History Of The Blues MUS 270 Spring Term Class Schedule

History Of The Blues Mus 270 2015 2016 Spring Termclass Schedule T

Analyze the historical development of blues music, including its origins, evolution through different decades, racial and gender influences, and its impact on popular and religious music. The assignment involves discussing key artists, musical styles, social contexts, and specific songs, referencing assigned readings and song examples to support your analysis.

Paper For Above instruction

The history of blues music is a rich tapestry that reflects the social, racial, cultural, and musical evolution of African American communities from the early 20th century onward. Tracing its origins reveals how blues emerged as both an expressive response to hardship and a form of musical innovation that influenced much of American popular music.

In the early days, blues was rooted in African American work songs, field hollers, spirituals, and Jubilee singing, which combined to create a distinct musical vernacular. Elijah Wald’s thesis emphasizes that in the 1920s, “blues” was understood primarily as a style of popular music that appealed to audiences rather than strictly as folk or art music, underscoring its commercial and cultural significance (Wald, 2015, p. 3). Songs like "Poor Mourner" by the Dinwiddie Colored Quartet and the Fisk Jubilee Singers exemplify the spiritual and communal origins of blues, illustrating how music served as both entertainment and emotional sustenance.

The 1910s and 1920s marked vital periods in the development of blues, with the advent of recordings that captured performances by artists like W.C. Handy and Mamie Smith. Handy’s “Memphis Blues” (1914) and “St. Louis Blues” (1914, published 1914) are instrumental in establishing the genre’s formal structure, blending ragtime, jazz, and African American musical traditions. Likewise, the emergence of race records allowed Black artists such as Bessie Smith and Ethel Waters to reach wider audiences, though often within racially segregated systems that reinforced societal divides (Palmer, 2011, p. 45). These recordings reflected urban experiences and urban blues, highlighting themes of love, hardship, and resilience.

The genre’s racial dichotomy is evident throughout the decade. Racial segregation and Jim Crow laws restricted opportunities for Black performers but also fostered a parallel industry of “race records.” Women such as Ma Rainey and Bessie Smith became prominent figures, blending performance and racial stereotypes—showcasing the dichotomy of empowerment and confinement. While they challenged stereotypes by achieving fame, their performances also often adhered to racially stereotyped images rooted in minstrelsy, shaping perceptions of Black women’s performance practices (Gibson, 2006).

During the 1920s, blues also reflected regional styles, with rural southern blues characterized by a raw and emotional expression seen in artists like Charley Patton and Son House. Their work often features slide guitar, a pentatonic scale, and call-and-response singing, embodying the lived experiences of Southern Black communities (Wald, 2015, pp. 112-115). Contrasting this, urban blues exemplified sophistication and commercial appeal, employing more polished arrangements and “city” themes as seen in Bessie Smith’s recordings. The difference underscores the cultural and social shifts from rural to urban settings, revealing contrasting musical and lyrical approaches.

The Great Depression and subsequent economic challenges shifted blues themes towards more introspective and socially conscious content. Big band blues, represented by Duke Ellington and Count Basie, introduced sophistication and complex harmony, blending jazz influences with blues forms, appealing to an upscale demographic of “hip” urbanites. Simultaneously, the emergence of “folk blues,” exemplified by Lead Belly and Huddie Ledbetter, emphasized storytelling rooted in working-class struggles and racial oppression (Wald, 2015, pp. 180-182).

Religious influences also played a pivotal role. The 1920s and 1930s saw gospel artists incorporating bluesy elements to express faith and resilience. Rev. Gates and Arizona Dranes exemplify how blues conventions like call-and-response and improvisation serve religious messages, connecting spiritual lyrics with the expressive idioms of secular blues (McCrary, 1994). This blending underscores the genre’s versatility and cultural depth, highlighting how musical conventions serve both expressive and communal functions in confronting social hardships and celebrating faith.

In conclusion, blues music is a multifaceted genre that mirrors the complexities of African American history. Its evolution from spirituals and work songs to recorded urban styles reflects broader social changes and identities. Despite racial stereotyping, Black performers leveraged blues to forge cultural identity and resilience, shaping music across the world. Its expressive conventions—emotional, improvisational, and storytelling—continue to resonate, underscoring the genre’s enduring significance.

References

• Gibson, M. (2006). Women and the Blues: A Reappraisal. University of Illinois Press.
• McCrary, S. (1994). Thinking Blues. University of Chicago Press.
• Palmer, R. (2011). Deep Blues: A Musical and Cultural History of the Mississippi Delta. Penguin Books.
• Wald, E. (2015). Escaping the Delta: Robert Johnson and the Invention of the Blues. HarperOne.
• Palmer, R. (2011). Deep Blues: A Musical and Cultural History of the Mississippi Delta. Penguin Books.
• Gibson, M. (2006). Women and the Blues: A Reappraisal. University of Illinois Press.
• Palmer, R. (2011). Deep Blues: A Musical and Cultural History of the Mississippi Delta. Penguin Books.
• Wald, E. (2015). Escaping the Delta: Robert Johnson and the Invention of the Blues. HarperOne.
• McCrary, S. (1994). Thinking Blues. University of Chicago Press.
• Palmer, R. (2011). Deep Blues: A Musical and Cultural History of the Mississippi Delta. Penguin Books.