Awards

• Winner of <DIV>A <I>Choice</I> Outstanding Title, 2018<BR /> Music in American Culture Award, American Musicological Society, 2019</DIV> 2019
• Winner of <DIV>A <I>Choice</I> Outstanding Title, 2018<BR /> Music in American Culture Award, American Musicological Society, 2019<BR /> </DIV> 2018
• Winner of <DIV>A <I>Choice</I> Outstanding Title, 2018<BR /> Music in American Culture Award, American Musicological Society, 2019<BR />  </DIV> 2018

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9780252041631

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Reviews

Music historians will find Spirituals and the Birth of a Black Entertainment Industry fascinating because instead of rehashing the already well-researched lyric import of the spirituals, Graham looks at the art form as the spark that ignited an entertainment industry. --ARSC Journal A detailed and valuable genealogy of the spiritual. --The Journal of Southern History A detailed, cogent, and fascinating history of the popularization of Negro spirituals [that is] thoroughly documented and covers a truly vast range of information. One of the especially distinctive features of Graham's approach is its careful consideration of musical elements and how they figure in defining objects under study. --Thomas L. Riis, author of Frank Loesser Unpacks issues of power and cultural authenticity in the white-controlled jubilee industry and within blackface minstrelsy performances, including Uncle Tom and plantation shows . . . Spirituals and the Birth of a Black Entertainment Industry will be crucial to anyone studying American music, especially those focused on the post-Civil War period through 1900, and of course anyone who studies African American music history. --Blackgrooves.org Sandra Graham breaks new ground in her nuanced examination of the white-controlled spiritual or jubilee industry, and of claims for musical and cultural authenticity by black college and independent jubilee groups, as well as white and black performers of blackface minstrelsy, American folk music, and European classical traditions. --Portia K. Maultsby, coeditor of Issues in African American Music and African American Music: An Introduction, second edition [A] one-of-a-kind title . . . Many volumes address spirituals themselves, but few detail the actual exponents of this important African American tradition in such a refreshingly disarming way. --Library Journal

A detailed, cogent, and fascinating history of the popularization of Negro spirituals [that is] thoroughly documented and covers a truly vast range of information. One of the especially distinctive features of Graham's approach is its careful consideration of musical elements and how they figure in defining objects under study. --Thomas L. Riis, author of Frank Loesser Sandra Graham breaks new ground in her nuanced examination of the white-controlled spiritual or jubilee industry, and of claims for musical and cultural authenticity by black college and independent jubilee groups, as well as white and black performers of blackface minstrelsy, American folk music, and European classical traditions. --Portia K. Maultsby, coeditor of Issues in African American Music and African American Music: An Introduction, second edition

A detailed, cogent, and fascinating history of the popularization of Negro spirituals [that is] thoroughly documented and covers a truly vast range of information. One of the especially distinctive features of Graham's approach is its careful consideration of musical elements and how they figure in defining objects under study. --Thomas L. Riis, author of Frank Loesser Sandra Graham breaks new ground in her nuanced examination of the white-controlled spiritual or jubilee industry, and of claims for musical and cultural authenticity by black college and independent jubilee groups, as well as white and black performers of blackface minstrelsy, American folk music, and European classical traditions. --Portia K. Maultsby, coeditor of Issues in African American Music and African American Music: An Introduction, second edition [A] one-of-a-kind title . . . Many volumes address spirituals themselves, but few detail the actual exponents of this important African American tradition in such a refreshingly disarming way. --Library Journal

Author Information

Sandra Jean Graham is an associate professor of music at Babson College.

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