By Frédéric Chopin, ed. Alfred Cortot
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It could be said that singers vividly expressed not only their own experiences but also those of the larger community of Black people. All of these writers’ conceptions are central to the connections I draw between Smith, Holiday, and Simone’s song performances and African American religious/ philosophical values. The Blues phenomena preceded and ran parallel with the Harlem Renaissance (1915–1930). Black artists and leaders of this era produced art and political philosophies that conveyed an African social consciousness.
The total number collected was sixty-four. 5. Category development: the “Analytic Categories of Cultural Data” were derived from the following steps. A “Life Profile Matrix” apparatus was constructed from Smith, Holiday, and Simone’s biographies and autobiographies. The apparatus was a chronological chart of their lives, that is, major “Cultural Data Experiences” (see Appendix Two). Having scrutinized the “Cultural Data or Experiences” in the Life Profile Matrix apparatus, seven major analytic categories of cultural data emerged: imprisonment, love, race, freedom, religion, career, and money (see Appendix Three, “Life Profile Matrix,” column 1).
Her Pan-African aesthetic facilitates all African artistic blueprints or paradigms. AFRICAN MUSIC When examining African and African-derived music, researchers have determined, described, and explained music forms. This approach is relevant to the study of traditional African music. Ward (1927), Hornbostel (1928), and Herzog (1934, 1945, 1949) reported on tuning, rhythmic organization, music contemplation, and relationships between speech tone and melody in African music. Based on Western musical expectations, they argued that tuning was problematic in African music.
12 Études op. 25 by Frédéric Chopin, ed. Alfred Cortot