By Dick Weissman
Blues: the fundamentals deals a concise advent to a century of the blues. geared up chronologically, it makes a speciality of the foremost eras within the development and improvement of this renowned musical sort. fabric comprises: a definition of the blues and the main genres inside it key artists equivalent to Ma Rainey, Bessie Smith, Robert Johnson and Blind Lemon Jefferson key recordings whole with timelines and recommendations for additional research, this attention-grabbing review is perfect for college students and listeners.
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Extra resources for Blues: The Basics (Basics (Routledge Paperback))
Any religious, educational, or musical activities existed at the pleasure of the owner, and could be eliminated if they posed any real or imagined threat to the institution of slavery. This is not to deny that slaves created their own informal 38 The 1920s network of education, religion, or music, but to emphasize how dependent these options were on the choices made by the master. When slavery ended, the slaves were thrust suddenly into a position of being responsible for their own lives and behaviors.
These styles include: ● Traditional hollers: Unaccompanied work songs sung while working. The Folk Blues ● ● ● ● ● ● ● ● ● Work songs: Same as above, but sung by groups of people, rather than individuals. Folk or “Down Home” blues: Blues songs performed usually by traveling singers accompanying themselves on guitar for a folk/rural audience. Holy blues: Songs that utilize blues melodies and instrumental techniques, but contain religious words. Ragtime: Primarily instrumental music played on piano or banjo; later the guitar is substituted for the banjo.
There were certainly a number of well-known blues verses that surfaced in various songs. After blues started to appear on records during the 1920s, the pirating of verses from various songs became a common procedure. Sometimes entire songs were “borrowed,” with only the most minor changes, such as the singer changing the caliber of a gun or the name of the female protagonist in a song. This is partially due to the fact that record executives demanded that singers “write” The Roots of the Blues their own material, hoping to benefit from ownership of their copyrights; many singers were not talented writers, and so took to reworking older songs in an attempt to pass them off as their own.