Begun in 1980, Black Music Research Journal is published in the spring and fall of each year and includes articles about the philosophy, aesthetics, history, and criticism of black music. Many issues are devoted to a single theme, such as Blind Lemon Jefferson or black music in Europe.
The Center for Black Music Research (CBMR) at Columbia College Chicago documents, collects, preserves, and disseminates information about black music in all parts of the world and promotes understanding of the common roots of the music, musicians, and composers of the global African diaspora. The programs of the CBMR include research, education and conferences, performance, and the publication of a scholarly journal and two biennial newsletters. These diverse services and resources impact a wide range of audiences and constituencies, including academic researchers; musicians, composers, arrangers, and choir directors; high school and grade school teachers and students; journalists and music writers; and filmmakers and television producers. The CBMR Library and Archives, the conferences, and CBMR performance programs are open to the public.
This item is part of JSTOR collection
For terms and use, please refer to our Terms and Conditions
Black Music Research Journal © 1994 Center for Black Music Research - Columbia College Chicago