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1	An analysis of the musical interpretations of Nina Simone Freyermuth, Jessie L. January 1900 (has links) Master of Music / Department of Music / Dale Ganz / Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s. Although Simone is remembered for the lyrics she sang and the emotions she evoked, not enough credit is given to her as an interpreter of song. Simone had an incredible talent at finding the true message of a song and exposing it to her audience. Rather than jazz musician or activist, this thesis will focus on Simone as a gifted interpreter. Music (0413)
2	"You Understand Me Now": Sampling Nina Simone in Hip Hop Modell, Amanda Renae 01 January 2012 (has links) The overarching goal of this research is to explicate the implications of hip hop artists sampling Nina Simone's music in their work. By regarding Simone as a critical social theorist in her own right, one can hear the ways that hip hop artists are mobilizing her tradition of socially active self-definition from the Civil Rights/Black Power era(s) in the post-2000 United States. By examining both the lyrics and the instrumental compositions of Lil Wayne, Juelz Santana, Common, Tony Moon, Talib Kweli, Mary J. Blige and Will.I.Am, G-Unit and Timbaland, and bearing in mind the intersecting oppressions of race, class, gender, and sexuality, this study concludes that the way that these artists employ Simone's recorded voice in their works oftentimes corresponds to the degree to which they retain her figurative message. While many would assume that these tendencies would correspond with the subgenres of "mainstream" and "conscious" hip hop, in fact the fluidity and complexity of these artists' positions in subgenre refutes this essentialist notion. By engaging in an intersectional analysis of the political and personal implications of hip hop sampling, this essay provides a critical interpretation of the ways the cultural products of the "Civil Rights era" still operate in contemporary U.S. society. These operations are integral to the human rights struggle in which we are all still very much engaged. Black Feminism Black Power Civil Rights Hip Hop Nina Simone Rap Music African American Studies American Studies Arts and Humanities Feminist, Gender, and Sexuality Studies Music
3	I'm Every (Black) Woman: Negotiating Intersectionality in the Music Industry Hudson, Jacqueline P. 01 September 2021 (has links) No description available. American Studies African American Studies Black History Music Intersectionality race gender black women Big Mama Thornton Nina Simone Janet Jackson Janelle Monae Lizzo, music industry, black music
4	And I Heard 'Em Say: Listening to the Black Prophetic Cook, Cameron J 01 January 2015 (has links) This thesis aims to explore how conceptions of the black prophetic tradition, as discussed by thinkers Cornel West and George Shulman, might be expanded into the realm of African American musical traditions and genres. I argue that musical genres like the blues and hip-hop function as an affective discourse that aesthetically, politically and religiously function as sites of resistance to white supremacy and provide alternate pathways to liberation as compared to more canonical instantiations of the black prophetic. In particular I provide close readings of performances and art by Nina Simone and Kanye West. African American studies African American religion black liberation music Kanye West Nina Simone African American Studies African Languages and Societies Christianity New Religious Movements Other Music
5	Art as Activism: The Lives and Art of Billie Holiday, Lena Horne, and Nina Simone Campbell, Katy M. January 2021 (has links) No description available. African American Studies Black History Gender History Modern History Music American History Billie Holiday Lena Horne Nina Simone Civil Rights Movement Harlem Renaissance Black Power Activism Art Paul Robeson Strange Fruit Mississippi Goddam Cabin in the Sky WEB DuBois Criteria of Negro Art Cotton Club Count Basie Communism

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