Crossroads: Popular Music in America / Edition 1

Paperback (Print)
Used and New from Other Sellers
Used and New from Other Sellers
from $1.99
Usually ships in 1-2 business days
(Save 97%)
Other sellers (Paperback)
  • All (17) from $1.99   
  • New (1) from $58.80   
  • Used (16) from $1.99   
Sort by
Page 1 of 1
Showing All
Note: Marketplace items are not eligible for any coupons and promotions
Seller since 2008

Feedback rating:



New — never opened or used in original packaging.

Like New — packaging may have been opened. A "Like New" item is suitable to give as a gift.

Very Good — may have minor signs of wear on packaging but item works perfectly and has no damage.

Good — item is in good condition but packaging may have signs of shelf wear/aging or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Acceptable — item is in working order but may show signs of wear such as scratches or torn packaging. All specific defects should be noted in the Comments section associated with each item.

Used — An item that has been opened and may show signs of wear. All specific defects should be noted in the Comments section associated with each item.

Refurbished — A used item that has been renewed or updated and verified to be in proper working condition. Not necessarily completed by the original manufacturer.


Ships from: Chicago, IL

Usually ships in 1-2 business days

  • Standard, 48 States
  • Standard (AK, HI)
Page 1 of 1
Showing All
Sort by


Crossroads celebrates the diversity of American music through coverage of a wide spectrum of musical styles, including folk music, the blues, jazz, Cajun and Zydeco music, and a variety of currently popular musics including rock and roll, rap, salsa, and Tejano.

Providing the tools to better understand and appreciate the multicultural complexity of American music, each music is discussed in three stages: 1) the roots in the ethnic traditions of a specific immigrant group, 2) the development into a uniquely American music, and 3) the evolution into new forms that retain their vitality and relevance in contemporary society. Crossroads provides both detailed musical analysis, and a discussion of the historical and social content in which these music genres developed.

Also available from Prentice Hall, a Crossroads Compact Disc contains many of the recordings discussed in the text.

Read More Show Less

Product Details

  • ISBN-13: 9780130971463
  • Publisher: Prentice Hall
  • Publication date: 5/3/2002
  • Edition description: Older Edition
  • Edition number: 1
  • Pages: 287
  • Product dimensions: 8.50 (w) x 10.80 (h) x 0.70 (d)

Meet the Author

Dr. Elizabeth F. Barkley is a classical pianist who holds a BA and an MA from the University of California, Riverside and a PhD from the University of California, Berkeley. In 1999, she was named a Carnegie Scholar by the Pew Charitable Trusts and is consequently one of two national higher education scholars working on issues of the scholarship of teaching and learning in the discipline of music. As a Carnegie Scholar, she has been invited to give presentations at numerous institutions and national conferences, including the national and international conferences of the College Music Society. Her other teaching honors include being named California's 1998 Higher Education Professor of the Year by the Carnegie Foundation for the Advancement of Teaching, and receiving the Hayward Award for Educational Excellence, the Center for Diversity in Teaching and Learning in Higher Education Faculty Award, her campus' President's Special Achievement Award, and Innovator of the Year by her district in conjunction with the National League for Innovation. She is the author of several articles on the scholarship of teaching and learning, as well as author and co-author of two other textbooks on music history and literature.

Read More Show Less

Table of Contents


1. Context: Music in Multicultural America.
2. The Music of Native Americans.
3. The Roots of European/Anglo-American Music.
4. The Roots of African American Music.
5. The Roots of Hispanic/Latino Music.


6. The Blues.
7. Jazz.
8. Gospel.
9. Cajun and Zydeco.
10. Country Music.
11. The Urban Folk Revival.


12. The Ethnic and Racial Roots of Rock 'n' Roll.
13. Soul, Motown, and Funk.
14. Salsa and Caribbean Latino Music.
15. Tejano, Banda, and Contemporary Mexican American Music.
16. Asian American Music.
17. Hip-Hop and Rap.
Read More Show Less


This textbook was written to meet the needs of today's more diverse student population. Returning to the classroom in 1995 after a 9-year hiatus as an academic Dean, I was aware of the student demographic changes, but I was unprepared for the pedagogical implications of those changes. As I struggled to engage my students in a traditional music survey course, they looked at me with bored, apathetic faces and I knew I had to find a better way. I could have attempted to teach one of the new popular music courses, but I just didn't feel "hip" enough, and I feared that even if I managed to catch up and be hip atone moment in time, it was a 'slippery slope back down and I would inevitably be out of date by the following year. I could also have retrained to teach a version of a world music course, but my experience observing these courses was that the curriculum was not always successful in engaging students because the music and the cultures were often remote to students' experience and aesthetic interests.

What I decided instead was to create a new course called "The Musics of Multicultural America," based on my analysis that an important characteristic that seemed to unify my students was "Americanness." Working with U. C. Berkeley's Center for the Study of American Cultures, I developed a course that traced a variety of contemporary musics such as rock 'n' roll, salsa, gospel, blues, jazz, Cajun, zydeco, and Tejano from their roots in the music traditions of immigrant groups to their hybridization and development into uniquely new American musics. My efforts paid off. Soon my classes were filled with enthusiastic students who had enrolled on the recommendation of former students,friends and counselors. The traditional survey course used to average anywhere from 40 to 60 students per year. In 2000-01, enrollment in "The Musics of Multicultural America" was 1,137. By any standard of measurement, that is phenomenal growth.

This textbook is the result of my work developing materials for that course. I am not an American historian, and I am not trained in ethnic studies. I do know, however, that perspectives on American history, experiences with race, the development of ethnic identity, and one's preferences for musical style are complex and potentially polemical issues. The safest strategy is to ignore them, and continue to teach the monocultural European-based music in which we were trained and that has been the mainstay of American higher education for centuries. But this is ultimately self-defeating: The population of the United States is characterized by increasing and unprecedented ethnic diversity, and the traditional approach, although important, needs to be balanced by alternatives. European-based classical music is only a portion (and an increasingly smaller portion) of all American music. Besides, we are no longer a colony. Isn't it time to start celebrating our own significant contributions to the world's music?

Given my decision to create a new American-based music course, one obvious approach would have been to adopt one of the existing textbooks on music of the United States. But these textbooks generally ignore issues of race and ethnicity, implicitly (or explicitly) viewing American music as an extension of European traditions. Another approach would have been to pull together a reader, or a book that consisted of chapters written by different experts. After beginning, I realized that what my students needed was narrative consistency. To achieve this, I decided to solicit the assistance of people who are knowledgeable in all of the various areas and distill this information into a single voice. I believe that their multiple perspectives and diverse expertise channeled through my own writing, though far from perfect, is the best approach at this time. This book and the accompanying instructor's guide will provide faculty with the necessary tools and framework to teach their own version of a course such as "The Musics of Multicultural America." These years have been the most exciting and rewarding of my teaching career. I invite you to join me at this juncture in your own crossroads, and travel down a new path that is certain to engage you in exciting, important and meaningful new ways.

Read More Show Less

Customer Reviews

Be the first to write a review
( 0 )
Rating Distribution

5 Star


4 Star


3 Star


2 Star


1 Star


Your Rating:

Your Name: Create a Pen Name or

Barnes & Review Rules

Our reader reviews allow you to share your comments on titles you liked, or didn't, with others. By submitting an online review, you are representing to Barnes & that all information contained in your review is original and accurate in all respects, and that the submission of such content by you and the posting of such content by Barnes & does not and will not violate the rights of any third party. Please follow the rules below to help ensure that your review can be posted.

Reviews by Our Customers Under the Age of 13

We highly value and respect everyone's opinion concerning the titles we offer. However, we cannot allow persons under the age of 13 to have accounts at or to post customer reviews. Please see our Terms of Use for more details.

What to exclude from your review:

Please do not write about reviews, commentary, or information posted on the product page. If you see any errors in the information on the product page, please send us an email.

Reviews should not contain any of the following:

  • - HTML tags, profanity, obscenities, vulgarities, or comments that defame anyone
  • - Time-sensitive information such as tour dates, signings, lectures, etc.
  • - Single-word reviews. Other people will read your review to discover why you liked or didn't like the title. Be descriptive.
  • - Comments focusing on the author or that may ruin the ending for others
  • - Phone numbers, addresses, URLs
  • - Pricing and availability information or alternative ordering information
  • - Advertisements or commercial solicitation


  • - By submitting a review, you grant to Barnes & and its sublicensees the royalty-free, perpetual, irrevocable right and license to use the review in accordance with the Barnes & Terms of Use.
  • - Barnes & reserves the right not to post any review -- particularly those that do not follow the terms and conditions of these Rules. Barnes & also reserves the right to remove any review at any time without notice.
  • - See Terms of Use for other conditions and disclaimers.
Search for Products You'd Like to Recommend

Recommend other products that relate to your review. Just search for them below and share!

Create a Pen Name

Your Pen Name is your unique identity on It will appear on the reviews you write and other website activities. Your Pen Name cannot be edited, changed or deleted once submitted.

Your Pen Name can be any combination of alphanumeric characters (plus - and _), and must be at least two characters long.

Continue Anonymously

    If you find inappropriate content, please report it to Barnes & Noble
    Why is this product inappropriate?
    Comments (optional)