Textbook Notes (367,976)
United States (205,928)
Music (10)
MUSIC 0711 (10)
Chapter 6

MUSIC 0711 Chapter 6: The Blues
Premium

4 Pages
34 Views
Unlock Document

Department
Music
Course
MUSIC 0711
Professor
Doretta Whalen
Semester
Spring

Description
The Blues  The blues as a separate jazz form has been the subject of much research since its popular acceptance during the early 1900s o Some say the blues are not related in any way to jazz o Claim the harmonic structure of the Blues proves that the blues is definitely not African-American in nature since the early African slaves didn’t have harmony as one of their working “musical tools”  In the U.S. the blues was always taken for granted by most and hidden by the rest  In the 1940s most “so called-intellectual blacks” were ashamed to admit that they liked the Blues o Attitude prevailed until the beginning of the 1960s when young whites adopted the Blues as the “official” revolutionary music of their time  The acceptance of African-American Blues by young whites in America and eventually in Europe signaled interest in identifying with the struggles of their oppressed black brothers and sisters o Prompted the people in the music industry to take a serious look at what was then called R&B or Rhythm and Blues  During this period, the Blues again proved capable of bringing together thousands of people from various cultural backgrounds  The Blues physically brought thousands of young Americans together o Also gave insight into the African-American lifestyle  There is no official birthdate for the Blues  The Blues is an African-American creation  The closest thing that people can fund resembling the blues in Africa are the Bantu rain song and the African “signifying” songs, or songs of “ridicule” o Both of these forms do have strong Blues-like features o Both use blues tonalities that suggest a strong tie to African-American folk blues  The Delta area – Mississippi, Alabama, Louisiana, and most of the Gulf area  The territories – Texas, Louisiana, Arkansas, Oklahoma, and Missouri  The southeastern seaboard – Georgia and Florida  These areas represent the geographical locations most saturated by a particular type of music  Country blues was born in the rural areas and has no specific geographical boundaries o Later migrated to the urban areas of the North, underwent a few changes in character, and became known as urban Blues  During the early development of Blues it was unheard of to find a professional Blues singer  Anyone could sing the blues  There was no definite form in the Blues during its early stages o Each person shaped his or her own melody  The idea of a definite form in Blues did not come until much later in its development during the 1900s  Form was introduced in the Blues simply to facilitate the playing of the Blues by more than one or two people  Historians looked for a connection between British folk music and Blues since both forms tended to use the drone as base for melodic movement  The bending of certain notes, namely the third, fifth, and seventh degree, gave Blues its blue, or low-keyed, sound  To flatten a note is to lower the note one half step  To bend or lower the note suggests lowering the note anywhere from one half step to three or more steps  One of the major problems in interpreting the blues, and other forms of African- American folk music today, is that we have not developed a system for analyzing the music, we cannot expect to preserve its originality  A technique often used by the Delta area Blues singers was bottlenecking o The performed slides his or her hand up and down he strings of the guitar, producing a slide effect o This sound was originally produced by placing the broken tips of whiskey bottles on the fingertips and sliding the fingers along the strings  Another fascinating fact about the structure of Blues, is that Blues singers developed the habit of singing a musical statement and immediately repeating that statement before finishing that statement before finishing the idea with a closing statement  Some historians believe that the blues performer repeated the first line of the Blues for two reasons o He or she wanted to be sure that the message reached the audience o The performer was improvising the lyrics and the repetition gave him or her time to think of the next phrase  Jazz is Blues and Blues is jazz o One cannot exist without the other Urban Blues:  Urban Blues with all of its “modernization” was still country Blues  The major difference between urban Blues and country Blues was the lyrics  Country Blues tended to be about working habits, love affairs, and general problems of the country
More Less

Related notes for MUSIC 0711

Log In


OR

Join OneClass

Access over 10 million pages of study
documents for 1.3 million courses.

Sign up

Join to view


OR

By registering, I agree to the Terms and Privacy Policies
Already have an account?
Just a few more details

So we can recommend you notes for your school.

Reset Password

Please enter below the email address you registered with and we will send you a link to reset your password.

Add your courses

Get notes from the top students in your class.


Submit