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African-American music

African-American music is a broad term covering a diverse range of musical genres largely developed by African Americans and their culture. Its origins are in musical forms that developed as a result of the enslavement of African Americans prior to the American Civil War.[1][2] It has been said that "every genre that is born from America has black roots."[3]

For a generalized discussion of music by people of African descent, see Black music.

White slave owners subjugated their slaves physically, mentally, and spiritually through brutal and demeaning acts.[4] White Americans considered African Americans separate and unequal for centuries, going to extraordinary lengths to keep them oppressed. African-American slaves created a distinctive type of music that played an important role in the era of enslavement. Slave songs, commonly known as work songs, were used to combat the hardships of the physical labor. Work songs were also used to communicate with other slaves without the slave owner hearing. The song "Wade in the Water" was sung by slaves to warn others trying to leave to use the water to obscure their trail. Following the Civil War, African Americans employed playing European music in military bands developed a new style called ragtime that gradually evolved into jazz. Jazz incorporated the sophisticated polyrhythmic structure of dance and folk music of peoples from western and Sub-Saharan Africa. These musical forms had a wide-ranging influence on the development of music within the United States and around the world during the 20th century.[5][6]


Analyzing African music through the lens of European musicology can leave out much of the cultural use of sound and methods of music making. Some methods of African music making are translated more clearly though the music itself, and not in written form.[7]


Blues and ragtime were developed during the late 19th century through the fusion of West African vocalizations, which employed the natural harmonic series and blue notes. "If one considers the five criteria given by Waterman as cluster characteristics for West African music, one finds that three have been well documented as being characteristic of Afro-American music. Call-and-response organizational procedures, dominance of a percussive approach to music, and off-beat phrasing of melodic accents have been cited as typical of the genre in virtually every study of any kind of African-American music from work songs, field or street calls, shouts, and spirituals to blues and jazz."[8]


The roots of American popular music are deeply intertwined with African-American contributions and innovation. The earliest jazz and blues recordings emerged in the 1910s, marking the beginning of a transformative era in music. These genres were heavily influenced by African musical traditions, and they served as the foundation for many musical developments in the years to come.


As African-American musicians continued to shape the musical landscape, the 1940s witnessed the emergence of rhythm and blues (R&B). R&B became a pivotal genre, blending elements of jazz, blues, and gospel, and it laid the groundwork for the evolution of rock and roll in the following decade.[9]

Economic impact[edit]

Record stores played a vital role in African-American communities for many decades. In the 1960s and 1970s, between 500 and 1,000 black-owned record stores operated in the American South, and probably twice as many in the United States as a whole. According to The Political Economy of Black Music By Norman Kelley,"Black music exists in a neo-colonial relationship with the $12 billion music industry, which consist of six record companies." African-American entrepreneurs embraced record stores as key vehicles for economic empowerment and critical public spaces for black consumers at a time that many black-owned businesses were closing amid desegregation.[84] Countless African Americans have worked as musical performers, club owners, radio deejays, concert promoters, and record label owners. Many companies use African-American music to sell their products. Companies like Coca-Cola, Nike, and Pepsi have used African-American music in advertising.[85]

(1997). The Music of Black Americans: A History. W. W. Norton & Company; 3rd edition. ISBN 0-393-97141-4

Southern, Eileen

(1998). African American Music: An Introduction. ISBN 0-02-860294-3.

Stewart, Earl L.

Cobb, Charles E. Jr., , National Geographic Magazine, April 1999, v. 195, n.4

"Traveling the Blues Highway"

Dixon, RMW & Godrich, J (1981), Blues and Gospel Records: 1902–1943, Storyville, London.

Hamilton, Marybeth: In Search of the Blues.

Leadbitter, M., & Slaven, N. (1968), Blues Records 1943–1966, Oak Publications, London.

; Give My Poor Heart Ease: Voices of the Mississippi Blues, University of North Carolina Press (2009). ISBN 0-8078-3325-8 ISBN 978-0807833254 (with CD and DVD)

Ferris, William

Ferris, William; Glenn Hinson, The New Encyclopedia of Southern Culture: Volume 14: Folklife, University of North Carolina Press (2009).  0-8078-3346-0 ISBN 978-0-8078-3346-9 (Cover :photo of James Son Thomas)

ISBN

Ferris, William; Blues From The Delta, Da Capo Press; revised edition (1988).  0-306-80327-5 ISBN 978-0306803277

ISBN

; Delta Blues: The Life and Times of the Mississippi Masters Who Revolutionized American Music, W. W. Norton & Company (2009). ISBN 0-393-33750-2 ISBN 978-0393337501

Gioia, Ted

; Blues Who's Who, Da Capo Press, 1979.

Harris, Sheldon

Nicholson, Robert; Mississippi Blues Today! Da Capo Press (1999).  0-306-80883-8 ISBN 978-0-306-80883-8

ISBN

; Deep Blues: A Musical and Cultural History of the Mississippi Delta, Penguin reprint (1982). ISBN 0-14-006223-8; ISBN 978-0-14-006223-6

Palmer, Robert

; Been Here And Gone, 1st edition (1960), Rutgers University Press; London Cassell (UK) and New Brunswick, NJ. 2nd printing (1969), Rutgers University Press, New Brunswick, NJ: University Of Georgia Press, 2000.

Ramsey Jr, Frederic

Wilson, Charles Reagan, , Ann J. Adadie, Encyclopedia of Southern Culture (1656 pp.), University of North Carolina Press; 2nd edition (1989). ISBN 0-8078-1823-2. ISBN 978-0-8078-1823-7

William Ferris

Joshua Clark Davis, Southern Cultures, Winter 2011.

"For the Records: How African American Consumers and Music Retailers Created Commercial Public Space in the 1960s and 1970s South,"

Work, John W., compiler (1940), American Negro Songs and Spirituals: a Comprehensive Collection of 230 Folk Songs, Religious and Secular, with a Foreword. Bonanza Books, New York. N.B.: Consists most notably of an analytical study of this repertory, on p. 1–46, an anthology of such music (words with the notated music, harmonized), on pp. 47–250, and a bibliography, on p. 252–256.

from the Library of Congress

A collection of African-American Gospel Music

a collection of African-American sacred music, made available for public use by the State Archives of Florida

Shall We Gather at the River

in African-American music

20 historical milestones

. New International Encyclopedia. 1905.

"Negro Melodies" 

History of African music