Harry T. Burleigh

BURLEIGH BIBLIOGRAPHY
Selected list of sources

Abbott, Lynn, and Doug Seroff. Out of Sight: The Rise of African American Popular Music, 1889-1895. Jackson, MS:University Press of Mississippi, 2002.

__________. Ragged but Right: Black Traveling Shows, "Coon Songs," and the Dark Pathway to BLUES AND JAZZ. Jackson, MS: University Press of Mississippi, 2007.

Abdul, Raoul. Blacks in Classical Music: A Personal History. New York: Dodd, Mead & Co., 1977.

Aborn, Merton Robert. "The Influence on American Musical Culture of Dvorak's Sojourn in America." Ph.D. diss., Indiana University, 1965.

Adkins, Aldrich Wendell. "The Development of Black Art Song." Ph.D. diss., University of Texas at Austin, 1971.

Aldrich, Richard. Concert Life in New York 1902-1923. New York: G. P. Putnam's Sons, 1941.

Alexander, Eleanor. Lyrics of Sunshine and Shadow: The Courtship and Marriage of Paul Laurence Dunbar and Alice Ruth Moore. New York: Penguin Group, 2001.

Allen, Paul Anderson. Deep River: Music and Memory in Harlem Renaissance Thought. Durham, NC: Duke University Press, 2001.

Allen, William Francis, Charles Pickard Ware and Lucy McKim Garrison. Slave Songs of the United States. New York: A. Simpson & Co., 1867.

Allison, Roland. "Classification of the Vocal Works of Harry T. Burleigh (1866-1949) and Some Suggestions for Their Use in Teaching Diction in Singing." 2 vols. Ph.D. diss., Indiana University, 1965.

Al-Taee, Nasser. Representations of the Orient in Western Music: Violence and Sensuality. Williston, VT: Ashgate, 2010.

Anderson, Frank S. A History of The School District of The City of Erie, Pennsylvania, 1785-1970. Erie, PA: The School District of Erie, 1976.

Anderson, Jervis. This Was Harlem—A Cultural Portrait, 1900-1950. New York: Farrar Straus Giroux, 1982.

Anderson, Marian. My Lord, What a Morning. New York: Viking Press, 1956.

Anderson, Toni P. "Tell Them We Are Singers for Jesus": The Original Jubilee Singers and Christian Reconstruction, 1871-1878. Macon, GA: Mercer University Press, 2010.

Aptheker, Herbert A., ed. The Correspondence of W. E. B. Du Bois. Vol. I, Selections, 1877-1934. Amherst: University of Massachusetts Press, 1973.

__________. A Documentary History of the Negro People of the United States. Vol. 1, 1661-1910. New York: Citadel Press, 1951.

__________. A Documentary History of the Negro People of the United States. Vol. 2, 1910-1932. New York: Citadel Press, 1973.

Armstead, Myra B. Young. "Lord, Please Don't Take Me in August": African-Americans in Newport and Saratoga Springs, 1870-1930. Champaign: Illinois University Press, 1999.

Armstrong, Mary Francis and Helen W. Ludlow. Hampton and Its Students, by two of its teachers. With fifty cabin and plantation songs, arr. by Thomas P. Fenner. New York: G. P. Putnam's Sons, 1878.

Arvey, Verna. In One Lifetime. Fayetteville, AR: University of Arkansas Press, 1984.

Austin, William W. "Susanna," "Jeanie," and "The Old Folks at Home": The Songs of Stephen C. Foster from His Time to Ours. 2nd ed. Urbana: University of Illinois Press, 1975, 1987, 1989.

Badger, R. Reid. The Great American Fair: The World's Columbian Exposition & American Culture. Chicago: Nelson Hall, 1979.

__________. A Life in Ragtime: James Reese Europe. New York: Oxford University Press, 1995.

Baker, Houston A., Jr. Afro-American Poetics: Revisions of Harlem and the Black Aesthetic. Madison, WI: University of Wisconsin Press, 1988.

__________. Modernism and the Harlem Renaissance. Chicago: University of Chicago Press, 1987.

__________. Turning South Again: Rethinking Modernism/Re-reading Booker T. Winston-Salem: Duke University Press, 2001.

Ballanta-(Taylor), Nicholas George Julius. St. Helena Island Spirituals, Recorded and Transcribed at Penn Normal, Industrial and Agricultural School, St. Helena Island, Beaufort County, South Carolina. New York: G. Schirmer, 1925.

Banfield, William C. The Black Composer Speaks. Metuchen, NJ: Scarecrow Press, 1978.

__________. Cultural Codes: Makings of a Black Music Philosophy: An Interpretive History from Spirituals to Hip Hop. Lanham: Scarecrow Press, 2010.

Bauman, Thomas. The Pekin: The Rise and Fall of Chicago's First Black-Owned Theater. Urbana: University of Illinois Press, 2014.

Bean, Annemarie, James V. Hatch, Brooks McNamara, eds. Inside the Minstrel Mask: Readings in Nineteenth-Century Blackface Minstrelsy. Middletown, CT: Wesleyan University Press, 1996.

Beckerman, Michael. Dvorak and His World. Princeton, NJ: Princeton University Press, 1993.

__________. New Worlds of Dvorak: Searching in America for the Composer's Inner Life. New York: W. W. Norton, 2003.

Bellman, Jonathan, ed. The Exotic in Western Music. Boston: Northeastern University Press, 1998.

Benedict, Burton. "Rituals of Representation: Ethnic Stereotypes and Colonized Peoples at World's Fairs." In Fair Representations: World's Fairs and the Modern World, edited byRobert W. Rydell and Nancy Gwinn, 28-61. Amsterdam: VU University Press, 1994.

Berlin, Edward A. King of Ragtime: Scott Joplin and His Era. New York: Oxford University Press, 1994.

__________. "On the Trail of A Guest of Honor; In Search of Scott Joplin's Lost Opera." In A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, edited by Richard Crawford, R. Allen Lott, and Carol Oja, 3-9. Ann Arbor: University of Michigan Press, 1990.

__________. Ragtime: A Musical and Cultural History. Berkeley: University of California Press, 1980.

___________. Reflections and Research on Ragtime. I.S.A.M. Monographs, no. 24, New York: Institute for Studies in American Music Conservatory of Music Brooklyn College of the City of New York, 1987.

Cunard, Nancy, ed. Negro: An Anthology. New York: Frederick Ungar Publishing Co., 1930. Edited and abridged, with an introduction by Hugh Ford, 1970.

Cuney-Hare, Maud. Negro Musicians and Their Music. 1936. Reprint, New York: Da Capo Press, 1974.

Cunningham, Virginia. Paul Laurence Dunbar and His Song. New York: Biblo and Tannen, 1969.

Curtis, Susan. Dancing to a Black Man's Tune: A Life of Scott Joplin. Columbia, MO: University of Missouri Press, 1994.

Daily, Maceo Crenshaw, Jr. When the Saints Come Hobbling In: Emmett Jay Scott and the Booker T. Washington Movement. El Paso: Sweet Earth Flying Press, 2013.

Daly, John Jay. With a Song in His Heart: The Life and times of James A. Bland. Philadelphia: Winston, 1931.

Daughtery, Willia Estelle. "Sissieretta Jones: A Study of the Negro's Contribution to Nineteenth Century American Concert and Theatrical Life." Ph.D. diss., Syracuse University, 1968.

__________. Vision and Reality: The Story of 'Black Patti' Matilda Sissieretta Joyner Jones. Pittsburgh: Dorrance Publishing Company, 2002.

Davenport, M. Marguerite. Azalia: The Life of Azalia Hackley. Boston: Chapman & Grimes, 1947.

Davis, E. L. Lifting as They Climb. Washington, DC: National Association of Colored Women, 1933.

Davis, Elizabeth A. Index to the New World Recorded Anthology of American Music: A User's Guide to the Initial One Hundred Records. New York: W. W. Norton, 1981.

Davis, Lenwood G. A Paul Robeson Research Guide: A Selected Annotated Bibliography. Westport, CT: Greenwood Press, 1982.

deLerma, Dominque-René. Bibliography of Black Music. Vol. 1, Reference Materials. Westport, CT: Greenwood Press, 1981.

__________. Black Concert & Recital Music: A Provisional Repertoire List. Bloomington, IN: Indiana University Press, 1975.

__________. "Concert Music and Spirituals: A Selective Discography." In Black Music Research, Occasional Papers 1. Nashville: Fisk University, Institute for Research in Black American Music, 1981.

__________. "The Man." In The Collected Works of R. Nathaniel Dett, v-vii. Evanston, IL: Summy-Birchard Company, 1973.

Demus, Duana. "A Composer by Divine Right: A Performance Guide to Harry Burleigh's 'Saracen Songs' and 'Five Songs by Laurence Hope." Ph.D. diss., UCLA, 2005.

Dennison, Sam. Scandalize My Name: Black Imagery in American Popular Music. New York: Garland Publishing, 1982.

Dett, R. Nathaniel. Reflections on Afro-American Music. Kent, OH: Kent State University Press, 1973.

__________. Religious Folk-Songs of the Negro. 1927. New York: AMS Press, 1972.

__________. "Understanding the Negro Spiritual." Dett Collection of Negro Spirituals, 2nd Group. Minneapolis: Schmitt, Hall & McCreary, 1936.

Douglass, Frederick. Life and Times of Frederick Douglass. 1892. Reprint, Toronto: Crowell-Collier, 1969.

__________. Selection from "My Bondage and Freedom." In Readings in the Music of Black Americans. Edited by Eileen Southern. New York: Norton, 1971.

D[owns], O[lin]. "Roland Hayes Impresses Boston Symphony Audience with His Musicianship." November 17, 1923. In Olin Downes on Music: A Selection from His Writing during the Half-Century 1906 to 1955,edited by Irene Downes, 75-76. New York: Simon and Schuster, 1957.

Drake, St. Clair and Horace R. Cayton. Black Metropolis: A Study of Negro Life in a Northern City. Chicago: University of Chicago Press, 1945.

Dresser, Thomas. African Americans of Martha's Vineyard: From Enslavement to Presidential Visit. Charleston, SC: The History Press, 2010.

Duberman, Martin Bauml. Paul Robeson. New York: Alfred A. Knopf, 1988.

DuBois, W. E. Burghardt. The Autobiography of W. E. B. Du Bois: A Soliloquy on Viewing My Life from the last Decade of Its First Century. New York: International Publishers, 1968.

__________. Black Reconstruction in America 1860-1880: Essay Toward a History of the Part Which Blacks Played in the Attempt to Reconstruct Democracy in America, 1860-1880. 1935. Reprint, Simon & Schuster, 1999.

__________. Darkwater: Voices from Within the Veil. 1920. Mineola, NY: Dover, 1999.

__________. Dusk of Dawn: An Essay Toward an Autobiography of a Race Concept. New York: Harcourt, Brace and Co., 1940. Reprint, New York: Schocken Books, 1968.

__________. The Souls of Black Folk. 1903. Edited by Henry Louis Gates, Jr., and Terri Hume Oliver. Reprint, New York: W. W. Norton, 1999.

Dunbar, Paul Laurence. "Negro Music." In His Own Voice, edited by Herbert Woodward Martin and Ronald Primeau. Athens, OH: Ohio University Press, 2002.

Ellington, Edward Kennedy. Music Is My Mistress. New York: Doubleday. 1973. Reprint, Da Capo Press, 1976.

Epstein, Dena J. "Myths about Black Folk Music." In Folk Music and Modern Sound, edited by William Ferris and Mary L. Hunt, 151-160. Jackson, MS: University Press of Mississippi, 1982.

__________. Sinful Tunes and Spirituals: Black Folk Music to the Civil War. Urbana, IL: University of Illinois Press, 1977.

__________. "The Story of the Jubilee Singers: An Introduction to Its Bibliographic History." In New Perspectives on Music: Essays in Honor of Eileen Southern," edited by Josephine Wright and Samuel A. Floyd Jr. Warren, 151-162. MI: Harmonie Park Press, 1992.

__________. "Theodore F. Seward and the Fisk Jubilee Singers." In A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock,edited by Richard Crawford, R. Allen Lott, and Carol J. Oja. Ann Arbor: University of Michigan Press, 1990.

Evans, Arthur Lee. "The Development of the Negro Spiritual as Choral Art Must by Afro-American Composers with an Annotated Guide to the Performance of Selected Spirituals." Ph.D. diss., University of Miami, 1972.

Federal Writers' Project – WPA. Erie: A Guide to the City and County. Philadelphia: William Penn Association of Philadelphia, 1938. Erie, PA: Charlie R. Barber, Mayor of the City of Erie.

Fenner, Thomas P. Cabin and Plantation Songs; as Sung by the Hampton Students. Arr. Frederick G. Rathbun. Enlarged by the addition of 44 songs arr. Bessie Cleaveland. To which are added a few Indian songs, gathered at Hampton Institute, the Negro's battle hymn, and the grace as sung at Hampton. 3rd ed. New York and London: G. P. Putnam's Sons, 1874, 1891, 1893, 1901.

__________. Religious Folk Songs of the Negro as Sung on the Plantation. New ed. arr. by the Musical Directors of the Hampton Normal and Agricultural Institute from the original editions. Hampton: The Just Press, 1909; 1918, Introduction by Robert R. Moton; 2nd ed. 1920, 1921, 1924.

Finck, Henry T. My Adventures in the Golden Age of Music. New York: Funk & Wagnalls, 1926. Reprint, New York: Da Capo Press, 1971.

Fisher, William Arms "Biographical Sketches," xxi-xiii. In 70 Negro Spirituals. Boston: Oliver Ditson, 1926.

__________. "Negro Spirituals," vii-xix. In 70 Negro Spirituals. Boston: Oliver Ditson, 1926.

__________. "Notes on the Songs," xxv-xxxi. In 70 Negro Spirituals. Boston: Oliver Ditson, 1926.

__________. One Hundred and Fifty Years of Music Publishing in the United States, 1783-1933. Boston: Oliver Ditson,1933.

Fletcher, Tom. 100 Years of the Negro in Show Business; the Tom Fletcher Story. New York: Burdge, 1954. Reprint, New York: Da Capo, 1984.

Floyd, Samuel A., Jr. Liner notes for Black Music: The Written Tradition. Center for Black Music Research, Columbia College Chicago, 1989.

__________, ed. Black Music in the Harlem Renaissance: A Collection of Essays. New York: Greenwood Press, 1990.

__________. The Power of Black Music: Interpreting Its History from Africa to the United States. New York: Oxford University Press, 1995.

Floyd, Samuel A., Jr., and Marsha J. Reisser. Black Music Biography. White Plains, NJ: Kraus International, 1987.

Foner, Eric, ed. America's Black Past: A Reader in Afro-American History. New York: Harper & Row, 1970, 380.

__________. Reconstruction: America's Unfinished Revolution, 1863-1877. New York: Harper and Row, 1988.

__________, ed. Paul Robeson Speaks: Writings, Speeches, Interviews, 1819-1974. Edited and with introduction and notes by Philip S. Foner. New York: Citadel, 1978.

Franklin, John Hope. From Slavery to Freedom. 9th ed. New York: McGraw-Hill, 2010.

Gates, Henry Louis. "Harriet Beecher Stowe and 'The Man That Was a Thing.'" The Annotated Uncle Tom's Cabin. New York: W. W. Norton, 2007.

__________. The New Negro: Readings on Race, Representation and African-American Culture. Princeton, NJ: Princeton University Press, 2007.

Gatewood, Willard B. Aristocrats of Color: The Black Elite, 1880-1920. Bloomington: Indiana University Press, 1990.

Gelbart, Matthew. The Invention of "Folk Music" and "Art Music": Emerging Categories from Ossian to Wagner. New Perspectives in Music History and Criticism Series. Cambridge and New York: Cambridge University Press, 2007.

George, Zelma W. "A Guide to Negro Music: An Annotated Bibliography of Negro Music and Art Music by Negro Composers Based on Thematic Material." Ann Arbor: University Microfilms, 1953.

Gerald, Abraham, ed. Antonin Dvorak, His Achievement. London: Lindsay Drummond, 1942.

Giddings, Paula. Ida, A Sword Among Lions: Ida B. Wells and the Campaign Against Lynching. New York: Amistad, Harper Collins, 2008.

__________. When and Where I Enter: The Impact of Black Women on Race and Sex in America. New York: Morrow Press, 1984.

Glinsky, Albert. Theremin: Ether Music and Espionage. Champaign-Urbana, IL: Illinois University Press, 2005.

Good, Edwin M. "William Steinway and Music in New York." In Music and Culture in America, 1861-1918,edited by Michael Saffle, 3-27. New York: Garland, 1998.

Gordon, Taylor. Born To Be. New York: Covici-Friede, 1929.

Gossett, Thomas F. Uncle Tom's Cabin and American Culture. Dallas: Southern Methodist University Press, 1985.

Graham, Lawrence Otis. Our Kind of People: Inside America's Black Upper Class. New York: Harper Perennial, 1999.

Graham, Sandra Jean. "Composing in Black and White: Code-Switching in the Songs of Sam Lucas." In The Oxford Handbook of Music Censorship. Edited by Patricia Hall. New York: Oxford University Press, forthcoming.

__________. "Fisk Jubilee Singers and the Concert Spiritual." Ph.D. diss., New York University, 2001.

__________. "Reframing Negro Spirituals in the Late Nineteenth Century." In Music, American Made: Essays in Honor of John Graziano, edited by John Koegel, 603-627. Sterling Heights, MI: Harmonie Park Press, 2011.

Graham, Shirley. Paul Robeson: Citizen of the World. Foreward by Carl Van Doren. New York: Messner, 1948.

Gray, Leon Wilbur. "The American Art Song: An Inquiry into Its Development from the Colonial Period to the Present." 2 vols. Ed. D. diss., Columbia University, 1967.

Graziano, John. "Sentimental Songs, Rags, and Transformations: The Emergence of the Black Musical, 1895-1910." In Musical Theatre in America: Papers and Proceedings of the Conference on Musical Theatre in America, edited by Glenn Loney, 213-14. Westport, CT: Greenwood Press, 1984.

Green, Constance McLaughlin. The Secret City: A History of Race Relations in the Nation's Capital. Princeton: Princeton University Press, 1967.

Green, Jeffrey P. Edmund Thornton Jenkins: The Life and Times of an American Black Composer. Westport, CT: Greenwood Press, 1982.

Hall, James Husset. The Art Song. Norman, OK: University of Oklahoma Press, 1953. 3rd printing, 1969.

Hamm, Charles. "A Blues for the Ages." In A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock,edited by Richard Crawford, R. Allen Lott, and Carol J. Oja, 346-355. Ann Arbor: University of Michigan Press, 1990.

__________. "Dvorak, Stephen Foster, and American National Song." In Dvo_ák in America, 1892-1895, edited by John C. Tibbetts, 149-156. Portland, OR: Amadeus Press, 1993.

__________. Music in the New World. New York: W. W. Norton, 1983.

__________. Putting Popular Music in Its Place. New York: Cambridge University Press, 1995.

__________. Yesterdays: Popular Song in America. New York: W. W. Norton, 1979.

Handy, W. C. Father of the Blues: An Autobiography. New York: Macmillan, 1941. Reprint, New York: Da Capo Press, 1991.

Hare, Maud Cuney. Negro Musicians and Their Music. Introduction by Josephine Harreld Love. 1936. Reprint, New York: G. K. Hall, 1996. Reprint, Da Capo Press, 1974.

Harlan, Louis R. Booker T. Washington in Perspective. Jackson, MS: University Press of Mississippi, 1989.

__________. Booker T. Washington: The Making of a Black Leader, 1856-1901. New York: Oxford University Press, 1971.

__________, ed. The Booker T. Washington Papers. 13 vols. Urbana: University of Illinois Press, 1972-1984.

__________. Booker T. Washington: Volume 2: The Wizard of Tuskegee, 1901-1915. New York: Oxford University Press, 1986.

Harris, Thomas E. Analysis of the Clash over the Issues with Booker T. Washington and W. E. B. Du Bois. Dissertations-G, 1993.

Hayden, Robert C. Singing for All People: Roland Hayes: A Biography. Corey & Lucas Publications, Robert C. Hayden, 1989. In Memory of My Grandmother and Son, Fannie V. Hughes, 1878-1962, and Robert C. Hayden III, 1960-1980.

Hayes, Eileen M., and Linda F. Williams. Black Women and Music: More Than the Blues. Foreword by Ingrid Monson. Urbana and Chicago: University of Illinois Press, 2007.

Hayes, Roland. My Songs. Boston: Little, Brown, 1948.

Helm, MacKinley. Angel Mo' and Her Son, Roland Hayes. 1942. Reprint, New York: Greenwood Press, 1969.

Hill, Errol. "The Hyers Sisters: Pioneers in Black Musical Comedy." In The American Stage: Social and Economic Issues from the Colonial Period to the Present. Edited by Ron Engle and Tice L. Miller, 115-130. New York: Cambridge University Press, 1993.

Hitchcock, H. Wiley. "Charles Ives and the Spiritual 'In the Morning'/Give me Jesus.'" In New Perspectives on Music: Essays in Honor of Eileen Southern," edited by Josephine Wright and Samuel A. Floyd Jr., 163-171. Warren, MI: Harmonie Park Press, 1992.

__________. Music in the United States: A Historical Introduction, 3rd ed. Englewood Cliffs, NJ: Prentice-Hall, 1988.

Horowitz, Joseph. Classical Music in America: A History of Its Rise and Fall. New York: W. W. Norton, 2005.

__________. Dvorak in America. Chicago: Cricket Books, 2003.

__________. Moral Fire: Musical Portraits from America's Fin de Siècle. Berkeley: University of California Press, 2012.

Huggins, Nathan Irvin. Harlem Renaissance. New York: Oxford University Press, 1971.

Hughes, Langston. Black Magic: A Pictorial History of the Negro in American Entertainment. Englewood Cliffs, NJ: Prentice-Hall, 1967.

__________. Famous Negro Music Makers. New York: Dodd, Mead, 1955.

Huneker, James Gibbons. Steeplejack. 1920. Reprint, New York: Charles Scribner's Sons, 1925.

__________. Variations. New York: Charles Scribner's Sons, 1921.

Hurston, Zora Neal. "Spirituals and Neo-Spirituals." In Negro,edited by Nancy Cunard, 224. 1934.

Jackson, George Pullen. White and Negro Spirituals. New York: J. J. Augustin, 1943.

Jackson, Irene V., ed. More than Dancing: Essays on Afro-American Music and Musicians. Westport, CT: Greenwood Press, 1985.

Jasen, David A., and Gene Jones. Spreadin' Rhythm Around: Black Popular Songwriters, 1880-1930. New York: Schirmer, 1998.

Johnson, James Weldon. Along This Way: The Autobiography of James Weldon Johnson. 1933. Reprint, New York: Viking, 1968.

__________. Black Manhattan. 3rd ed. New York: Atheneum, 1972.

Johnson, James Weldon, and J. Rosamond Johnson. The Books of American Negro Spirituals, including The Book of American Negro Spirituals and The Second Book of Negro Spirituals. New York: Viking Press, 1940.

Jones, Arthur C. Wade in the Water: The Wisdom of the Spirituals. 3rd ed. Boulder, CO: Leave a Little Room, 2005.

Jones, Joel Christopher. "An Analysis of Two Early Twentieth-Century Piano Suites: From the Southland by Henry Thacker Burleigh and In the Bottoms by Robert Nathaniel Dett." D.M.A. Thesis, University of Iowa, 2001.

Jones, LeRoi. Blues People: Negro Music in White America. 1963. Reprint, Harper Collins, 1999.

Katz, Bernard, ed. The Social Implications of Early Negro Music in the United States. New York: Arno Press, 1969.

Keck, George R. and Sherrill V. Martin, eds. "Feel the Spirit": Studies in Nineteenth-Century Afro-American Music. Contributions in Afro-American and African Studies, No. 119. Westport, CT: Greenwood Press, 1988.

Kennedy, Charles A. "When Cairo Met Main Street: Little Egypt, Salome Dancers, and the World's Fairs of 1893 and 1904." In Music and Culture in America, 1861-1918,edited by Michael Saffle, 271-298. New York: Garland, 1998.

Kimball, Carol. Song: A Guide to Art Song Style and Literature. 1996. Rev. ed. Milwaukee: Hal Leonard Corporation, 2006.

Kinscella, Hazel Gertrude. Music on the Air. New York: Viking, 1934.

Koegel, John, ed. Music, American Made: Essays in Honor of John Graziano. Sterling Heights, MI: Harmonie Park Press, 2011.

Krehbiel, Henry E. Afro-American Folksongs. 1914. Reprint, New York: Frederick Ungar, 1962, 1967, 1975.

Kusmer, Kenneth L. A Ghetto Takes Shape: Black Cleveland, 1870-1930. Urbana: University of Illinois Press, 1978.

Lee, Maureen D. Sissieretta Jones: 'The Greatest Singer of Her Race' 1868-1933. Columbia, SC: University of South Carolina Press, 2012.

Levine, Lawrence. Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom. New York: Oxford University Press, 1977.

__________. Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America. Cambridge: Harvard University Press, 1988.

Levy, Alan Howard. Edward MacDowell: An American Master. Metuchen, NJ: Scarecrow Press, 1999.

Lewis, David Levering. W. E. B. Du Bois: Biography of a Race, 1868-1919. New York: Henry Holt, 1993.

__________. When Harlem Was in Vogue. New York: Alfred A. Knopf, 1981.

Locke, Alain, ed. The New Negro: An Interpretation. New York: Albert and Charles Boni, 1925.

__________. The New Negro: An Interpretation with a new by introduction Allan H. Spear. New York: Johnson Reprint Corporation, 1968.

__________. The New Negro and His Music. New York: Arno Press and The New York Times, 1969.

Locke, Ralph P. "Cutthroats and Casbah Dancers, Meuzzins, &Timeless Sands: Musical Images of the Middle East." In The Exotic in Western Music, 104-136. Boston: Northeastern University Press, 1998.

__________. Musical Exoticism: Images and Reflections. New York: Cambridge University Press, 2011.

Lott, Eric. Love and Theft: Blackface Minstrelsy and the American Working Class. New York: Oxford University Press, 1993.

Lovell, John, Jr. Black Song: The Forge and the Flame: The Story of How the Afro-American Spiritual Was Hammered Out. 1972. Reprint, New York: Paragon House Publishers, 1986.

Lueders, Edward. Carl Van Vechten. New York: Twayne Pub., 1965.

MacDowell, Edward A. Critical and Historical Essays. Edited by W. J. Baltzell. 1912. Reprint with new introduction by Irving Lowens, New York: Da Capo Press, 1969.

MacLeod, Bruce A. Club Date Musicians: Playing the New York Party Circuit. Champaign-Urbana, IL: Illinois University Press, 1993.

Mahar, William J. Behind the Burnt Cork Mask: Early Blackface Minstrelsy and Antebellum American Popular Culture. Champaign-Urbana, IL: Illinois University Press, 1998.

Major, Gerri, and Doris E. Saunders. Black Society. Chicago: Johnson Publishing Co., 1976.

Mannes, David. Music Is My Faith. New York: W. W. Norton, 1938.

Marsh, J. B. T. The Story of the Jubilee Singers; With Their Songs. New ed. London: Hodder and Stoughton, 1886.

__________. The Story of the Jubilee Singers by J. B. T. Marsh, with Supplement Containing an Account of the Six Years' Tour around the World, and Many New Songs, by F. J. Loudin. Cleveland: Cleveland Printing and Publishing Co., 1892.

Martin, Herbert Woodward, and Ronald Primeau, eds. In His Own Voice: The Dramatic and Other Uncollected Works of Paul Laurence Dunbar. Foreword by Henry Louis Gates, Jr. Athens, OH: Ohio University Press, 2002.

Maultsby, Portia. "Africanisms in African-American Music." In Africanisms in American Culture, edited by Joseph E. Holloway, 185-210.Bloomington and Indianapolis: Indiana University Press, 1990.

McFeely, William S. Frederick Douglass. New York: Norton, 1991.

McGinty, Doris Evans. "The Black Presence in the Music of Washington, D.C." 1843-1904. In More Than Dancing: Essays on Afro-American Music and Musicians, edited by Irene V. Jackson, 81-105. Westport, CT: Greenwood Press, 1985.

__________. "3 In New Perspectives on Music: Essays in Honor of Eileen Southern, edited by Josephine Wright and Samuel A. Floyd Jr., 443-49. Warren, MI: Harmonie Park Press, 1992.

McMurray, Linda O. To Keep the Waters Troubled: The Life of Ida Wells. Oxford University Press, 2000.

Meier, August. Negro Thought in America, 1880-1915: Racial Ideologies in the Age of Booker T. Washington. 4th ed. Ann Arbor: University of Michigan Press, 1969.

Meister, Barbara. Art Song: The Marriage of Music and Poetry. Wakefield, NH: Hollowbrook, 1992.

Miller, John. A Twentieth Century History of Erie County, Pennsylvania. A Narrative Account of its Historical Progress, Its People, and Its Principal Interests. 2 vols. Chicago: Lewis Publishing Company, 1909.

Moon, Brian Alan. "The Old Songs Hymnal: Harry Burleigh and His Spirituals During the Harlem Renaissance." Ph.D. Thesis, University of Colorado at Boulder, 2006.

Moore, G. O. Brief History of the Public Schools of the City of Erie. Unknown Publisher, 1938.

Moore, Jacqueline M. Booker T. Washington, W. E. B. DuBois, and the Struggle for Racial Uplift. Lanham, MD: Rowman & Littlefield Publishers, 2003.

__________. Leading the Race: The Transformation of the Black Elite in the Nation's Capital, 1880-1920. Charlotte, VA: University of Virginia Press, 1999.

Morath, Max. "Vocal and Theatrical Music of Bert Williams and His Associates." In American Popular Entertainment, edited by Myron Matlaw. Westport, CT: Praeger, 1979.

Morgan, Thomas L. and William Barlow. From Cakewalks to Concert Halls: An Illustrated History of African American Popular Music from 1895 to 1930. Washington, DC: Elliott & Clark Publishing, 1992.

Moulton, Elizabeth. St. George's Church. Foreward by Reinhold Niebuhr. New York: The Rector, Church Wardens, and Vestrymen of St. George's Church in the City of New York, 1964.

Murchison, Gayle. "'Dean of Afro-American Composers': or "Harlem Renaissance Man.'" In William Grant Still: A Study in Contradictions, 39-65. Music of the African Diaspora. Los Angeles: University of California Press, 2000.

Nelson, Jill. Finding Martha's Vineyard: African Americans at Home on an Island. New York: Doubleday, 2005.

Newman, Richard. Go Down, Moses: A Celebration of the African-American Spiritual. Illustrations by Terrance Cummings. Forward by Cornel West. New York: Clarkson Potter, 1998.

Osofsky, Gilbert. Harlem: The Making of a Ghetto. Negro New York, 1890-1930. 1968. 2nd ed. New York: Harper, 1971.

Ottley, Roi. New World A-Coming. 1942. Reprint, New York: World Publishing, 1945.

Ottley, Roi and William Weatherby. The Negro in New York. New York: New York Public Library, 1967.

Overmyer, Grace. "Harry Thacker Burleigh." In Famous American Composers, 126-140. New York: Thomas Y. Crowell, 1944.

Parrish, Lydia. Slave Songs of the Georgia Sea Islands. Music transcribed by Creighton Churchill and Robert MacGimsey; Introduction by Olin Downes; foreword by Bruce Jackson. Hatboro, PA: Folklore Associates, 1965.

Patterson, Willis. Liner notes for Art Songs by Black American Composers. Ann Arbor, MI: The University of Michigan, 1981.

Payne, Daniel A. History of the African Methodist Episcopal Church. Vol. 1. Nashville: Publishing House of the A.M.E. Sunday-School Union, 1891. Reprint, the Johnson Reprint Corporation, New York, 1968.

__________. Recollections of Seventy Years. Introduction by Francis J. Grimke. New preface by Benjamin Quarles. Reprint, New York: Arno Press and the New York Times, 1969.

Peress, Maurice. Dvorak to Duke Ellington: A Conductor Explores America's Music and Its African American Roots. New York: Oxford University Press, 2004.

Pike, G. D. The Jubilee Singers and Their Campaign for Twenty Thousand Dollars. Boston: Lea and Shepard, 1873.

Radano, Ronald. Lying Up a Nation: Race and Black Music. Chicago: University of Chicago Press, 2003.

Radano, Ronald and Philip V. Bohlman, eds. Music and Racial Imagination. Chicago: University of Chicago Press, 2000.

Rainsford, William S. A Preacher's Story of His Work. New York: Outlook Co., 1904.

__________. The Story of a Varied Life: An Autobiography. Garden City, NY: Doubleday, Page and Company, 1922.

Rampersad, Arnold, and David Roessel, eds. The Collected Poems of Langston Hughes, New York: Alfred A. Knopf, 1998.

Reaching Out: An Epic of the People of St. Philip's Church. New York: Custombook, 1986.

Riis, Thomas L. "Black Musical Theatre in New York, 1890-1915." Ph.D. diss., University of Michigan, 1991.

__________. "Concert Singers, Prima Donnas, and Entertainers: The Changing Status of Black Women Vocalists in Nineteenth-Century America." In Music and Culture in America, 1861-1918,edited by Michael Saffle, 53-78. New York: Garland, 1998.

__________. "Dvorak and His Black Students." In David R. Beveridge, Rethinking Dvorak, Views from Five Countries, 265. Oxford: Clarendon, 1996.

__________. Just Before Jazz: Black Musical Theatre in New York, 1890-1915. Washington, DC: Smithsonian, 1989.

__________. "More Than Just Minstrel Shows: The Rise of Black Musical Theatre at the Turn of the Century." I.S.A.M. Monographs: Number 33, 1992.

__________. "The Music of A Trip to Coontown." In Music, American Made: Essays in Honor of John Graziano, edited by John Koegel, 421-437. Sterling Heights, MI: Harmonie Park Press, 2011.

__________, "Pink Morton's Theater, Black Vaudeville, and the TOBA: Recovering the History, 1910-30." In New Perspectives on Music: Essays in Honor of Eileen Southern," edited by Josephine Wright and Samuel A. Floyd Jr., 229-243. Warren, MI: Harmonie Park Press, 1992.

__________. Songs and Scripts from "In Dahomey." Madison: A-R Editions, 1997.

Roach, Hildred. Black American Music: Past and Present. 2nd ed. Malabar, FL: Krieger Publishing Co., 1992.

Robeson, Paul. Here I Stand. Beacon Press, 1998. Reprint, New York: John Wiley & Sons, 2001.

Robeson, Paul, Jr. The Undiscovered Paul Robeson: An Artist's Journey, 1898-1939. New York: Paul Wiley & Sons, 2001.

Rohrer, Gertrude Martin. Music and Musicians of Pennsylvania. Philadelphia: Theodore Presser, 1940.

Root, Deane L. "Performing Foster." In Music, American Made: Essays in Honor of John Graziano, edited by John Koegel, 275-310. Sterling Heights, MI: Harmonie Park Press, 2011.

__________. "The Stephen Foster-Antonin Dvorak Connection." In Dvorak in America, 1892-1895, 243. Portland, OR: Amadeus Press, 1993.

Rowland, Mabel. Bert Williams: Son of Laughter. 1923. Reprint, New York: Negro Universities Press, 1969.

Rubin, Emanuel. "Dvorak at the National Conservatory." In Dvo_�k in America, 1892-1895, edited by John C. Tibbetts, 53-81. Portland, OR: Amadeus Press, 1993.

Rydell, Robert W., ed. The Reason Why the Colored American Is Not in the World's Columbian Exposition. Urbana: University of Illinois Press, 1999.

__________. Fair Representations: World's Fairs and the Modern World. Amsterdam: VU University Press, 1994.

Rydell, Robert W., and Nancy Gwinn, eds. All the World's a Fair: Visions of Empire in American International Expositions, 1876-1916. Chicago: University of Chicago Press, 1984.

Sack, Saul. History of Higher Education in Pennsylvania. 2 vols. Harrisburg: Pennsylvania Historical and Museum Commission, 1963.

Saffle, Michael, and James R. Heintze. Music and Culture in America, 1861-1918. Essays in American Music 2. London: Routledge, 1998.

Sampson, Henry T. Blacks in Blackface: A Source Book on Early Black Musical Shows. 1980. Reprint, Metuchen, NJ: Scarecrow Press, 1993.

Sanford, Laura. The History of Erie County. 1862. 2nd ed., Philadelphia: J. B. Lippincott & Co.,1892.

Satterlee, Herbert L. J. Pierpont Morgan: An Intimate Portrait. New York: Macmillan, 1940.

Saunders, Steven, and Deane L. Root, eds. The Music of Stephen C. Foster: A Critical Edition. 2 vols. Washington and London: Smithsonian Institution Press, 1990.

Schabas, Ezra. Theodore Thomas: America's Conductor and Builder of Orchestras, 1835-1905. Urbana, IL: Illinois University Press, 1989.

Scarborough, Dorothy. On the Trail of Negro Folk-Songs. With Ola Lee Gulledge. Cambridge: Harvard University Press, 1925.

Schechter, Patricia A. Ida B. Wells-Barnett and American Reform, 1880-1930. Chapel Hill: University of North Carolina Press, 2000.

Schenbeck, Lawrence. Racial Uplift and American Music 1878-1943. Jackson, MS: University Press of Mississippi, 2012.

Schmalenberger, Sarah. "Harriet Gibbs Marshall and Three Musical Spectacles." In Black Women and Music: More Than the Blues, edited by Eileen M. Hayes and Linda F. Williams. Urbana: University of Illinois Press, 2007.

Severance, Frank. "Underground Trails." In Old Trails on the Niagara Frontier, 227-271.Buffalo: Frank Severance, 1899.

Shirley, Wayne. "The Jenkins Orphanage Band and Porgy and Bess." In Music, American Made: Essays in Honor of John Graziano, edited by John Koegel, 497-509. Sterling Heights, MI: Harmonie Park Press, 2011.

Simpson, Anne Key. Hard Trials: The Life and Music of Harry T. Burleigh. Metuchen, NJ: Scarecrow Press, 1990.

Skvorecky, Josef. Dvorak in Love: A Light-hearted Dream. Translated from the Czech by Paul Wilson. Toronto: Lester & Orpen Dennys, 1983.

Smith, Catherine Parsons. William Grant Still: A Study in Contradictions. A Roth Family Foundation Book in American Music. Vol. 2. Music of the African Diaspora. Oakland, CA: University of California Press, 2000.

__________. "William Grant Still's Aesthetic Voice and 'The Africa of My Imagination." In Music, American Made: Essays in Honor of John Graziano, edited John Koegel, 247-260. Sterling Heights, MI: Harmonie Park Press, 2011.

Smith, Eric Ledell. Bert Williams: A Biography of the Pioneer Black Comedian. Jefferson, NC: McFarland & Co., 1992.

Snyder, Jean E. "Burleigh, Harry [Henry] Thacker." International Dictionary of Black Composers. Chicago: Fitzroy Dearborn Publishers, 1999, 186-193.

__________. "'A Great and Noble School of Music': Dvorak, Harry T. Burleigh, and the African-American Spiritual." In Dvorak in America, 1892-1895. Portland, OR: Amadeus Press, 1993, 123-148.

__________. "Harry T. Burleigh and the Creative Expression of Bi-Musicality: A Study of an African American Composer and the American Art Song." Ph.D. diss., University of Pittsburgh, 1992.

__________. Harry T. Burleigh: From the Spiritual to the Harlem Renaissance. Urbana, IL: University of Illinois Press, 2016.

Sourek, Otakar. Antonin Dvorak, His Life and Works. New York: Philosophical Library, Inc., 1954.

Southern, Eileen, ed. African-American Theater. New York and London: Garland Publishing, 1994. A reprint with musical excerpts of two Hyers plays, Out of Bondage (1876), and Peculiar Sam; or The Underground Railroad (1879).

__________. Biographical Dictionary of Afro-American and African Musicians. The Greenwood Encyclopedia of Black Music. Westport, CT: Greenwood Press, 1982.

__________. "An Early Black Concert Company: The Hyers Sisters Combination." In A Celebration of American Music: Words and Music in Honor of H. Wiley Hitchcock, edited by Richard Crawford, R. Allen Lott, and Carol J. Oja, 17-35. Ann Arbor: University of Michigan Press, 1990.

__________. The Music of Black Americans: A History. 1983. 3rd ed. New York: W. W. Norton, 1997.

__________, Readings in Black American Music. 2nd ed. New York: W. W. Norton, 1983.

Southern, Eileen, and Josephine Wright. Images: Iconography of Music in African-American Culture (1770s-1920s). New York: Routledge, 2000.

__________. African-American Traditions in Song, Sermon, Tale, and Dance, 1600s-1920: An Annotated Bibliography of Literature, Collections, and Artworks. The Greenwood Encyclopedia of Black Music. Westport, CT: Greenwood Press, 1990.

Spearman, Rawn Wardell Sr. "Vocal Music in the Harlem Renaissance." In Black Music in the Harlem Renaissance, edited by Samuel A. Floyd, Jr., 41-54. Westport, CT: Greenwood Press, 1990.

Spencer, Jon Michael. The New Negroes and Their Music: The Success of the Harlem Renaissance. Knoxville: University of Tennessee Press, 1997.

__________. The William Grant Still Reader: Essays on American Music. A Special Issue of Black Sacred Music: A Journal of Theomusicology. Durham, NC: Duke University Press, 1992.

Stefan, Paul. Antonin Dvorak. Translated by Y. W. Vance. 1941. Reprint, New York: Da Capo, 1971.

Still, William Grant. "A Composer's Viewpoint." Black Music in Our Culture. Kent, OH: Kent State University Press, 1972, 93-108.

Tawa, Nicholas E. Sweet Songs for Gentle Americans: The Parlor Song in America, 1790-1860. Bowling Green, OH: Bowling Green University Popular Press, 1980.

Thompson, Sarah S. Journey from Jerusalem: An Illustrated Introduction to Erie's African American History, 1795-1995. With additional research and essay by Karen James. Erie, PA: Erie County Historical Society, 1996.

Tibbetts, John C., ed. Dvorak in America, 1892-1895. Portland, OR: Amadeus Press, 1993.

__________. "The Missing Title Page: Dvorak and the American National Song." In Music and Culture in America, 1861-1918, edited by Michael Saffle, 343-365. New York: Garland Press, 1998.

Tischler, Barbara L. An American Music: The Search for an American Musical Identity. New York: Oxford University Press, 1986.

Toll, Robert C. Blacking Up: The Minstrel Show in Nineteenth-Century America. New York: Oxford University Press, 1977.

Tomatz, David. "Rubin Goldmark, Post Romantic: Trial Balances in American Music." Ph.D. diss., Catholic University of America, 1966.

Toppin, Edgar A. A Biographical History of Blacks in America Since 1528. New York: David McKay, 1969.

Tortolano, William. Samuel Coleridge-Taylor: Anglo-Black Composer, 1875-1912. Rev. 2nd edition. Metuchen, NJ: Scarecrow, 2002.

Touma, Habib Hassan. The Music of the Arabs. Portland, OR:Amadeus Press, 1996.

Trotter, James Monroe. Music and Some Highly Musical People. 1878. Reprint, New York: Johnson Reprint Corporation, 1968.

Turner, Patricia. Dictionary of Afro-American Performers: 78 RPM and Cylinder Recordings of Opera, Choral Music, and Song, c. 1900-1949. New York: Garland, 1990.

Ullman, Victor. Martin Delaney: The Beginnings of Black Nationalism. Boston: Beacon Press, 1971.

Upton, William Treat. Art Song in America: A Study in the Development of American Music. Boston: Ditson, 1930. With a supplement, 1930-1938.

VanVechten, Carl. "Folksong of the American Negro." Vanity Fair, July 1925. In 'Keep A-Inchin' Along': Selected Writings of Carl VanVechten, edited by Bruce Kellner, 34-43. Westport, CT: Greenwood Press, 1979.

W., H. M. "Henry T. Burleigh's Contribution to the Discussion of the True Meaning of 'The New World Symphony.'" Philadelphia Orchestra Program Book. February 24 & 25, 1911, 579-581.

Ward, Andrew. Dark Midnight When I Rise: The Story of the Jubilee Singers Who Introduced the World to the Music of Black America. New York: Farrar, Straus and Giroux, 2000.

Waters, Edward M. Victor Herbert, A Life in Music. New York: Macmillan, 1955.

Weaver, David. Black Diva of the Thirties: the Life of Ruby Elzy. Jackson, MS: University Press of Mississippi, 2004.

Weeden, (Maria) Howard. Songs of the Old South. New York: Doubleday, Page and Co., 1901.

Wells, Ida B. Crusade for Justice: The Autobiography of Ida B. Wells. Edited by Alfreda M. Duster. Chicago: University of Chicago Press, 1971.

Wells-Barnett, Ida B. Wells. The Selected Works of Ida B. Wells-Barnett. New York: Oxford University Press, 1991.

White, Evelyn Davidson. Choral Music by African-American Composers: A Selected Annotated Bibliography. 2nd ed. Metuchen, NJ: Scarecrow, 1996.

__________. Selected Bibliography of Published Choral Music by Black Composers. Washington, DC: Evelyn White, 1975.

White, Walter. The Negro's Contribution to American Culture: The Sudden Flowering of a Genius-Laden Artistic Movement. Little Blue Book No. 1306. Edited by E. Haldeman-Julius. Girard. KS: Haldeman-Julius Publications, 1928.

Wideman, John Edgar, ed. My Soul Has Grown Deep. Philadelphia: Running Press, 2001.

Wiggins, Linda Keck. The Life and Works of Paul Laurence Dunbar. 1896. Reprint, Millwood, NY: Kraus, 1975.

Wilson, Olly. "Interpreting Classical Music." In African American Music: An Introduction, edited by Mellonie Burnim and Portia Maultsby, 230-244. New York: Routledge, 2006.

Winter, Robert. Antonín Dvorák: Symphony from the New World. CD-ROM Companion Series. New York: Voyager, 1994.

Work, John W. II. Folk Songs of the American Negro. 1915. Reprint, New York: Negro Universities Press, 1969.

Work, John W. III. American Negro Songs and Spirituals. New York: Bonanza Books, 1940.

Worth, Paul W. and Jim Cartwright, comps. John McComack: A Comprehensive Discography. Foreword by Gwendolyn McCormack-Pyke. New York: Greenwood Press, 1986.

Wright, J. Ernest. "The Negro in Pittsburgh." WPA Ethnic Survey 1938-1941. Job 64.

Wright, Josephine. "Black Women in Classical Music in Boston During the Late Nineteenth Century: Profiles of Leadership." In New Perspectives on Music: Essays in Honor of Eileen Southern," edited by Josephine Wright and Samuel A. Floyd Jr., 373-407. Warren, MI: Harmonie Park Press, 1992.

__________, ed. New Perspectives on Music: Essays in Honor of Eileen Southern. With Samuel A. Floyd, Jr. Warren, MI: Harmnie Park Press, 1992.

Yengoyan, Aram A. "Culture, Ideology and World's Fairs: Colonizer and Colonized in Comparative Perspectives. In Fair Representations: World's Fairs and the Modern World, edited by Rydell, Robert W., and Nancy Gwinn, 62-83. Amsterdam: VU University Press, 1994.

 

Journal Articles

Abbott, Lynn. "Do Thyself a'no Harm: The Jubilee Singing Phenomenon and the 'Only Original New Orleans University Singers." American Music Research Center Journal 6 (January 1996): 1-47.

Adams, Elbridge L. "The Negro Music School Settlement." Southern Workman 44, no. 3 (March 1915).

Allen, William Duncan. "Musings of a Music Columnist." Black Perspective in Music 1, no. 2 (Fall 1973): 107-114.

Anderson, Marian. "My Deepest Ties to the People." Redbook 132, no. 2 (December 1968): 48-49, 136, 138.

Bacon, Margaret Hope. "Lucy McKim Garrison: Pioneer in Folk Music." Pennsylvania History 54, no. 4 (January 1987): 1-16.

Badger, R. Reid. "James Reese Europe and the Prehistory of Jazz." American Music 7, no. 1 (Spring 1989): 48-67.

Baker, Houston A., Jr. "Paul Laurence Dunbar: An Evaluation." Black World 21, no. 1 (November 1971): 30-37.

Beckerman, Michael. "Dvorak's 'New World' Largo and The Song of Hiawatha" in Nineteenth Century Music 16, no. 1(Summer 1992), 35-48.

__________. "The Real Value of Yellow Journalism: James Creelman and Antonin Dvorak." Musical Quarterly 77, no. 4 (Winter 1993): 749-768.

Belfour, Stanton. "Charles Avery, Early Pittsburgh Abolitionist." Western Pennsylvania Historical Magazine 43 (1960): 19-22.

Berlin, Edward A. "Cole and Johnson Brothers: The Evolution of 'Ragtime.'" Current Musicology 36 (1983): 21-39.

__________. "On Ragtime: A Different Perspective on Tin Pan Alley." Center for Black Music Research Digest 4, no. 1 (Spring 1991): 1-11.

_________. "On Ragtime: Understanding the Language." Center for Black Music Research Digest 3, no. 3 (Fall 1990): 6-7.

__________. "Scott Joplin's Treemonisha Years." American Music 9, no. 3 (Fall 1991): 260-276.

Currier, T. P. "Edward MacDowell As I Knew Him." Musical Quarterly 1 (1915): 26.

Curtis, Natalie. "Folk-Music of America: Four Types of Folk-Song in the United States Alone." The Craftsman 21, no. 4 (January 1912): 414-420.

__________. "Hampton's Double Mission." Southern Workman (October 1904): 543.

__________. "The Music School Concert." Southern Workman 44, no. 4 (April 1915): 326-7.

__________. "Negro's Contribution to the Music of America." Craftsman 23, no. 6 (March 1913): 660-669. Reprint, New York Age (April 10, 1913): 6. Reprint, Edited by Allon Schoener. Harlem on My Mind. New York: Random House, 26-27.

__________. "The Value of Music School Settlements in Cities." Craftsman 21, no. 3 (December 1911): 283-289.

daBubna, Augusta. "The Negro on the Stage." Theatre Magazine 4 (April 1903): 96-98.

Daily, Maceo Crenshaw, Jr. "The Business Life of Emmett Jay Scott." Business History Review 77, no. 4 (Winter 2003): 667-686.

Dawson, William Levi. "Interpretations of the Religious Folk-songs of the American Negro." Etude 73 (March 1955): 11.

Day, Otha. "Black Musicians in the Claude Barnett Papers." Black Music Research Journal (Fall 1990): 15-17.

deLerma, Dominque-Ren�. "Review: A Concordance of Black Music Entries in Five Encyclopedias: Bakers, Ewen, Groves, MGG, and Rich." Black Music Research Journal 2 (1981-1982): 127-150.

__________. "A Selective List of Choral Music by Black Composers." The Choral Journal (Tampa) 7, no. 8 (April 1972): 5-6.

__________. "The Teacher's Guide to Recent Recordings of Music by Black Composers." College Music Symposium (Fall): 114-119.

Dett, R. Nathaniel. "As the Negro School Sings." Southern Workman 56, no. 7 (July 1927): 304-5.

__________. "The Emancipation of Negro Music." Southern Workman 47, no. 4 (April 1918): 172-176.

__________. "Hampton and Roland Hayes." Southern Workman 53, no. 2 (February 1924): 53-55.

__________. "Negro Music of the Present." Southern Workman 47, no. 5 (May 1918): 243-247.

__________. Review of The Book of American Negro Spirituals. Southern Workman 54 (December 1925): 563-565.

__________. Review of Negro Workaday Songs. Howard W. Odum and Guy B. Johnson. Southern Workman 56, no. 1 (January 1927): 45-6.

__________. Review of St. Helena Island Spirituals. Southern Workman 454, no. 11 (November 1925): 527.

__________. Review of Songs of My People. Southern Workman 48, no. 9 (September 1919).

"Dett: Voicing the 'Universal Language.'" Hampton Institute Hi Lites 4 (January 15, 1983): 1. Reprinted from the Ledger Star. R. Nathaniel Dett Collection. Hampton University Archives.

Diton, Carl R. "The National Association of Negro Musicians. Crisis 26 (May 1923): 21-22.

__________. "The Present Status of Negro-American Musical Endeavor." The Musician 20 (November 1915): 689.

Dormon, James H. "Ethnic Groups and 'Ethnicity': Some Theoretical Considerations." Journal of Ethnic Studies 7 (Winter 1980): 23-36.

__________. "Shaping the Popular Image of Post-Reconstruction American Blacks: The 'Coon Song' Phenomenon of the Gilded Age." American Quarterly 40, no. 4 (1988): 450-71.

__________. "The Strange Career of Jim Crow Rice (With Apologies to Prof. Woodward)." Journal of Social History 3 (Winter 1970): 109-22.

D[ownes]. O[lin]. "Boston Concert of Negro Music." Musical America (December 12, 1914): 26.

__________. "Olin Downes 'Hears America Singing' in Henry Gilbert's 'Negro Rhapsody.'" Musical America (June 28, 1913): 14.

Drury, Theodore. "The Negro in Classic Music; or Leading Opera, Oratorio and Concert Singers." Colored American 5, no. 5 (September 1902): 324-335.

Du Bois, W. E. B.  "The Drama Among Black Folk." Crisis 12, no. 4 (August 1916).

Dvoràk, Antonin. "Music in America." Harper's 90 (February 1895): 428-434.

Epstein, Dena J. "Black Spirituals: Their Emergence into Public Knowledge." Black Music Research Newsletter 8, no. 2 (Spring 1986): 5-8.

__________. "Lucy McKim Garrison, American Musician." Bulletin of New York Public Library 67, no. 8 (October 1963): 528-546.

__________. "A White Origin for the Black Spiritual? An Invalid Theory and How It Grew." American Music 1, no. 2 (1983): 53-9.

Europe, James Reese. "A Negro Explains Jazz." Literary Digest 61, no. 4 (26 April 1919): 28-9.

Farwell, Arthur. "The Ethics of 'Ragtime.'" Musical America (June 22,1912): 24.

Floyd, Samuel A., Jr. "Black American Music and Aesthetic Communication." Black Music Research Journal 1 (1980): 1-17.

__________. "Black Music and Writing Black Music History: American Music and Narrative Strategies." Black Music Research Journal 28, no. 1 (Spring 2008): 111-121.

__________. "The Invisibility and Fame of Harry T. Burleigh: Retrospect and Prospect." Black Music Research Journal 24, no. 2 (Autumn 2004): 179-194.

__________. "Social Dance Music of Black Composers in the Nineteenth Century and the Emergence of Classic Ragtime." The Black Perspective in Music: 161-193.

Gannet, W. C. "The Freedmen at Port Royal." North American Review 208 (July 1865): 1-29.

Graham, Sandra Jean. Review of Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919. Current Musicology 81 (Spring 2006): 135-145, 171.

__________. Review of Out of Sight: The Rise of African American Popular Music, 188-185, and Ragged but Right: Black Traveling Shows, 'Coon Songs,' and the Dark Pathway to Blues and Jazz. In Journal of the Society for American Music 5, no. 1 (February 2011): 113-117.

__________. Review of There Breathes a Hope: The Legacy of John Work II and His Fisk Jubilee Quartet, 1909-1916. Journal of the Society for American Music 6, no. 2 (May 2012): 253-255.

Gray, Leon Wilbur. "The Use of Dialect in African-American Spirituals, Popular Songs, and Folk Songs." Black Music Research Journal 24, no. 2 (Fall 2004): 261-286.

Graziano, John. "The Early Life and Career of the 'Black Patti': The Odyssey of an African American Singer in the Late Nineteenth Century." Journal of the American Musicological Society (Fall 2000).

__________. "The Use of Dialect in African-American Spirituals, Popular Songs, and Folk Songs." Black Music Research Journal 24, no. 2 (Autumn 2004): 261-286.

Green, Jeffrey P. "Edmund Jenkins of South Carolina." Black Music Research Journal 30, no. 1 (Spring 2010): 183-195.

__________. "'The Foremost Musician of His Race': Samuel Coleridge-Taylor of England, 1875-1912." Black Music Research Journal 10, no. 2 (Spring 1992): 1-23.

__________. "Roland Hayes in London, 1921." The Black Perspective in Music. (Spring 1982): 29-42.

Harris, Robert A. "African Retentions in American Vocal and Choral Music." The Western Journal of Black Studies 9, no. 3 (1985): 175-182.

Higginson, Thomas Wentworth. "Negro Spirituals." Atlantic Monthly 19, no. 116 (June 1867): 685-694.

Hughes, Langston. "The Negro Artist and the Racial Mountain." The Nation 122 (23 June 1926): 692-694.

James, Willis Laurence. "The Romance of the Negro Folk Cry in America." Phylon 16, no. 1 (1955): 15-39.

Janifer, Ellsworth. "Harry T. Burleigh, Ten Years Later." Phylon 21, no. 2 (1960): 144-154.

Johnson, James Weldon. "The Negro of Today in Music." Charities, (October 7, 1905): 58-59.

Jones, Arthur C. "The Foundational Influence of Spirituals in African-American Culture: A Psychological Perspective." Black Music Research Journal 24, no. 2 (Autumn 2004): 251-260.

Kramer, A. Walter. "Negroes Perform Their Own Music." Musical America (Mar. 21, 1914): 37.

__________. "H. T. Burleigh: Composer by Divine Right and 'The American Coleridge-Taylor.'" Musical America (April 29, 1916): 25.

Krehbiel, Henry E. "Antonin Dvorak." Century Illustrated Monthly Magazine 44, no. 5 (September 1892): 657.

Lee, Henry. "Swing Low, Sweet Chariot." Coronet 22 (July 1947): 54-58.

Locke, Alain. "Freedom Through Art." Crisis (July 1938): 227-229.

__________. "Negro Music Goes to Par." Opportunity (July 1939): 196-200.

__________. "Self-Criticism: The Third Dimension in Culture." Phylon 11, no. 4: 390-394.

__________. "The Technical Study of the Spirituals�A Review." Opportunity (November 1925): 331-332.

__________. "Toward a Critique of Negro Music." Opportunity 12, no. 11 (November 1934): 328-331.

__________. "Postscript." Opportunity 12, no. 12 (December 1934): 354-367, 385.

Locke, Ralph P. "Cutthroats and Casbah Dancers, Meuzzins, & Timeless Sands: Musical Images of the Middle East." Nineteenth Century Music XXII no. 1 (Summer, 1998): 20-53.

__________. "Music Lovers, Patrons, and the 'Sacralization' of Culture in America." 19th Century Music 17, no. 2 (Fall 1993): 149-173.

Long, Richard. "Black Music Biography." Black Music Research Journal (1986): 49-56.

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