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affects of slavery on modern american music
the blues music history
the blues music history
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The Mississippi Delta was known for its fertile environment, perfect for growing the abundance of the nation’s cotton crop. Not only was the Delta known for its flourishing cotton supply, but for its budding music scene as well. Derivative from native African music, the blues blends together the use of old African language, tonal singing methods and the personal trials and tribulations of life in the south. Blues musicians of the Delta used their talents in order for to escape the tumultuous life of a sharecropper and make their way north. The blues was a perfect way for musicians like Robert Johnson, Muddy Waters, Howlin’ Wolf and countless others, to escape the racism and unfairness that plagued the south after the Civil War. The success of the blues would have never reached a worldwide magnitude if it was not for this “Great Migration” to the north, and the willingness of open minded record executives, taking a chance on some black musicians from the south. If it was not for these musicians, who knows who could have inspired bands like The Rolling Stones, the Band or even the Beatles. The shape of Rock and Roll today derives from music that cultivated from the Mississippi Delta. The music of the blues carries generations of history and African culture through it the simplest guitar riffs and the shortest line of lyrics. Palmer’s book details how the forever evolving genre that is the blues impacted decades of music while teaching people from all walks of life what it meant to be living a life of hardship in the Mississippi Delta, post-Civil War.
Body:
Palmer makes the argument, to understand blues, the listener must learn where the music came from. Leo Smith, stepson of Delta bluesman Alec Wallace describes the blues as “...
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Deep Blues details the blues forever changed the American music scene. The Delta blues contains so much history behind its music, it becomes nearly impossible to mimic. The genre is forever evolving. Whether it comes through rock and roll, or any other American music, hints of blues pull through. When reading Palmer’s book, there is only so much musical terminology one can understand. To really learn about the blues, one would have to experience some of the music for themselves by just listening to it. Deep Blues would be a great read for any of those music enthusiasts that would like to learn the true roots of the blues. After reading Palmer’s book, the reader will come out with a greater knowledge and appreciation for the blues and all its historical intricacies involving African culture.
Works Cited
Palmer, Robert. Deep Blues. New York: Viking, 1981. Print.
For centuries, music has been defined by history, time, and place. To address this statement, Tom Zè, an influential songwriter during the Tropicália Movement, produced the revolutionary “Fabrication Defect” to challenge oppression as a result from the poor political and social conditions. On the other hand, David Ramsey discusses, in mixtape vignettes, the role of music to survive in New Orleans’ violent setting. Furthermore, “The Land where the Blues Began”, by Alan Lomax, is a film and perfect example to understand under what musical conditions profound ways of communication are made to stand the hard work of cotton plantations. As a result, music plays a crucial role in the sources’ cultures and its creation relies on particular conditions such as the social
African-American music is a vibrant art form that describes the difficult lives of African American people. This can be proven by examining slave music, which shows its listeners how the slaves felt when they were working, and gives us insight into the problems of slavery; the blues, which expresses the significant connection with American history, discusses what the American spirit looks like and teaches a great deal from the stories it tells; and hip-hop, which started on the streets and includes topics such as misogyny, sex, and black-on-black violence to reveal the reactions to the circumstances faced by modern African Americans.
In both “Sonny’s Blues” and “The Weary Blues”, music serves as a form of catharsis; in “SB” Sonny is able to escape his troubled life, and in “WB” the Negro man expresses his sadness about his difficult life. The portrayal of music differs in that it’s more of a joyful presence in “SB” but a grim and depressing one in “WB”.
...t and also talks about how blues could be classified as "a secular spiritual". His points can still be easily understood by the reader, but I feel that he nontheless contradicts himself while making these statements.
As time progressed, music had to continue to evolve to keep up with the ever-changing styles. Blues slowly began to morph into Rock and Roll to engage people of a new era. While many changes occurred in creating Rock and Roll, it continued to carry undertones of the Blues. This can be heard while comparing Son House’s, “Walking Blues” and Elvis Presley’s, “Blue Moon of Kentucky.” These two songs show many similarities, while also having their own identities.
If we look more closer, the Blues Aesthetic is not only a musical genre or works of art. The Blues Aesthetic is much more, it is a psychological procedure of expressing hardships through African-American art works in order to state liberation and “justice for all”. Just like Langston Hughes once said, negro artist are not just “artist,” but they are colored artist because the art that is portrayed by the African-Americans is a cultural statement. The musical art from B.B. King and the visual art from Aaron Douglas both are part of the Blues Aesthetic because they both make a cultural statement through their individual works of art.
Perhaps the blues was representation of optimism and faith for the entire city of Harlem and all of African-American descent. Music is portrayed fluently and abundantly throughout the entire story of “Sonny’s Blues”. Despite the fact that Sonny frequently plays the piano, there is always a juke box playing, the “humming an old church song”, a “jangling beat of a tambourine”, a tune being whistled, or a revival meeting with the singing of religious words (Baldwin 293-307). The repetition of music in the short story is a realistic portrayal of how regular the blues, musically and emotionally, was present in an African-American’s life during the era of racial discrimination. Flibbert explains that the rooted, burdensome emotion felt by African Americans is difficult to put to words, other than describing it as the blues. He best defines the blues as “a mental and emotional state arising from recognition of limitation imposed-in the case of African-Americans-by racial barriers to the community” (Flibbert). Though a definite definition exists, the blues cannot simply be construed. To cope with this unexplainable feeling of blue, the African-American folk genre of jazz music was created. Finally, the blues was something African-Americans owned and that the white man could not strip them of. Though music appears to show up at the most troublesome times in “Sonny’s Blues”, it brings along “a glimmer of life within the
For Stanley, the blues tell the stories of the African-American community. Some of the stories talk about the harshness of their lives, but they also talk about the good times they had. [People] play the blues to get rid of the blues not to get them." (Lamb, 1). When people play or even listen to the blues, they are letting all of their worries go. They are not worrying about their job, the bills, or their kids. They are just trying to enjoy the moment when the blues are playing. The blues are some people's release from the stresses of their lives.
In “Blame It On the Blues” the author Angela Davis, argues against critics, like Samuel Charters and Paul Oliver, who say that the Blues lacks social commentary or political protest, by saying that the Blues was a subtle protest against gender and racial inequality. Davis uses various songs from Ma Rainey and Bessie Smith to prove this.
For the author, the blues are more universal than a specific type of music. The narrator describes that the blues are "the tale of how we suffer, and how we are delighted, and how we may triumph." With this quote, the story "Sonny's Blues" is actually a blues piece: it starts with the suffering that the two brothers face, continues with their developing communion, and ends with brotherly love and triumphs over loneliness and suffering. The story "Sonny's Blues" is like Sonny's actual music, because it tries to bring people together and, through that link of grace and understanding, to relieve suffering. The author is not playing the blues but actually putting it down in writing. The title "Sonny's Blues" doesn’t describe the music Sonny plays but it tells Sonny's story of suffering and overcoming his obstacles, through his music.
Blues is a popular music style even today. It is popular because of its characteristic style that later developed other styles and subsets of the primitive blues style and its ability to appeal to a larger audience; therefore, placing the music style into the light of mainstream society. Amiri Baraka, in his work Blues People, says that the blues is a product of the “Negro’s American Experience.” In addition, he adds that the blues “developed as a response to the Negro’s adaption to and adoption of America; it was also a music that arose due to Negro’s peculiar position in this country.” It would be difficult to argue that the blues are not a product of the African American experience. While there are instances where white American individuals
...ey cannot deny that the Blues has influenced different genres from the cotton fields to the Rock-and-Roll Hall of Fame.
The American Heritage Dictionary defines blues as (1) a state of depression or melancholy, and (2) a style of jazz evolved from southern American Negro secular songs. It is also inclusive of pensive reflection and contemplation which is descriptive of Baldwin's writing of Sonny's Blues.
Different from other forms of music, blues was only recorded by memory and passed down through generations through live performances. The blues began in the North Mississippi Delta post Civil War times. It was heavily influenced by African roots, field hollers, ballads, church music and rhythmic dance tunes called jump-ups. This eventually developed into music that was set up in a call-and- response way so that the singer would sing a line and he would then respond with his guitar.
In the formally standardized, instrumentally accompanied form of “city blues”(as opposed the formally unstandardized and earlier “country blues”), the blues was to become one of the two major foundations of 1920s jazz (the other being rags). City blues tended to be strophic songs with a text typically based on two-lin...