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Black Opera Page 36

by Naomi Andre


  Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim and Lloyd Webber. 2nd ed. New York: Oxford University Press, 2009.

  Bolcom, William. From the Diary of Sally Hemings. Piano-vocal score. E. B. Marks / Hal Leonard, 2001.

  ———. “A Preface to From the Diary of Sally Hemings.” Michigan Quarterly Review 40, no. 4 (Fall 2001): 611–12.

  Born, Georgina, and David Hesmondhalgh. Western Music and Its Others: Difference, Representation, and Appropriation in Music. Berkeley: University of California Press, 2001.

  Brodkin, Karen. How Jews Became White Folks and What That Says about Race in America. New Brunswick, N.J.: Rutgers University Press, 1998.

  Brown, Gwynne Kuhner. “Performers in Catfish Row: Porgy and Bess as Collaboration.” In André, Bryan, and Saylor, Blackness in Opera, 164–86.

  Brown, Kimberly Juanita. “Black Rapture: Sally Hemings, Chica da Silva, and the Slave Body of Sexual Supremacy.” Women’s Studies Quarterly 25, nos. 1–2 (2007): 45–66.

  Bryan, Karen M. “Radiating a Hope: Mary Cardwell Dawson as Educator and Activist.” Journal of Historical Research in Music Education 25, no. 1 (October 2003): 20–35.

  Caplan, Lucy. “A Small Step toward Correcting the Overwhelming Whiteness of Opera,” New Yorker, May 18, 2017. http://www.newyorker.com/culture/culturedesk/a-small-step-toward-correcting-the-overwhelming-whiteness-of-opera.

  Capote, Truman. The Muses Are Heard. New York: Random House, 1956.

  Carby, Hazel V. Race Men. Cambridge, Mass.: Harvard University Press, 1998.

  Carman, Judith. “Music Reviews: From the Diary of Sally Heming; Eighteen Songs for Medium Voice and Piano by William Bolcom and Sandra Seaton.” Journal of Singing—The Official Journal of the National Association of Teachers of Singing 68, no. 5 (May 2012): 599–602.

  Carter, Tim, and Dorothea Link. “Da Ponte, Lorenzo.” Oxford Music Online. New York: Oxford University Press.

  Cavarero, Adriana. For More than One Voice: Toward a Philosophy of Vocal Expression. Stanford, Calif.: Stanford University Press, 2005.

  Cheatham, Wallace McClain. Dialogues on Opera and the African-American Experience. Lanham, Md.: Scarecrow, 1997.

  Cheng, William. Just Vibrations: The Purpose of Sounding Good. Ann Arbor: University of Michigan Press, 2016.

  Chybowski, Julia J. “Becoming the ‘Black Swan’ in Mid-Nineteenth-Century America: Elizabeth Taylor Greenfield’s Early Life and Debut Concert Tour,” Journal of the American Musicological Society 67, no.1 (Spring 2014): 125–65.

  ———. “The ‘Black Swan’ in England: Abolition and the Reception of Elizabeth Taylor Greenfield.” American Music Research Journal 14 (2004): 7–25.

  Citron, Marcia. Opera on Screen. New Haven, Conn.: Yale University Press, 2000.

  Clark, Nancy L., and William H. Worger. South Africa: The Rise and Fall of Apartheid. 2nd edition. London: Longman Pearson, 2011.

  Clark, Robert L. A. “Local Color: The Representation of Race in Carmen and Carmen Jones.” In Operatic Migrations: Transforming Works and Crossing Boundaries, edited by Roberta Montemorra Marvin and Downing A. Thomas, 217–40. Aldershot, Eng.; Burlington, Vt.: Ashgate, 2006.

  Coates, Ta-Nehisi. We Were Eight Years in Power: An American Tragedy. New York: One World Publishing. 2017.

  Cockrell, Dale. Demons of Disorder: Early Blackface Minstrels and Their World. Cambridge: Cambridge University Press, 1997.

  ———. “Of Gospel Hymns, Minstrel Shows, and Jubilee Singers: Toward Some Black South African Musics.” American Music 5, no. 4 (Winter 1987): 417–32.

  Collins, Patricia Hill. Black Feminist Thought: Knowledge, Consciousness, and the Politics of Empowerment. New York: Routledge, 1990.

  Cone, Edward T. The Composer’s Voice. Berkeley: University of California Press, 1974.

  Conway, Daniel. Masculinities, Militarisation and the End Conscription Campaign: War Resistance in Apartheid South Africa. Manchester, Eng.: Manchester University Press, 2012.

  Cook, James W. The Arts of Deception: Playing with Fraud in the Age of Barnum. Cambridge, Mass.: Harvard University Press (2001).

  Cooper, Michael. “At a Moment of Racial Tumult, the Little Rock Nine Inspire an Opera.” New York Times, October 1, 2017.

  ———. “ Voodoo, Opera by the African-American Composer H. Lawrence Freeman, Is Revived.” New York Times, June 21, 2015.

  Coplan, David B. In the Township Tonight! South Africa’s Black City Music and Theatre. 2nd edition. Chicago: University of Chicago Press (2008).

  Cox, Peter. “South Africans Remake Porgy and Bess Musical.” Voice of America, July 12, 2012. http://www.voanews.com/a/south-africans-remake-porgy-and-bessmusical/1403616.html.

  Crais, Clifton, and Pamela Scully. Sara Baartman and the Hottentot Venus. Princeton, N.J.: Princeton University Press, 2008.

  Crawford, Richard. “It Ain’t Necessarily Soul: Gershwin’s ‘Porgy and Bess’ as a Symbol.” Anuario Interamericano De Investigacion Musical 8 (1972): 17–38.

  ———. “Where Did Porgy and Bess Come From?” Journal of Interdisciplinary History 36, no. 4 (Spring 2006—Opera and Society: Part 2): 697–734.

  Crawford, Richard, and Wayne J. Schneider. “Gershwin, George.” Oxford Music Online. New York: Oxford University Press.

  Cruse, Harold. The Crisis of the Negro Intellectual: A Historical Analysis of the Failure of Black Leadership. 1967. New York: New York Review of Books, 2005.

  Davies, Ann, and Phil Powrie. Carmen on Screen: An Annotated Filmography and Bibliography. Woodbridge, U.K.: Tamesis, 2006.

  Davies, James, and Lindiwe Dovey. “Bizet in Khayelitsha: U-Carmen eKhayelitsha as Audio-Visual Transculturation.” Journal of African Media Studies 2, no. 1 (2010): 39–53.

  Deaville, James. “The Envoicing of Protest: Occupying Television News through Sound and Music.” Journal of Sonic Studies 3, no. 1 (October 2012). http://journal.sonicstudies.org/vol03/nr01/a05.

  Decker, Todd. Show Boat: Performing Race in an American Musical. Oxford: Oxford University Press, 2015.

  DeFrantz, Thomas F., and Anita Gonzales, eds. Black Performance Theory. Durham, N.C.: Duke University Press, 2014.

  De Lerma, Dominique-René. Bibliography of Black Music. Westport, Conn.: Greenwood, 1981.

  ———. “A Musical and Sociological Review of Scott Joplin’s Treemonisha.” Black Music Research Journal 10, no. 1 (Spring 1990): 153–59.

  ———. “Opera.” In Encyclopedia of African-American Culture and History, vol. 4., edited by Colin A. Palmer, 1682–86. 2nd edition. Detroit: Macmillan Reference, 2006.

  della Seta, Fabrizio, and Arthur Groos, “‘O cieli azzurri’: Exoticism and Dramatic Discourse in Aida.” Cambridge Opera Journal 3, no. 1 (March 1991): 49–62.

  Dibbern, Mary. “Literary Sources.” In Carmen: A Performance Guide, 237–310. Hillsdale, N.Y.: Pendragon, 2000.

  Dinnerstein, Leonard. Uneasy at Home: Anti-Semitism and the American Jewish Experience. New York: Columbia University Press, 1987.

  Dirlik, Arif. “Global South: Predicament and Promise.” Global South 1, nos. 1–2 (2007): 12–23.

  Dizikes, John. Opera in America: A Cultural History. New Haven, Conn.: Yale University Press 1993.

  Dodge, Richard Irving, and Will Rogers. The Indian Territory Journals of Colonel Richard Irving Dodge. University of Oklahoma Press, 2000.

  Dornford-May, Mark. “Working on the White Face of Theatre.” Cape Times, November 18, 2010. http://www.artlink.co.za/news_article.htm?contentID=25972.

  Dovey, Lindiwe. African Film and Literature: Adapting Violence to the Screen. New York: Columbia University Press, 2009.

  Driver, Camilla, ed. A Short History of Dimpho di Kopane: A South African Lyric Theatre Company. Singapore: Spier and Nando / Tien Wah, 2004.

  Du Bois, W. E. B. The Souls of Black Folk. 1903. New York: Barnes and Noble, 2003.

  ———. “What is Civilization? Africa’s Answer.” 1925. In A W. E. B. Du Bois Reader, edited by Andrew G. Paschal, 208
–9. New York: Collier’s, 1971.

  du Preez Bezdrob, Anné Mariè. Winnie Mandela: A Life. Cape Town, South Africa: Zebra / Struik, 2003.

  Dyson, Michael Eric. Come Hell or High Water: Hurricane Katrina and the Color of Disaster. New York: Basic Civitas, 2007.

  Effinger-Crichlow, Marta J. “Jones, Madame Sissieretta Joyner.” In African American Lives, edited by Henry Louis Gates Jr. and Evelyn Brooks Higginbotham, 476–77. New York: Oxford University Press, 2004.

  Eidsheim, Nina Sun. Sensing Sound: Singing and Listening as Vibrational Practice. Durham, N.C.: Duke University Press, 2015.

  ———. “Sensing Voice: Materiality and the Lived Body in Singing and Listening Philosophy.” In Voice Studies: Critical Approaches to Process, Performance and Experience, edited by Konstantinos Thomaidis and Ben Macpherson, 104–19. New York: Routledge, 2015.

  Elliott, Robin. “Blacks and Blackface at the Opera.” In Opera in a Multicultural World: Coloniality, Culture, Performance, edited by Mary Ingraham, Joseph K. So, and Roy Moodley, 34–49. New York: Routledge, 2016.

  Erlmann, Veit. “‘A Feeling of Prejudice’: Orpheus M. McAdoo and the Virginia Jubilee Singers in South Africa 1890–1898.” Journal of Southern African Studies 14, no. 3 (1988): 331–50.

  ———. “Migration and Performance: Zulu Migrant Workers’ Isicathamiya Performance in South Africa, 1890–1950.” Ethnomusicology 34, no. 2 (1990): 199–220.

  Fabi, M. Giulia, ed. Clotel; or, The President’s Daughter: A Narrative of Slave Life in the United States. By William Wells Brown. New York: Penguin, 2004.

  Fabian, Johannes. Time and the Other. New York: Columbia University Press, 1983.

  Fauser, Annegret. “‘Dixie Carmen’: War, Race, and Identity in Oscar Hammerstein’s Carmen Jones (1943).” Journal of the Society for American Music 4, no. 2 (May 2010): 127–74.

  Fauser, Annegret, and Mark Everist, eds. Music, Theater, and Cultural Transfer: Paris, 1830–1914. Chicago: University of Chicago Press, 2009.

  Feldman, Martha. The Castrato: Reflections on Natures and Kinds. Oakland: University of California Press, 2015.

  Floyd, Samuel A., Jr., ed. Black Music in the Harlem Renaissance: A Collection of Essays. Knoxville: University of Tennessee Press, 1993.

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

  Fonseca-Wollheim, Corinna da. “Little Time to Prepare: Now a Legacy to Keep.” New York Times, February 1, 2013. http://www.nytimes.com/2013/02/02/arts/music/little-time-to-prepare-now-a-legacy-to-keep.html?_r=0.

  Frankenberg, Ruth, ed. Displacing Whiteness: Essays in Social and Cultural Criticism. Durham, N.C.: Duke University Press, 1997.

  Freire, Paulo. Education for Critical Consciousness. 1974. New York: Bloomsbury, 2013.

  ———. Pedagogy of the Oppressed. 30th anniversary ed. Translated by Myra Bergman Ramos. New York: Continuum, 2000; repr. New York: Bloomsbury, 2013.

  Furman, Nelly. “Screen Politics: Otto Preminger’s Carmen Jones.” In Carmen: From Silent Film to MTV, edited by Chris Perriam and Ann Davies, 121–33. New York: Rodopi, 2005.

  Gates, Henry Louis, Jr., and Gene Andrew Jarrett, eds. The New Negro: Readings on Race, Representation, and African American Culture, 1892–1938. Princeton, N.J.: Princeton University Press, 2007.

  Gates, Henry Louis, Jr., and Cornel West. The Future of the Race. New York: Vintage, 1996.

  Gaunt, Kyra D. The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop. New York: New York University Press, 2006.

  Gauthier, Christopher R., and Jennifer McFarlane-Harris. “Nationalism, Racial Difference, and ‘Egyptian’ Meaning in Verdi’s Aida.” In André, Bryan, and Saylor, Blackness in Opera, 55–77.

  Gerber, David, ed. Anti-Semitism in American History. Urbana: University of Illinois Press, 1986.

  Gilbert, Tiffany. “American Iconoclast: ‘Carmen Jones’ and the Revolutionary Divadom of Dorothy Dandridge.” Women’s Studies Quarterly 33, no. 3–4 (Fall-Winter 2005): 234–49.

  Gobbato, Angelo. Essay on the history of the opera scene in South Africa on the Cape Town Opera. Accessed June 2016 but no longer available at http://www.capetownopera.co.za/index.php/company/history Fall of 2015–June 2016.

  Goldstein, Eric L. The Price of Whiteness: Jews, Race, and American Identity. Princeton, N.J.: Princeton University Press, (2006).

  Gordon-Chipembere, Natasha. “Introduction: Claiming Sarah Baartman; A Legacy to Grasp.” In Gordon-Chipembere, Representation and Black Womanhood, 1–14.

  ———, ed. Representation and Black Womanhood: The Legacy of Sarah Baartman. New York: Palgrave Macmillan, 2011.

  Gordon-Reed, Annette. The Hemingses of Monticello: An American Family. New York: Norton, 2008.

  ———. Thomas Jefferson and Sally Hemings: An American Controversy. Charlottesville: University of Virginia Press, 1998.

  Gossett, Philip. “Giuseppe Verdi and the Italian Risorgimento.” The Jayne Lecture. Proceedings of the American Philosophical Society 156, no. 3 (2012): 271–82.

  Graham, Sandra Jean. “Jubilee Singers.” Grove Music Online. 11 Dec. 2017. http://www.oxfordmusiconline.com.proxy.lib.umich.edu/grovemusic/view/10.1093/gmo/9781561592630.001/omo-9781561592630-e-1002249936.

  ———. Spirituals and the Birth of a Black Entertainment Industry. Urbana: University of Illinois Press, 2018.

  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 53, no. 3 (2000): 543–96.

  Guglielmo, Jennifer, and Salvatore Salerno, eds. Are Italians White? How Race Is Made in America. New York: Routledge, 2003.

  Guilford, Gwynn. “It’s Time to Stop Using ‘Exoticism’ as an Excuse for Opera’s Racism.” Quartz, July 23, 2014. http://qz.com/237569/its-time-to-stop-using-exoticism-as-an-excuse-for-operas-racism.

  Guy-Sheftall, Beverly, ed. Words of Fire: An Anthology of African-American Feminist Thought. New York: New Press, 1995.

  Hall, Stuart. “Encoding/Decoding.” In Culture, Media, Language: Working Papers in Cultural Studies, 1972–79, edited by Stuart Hall, Dorothy Hobson, Andrew Lowe, and Paul Willis, 128–38. London: Hutchinson, 1980.

  Hall, Stuart, Jessica Evans, and Sean Nixon, eds., Representation. 2nd ed. London: Sage, 2013.

  Hartman, S. V., and Farah Jasmine Griffin. “Are You as Colored as That Negro? The Politics of Being Seen in Julie Dash’s Illusions.” Black American Literature Forum 25, no. 2 (Summer 1991): 361–73.

  Heinze, Andrew R. “Is It ‘Cos I’s Black?” Jews and the Whiteness Problem. David W. Belin Lecture in American Jewish Affairs. Ann Arbor: Frankel Center for Judaic Studies, University of Michigan, 2007.

  Henderson, J. W. “Dr. Dvorak’s Latest Work.” New York Times, December 17, 1893.

  Herwitz, Daniel. “The Coat of Many Colors: Truth and Reconciliation.” In Race and Reconciliation: Essays from South Africa, 1–46. Minneapolis: University of Minnesota Press, 2003.

  ———. “Writing American Opera: William Bolcom on Music, Language, and Theater.” Opera Quarterly 22, no. 3–4 (Summer–Autumn 2006): 521–33.

  Heyward, Dorothy, and DuBose Heyward. Porgy: A Play in Four Acts. From the novel by DuBose Heyward; Theatre Guild acting version. New York: Doubleday, Doran, 1928.

  Heyward, DuBose. Porgy. New York: Grosset and Dunlap, 1925.

  Hickling, Alfred. “Bollywood Carmen: Bizet Goes Bhangra.” The Guardian, June 5, 2013. https://www.theguardian.com/stage/2013/jun/05/bollywood-carmen-bizet-goes-bhangra.

  Hisama, Ellie M., and Evan Rapport, eds. Critical Minded: New Approaches to Hip Hop. New York: Institute for Studies in American Music, 2005.

  Hobbs, Allyson. A Chosen Exile: A History of Racial Passing in American Life. Cambridge, Mass.: Harvard University Press (2014).

  Holiday, Anthony. “Forgiving and Forgetting: The Truth and Reconciliation Commission.” In Nego
tiating the Past: The Making of Memory in South Africa, edited by Sarah Nuttall and Carli Coetzee, 43–56. Cape Town, South Africa: Oxford University Press, 1998.

  Holloway, James. Africanisms in American Culture. 2nd ed. Bloomington: Indiana University Press, 2005.

  hooks, bell. Feminism Is for Everybody: Passionate Politics. Cambridge, Mass.: South End, 2000.

  ———. Feminist Theory: From Margin to Center. 2nd ed. Cambridge, Mass.: South End, 2000.

  Horne, Marilyn. “Carmen Jones.” In Marilyn Horne: My Life, 68–76, 195–202. New York: Atheneum, 1983.

  Horsley, Paul. “Song Cycle Exploits Presidential Tryst.” Kansas City (Missouri) Star, February 7, 2002.

  Howland, John Louis. Ellington Uptown. Ann Arbor: University of Michigan Press, 2009.

  Huebner, Steven. “La princesse paysanne du Midi.” In Fauser and Everist, Music, Theater, and Cultural Transfer, 361–78.

  Hutcheon, Linda. A Theory of Adaptation. New York: Routledge, 2006.

  Hutchisson, James M. DuBose Heyward: A Charleston Gentleman and the World of Porgy and Bess. Jackson: University Press of Mississippi, 2000.

  Hyde, Christopher. “‘The Summer King’ Takes Risks, but Has Potential to Be a Classic.” Portland Press Herald, May 9, 2014. http://www.pressherald.com/2014/05/09/_the_summer_king__takes_risks__but_has_potential_to_be_a_classic.

  Ignatiev, Noel. How the Irish Became White. New York: Routledge, 1995.

  Ingraham, Mary, Joseph K. So, and Roy Moodley, eds. Opera in a Multicultural World: Coloniality, Culture, Performance. New York: Routledge, 2016.

  Isokariari, Mary. “Cape Town Soprano Singer’s Got Talent.” The Voice, July 7, 2013.

  Joe, Jeongwon, and Sander L. Gilman. Wagner and Cinema. Bloomington: Indiana University Press, 2010.

  Johnson, E. Patrick. Appropriating Blackness: Performance and the Politics of Authenticity. Durham, N.C.: Duke University Press (2003).

  Johnson, Hall. “Porgy and Bess: A Folk Opera.” Opportunity 14, no. 1 (1936): 24–28.

  Johnson, James Weldon. Black Manhattan. 1930. New York: Arno / New York Times, 1968.

  Jones, Eddie Wade. Portrait of an Unsung Hero: Roland Hayes and His Music. Memphis, Tenn.: Memphis State University (1989).

 

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