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Acknowledgments | ||
Introduction | 1 | |
1 | "Unvoiced Longings": Du Bois and the "Sorrow Songs" | 13 |
2 | Swan Songs and Art Songs: The Spirituals and the "New Negro" in the 1920s | 59 |
3 | "The Twilight of Aestheticism": Locke on Cosmopolitanism and Musical Evolution | 113 |
4 | "Beneath the Seeming Informality": Hughes, Hurston, and the Politics of Form | 167 |
5 | Saving Jazz from Its Friends: The Predicament of Jazz Criticism in the Swing Era | 219 |
Epilogue | 257 | |
Notes | 271 | |
Selected Bibliography | 311 | |
Index | 325 |
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Add Deep River: Music and Memory in Harlem Renaissance Thought, The American Negro, Arthur Schomburg wrote in 1925, must remake his past in order to make his future. Many Harlem Renaissance figures agreed that reframing the black folk inheritance could play a major role in imagining a new future of racial equality, Deep River: Music and Memory in Harlem Renaissance Thought to the inventory that you are selling on WonderClubX
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Add Deep River: Music and Memory in Harlem Renaissance Thought, The American Negro, Arthur Schomburg wrote in 1925, must remake his past in order to make his future. Many Harlem Renaissance figures agreed that reframing the black folk inheritance could play a major role in imagining a new future of racial equality, Deep River: Music and Memory in Harlem Renaissance Thought to your collection on WonderClub |