Spirituals performed by jubilee troupes became a sensation in post-Civil War America. First brought to the stage by choral ensembles like the Fisk Jubilee Singers, spirituals anchored a wide range of late nineteenth-century entertainments, including minstrelsy, variety, and plays by both black and white companies. In the first book-length treatment of postbellum spirituals in theatrical entertainments, Sandra Jean Graham mines a trove of resources to chart the spiritual's journey from the private lives of slaves to the concert stage. Graham navigates the conflicting agendas of those who, in adapting spirituals for their own ends, sold conceptions of racial identity to their patrons. In so doing they lay the foundation for a black entertainment industry whose artistic, financial, and cultural practices extended into the twentieth century. A companion website contains jubilee troupe personnel, recordings, and profiles of 85 jubilee groups. Please go to: http://www.press.uillinois.edu/books/graham/spirituals/

From tent revivals to radio and records with a gospel music innovator Homer Rodeheaver merged evangelical hymns and African American spirituals with popular music to create a potent gospel style. Kevin Mungons and Douglas Yeo examine his enormous influence on gospel music against the backdrop of Christian music history and Rodeheaver's impact as a cultural and business figure. Rodeheaver rose to fame as the trombone-playing song leader for evangelist Billy Sunday. As revivalism declined after World War I, Rodeheaver leveraged his place in America's newborn celebrity culture to start the first gospel record label and launch a nationwide radio program. His groundbreaking combination of hymnal publishing and recording technology helped define the early Christian music industry. In his later years, he influenced figures like Billy Graham and witnessed the music's split into southern gospel and black gospel. Clear-eyed and revealing, Homer Rodeheaver and the Rise of the Gospel Music Industry is an overdue consideration of a pioneering figure in American music.

When the Swedish concert singer Jenny Lind toured the U.S. in 1850, she became the prototype for the modern pop star. Meanwhile, her manager, P.T. Barnum, became the prototype for another figure of enduring significance: the pop culture impresario. Starting with Lind's fabled U.S. tour and winding all the way into the twenty-first century, Live Music in America surveys the ongoing impact and changing conditions of live music performance in the U.S. It covers a range of historic performances, from the Fisk Jubilee Singers expanding the sphere of African American music in the 1870s, to Benny Goodman bringing swing to Carnegie Hall in 1938, to 1952's Moondog Coronation Ball in Cleveland - arguably the first rock and roll concert - to Beyoncé's boundary-shattering performance at the 2018 Coachella festival. More than that, the book details the roles played by performers, audiences, media commentators, and a variety of live music producers (promoters, agents, sound and stage technicians) in shaping what live music means and how it has evolved. Live Music in America connects what occurs behind the scenes to what takes place on stage to highlight the ways in which live music is very deliberately produced and does not just spontaneously materialize. Along the way, author Steve Waksman uses previously unstudied archival materials to shed new light on the origins of jazz, the emergence of rock 'n' roll, and the rise of the modern music festival.

A new concept for understanding the history of the American popular music industry. Blacksound explores the sonic history of blackface minstrelsy and the racial foundations of American musical culture from the early 1800s through the turn of the twentieth century. With this namesake book, Matthew D. Morrison develops the concept of "Blacksound" to uncover how the popular music industry and popular entertainment in general in the United States arose out of slavery and blackface. Blacksound as an idea is not the music or sounds produced by Black Americans but instead the material and fleeting remnants of their sounds and performances that have been co-opted and amalgamated into popular music. Morrison unpacks the relationship between performance, racial identity, and intellectual property to reveal how blackface minstrelsy scripts became absorbed into commercial entertainment through an unequal system of intellectual property and copyright laws. By introducing this foundational new concept in musicology, Blacksound highlights what is politically at stake—for creators and audiences alike—in revisiting the long history of American popular music.

Black British Gospel Music is a dynamic and multifaceted musical practice, a diasporic river rooted in the experiences of Black British Christian communities. This book examines gospel music in Britain in both historical and contemporary perspectives, demonstrating the importance of this this vital genre to scholars across disciplines. Drawing on a plurality of voices, the book examines the diverse streams that contribute to and flow out of this significant genre. Gospel can be heard resonating within a diverse array of Christian worship spaces; as a form of community music-making in school halls; and as a foundation for ‘secular’ British popular music, including R&B, hip hop and grime.

In The Race of Sound Nina Sun Eidsheim traces the ways in which sonic attributes that might seem natural, such as the voice and its qualities, are socially produced. Eidsheim illustrates how listeners measure race through sound and locate racial subjectivities in vocal timbre—the color or tone of a voice. Eidsheim examines singers Marian Anderson, Billie Holiday, and Jimmy Scott as well as the vocal synthesis technology Vocaloid to show how listeners carry a series of assumptions about the nature of the voice and to whom it belongs. Outlining how the voice is linked to ideas of racial essentialism and authenticity, Eidsheim untangles the relationship between race, gender, vocal technique, and timbre while addressing an undertheorized space of racial and ethnic performance. In so doing, she advances our knowledge of the cultural-historical formation of the timbral politics of difference and the ways that comprehending voice remains central to understanding human experience, all the while advocating for a form of listening that would allow us to hear singers in a self-reflexive, denaturalized way.

Never has there been a more urgent time to foster cultural humility, diversity, and community dialogue while addressing systemically exclusionary teaching practices in vocal music. Singing Down the Barriers offers readers from all ethnic backgrounds a space in which to better understand the historical and cultural barriers to researching, programming, and performing repertoire by composers from the African diaspora. Emery Stephens and Caroline Helton present a pedagogical guide for singers, singing teachers, students, and administrators that will assist not only with programming but also in creating sustainable, brave spaces for critical conversations on race, equity, and American music. The book is divided into three parts: Part one presents historical context for African American song from the 19th century to the 21st century. Part two examines the culture of academic institutions and provides a framework for positive change. Part three provides strategies to foster integrated communities that can explore this repertoire with respect and mutual support as well as ways to incorporate Afrocentric music into the canon. This book is a seminal resource for higher education, community music programs, private studios, and beyond, and will help support DEI initiatives for vocal music programs.

A dynamic multimedia introduction to the global connections among peoples and their music

Orchestrating Public Opinion for the first time examines in detail music's persuasive role in political ads for US presidential campaigns. Studies on political ads tend to consider music something of an afterthought, innocuous accompaniment for a narrator. In this book Christiansen takes an opposing view, arguing that music is crucial to an ad's construction. In some cases, it is even determinative: that is, all other elements-images, voiceover, sound effects, written text, and so on-can be circumscribed by and interpreted in relation to music. This book presents for the first time correspondence between campaign officials and ad agencies, storyboards, and music scores related to ads such as Eisenhower's "I Like Ike" or Reagan's "Morning in America." Engaging music seriously through detailed musical analysis as well as exploring music's relation to visual and textual elements in ads, Orchestrating brings together disparate approaches toward understanding the surreptitious rhetoric of music.