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Crossing Bar Lines: The Politics and Practices of Black Musical Space By James Gordon Williams. Jackson: University Press of Mississippi, 2021

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Crossing Bar Lines: The Politics and Practices of Black Musical Space By James Gordon Williams. Jackson: University Press of Mississippi, 2021

Published online by Cambridge University Press:  06 September 2023

Steven Lewis
Steven Lewis*
Affiliation:
National Museum of African American History and Culture, Smithsonian Institution, Washington, DC, USA
*
Email: LewisS@si.edu
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Abstract

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Type
Book Review
Information
Journal of the Society for American Music , Volume 17 , Issue 3 , August 2023 , pp. 300 - 302
Copyright
Copyright © The Author(s), 2023. Published by Cambridge University Press on behalf of the Society for American Music

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References

1 For further discussion of McKittrick's “Black geographies” concept, see McKittrick, Katherine, “On Plantations, Prisons, and a Black Sense of Place,” Social & Cultural Geography 12, no. 8 (2011): 947–63CrossRefGoogle Scholar.

2 Jackson, Travis A., “New Bottle, Old Wine: Whither Jazz Studies?,” in Issues in African American Music: Power, Gender, Race, Representation, ed. Maultsby, Portia K. and Burnim, Mellonee V. (New York: Routledge, 2016), 41Google Scholar.

3 Key works include: Floyd, Samuel A. Jr., The Power of Black Music: Interpreting Its History from Africa to the United States (New York: Oxford University Press, 1995)Google Scholar; and Maultsby, Portia K., “Africanisms in African-American Music,” in Africanisms in American Culture, 2nd edn., ed. Holloway, Joseph E., 326–55 (Bloomington, IN: Indiana University Press, 2005)Google Scholar.

4 Moten, Fred, In the Break: The Aesthetics of the Black Radical Tradition (Minneapolis, MN: University of Minnesota Press, 2003)Google Scholar.

5 Wilderson's most extensive discussion of Afropessimist theory appears in Wilderson, Frank, Afropessimism (New York: Liveright Publishing Corporation, 2020)Google Scholar.