Must have access to the book: The Transformation of Black Music by Samuel A. Floyd
please follow the document below for requirements
I believe he meant “one” not tone lol.
MUSC 423
Music of the African Diaspora
Dr. Mta?ti Imara
Spring 2024
Summary 3 Afro-Modernism
Directions: Select tone of the following questions and answer completely: reference the Floyd
text (Chapter 9), locate appropriate examples using the Internet or library sources, provide
citations using MLA format. Length: 300-400 words
1. Compare a sample of the work of two musical artists of the African Diaspora (one from
the U.S. and one outside of the U.S.):
a) describe how each is (or was) an agent of change; and
b) how are these artists similar/different in terms of cultural levels.
2. Two important aims of the Civil Rights Movement (CRM) were the integration of public
schools, and an increase in the need to teach about the lives, culture, and contributions of
women, African Americans, Latinos, Asians, and Native Americans. In recent years there
have been efforts to resend these educational programs and aims.
a. In your opinion, are these efforts a reflection of modernism, or are they driven by
ideals and motivations that challenge the CRM? Support your thoughts.
b. Provide one example within current popular music-culture that reflect an agent of
change in relation to gender and racial/ethnic identity; and another example that
reflects the opposite.
3. In what ways does Susana Bacas presentation – Music as Resistance, Healing, and
Transformation reflect the notion of communities of consciousness?
4. Considering the notion of an agent of change – compare of the following work and
contributions of two of the following African Diaspora women of the 20th century: Mary
Lou Williams, Alice Coltrane, Rosetta Tharpe, Victoria Santa Cruz, Nina Simone, Zezé
Motta, Clementina de Jesus, Roberta Flack, and Celia Cruz.
