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The Development Of Afro American Music In A Colonial Era
African American music and slavery
African American influences on jazz
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In a standard percussion set another instrument feature in the music inside folk music was bones. Handmade musical instruments implied onto a pair of castranets stringed collaborate in one piece. Bones would be played by a musician when only using one hand. Another instrument would be found in a musical band during African slavery was a concertina, a small instrument build very similar to a portable keyboard. Unique musical on each side gives of the instrument it gave off sounds controlled the density of the music pitches. Using the concertina, accompanied along to the music push the sides of the instrument in and out. One of the first well-known music piece would be classified was a piece titled “Jim Crow”. An interesting piece of information was the composer of the song was not a slave or African American. He was a white man although he was known in his musical compositions as a founding “father” in ministerial song writing.
Some topics that music composers used in their musical song composition were honored towards were the inaugural event for the Erie Canal or telling a story about celebration for the Gold Rush commotion in California. First song as a listener that was highlighted in the Early African American culture in the chapter was a music piece “I Wish I Was in Dixie’s Land.” Some musical composers based their lyrics written about the dangers of having slavery in the south. Anyway back to the listening musical piece, it was three minutes long the music piece was written around 1860.
Music composer was Daniel Decatur Emmett, it was a bright, upbeat song found in slaves working under plantation rule. They respond to other workers and slaves who were living under the same work quarters they performed in a walk-aroun...
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.... Sharing a stage or music with another race was considered wrong. However, despite segregation James A. Bland was one of the first African American composers who wrote song compositions for minstrel shows. The African Americans faced a lot of prejudice however it did not stop them from creating entertainment and from building separate theaters. Some of his popular songs he had composed from this time period that can be found in the genre of minstrel shows are “Carry Me Back to Old Virginia”, “In the Evening of the Moonlight” and another classic musical piece “Be Golden Wedding.” Historically he was one of the first African American song composers that came from United States. Back then, this highly respected composer worked as a page for the U.S. House of Representatives Also from his many musical talents, on his down time he sang along to his own songs with a
The blues emerged as a distinct African-American musical form in the early twentieth century. It typically employed a twelve-bar framework and three-lined stanzas; its roots are based in early African-American songs, such as field hollers and work songs, and generally have a melancholy mood. The blues can be divided into many sub-genres, including Classical, Country, and Urban. The purpose of this paper is to focus on the careers of two of Classical blues most influential and legendary singers: Ma Rainey and Bessie Smith.
... Bohlman, Philip V. Music and the Racial Imagination. University Of Chicago Press, Chicago. 2001. Print.
By understanding that music was of utmost importance to the original slaves, we understand how the reverence of music was handed down through the many generations of slaves on the plantations. It is apparent that music was the highest form of expression for Africans, as well as...
Therefore, to endure the pains and sufferings the slaves had to use music. As illustrated above, the advent of music had far reaching results as it encouraged and gave them hope to continue working. The early music composers are the evidence of existence of early music which in turn has shaped today’s music like the blues and pop lyrics. In this case, the culture of the past has been rescued from getting lost.
According to Albert Murray, the African-American musical tradition is “fundamentally stoical yet affirmative in spirit” (Star 3). Through the medium of the blues, African-Americans expressed a resilience of spirit which refused to be crippled by either poverty or racism. It is through music that the energies and dexterities of black American life are sounded and expressed (39). For the black culture in this country, the music of Basie or Ellington expressed a “wideawake, forward-tending” rhythm that one can not only dance to but live by (Star 39).
Roy claims that musical socialization between blacks and whites began with the influence of the minstrel culture, where slaveowners used slaves to entertain at dances during the Antebellum period. He claims that, although the image of the minstrel was a vehemently racist one, the spirituals that minstrels sang were comparable to the spirituals sung with their peers on slave plantations. Nevertheless, Roy claims that these songs were also sung with European influence due to the fact that the slaveowners who employed the minstrels to perform also had these minstrels learn musical instruments. In order to do this, these slaves had to learn European practice techniques and notation styles, such as the diatonic scale, in order to be considered “successful” as a minstrel. This undoubtedly had an influence on the nature of the minstrel figure, and this began the white American’s influence on the musical form of black spirituals (Roy 33). This, according to Roy, also formulated the genre of American folk music, which was collaborative and synergetic. While I do not necessarily rebuke this particular claim, Roy ignores the fact that this new genre was formulated years after slaves began to sing spirituals. This
Now the section in the book about music is so real. The music that was played in the slaver days till like 1970 had a meeting to it and some of the music today has a meaning as well. African American music uses to speak about being free, God, spiritual life and it still does. But today our music expresses a different type of struggle. A struggle that talks about poverty, father’s kids, drugs, money, violence, abuse, love and more. Now there is some music that African American has made today that are not encouraging. We do make music that promotes sex, violent, drugs and other bad
Humans from the coast of West Africa arrived to the New World as slaves. Stripped of everything familiar, they brought with them their traditional ways of using music to record historic events, expressions, and to accompany rituals. While toiling in the tobacco fields of Virginia, slaves were not permitted to speak to each other. So, they resorted to their African tradition. They sang!
This poem represents the resiliency of the African American spirit, Although African Americans were enslaved, overworked and victimize the speaker is still proud to be a “Negro.” The speaker wanted to be the voice that represented all the unfair and injustice experience African American endured. Most importantly he wanted to end the poem they way he started the poem… Proud to be a “Negro.”
Oral tradition may have been the sole root as to why Africans would sing the way they did, however, there were many other deeply rooted aspects of their music culture. For one, music was a way of praising their God or Gods. A ballad may be describing a struggle between gods, or how grateful they were to their rain god for this year’s harvest. “Why?” may elude to some confusing unanswered questions, but the Africans had many centuries to change and morph their music to give its’ defined features that are so much different from today’s music.
The modern banjo was formed in the nineteenth century as a “commercial adaptation of an instrument used by enslaved West Africans” (Odell). “It was popularized in the 19th century by ‘minstrels’ and, later, by jazz bands. In late 19th-century USA, and also in Britain, the banjo became a popular parlour instrument, and ‘classic’ concert styles were also developed by soloists” (Montagu). Today the most common use for the banjo is in south-eastern traditional music and in bluegrass (Montagu).
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
shown over time that it is not merely a matter of beating out rhythm (“
Whereas music has changed throughout the course of Black history, the meaning behind older songs has created the music’s origin. Music in the Black culture early on had changed the lives of many slaves, from leaving hidden messages of escape routes, to giving tips on overthrowing their ‘masters’. Other reasons had included the act of being racist, and other treatments many Blacks were given. The evolution of music for the race has led to a variety of different styles, along with stories told in their music.
Powell, A. (2007). The Music of African Americans and its Impact on the American Culture in the 1960’s and the 1970’s. Miller African Centered Academy, 1. Retrieved from http://www.chatham.edu/pti/curriculum/units/2007/Powell.pdf