By Lorenzo Candelaria, Daniel Kingman
This briefer, extra available variation of our best-selling survey textual content describes American track as a landscape of distinctive but parallel streams--hip-hop and Latin; people and nation; gospel and classical; jazz, blues, and rock-that replicate the uniquely different personality of the U.S.. evaluating and contrasting musical kinds throughout areas and time, Candelaria and Kingman bring a imaginative and prescient of yank song either exuberant and artistic, a song that arises out of the heritage and musical traditions of the numerous immigrants to America's seashores.
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Additional info for American Music: A Panorama, Fourth Concise Edition
However, the leader’s need to prolong the work song to fit the task at hand often led to the adoption of the ballad, or storytelling, method with its possibilities for improvisation and its indefinite proliferation of stanzas. “John Henry” (CD 1/10) is the best known of all African American ballads. It is the ballad of a folk hero that has been identified with an actual event: the construction of the Big Bend Tunnel on the Chesapeake & Ohio Railroad near Hilton, West Virginia, in 1870–1872. At a mile and a quarter in length, it was the largest tunnel ever built up to that time.
Soon a file of fifteen or twenty men came slowly into the plaza. . Each man’s body, bare above the waist, was painted brown and marked with white symbols. Behind his right knee was fastened a rattle, made of a turtle shell. With each step that he took, the rattle gave out a hollow, muffled sound. In his right hand he carried a gourd rattle. . But the striking feature was the mask that each man wore. This covered his head completely and came down to his shoulders. The front was white and was inscribed with block-like figures, which suggested eyes, nose, and mouth.
20 PART I Folk and Ethnic Musics Rev. Davies describes the singing of blacks in the context of a formal religious service. But the spiritual itself was born under far less formal circumstances. The real spiritual represents not so much an adaptation of the Methodist and Baptist hymns and formal services as it does a thoroughly African response to them. Many accounts confirm that the “sperichils” were not at first a part of the formal services but belonged to the shout that took place after these services, when the benches were pushed back to the wall and the worshipers stood in the middle of the floor.
American Music: A Panorama, Fourth Concise Edition by Lorenzo Candelaria, Daniel Kingman