ARTICLES AND ESSAYS

“Renaissance Man,” Village Voice:  Jazz Supplement (June 28, 1994): 3-4. 

 

“Cosmopolitan or Provincial?: Ideology in Early Black Music Historiography, 1867-1940,” Black Music Research Journal 16 no. 1 (Spring 1996): 11-42.

 

“Gospel With Its Eye Toward the Hip Hop Generation,” The New York Times, Arts and Leisure Section (July 11, 1999): 31.

“Muze N the Hood: Musical Practice in Hip-Hop Film,” Institute for American Music Studies Newsletter, 29 no. 2 (Spring 2000); 1-2; 12. 

 

“African Discourse in Black Music Inquiry and Analysis,” Black Scholar 30 no. 3-4 (Fall-Winter 2000):60-65.

 

“Blues and the Ethnographic Truth,” Proceedings of the Around the Sound Conference, University of Washington, May 2000, 57-62.

 

“Blues and the Ethnographic Truth,” Journal of Popular Music Studies 13, no. 1 (Spring 2001): 41-58.

 

“Who Hears Here?: Black Music, Critical Bias, and the Musicological Skin Trade,” Musical Quarterly 85 no. 1 (Spring 2001): 1-52.

 

“Muzing New Hoods, Making New Identities: Film, Hip-Hop Culture, and Jazz Music,” Callaloo 25 no. 1 (Winter 2002): 309-320.

 

“Eileen Southern: A Tribute and a Mandate,” Institute for American Music Studies Newsletter,” 32 no. 1(Fall 2002): 4. 

 

“The Pot Liquor Principle: Developing a Black Music Criticism in American Music Studies,” American Music 22 no. 2 (Summer 2004): 284-295.

 

Reprint. “The Pot Liquor Principle: Developing a Black Music Criticism in American Music Studies.”  Journal of Black Studies 35 no. 2 (November 2004): 210-223.

 

“Free Jazz and the Price of Musical Abstraction.” Energy/Experimentation: Black Artists and Abstraction, 1964-80.  New York: Studio Museum in Harlem, 2006, 72-77.

 

“Secrets, Lies, and Transcriptions: New Revisions on Race, Black Music, and Culture,” in Western Music and Racial Discourses (1883-1933), Julie Brown, ed., Cambridge: Cambridge University Press, 2007, 24-36.

 

“Becoming: The Black Musical Imagination,” Guest editor’s introduction, Black Music Research Journal 28, no. 1 (May 2008): v-xiv.

 

“Time is Illmatic:” In Naz’s Illmatic: A Retrospective, eds., Michael Eric Dyson and Sohail Daulatzai. New York: Basic Books, 2009, 61-74. 

 

Libretto Script, A Proclamation of Hope: A Symphonic Poem, composer, Ramsey Lewis.  Ravinia Festival premiere, June 2009.  

 

“The Apollo: A People’s Theater” in Ain’t Nothing Like the Real Thing: How the Apollo Theater Shaped American Entertainment (Smithsonian Institution Press, 2010, 104-109). 

 

Reprint. "Free Jazz and the Price of Black Musical Abstraction" in Kellie Jones, ed. EyeMinded: Living and Writing Contemporary Art (Duke UP, 2011): 353-61

 

"Them There Eyes: On Connections and the Visual" in Kellie Jones, ed. EyeMinded: Living and Writing Contemporary Art (Duke UP, 2011): 349-51.

 

Foreword, “Singing in the Dark, “in Moors, Militants, and Minstrels: Representing Blackness on the Operatic Stage, eds., Naomi André, Karen Bryan, and Eric Saylor (Urbana: University of Illinois Press, 2012, ix-x).

 

“Bud Powell,” New Grove Dictionary of American Music and Musicians (New York: Oxford University Press, 2012).

 

“African American Music, New Grove Dictionary of American Music and Musicians (New York: Oxford University Press, 2012).

 

"Out of Place and Out of Line: Jason Moran's Eclecticism as Cultural Critique," Whitney Museum of American Art Biennial Catalogue, 2012.

 

“The Power of Suggestion and the Pleasure of Groove in Robert Glasper’s Black Radio,” Daedelus 142 (Fall 2013, 120-125).

 

“Bodies of Music, Songs of Magic,” in Rethinking American Music, eds., Tara Browner and Thomas L. Riis (Urbana: University of Illinois Press, 2019, 185-199).