gangsta Rap, New York:Oxford, 1996.
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Epstein, Dena. 1977. Sinful Tunes and Spirituals: Black Folk Music to the Civil War, Urbana:U.Illinois.
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Hodeir, Andre. 1956. Jazz: Its Evolution and Essence, New York: Grove
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Hugill, Stan. 1961. Shanties From the Seven Seas, Boston:Routledge & Kegan Paul.
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Jackson, George Pullen. 1933. White Spirituals in the Southern Uplands, Chapel Hill:U. North Carolina.
Jackson, John A. 1997. American Bandstand: Dick Clark and the Making of a Rock ‘n’ Roll Empire. NY:Oxford.
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Keil, Charles. 1966. Urban Blues, Chicago:U. of Chicago.
Kellner, Bruce, Ed. 1979. Keep A-Inchin’ Along: Selected Writings of Carl Van Vechten About Black Art and Letters.Westport, CT: Greenwood.
Kenney, William Howland. 1993. Chicago Jazz: A Cultural History 1904-1930. New York:Oxford.
Kiersh, Edward, 1986. Where Are You Now, Bo Diddley?, Garden City, NJ:Doubleday.
Kochman, Thomas. 1972. Rappin’ and Stylin’ Out, Urbana:U. Illinois.   
Lee, Peggy. 1989. Miss Peggy Lee: An Autobiography, New York:Donald I. Fine, Inc.
Lees, Gene. 1994. Cats of Any Color: Jazz Black and White. New York:Oxford.
Leonard, Neil. 1962. Jazz and the White Americans: The Acceptance of a New Art Form, Chicago:U. of Chicago Press.
Lerner, Alan Jay. 1986. The Musical Theatre—A Celebration, New York:McGraw‑Hill.
Lewis, David Levering. 1981. When Harlem Was in Vogue, New York:Knopf.
Lipsitz, George. 1990. Time Passages: Collective Memory and American Popular Culture, Minneapolis:University of Minnesota.
______. 1994. Rainbow at Midnight: Labor and Culture in the 1940s. Urbana, Chicago:U. of Illinois. 
Locke, Alain. 1969. The Negro and His Music, New York:Arno/NY Times.
Lomax, Alan. 1960. The Folk Songs of North America, Garden City, New York:Doubleday.
______. 1993. The Land Where The Blues Began, New York: Pantheon.
Lomax, John. Adventures of a Ballad Hunter. NewYork:MacMillan
Lomax, John A and Alan. 1938. Cowboy Songs and Other Frontier Ballads. NewYork:MacMillan. 
Longstreet, Stephen. 1956. The Real Jazz Old and New, New York:Greenwood.
Lott, Eric. 1993. Love and Theft: Black Face Minstrelsy and the American Working Class, New York:Oxford.
Malone, Bill C. 1968. Country Music U.S.A. Austin: U. Texas.
______. 1979. Southern Music, American Music, Lexington:U.Press of Kentucky.
Malone, Bill C. and McCulloh, Judith, eds. 1975. Stars of Country Music: Uncle Dave Macon to Johnny Rodriguez, Urbana:U. Illinois.
Marcus, Greil. 1997. Mystery Train. New York:Penguin.
Martin, C.T. “Deac”. 1932. Handbook for Adeline Addicts: A Starter for Cold Voices and a Critical Survey of American Balladry, Cleveland:Schonberg Press.
Mates, Julian. 1985. America’s Musical Stage, Greenwood.
McNally, Dennis. 2014. On Highway 61. Berkeley:Counterpoint.
Meltzer, David, ed. 1993. Reading Jazz, San Francisco:Mercury House.
Nathan, Hans. 1962. Dan Emmett and the Rise of Early Negro Minstrelsy. Norman:University of Oklahoma Press.
Nettl, Bruno. 1976. An Introduction to Folk Music in the United States. Detroit:Wayne State U. Press.
Nicholson, Stuart. 1999. Reminiscing in Tempo: A Portrait of Duke Ellington. Boston:Northern University.
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Otis, Johnny. 1993. Upside Your Head!: Rhythm and Blues on Central Avenue, Hanover, NH:University Press of New England.
Palmer, Robert. 1995. Rock & Roll: An Unruly History. New York:Harmony.
Palmer, Tony. 1976. All You Need Is Love: The Story of Popular Music, New York:Grossman/Viking.
Placksin, Sally. 1982. American Women In Jazz, 1900 to the Present. New York:Seaview.
Pratt, Ray. 1990. Rhythm and Resistance: Explorations in the Political Uses of Popular Music. New York:Praeger.
Redd, Lawrence N. 1974. Rock is Rhythm and Blues, E. Lansing:Michigan U.
Riis, Thomas L. 1989. Just Before Jazz: Black Musical Theater in New York 1890‑1915, Washington:Smithsonian Institute.
Roberts, John Storm. 1985. The Latin Tinge: The Impact of Latin American Music on the United States, Tivoli, NY: Original Music. 
Rogers, J.A. 1961. Africa’s Gift to America: The Afro‑American in the Making and Saving of the United States, New York:HM Rogers.
Rooney, James. 1971. Bossmen: Bill Monroe/Muddy Waters, New York:Dial.
Rose, Al, 1979. Eubie Blake. New York:Schirmer.
Rose, Tricia, Black Noise: Rap Music and Black Culture in Contemporary America, Hanover:Wesleyan U. Press, 1994.
Rourke, Constance. 1931. American Humor: A Study of the National Character, New York:Harcourt.
_______. 1942. The Roots of American Culture, New York:Harcourt, Brace.
Royce, Anya Peterson. 1977. The Anthropology of Dance. Bloomington:Indiana University.
Russell, Tony. 1970. Blacks, Whites and Blues, New York:Stein and Day.
Rublowsky, John. 1971. Black Music in America, New York:Basic Books.
Sandberg, Larry, and Weissman, Dick. 1976. The Folk Music Sourcebook. New York:Knopf.
Schafer, William J., and Riedel, Johannes. 1973. The Art of Ragtime, Louisiana State U. Press
Schlappi, Elizabeth. 1978. Roy Acuff: The Smoky Mountain Boy, Gretna, La.:Pelican.
Schuller, Gunther. 1968. Early Jazz: Its Roots and Musical Development, New York:Oxford.
Schuller, Gunther. 1989. The Swing Era, New York:Oxford.
Shapiro, Nat and Nat Hentoff. 1966.  Hear Me Talkin’ To Ya: The Story of Jazz as told by the Men Who Made It. New York:Dover.
Shaw, Arnold. 1978. Honkers and Shouters, New York:Macmillan.
Sidran, Ben. 1971. Black Talk, New York:Holt-Rinehart.
Small, Christopher. 1987. Music of the Common Tongue: Survival and Celebration in Afro-American Music, New York:Riverrun.
Smith, Willie. 1964. Music on My Mind: The Memoirs of an American Pianist. NY:Doubleday.
Southern, Eileen. 1971. The Music of Black Americans: A History. New York:Norton.
Southern, Eileen. 1983. The Music of Black Americans: A History. 3^rd edition. New York:Norton.
Mary Newton Stanard. 1917. Colonial Virginia: Its People and Customs, Philadelphia:Lippincott.
Stearns, Marshall W. 1956. The Story of Jazz. New York:Oxford.
Stearns, Marshall and Jean. 1964. Jazz Dance. New York:Schirmer.
Stuckey, Sterling. 1987. Slave Culture: Nationalist Theory and the Foundations of Black America.  NewYork:Oxford.
Tate, Greg. 1992. Flyboy In the Buttermilk. New York: Simon and Schuster. 
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