The Power of Black Music

Floyd, Samuel A.

doi:10.1093/acprof:oso/9780195109757.001.0001

Cited by 38 publications

(16 citation statements)

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“…260, 264). Scholars observed that Black radio hosts provide such orality (Baraka, 1963; Cummings & Roy, 2002; Floyd, 1995; Williams, 2011). It can be said that what is considered a major part of the Black tradition may be the very sharing of ideas through a griot tradition, or story-telling framework from Africa that is thousands of years old.…”

Section: Methods and Proceduresmentioning

confidence: 99%

Black Voices, White Power

Redding

2016

Journal of Black Studies

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When a former Black editor says he was told that Blacks do not care about news by his White boss and a Black deejay is told that his commentary is too hard hitting and not to go to an event featuring a Black militant leader by his White boss, these personal accounts could be extrapolated to mean that there may still be a world filled with White privilege and an ensuing hegemonic bifurcation in a communication studies context. This study utilizes Afrocentricity and the agency that is denied to these two individuals to provide insight into a world where these Black media/ newsroom personnel describe how they lost ground to their White media owners. Those interviewed said this world does not promote the agency that comes with Afrocentricity, which is utilized as a critical cultural studies lens to interpret these 18-question qualitative interviews. The environment that those interviewed described is a world not often viewed in the context of White media ownership and the Black-focused content that is produced within them, but is a phenomenon that may be better understood by utilizing an Afrocentric lens in a Communication Studies context.

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Section: Methods and Proceduresmentioning

confidence: 99%

Black Voices, White Power

Redding

2016

Journal of Black Studies

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“…63 Whereas the notion of a Jewish "cry," too, has real cultural and historical referents, as with the blues, the notion of the cry in Jewish music-the "tear in the voice"-has fueled fantasies of an imagined racial essence whose romantic, primitivist, and Orientalist aspects are as strong as the tear itself. In The Power of Black Music, Floyd theorizes the blues cry-"the calls, cries, and hollers of field slaves and street vendors and from the spirituals of brush harbors and church houses," which have been transposed into the blues-while illuminating the fantasies that have been projected upon it.…”

Section: Barzelmentioning

confidence: 99%

“…Abstracting his discussion from dated discourse-references to "primitive ancestors," "the hot crucible of jazz," and "folk genius"-Floyd elucidates the "vocal quality and variations in timbre that make [early blues] distinctive and link it to an African American historical lineage: the nasal, foggy, hoarse texture that delivered the elisions, hums, growls, blue notes, and falsetto, and the percussive oral effects of [musicians'] ancestors." 63 Whereas the notion of a Jewish "cry," too, has real cultural and historical referents, as with the blues, the notion of the cry in Jewish music-the "tear in the voice"-has fueled fantasies of an imagined racial essence whose romantic, primitivist, and Orientalist aspects are as strong as the tear itself. 64 Moreover, as historian Jeffrey Melnick notes in A Right to Sing the Blues, pseudo-historians of jazz often posited that the music's character derived from its mixed Jewish and African American roots, as suggested by the crying timbres of its instruments: "In the first few decades of this century, the sense that African American music was defined by its pathos coincided and merged with a fixation on the melancholy of the Jewish musician.…”

Section: "The Mooche"mentioning

confidence: 99%

An Interrogation of Language: “Radical Jewish Culture” on New York City's Downtown Music Scene

Barzel¹

2010

J Soc American Mus

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In April 1993 the Knitting Factory, a small nightclub in Lower Manhattan, hosted a five-day music festival titled "Radical New Jewish Culture." This event was part of a multifaceted creative endeavor undertaken during the 1990s by composer/improvisers on New York City's downtown music scene and dubbed "Radical Jewish Culture" by its main protagonist, saxophonist John Zorn. RJC brought Jewish music and heritage into the purview of a polycultural experimentalist scene shaped by jazz, rock, free improvisation, and avant-garde concert music. Artists downtown also engaged in an animated "conversational community" that spilled over into interviews, program notes, liner notes, and essays. RJC was especially productive as a conceptual framework from which to interrogate the relationship between musical language and the semiotics of sound.

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“…The max th is set to three times the min th as recommended in Floyd (1997). In this case the target average queue size is centred around 2 × min th .…”

Section: Setting Mid Th Max Thmentioning

confidence: 99%

Adaptive multi-level explicit congestion notification

Durresi

Sridharan

Jain

2007

IJHPCN

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We propose Adaptive Multi-level ECN (AMECN), a new TCP congestion scheme, as an extension to Multi-level Explicit Congestion Notification (MECN). AMECN allows network operators to achieve high throughput and low delays. However, AMECN performance depends its parameter settings and the level of congestion, hence, no guarantees can be given about delay. To achieve a predictable average delay with AMECN, constant tuning of the parameters to adjust to current traffic conditions is needed. We show how to tune AMECN parameters. The analysis of our simulations shows that Adaptive MECN performs better than Adaptive RED.

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The Power of Black Music

Cited by 38 publications

References 0 publications

Black Voices, White Power

Black Voices, White Power

An Interrogation of Language: “Radical Jewish Culture” on New York City's Downtown Music Scene

Adaptive multi-level explicit congestion notification

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