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black musicians. For instance, he quotes with some approval reviews of
Greenfield describing her talent as "untaught" and "innate", subordinating Greenfield to white, civilized, educated musicians. Historian Lawrence Schenbeck describes how Trotter's work shows examples of the Culture of Dissemblance, that is, rejection of a stereotype by becoming the exact opposite of that stereotype. As an example, Trotter's description of Greenfield emphasized childlike moral perfection.
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98:, who was at that time beginning his career. Reception of the book initially followed the color line, with most white music critics and historians, especially outside of Trotter's home city of Boston, ignoring the book. Black historians, biographers, and encyclopedists quoted and borrowed freely from the work.
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was usually "disgusting...buffoonery". Even so, the book was the first revisionist look at black minstrelsy, an approach which suggests that out of the racist stereotyping and caricature of the style came the chance for musical expression, employment, and audience happiness. As an example, the book
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Trotter's coverage of classical music was influenced by a movement to raise classical music and its performance to the level of religious service. A leader in this movement was white journalist John
Sullivan Dwight. With this reverence on classical music, Trotter's description of classical soloists
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Trotter's work is highly reflective of the society in which it was written. In his discussion of, for example, Elizabeth
Greenfield, Trotter is unable to examine problematic coverage of the singer lest he alienate a white audience which would not recognize the negative effects of stereotyping of
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The book is an example of a number of works of that era for which "uplifting the race" was a main goal. As with other works, this task was done while traits such as "character, modesty, and industry" were emphasized as a way to "assure whites" that blacks were not a threat. This balance is
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become examples of racial culture and uplift through the musical genre itself. However, instead of reassuring whites, encroachment by blacks on white cultural territory described in the book was sometimes at best seen as a curiosity and at worst an affront.
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On the other hand, Trotter's work was itself not immune to the scientific racism of the period, for instance he praises lightness of skin and repeats arguments of
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Eileen
Southern calls the book, "the first time that anyone, black or white, had attempted to assess a body of American music that cut across genres and styles".
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Blum
Stephen, Musical Enactment of Attitudes toward Conflict in the United States, in O'Connell, John Morgan, and Salwa El-Shawan Castelo-Branco, eds.
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first published in 1878. It represents perhaps the first attempt to assess
American music across multiple genres in a single volume.
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Wintz, Cary D., and Paul
Finkelman. Encyclopedia of the Harlem Renaissance: KY. Vol. 2. Taylor & Francis, 2004. p744
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The book includes biographies of more than forty
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with much approval, particularly the Fisk
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The book fits into a body of literature of that era and later. In 1883, white composer
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in 1971 (second edition in 1983) and began editing the journal
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about the relationship between character and cranium shape.
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published a similar book about American music as a whole,
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Lift every voice: the history of African American music
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Trotter also covered vernacular music. Trotter covered
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in 1921. In 1936, two publications by black authors,
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468:Get Ready!: a new history of black gospel music
139:discusses the work of the Georgia Minstrels.
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528:. Rowman & Littlefield Publishers, 2008.
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604:Racial Uplift and American Music, 1878-1943
194:in 1973. Another major, related journal is
452:. University of Illinois Press, 2010. p237
46:is a history of African-American music by
642:United States biographical dictionaries
611:The music of black Americans: A history
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188:The Music of Black Americans: A History
568:. C. Scribner's sons, 1884. p390, 400
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632:Books about African-American history
425:Music and Some Highly Musical People
43:Music and Some Highly Musical People
606:. Univ. Press of Mississippi, 2012.
79:Jubilee Singers of Fisk University
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637:Lists of African-American people
613:. WW Norton & Company, 1997.
470:. A&C Black, 2004. p119-123
180:Negro Musicians and Their Music
259:Colored American Opera Company
192:The Black Perspective in Music
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164:Famous Modern Negro Musicians
590:. Scarecrow Press, 1998. p44
196:Black Music Research Journal
304:Elizabeth Taylor Greenfield
94:exemplified by the work of
55:Elizabeth Taylor Greenfield
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274:James Gloucester Demarest
564:Ritter, Frédéric Louis.
37:from title page of book.
16:Book by James M. Trotter
172:The Negro and His Music
515:Schenbeck 2012, p57-58
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479:Schenbeck 2012, p49-50
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244:Sarah Sedgewick Bowers
75:Sarah Sedgewick Bowers
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279:Marice J. B. Doublet
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35:James Monroe Trotter
555:Southern 1997, p261
546:Schenbeck 2012, p49
537:Schenbeck 2012, p51
524:Peretti, Burton W.
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488:Schenbeck 2012, p51
339:Luca Family Singers
609:Southern, Eileen.
450:Music and conflict
209:Joseph G. Anderson
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430:Project Gutenberg
402:Henry F. Williams
319:Samuel W. Jamison
299:Georgia Minstrels
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136:minstrelsy
81:, and the
25:Cover page
143:Influence
89:Reception
118:such as
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33:Author,
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415:Edition
162:Sr.'s
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