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How Britain Got the Blues: The Transmission and Reception of American Blues Style in the United Kingdom
This book explores how, and why, the blues became a central component of English popular music in the 1960s. It is commonly known that many 'British invasion' rock bands were heavily influenced by Chicago and Delta blues styles. But how, exactly, did Britain get the blues? Blues records by African American artists were released in the United States in substantial numbers between 1920 and the late 1930s, but were sold primarily to black consumers in large urban centres and the rural south. How, then, in an era before globalization, when multinational record releases were rare, did English teenagers in the early 1960s encounter the music of Robert Johnson, Blind Boy Fuller, Memphis Minnie, and Barbecue Bob?
Roberta Schwartz analyses the transmission of blues records to England, from the first recordings to hit English shores to the end of the sixties. How did the blues, largely banned from the BBC until the mid 1960s, become popular enough to create a demand for re-released material by American artists? When did the British blues subculture begin, and how did it develop? Most significantly, how did the music become a part of the popular consciousness, and how did it change music and expectations? The way that the blues, and various blues styles, were received by critics is a central concern of the book, as their writings greatly affected which artists and recordings were distributed and reified, particularly in the early years of the revival. 'Hot' cultural issues such as authenticity, assimilation, appropriation, and cultural transgression were also part of the revival; these topics and more were interrogated in music periodicals by critics and fans alike, even as English musicians began incorporating elements of the blues into their common musical language.
The vinyl record itself, under-represented in previous studies, plays a major part in the story of the blues in Britain. Not only did recordings shape perceptions and listening habits, but which artists were
eBook
Unlimited replays : video games and classical music
Classical music is everywhere in video games. Works by composers like Bach and Mozart fill the soundtracks of games ranging from arcade classics to indie titles, to major franchises like BioShock, Civilization, and Fallout. Children can learn about classical works and their histories from interactive iPad games. World-renowned classical orchestras frequently perform concerts of game music to sold-out audiences. But what do such combinations of art and entertainment reveal about the cultural value we place on these media? Can classical music ever be video game music, and can game music ever be classical? Delving into the shifting and often contradictory cultural definitions that emerge when classical music meets video games, Unlimited replays offers a new perspective on the possibilities and challenges of trying to distinguish between art and pop culture in contemporary society.
Book
Indigenous Influences on Popular Venda Music
Venda musicians incorporate aspects of “traditional” Venda life and music while still trying to make their music marketable to a larger audience. Johannesburg, the “City of Gold” was never such for many popular Venda musicians as their music did not yield any gold for them. Two significant influences take center stage in realizing a wider market for popular Venda music. These influences reference melodic and rhythmic motifs from indigenous Venda music and children’s songs, while retaining a touch of “homegrown” in the music. Interviews with several popular musicians and an analysis of music indicates cultural relevancy in popular Venda music quoting.
Journal Article
Influence of music on the hearing and mental health of adolescents and countermeasures
This review elaborates on the influence of music on the psychological well-being of adolescents, covering the potential advantages, drawbacks, and necessary strategic interventions associated with music exposure. Initially, we characterize music and delve into a multifaceted classification system. Music, as a pervasive art form, is categorized based on regional and national parameters, and it also distinguishes through the assorted genres and traits. The mental well-being of adolescents is significantly influenced by music through mechanisms such as the facilitation of emotional expression and regulation, fortification of social bonds and the sense of belonging, as well as the fostering of creativity and cognitive development. Nonetheless, music, if misused or associated with inappropriate content, could elicit a spectrum of issues ranging from auditory impairment, diversion of attention, addiction tendencies, to the induction of negative emotions. To counteract these potential hazards, we propose several mitigation strategies including the selection of appropriate music styles, the establishment of a wholesome music environment, the promotion of the constructive role of music education, and fostering active participation in music activities among the youth. In conclusion, we underscore the necessity of a collaborative endeavor from all sectors of society to ensure a healthy music environment for the youth, which in turn would enhance the positive influence of music on the mental health development of this population.
Journal Article
Cross the water blues : African American music in Europe
This unique collection of essays examines the flow of African American music and musicians across the Atlantic to Europe from the time of slavery to the twentieth century. In a sweeping examination of different musical forms--spirituals, blues, jazz, skiffle, and orchestral music--the contributors consider the reception and influence of black music on a number of different European audiences, particularly in Britain, but also France, Germany, and the Netherlands.
The essayists approach the subject through diverse historical, musicological, and philosophical perspectives. A number of essays document little-known performances and recordings of African American musicians in Europe. Several pieces, including one by Paul Oliver, focus on the appeal of the blues to British listeners. At the same time, these considerations often reveal the ambiguous nature of European responses to black music and in so doing add to our knowledge of transatlantic race relations.
Contributions from Christopher G. Bakriges, Sean Creighton, Jeffrey Green, Leighton Grist, Bob Groom, Rainer E. Lotz, Paul Oliver, Catherine Parsonage, Iris Schmeisser, Roberta Freund Schwartz, Robert Springer, Rupert Till, Guido van Rijn, David Webster, Jen Wilson, and Neil A. Wynn
Neil A. Wynn is professor of twentieth-century American history at the University of Gloucestershire. He is the author ofHistorical Dictionary from Great War to Great Depression,From Progressivism to Prosperity: American Society and the First World War, andThe Afro-American and the Second World War.
eBook
Opera's orbit : musical drama and the influence of opera in Arcadian Rome
\"Exploring the dynamic yet problematic context of musical drama in Rome, this study probes opera's relationship to modernity during the late seventeenth and early eighteenth century. Opera instigated a range of discourses, most notably among Rome's Academy of Arcadians, whose apprehension towards opera refracted larger aesthetic and cultural debates, and socio-political tensions. Tcharos presents a unique perspective, engaging opera as a historical force that established a sphere of influence across several genres and matrices of culture. The juxtaposition of opera against the prominent forms of the oratorio, serenata and cantata illustrates opera's constitutive role in a trans-genre cultural matrix, where the dialogical connections between musico-dramatic forms vividly capture the historicism, nostalgia, contradiction and cultural reform that opera inspired. By illuminating other genres as reactionary sites of music and drama, Opera's Orbit boldly reconstructs opera's eighteenth-century critical turn\"-- Provided by publisher.
Book
Musical Forces
Steve Larson drew on his 20 years of research in music theory, cognitive linguistics, experimental psychology, and artificial intelligence-as well as his skill as a jazz pianist-to show how the experience of physical motion can shape one's musical experience. Clarifying the roles of analogy, metaphor, grouping, pattern, hierarchy, and emergence in the explanation of musical meaning, Larson explained how listeners hear tonal music through the analogues of physical gravity, magnetism, and inertia. His theory of melodic expectation goes beyond prior theories in predicting complete melodic patterns. Larson elegantly demonstrated how rhythm and meter arise from, and are given meaning by, these same musical forces.
eBook