music of the united states of america

Both choirs gave concerts in major halls and on radio, and appeared in theatrical and film productions. Some musicians rooted in the bebop or hard bop style experimented with various non-Western musical traditions. Psychedelic and progressive rock arose during this period, along with the roots of what would later become funk, hip hop, salsa, electronic music, punk rock and heavy metal. Austin: University of Texas Press, 1967. Among Tindley's well-known songs are "Some Day," published in 1901, and "Stand By Me," "The Storm Is Passing Over, Hallelujah," and "By and By," all published in 1905. Variations of this pattern incorporate a snare drum emphasis on the second and fourth beats, giving the sound a 1970s syncopated swing associated with James Brown and Earth, Wind, and Fire. By the late 1960s, the rhythm-and-blues tradition had begun exhibiting new sounds that reflected the discontentment of many African Americans engaged in the struggle for social and racial equality. On which granite cliff are the faces of four presidents carved? Born…, Music During the Reigns of Akhenaten and Nefertiti, Music and Musicians Persecuted during the Holocaust, https://www.encyclopedia.com/history/encyclopedias-almanacs-transcripts-and-maps/music-united-states. The Presidents of the United States of America, commonly referred to as Pot USA or "PUSA" or The Presidents, are a twice Grammy-nominatedAmerican alternative rock band. Soul Babies: Black Popular Culture and the Post-Soul Aesthetic. Some distinct aspects of American music, like the call-and-response format, are derived from African techniques and instruments. Garland, Phyl. Of these cultures, many, and their musical traditions, are now extinct, though some remain relatively vibrant in a modern form, such as Hawaiian music. ." OFFERS Mobile Phones Tech Tech Accessories Gaming Books DVD Blu-ray Music Vinyl Certified Refurbished All OFFERS. These changing economic and social conditions led to a proliferation of drugs and related violence and chaos in inner-city communities. This feud moved to personal levels with the release of "Fuck Compton" (1991) by the Bronx rapper Tim Dog, to which Compton rapper Snoop Doggy Dogg responded on Dr. Dre's single "Fuck Wit Dre Day (and Everybody's Celebratin')" (1992), which implied that Tim Dog engaged in homosexual acts—a major insult in hip-hop culture. Encyclopedia of African-American Culture and History. Singer andFsongwriter Taj Mahal is a musician for whom origins are everything. It was not until the 1940s, however, that musica norteña became popularized by female duets like Carmen y Laura and Las Hermanas Mendoza, who had a string of regional hits. Swing used large ensembles, and was not generally improvised, in contrast with the free-flowing form of other kinds of jazz. Such conditions inspired a new rap form characterized by an aggressive tone and graphic descriptions of the social ills and harshness of inner-city life. Modern jazz (also known as avant-garde or free jazz) innovators include Ornette Coleman, Cecil Taylor, Archie Shepp, Sun Ra, and the Art Ensemble of Chicago. The fusion of classical elements with gospel has its origins in the style of the Roberta Martin Singers. In Louisiana, Cajun and Creole music was adding influences from blues and generating some regional hit records, while Appalachian folk music was spawning jug bands, honky tonk bars and close harmony duets, which were to evolve into the pop-folk of the 1940s, bluegrass and country. Urban blues was one of the most popular black music forms to emerge during the 1940s. Samuel Coleridge-Taylor (born in England of African and British ancestry) also made every effort to preserve the integrity of original folk melodies in his compositions. The community simply did not share the aesthetic ideals of the black elite. Puerto Rican plena and bomba and Cuban chachacha, son montuno and mambo were the biggest influences, alongside Jamaican, Mexican, Dominican, Trinidadian, Argentinian, Colombian and Brazilian sources. African-American ragtime composers include Thomas Turpin, Scott Joplin, Jelly Roll Morton, Eubie Blake, and Artie Matthews. Some of soul's biggest stars began performing in the 1950s gospel scene, including Sam Cooke, Dinah Washington, Dionne Warwick and Aretha Franklin. Boston: Northeastern University Press, 2004. 's, Dixie Hummingbirds, Swan Silvertones, and the Blind Boys; the gospel groups of Roberta Martin, Sally Ward, Clara Ward, and the Barrett Sisters; and the soloists Mahalia Jackson, Sallie Martin, Willie Mae Ford Smith, Marion Williams, Bessie Griffin, Albertina Walker, Alex Bradford, James Cleveland, and Shirley Caesar. The Cajuns and Creoles of Louisiana have long constituted a distinct minority with their own cultural identity. The legacy of the Fisk Jubilee Singers continued in the 1920s when Hall Johnson and Eva Jessye formed professional choirs specializing in this idiom. The web of African-American musical genres is a product of interactions between people of African descent and various environmental forces in North America. House performers include Marshall Jefferson ("Move Your Body [The House Music Anthem]," 1986), Exit ("Let's Work It Out," 1987), Fast Eddie ("Yo Yo Get Funky," 1988), Inner City ("Big Fun," 1988), and Technotronic ("Pump Up the Jam," 1989; "Move This," 1989). During the second decade of the twentieth century, another concert version of the folk spiritual appeared. In the 19th and early 20th centuries, Irish and Scottish immigrants arrived in large numbers. portia k. maultsby (1996)Updated by author 2005. … Some were standing, others sitting, others moving from one seat to another, several exhorting along the aisles. What the Music Said: Black Popular Music and Black Culture. When Africans arrived as slaves in America, they brought a culture endowed with many traditions foreign to their European captors. Despite releasing only 1 LP, america of America was being among the most groundbreaking bands from t Doo wop diversified considerably later in the decade, with groups like The Crows ("Gee"), creating a style of uptempo doo wop and the ballad style via The Penguins ("Earth Angel"), while singers like Frankie Lymon became sensations; Lymon became the first black teen idol in the country's history after the release of the Top 40 pop hit "Why Do Fools Fall in Love" (1956). In the 1930s and 1940s, the most popular form of jazz was "big band swing," so called after large ensembles conducted by the likes of Glenn Miller and William The pianists, who played in honky-tonks, saloons, and brothels, improvised on folk and popular tunes, transforming them into contemporary African-American dance music. Encompassing four performance expressions—graffiti or aerosol art, bboying/girling (break dancing), DJ-ing, and MC-ing (rapping)—hip-hop became popular throughout the city through its association with gang culture. The popularity of "Oh, Happy Day" within and outside the religious community inspired other gospel performers to exploit Hawkins's model. The secular and sacred forms share musical features, demonstrating that the two spheres are complementary rather than oppositional. Upper Saddle River, N.J.: Prentice Hall, 2005. In response, in "Endangered Species (Tales from the Darkside)" (1990), N.W.A. Each genre includes a complex of subdivisions and is associated with a specific cultural function, social context, and historical period. This style of performance is manifested in the gospel arrangement of the white hymn "Oh, Happy Day," which transformed the traditional style of Thomas Dorsey into a contemporary sound. Werner, Craig. Black Culture and Black Consciousness: Afro-American Folk Thought from Slavery to Freedom. The Clark Sisters, Vanessa Bell Armstrong, Tramaine Hawkins, Walter Hawkins, Commissioned, Bebe and CeCe Winans, Take 6, Nu Colors, Sounds of Blackness, Daryl Coley, Keith Pringle, John P. Kee, Little Saints in Praise, Kinnection, and Kirk Franklin (gospel rap) are among those performers who created new gospel styles by stretching traditional musical parameters. Barlow, William. Others protest their bondage, as in the familiar lines "Befor' I'd be a slave, I'd be buried in my grave, and go home to my Lord and be free." For example, a spiritual such as the one cited below could have been sung by slaves to organize clandestine meetings and plan escapes: The text of this song provided instructions for slaves to escape from bondage: "Jesus" was the word for "freedom"; "wilderness" identified the meeting place; "de Lord" referred to the person who would lead slaves through the Underground Railroad or a secret route into the North (the land of freedom). Composers of the Harlem Renaissance, including William Grant Still, William Dawson, and Howard Swanson, employed various approaches in establishing racial identity in their music. Taking a different approach, Zapp and Roger from Dayton, Ohio, used advanced technologies to create an electro-based Dayton funk sound centering on the vocoder (an electronic and distorting talk box); a heavy, synthesized bottom; and distorted instrumental timbres. To remain competitive against the disco craze, some funk bands, such as Heat-wave and Con Funk Shun, incorporated disco elements in their music, replacing horn players with synthesizers and juxtaposing disco rhythms in the funk groove. Olmsted, Frederick Law. Songs are extended and different songs are connected through the use of percussion instruments, resulting into a twenty- to ninety-minute performance. Jazz quickly replaced the blues as American popular music, in the form of big band swing, a kind of dance music from the early 1930s. The United States of America discography and songs: Music profile for The United States of America, formed 1967. His socioeconomically and culturally diverse congregation responded positively to his style of worship, which intertwined the liturgical and cultural practices of the Pentecostal, Baptist, and Methodist churches. Girl groups, surf and hot rod, and the Nashville Sound were popular, while an Appalachian folk and African American blues roots revival became dominant among a smaller portion of the listening audience. Immigration from China began in large numbers in the 19th century, most of them settling on the West Coast. Du Bois, W. E. B. Gospel, blues and jazz were also diversifying during this period, with new subgenres evolving in different cities like Memphis, New York, New Orleans and Chicago. This new jazz style, in which improvisation remained a salient feature, differed from the New Orleans tradition in composition, instrumentation, repertory, and musical structure. The political voices of nationalist rappers overlapped with the harsh and violent messages and aggressive style of another group of hardcore rappers primarily from the West Coast. Representative performers included OutKast and Goodie MoB from Atlanta, Master P. from New Orleans, and Geto Boys and Scareface from Houston. "The Negro Spirituals." By the late 1890s, ragtime had come to identify a body of composed syncopated piano and vocal music published for mass consumption. The issues appear to have concerned. Fletcher, Tom. In Texas, ethnic Mexicans who had lived in the area for centuries, played a distinct style of conjunto, different from that played in Mexico. Bebop's major innovators were Charlie Parker, Dizzy Gillespie, Thelonius Monk, Kenny Clarke, and Max Roach. A Journey in the Seaboard Slave States in the Years, 1853–1854, with Remarks on their Economy (1856). ), political speeches of African-American leaders, TV commercials, and so on—into a sound collage. These two elements were imported from Jamaica by DJ Kool Herc. Harris, Michael W. The Rise of Gospel Blues: The Music of Thomas Andrew Dorsey in the Urban Church. New Haven, Conn.: Yale University Press, 1972. . I Feel Good: A Memoir of a Life of Soul. New York: Oxford University Press, 1977. Pioneering boogie-woogie pianists include Charles "Cow Cow" Davenport, Clarence "Pine Top" Smith, Little Brother Montgomery, Clarence Lofton, Roosevelt Sykes, Jimmy Blythe, Jimmy Yancey, Meade "Lux" Lewis, and Albert Ammons. At the time, black audiences were listening to R&B, doo wop and gospel, but these styles were not perceived as appropriate for white listeners. Neal, Anthony Mark. Merrily now the dance moved on, and briskly twirled the lads and lasses over the well trampled green sward; loud and more quickly swelled the sounds of music to the ear, as the excited movements increased in energy and action. In the 1970s Andrae Crouch experimented with every black secular form, employing melodies, harmonies, rhythms, and instrumentation from ragtime, jazz, blues, and funk; Rance Allen borrowed rhythms and instrumentation from the rhythm-and-blues and soul-music traditions; and Vernard Johnson elevated the saxophone to the status of a solo gospel instrument. In the early 20th century, many of these ethnic groups supported niche record industries and produced minor folk stars like Pawlo Humeniuk, the "King of the Ukrainian Fiddlers" (Kochan and Kytasty, 308). In "The Adventures of Grandmaster Flash on the Wheels of Steel" (1981) and "The Message" (1982), deejay Grand-master Flash incorporates the street-styled production techniques of hip-hop deejays in studio recordings. In the 1840s, Daniel A. Payne, an AME minister who later became a bishop, campaigned to change the church's folk-style character. Known as P-funk (pure funk), this philosophy is manifested in the creation of an imaginary planet—the planet of funk. Although these performers have unique local identities, they cross stylistic boundaries, fusing and reformulating concepts from earlier hip-hop traditions. Nirvana's Nevermind along with Alice in Chains, Pearl Jam, and Soundgarden launched the defiantly anti-mainstream grunge movement among mainstream audiences, while Dr. Dre's The Chronic brought his West Coast G Funk sound to widespread success. Recognizing the importance of music, Allen chose to compile his own hymnal rather than use the standard one for Methodist worship (which contained no music). She argued that the aesthetic ideas of oral traditions that allow for spontaneous, improvisatory, and interactive expression could not be captured in the written score or reproduced by trained musicians (Hurston 1976, pp. Rap music has its origins in hip-hop culture, which emerged in African-American, Afro-Caribbean, and Latino communities of the Bronx and spread to other sections of New York City in the early 1970s. Esteban Jordan's wild, improvised style of accordion became popular, paving the way for the further success of El Conjunto Bernal. We'll Understand It Better By and By: Pioneering African American Gospel Composers. These differences in perspectives and the "authentic" representation of black people in hip-hop underscore the issues that fueled the East-West feud. 84–85). They disagreed, however, on the appropriate presentation of these materials. Rock, country and soul, mixed with each other and occasionally other styles, spawned a legion of subgenres over the next few decades, ranging from heavy metal to punk and funk. The Children of Pride: A True Story of Georgia and the Civil War. Many of the earliest salsa musicians, like Tito Puente, had had a long career in various styles of Latin music. in the song "Hit 'Em Up" (1995) by bragging about a supposed sexual encounter between Shakur and Smalls's wife, vocalist Faith Evans. It is a mixture of music influenced by West African, Irish, Scottish, Mexican, and Cuban music traditions among others. Sharing Coleridge-Taylor's perspective, other nationalist composers used vernacular materials with the intent of maintaining their original character. Tindley's compositions had a profound impact on Thomas A. Dorsey, a Baptist, who evolved Tindley's gospel-hymn model into an original gospel song. London: Unwin, 1921. The first declared the 1875 Civil Rights Act unconstitutional, and the second upheld the "separate but equal" policy related to the Plessy v. Ferguson (1896) court case, which sanctioned segregation or Jim Crow as the law of the land. Berlin, Edward A. Ragtime: A Musical and Cultural History. Two of them, rapping and DJing, make up hip hop music. New York, 1989. Country and folk music further developed as well, gaining newfound popularity and acclaim for hard-edged folk music. The East Coast rappers publicly condemned the West Coast rappers as being fake and "studio gangsters" (i.e., creating a fictional gangster lifestyle). Sahdji (1930), a ballet for orchestra and chorus, and Mota (1951), an opera, dramatize African life. In the late 1980s, politically oriented rappers began expounding on these themes, condemning social injustices, drugs, police brutality, violence, and black-on-black crime. The three-piece currently comprises vocalist and "basitarist" Chris Ballew, drummer and vocalist Jason Finn and "guitbassist"/vocalist Andrew McKeag. Over these amplified instruments, blues singers shouted and moaned about city life—the good times, the bad times, and the lonely times. By the 1940s, boogie-woogie had become the new craze in American jazz and popular music, which brought respectability to the form. ("Straight Outta Compton," 1988; "Niggaz 4 Life," 1991); Eazy-E ("Eazy-Duz-It," 1988); Ice Cube ("Amerikkka's Most Wanted," 1990); Dr. Dre ("The Chronic," 1992); and Snoop Doggy Dogg ("Doggystyle," 1993). Philadelphia: American Musicological Society, 1981. The Pentecostal church, a by-product of the post–Civil War Holiness movement, became a refuge for many African Americans from lower socioeconomic strata who sought spiritual uplift and deliverance from hardship and struggle. It galvanized African Americans into political action; provided them with strength and courage; united protesters as a cohesive group; and supplied a creative medium for mass communication. B. The history began with the Native Americans, the first people to populate North America. Thus, gospel music represents both a style of performance and a body of original composition. The whole congregation kept up one monotonous strain, interrupted by various sounds: groans and screams and clapping of hands. Baton Rouge: Louisiana State University Press, 1977. It featured a self-accompanying jazz or blues-oriented pianist-vocalist augmented by guitar and bass performing in a subdued or tempered style, in contrast to the high-energy sounds of the rhythm-and-blues dance combos. Pentecostal congregations brought an urban flavor to these expressions, especially the folk spiritual tradition, which they transformed into an urban folk gospel style. the degree to which the folk idiom could be altered through thematic development without losing its authentic character, the use of arrangements that supported rather than diluted the spirit of the folk form, and the preservation of the folk quality without restricting the creative impulses of composers (Burleigh [1924], quoted in Southern 1983, p. 268; Locke 1925, pp. LL Cool J introduced the rap ballad in "I Need Love" (1987), which brought a softer edge and a romantic dimension to hip-hip music. Searching for alternative and nonviolent forms of competitive gang warfare, ex-gang members turned to hip-hop culture. New York: Plume, 1999. A vain George Washington, crotchety Ben Franklin, … The majority of slaves, however, systematically resisted cultural imprisonment by reinterpreting European traditions through an African lens. Music in the United States The African-American music tradition comprises many different genres and forms, including spirituals, work songs, blues, gospel music, jazz, and popular music. New York: Greenwood, 1990. Hinson, Glenn. Jazz: A History of the New York Scene. Music of the United States of America (MUSA) is a national series of scholarly editions that seeks to reflect the character and diversity of American music making. The blues evolved from work songs and field calls during the 1880s in response to the inhumane treatment and second-class citizenship that had defined black life in America for seven decades. 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