The first edition of Black Women in American Bands & Orchestras (a Choice Outstanding Academic Book in 1982) was lauded for providing access to material unavailable in any other source. To update and expand the first edition, Handy has revised the profiles of members featured in the first edition, corrected omissions, and added personal and career facts for new faces on the scene. Profiles are presented under the headings of orchestras and orchestra leaders, string players, wind and percussion players, keyboard players, and non-playing orchestra/band affiliates. Features 100 photographs.

Profiles are presented under the headings of orchestras and orchestra leaders, string players, wind and percussion players, keyboard players, and non-playing orchestra/band affiliates. Features 100 photographs.

Profiles are presented under the headings of orchestras and orchestra leaders, string players, wind and percussion players, keyboard players, and non-playing orchestra/band affiliates. Features 100 photographs.

Although women have been teaching and performing music for centuries, their stories are often missing from traditional accounts of the history of music education. In Women Music Educators in the United States: A History, Sondra Wieland Howe provides a comprehensive narrative of women teaching music in the United States from colonial days until the end of the twentieth century. Defining music education broadly to include home, community, and institutional settings, Howe draws on sources from musicology, the history of education, and social history to offer a new perspective on the topic. In colonial America, women sang in church choirs and taught their children at home. In the first half of the nineteenth century, women published hymns, taught in academies and rural schoolhouses, and held church positions. After the Civil War, women taught piano and voice, went to college, taught in public schools, and became involved in national music organizations. With the expansion of public schools in the first half of the twentieth century, women supervised public school music programs, published textbooks, and served as officers of national organizations. They taught in settlement houses and teacher-training institutions, developed music appreciation programs, and organized women’s symphony orchestras. After World War II, women continued their involvement in public school choral and instrumental music, developed new methodologies, conducted research, and published in academia. Howe’s study traces this evolution in the roles played by women educators in the American music education system, illuminating an area of research that has been ignored far too long. Women Music Educators in the United States: A History complements current histories of music education and supports undergraduate and graduate courses in the history of music, music education, American education, and women’s studies. It will interest not only musicologists, educational historians, and scholars of women’s studies, but music educators teaching in public and private schools and independent music teachers.

Arranged alphabetically from "Alice of Dunk's Ferry" to "Jean Childs Young," this volume profiles 312 Black American women who have achieved national or international prominence.

Now in paperback! Calls attention to the many contributions African-American women have made to American and world culture. Includes pictures of artists, art works, and authors.

The most complete and affordable single-volume reference of African American culture available today, this almanac is a unique and valuable resource devoted to illustrating and demystifying the moving, difficult, and often lost history of black life in America. Celebrating centuries of achievements, the African American Almanac: 400 Years of Triumph, Courage, and Excellence provides insights on the influence, inspiration, and impact of African Americans on U.S. society and culture. A legacy of pride, struggle, and triumph is presented through a fascinating mix of biographies—including 750 influential figures—little-known or misunderstood historical facts, enlightening essays on significant legislation and movements, and 445 rare photographs and illustrations. Covering politics, education, religion, business, science, medicine, the military, sports, literature, music, dance, theater, art, film, and television, chapters address the important events and social and cultural changes that affected African Americans over the centuries, followed by biographical profiles of hundreds of key figures, including Muhammad Ali, Maya Angelou, Josephine Baker, Amiri Baraka, Daisy Bates, George Washington Carver, Ray Charles, Bessie Coleman, Gary Davis, Frederick Douglass, W. E. B. Du Bois, Michael Eric Dyson, Duke Ellington, Medgar Evers, Henry Louis Gates Jr., Eric H. Holder Jr., Langston Hughes, Zora Neale Hurston, LeBron James, Mae C. Jemison, Martin Luther King Jr., Queen Latifah, Jacob Lawrence, Kevin Liles, Thurgood Marshall, Walter Mosley, Elijah Muhammad, Barack Obama, Gordon Parks, Rosa Parks, Richard Pryor, Condoleezza Rice, Smokey Robinson, Wilma Rudolph, Betty Shabazz, Tavis Smiley, Clarence Thomas, Sojourner Truth, Harriet Ross Tubman, C. Delores Tucker, Usher, Denmark Vesey, Alice Walker, Booker T. Washington, Kanye West, Reggie White, Serena Williams, Oprah Winfrey, and Malcolm X. Explore a wealth of milestones, inspiration, challenges met, and lasting respect! The African American Almanac’s helpful bibliography and extensive index add to its usefulness.

Beginning with the arrival of the first Africans in the English colonies, Eileen Southern weaves a fascinating narrative of intense musical activity. As singers, players, and composers, black American musicians are fully chronicled in this landmark book. Now in the third edition, the author has brought the entire text up to date and has added a wealth of new material covering the latest developments in gospel, blues, jazz, classical, crossover, Broadway, and rap as they relate to African American music.

Women's Bands in America is the first comprehensive exploration of women’s bands across the three centuries in American history. Contributors trace women's emerging roles in society as seen through women's bands—concert and marching—spanning three centuries of American history. Authors explore town, immigrant,industry, family, school, suffrage, military, jazz, and rock bands, adopting a variety of methodologies and theoretical lenses in order to assemble and interrogate their findings within the context of women's roles in American society over time. Contributors bring together a series of disciplines in this unique work, including music education, musicology, American history, women's studies, and history of education. They also draw on numerous primary sources: diaries, film, military records, newspaper articles, oral-history interviews, personal letters, photographs, published ephemera, radio broadcasts, and recordings. Thoroughly, contributors engage in archival historical research, biography, case study, content analysis, iconographic study, oral history, and qualitative research to bring their topics to life. This ambitious collection will be of use not only to students and scholars of instrumental music education, music history and ethnomusicology, but also gender studies and American social history. Contributions by: Vilka E. Castillo Silva, Dawn Farmer, Danelle Larson, Brian Meyers, Sarah Minette, Gayle Murchison, Jeananne Nichols, David Rickels, Joanna Ross Hersey, Sarah Schmalenberger, Amy Spears, and Sondra Wieland Howe.

This book explores the experiences of women from the late nineteenth and early twentieth centuries who pursued careers as public performers, charting a new course in an era when women's musical activities were generally consigned to the parlor. Certain instruments had historically evolved as "appropriate for women," and the flamboyant personalities and extroverted emotionalism of Romantic virtuosos and conductors were the antithesis of those qualities traditionally admired in women. However, this work presents an unusual group of young women who nonetheless became noted virtuosos, studying abroad as teenagers and touring North America upon their return. Detailed profiles are given of three remarkable musicians from among that unusual group: Fannie Bloomfield-Zeisler (1863-1927)--virtuoso pianist, wife and mother; Ethel Leginska (1886-1970)--pianist, conductor, and 1920s "new woman"; and Antonia Brico (1902-1989)--conductor and transitional figure to the late twentieth century. A concluding chapter contrasts the experiences of women classical musicians in the late nineteenth and the late twentieth centuries. Included are a number of photographs and drawings which impart the perceptions of audiences and critics of the stage presence of these performers.