Jump to ContentJump to Main Navigation
Beyond BlackfaceAfrican Americans and the Creation of American Popular Culture, 1890-1930$
Users without a subscription are not able to see the full content.

W. Fitzhugh Brundage

Print publication date: 2011

Print ISBN-13: 9780807834626

Published to North Carolina Scholarship Online: July 2014

DOI: 10.5149/9780807878026_brundage

Show Summary Details
Page of

PRINTED FROM UNIVERSITY OF NORTH CAROLINA PRESS SCHOLARSHIP ONLINE (www.northcarolina.universitypressscholarship.com). (c) Copyright University of North Carolina Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in NCSO for personal use.date: 21 September 2021

Crossing Boundaries

Crossing Boundaries

Black Musicians Who Defied Musical Genres

Chapter:
(p.147) Crossing Boundaries
Source:
Beyond Blackface
Author(s):

Thomas Riis

Publisher:
University of North Carolina Press
DOI:10.5149/9780807878026_brundage.11

The title of this chapter is an inadequate metaphor for the near total interweaving of black musical styles by the end of the nineteenth century. The documentary tours de force of Lynn Abbott and Doug Seroff establish the essential connection among all categories of African American music of the period: folk and school trained, sacred and secular, recreational and professional. By the 1890s, appreciation of African American music was widespread across race lines. White Kansans, for example, had ample opportunity to see rags performed by black piano professors years before Ben Harney put ragtime piano playing on the map in New York City in 1896. The seven-year period before the infamous Plessy v. Ferguson Supreme Court ruling of May 1896 is especially interesting for what it represents. Now over a century gone, the era from 1889 to 1895 saw a culmination of developments from the immediate post-Emancipation period. The Plessy decision did not end all progress, but it was one factor in keeping certain developments and crossovers safely “out of sight.”

Keywords:   inadequate metaphor, black musical styles, Lynn Abbott, Doug Seroff, post-Emancipation period

North Carolina Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs , and if you can't find the answer there, please contact us .