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African-American Musical Development |
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During the twentieth century, music in America has played a significant role in defining its culture and African-American musicians have made large contributions towards shaping American music.1 In the late nineteenth and early twentieth century, however, African-American musicians produced primarily ragtime, jazz, spirituals and blues rather than classical compositions because of racial prejudice and stereotypical ideas of most white Americans.2 Most nineteenth century American composers of classical music looked to Europe for a model, Germany in particular. Since black Americans' heritage was from Africa, whites believed African-American musicians would not be capable of composing classical works.3 Since the times of slavery, African-Americans produced songs that reflected their outlook toward the hardships they had to face and these songs developed as times began to change. As they endured and made their way into equality, these songs began to stand out as a leading proponent in popular culture. During the late nineteenth and early twentieth century, American composers began to explore ways of creating a national music and often incorporated African-American spirituals and jazz rhythms in an attempt to define an "American
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Below are additional random excerpts from the paper...
When the culture of a particular country is defined, many aspects are taken into account in order to evaluate the country’s heritage. The contrasts between the music of the countries of the world are easily heard and America, which is one of the younger countries, developed much of its music through the influence of African-Americans because their songs are the closest we have to folk music.6 Some would argue that the music of Native Americans is the original music of America, but many have claimed it too late to preserve their music in any substantial way.7 The main reason is the language barrier. The people of the Western world who immigrated to America brought their own cultures and beliefs and claimed them as the foundation of this country without any regard to the Native Americans. The immigrants became the eventual leader of the two isolated cultures, which has led to African-Americans, who started out serving as slaves to the whites and speaking the same language, influencing American culture. In a book written in 1936, Alaine Locke proclaimed:
This implies that America’s culture in the early twentieth century, as far as music goes, has been dominated by the African-American, which can be even more true in that music that was produced by whites were of Western European origin. African-American music was original and became recognized because there was no language barrier.
In reaction to this article, twentieth century historian, David DeVenney commented: “The writer of this article, using condescending and derogatory language and phrases common in his day but offensive in ours, talks about the genesis of these important singing groups…”11 Another example of the views towards blacks in music could be found in the words of New York’s Herald Tribune music critic, H.E. Krehbiel, who declared: “Why savages who have never developed a musical or other art should be able to have more refined aesthetic sensibilities than the people who have cultivated music for centuries, passes my poor understanding…”12 Many whites during that time had the same negative mind set towards African-Americans and this could only hinder blacks from being active in music other than that which they had developed themselves.
Walker gave his first concert at the age of 14, and was a music major at Oberlin College one year later. Upon graduation he was accepted to the Curtis School of Music in Philadelphia. He made his debut at Town Hall in 1945, and later performed with the Philadelphia Orchestra under Eugene Ormandy. In 1956, Mr. Walker received a doctorate from Eastman School of Music in Rochester, after which he studied with Nadia Boulanger52 at the American Conservatory in France. He has taught at Smith College, the University of Colorado, and Rutgers University, where he was chairman of the music department at the Newark campus until his retirement in 1992.
Composers were also making their way into the scene of twentieth century music as well as performers. Several of those who published compositions in the thirties and forties were more active in the field of music education. Oscar Anderson Fuller, singer and composer, was the first African-American to earn a Ph.D. in music in the United States. Several of the many young musicians that he taught or encouraged as young students or junior faculty members were to make solid contributions to the field of music; among them, an operatic prima donna, two concert artists, at least three established composers and three chairmen of college music departments.44 Other important composers of this era were William Grant Still,45 Howard Swanson,46 Ulysses Kay,47 and George Walker.48 Of these composers, Eileen Southern wrote:
To make a good life, Negroes must not only face all the trials of their white neighbors; they must overcome much greater obstacles-the degradation of recent slavery, the generations of illiteracy and
Some topics in this essay:
,
Emily Dickinson,
Western European,
Marian Anderson,
Western Europe,
Promise Land”,
Native Americans,
Jubilee Singers,
Humpty Dumpty,
Dvoøák Burleigh,
twentieth century,
classical music,
african-american musicians,
century american composers,
american composers,
century american,
george walker,
western european,
constitutional hall,
marian anderson,
century music,
twentieth century music,
nineteenth twentieth century,
late nineteenth twentieth,
twentieth century american,
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Approximate Word count = 3547
Approximate Pages = 14 (250 words per page double spaced)  |
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RELATED ESSAYS |
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The Role of Christianity in the Development of the African-A .... in certain spirituals, "a distinctive musical genre derived from .... of Exodus contradicted the White-American notion that .... that much of the African heritage that .... |
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Harlem Renaissance .... The main factors contributing to the development of the Harlem Renaissance .... The African-American musical-comedies that showed there became popular very quickly. .... |
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Artie Shaw .... of influences, including black American music, African rhythms, American band traditions .... These musicians drew on a strong musical culture from black life .... |
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Something About That Music .... "The influence of African rhythm and musical methods is unquestionably one of the more important forces that shaped American music. .... |
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Dvorak .... came] to promote the development of an American musical style .... in hopes of evolving a new American paradigm for .... but to explore the music of African Americans and .... |
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PROFESSIONAL ESSAYS |
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New Orleans and the Development of Jazz the intricate web of social, political, and musical elements that married" the genius of the American popular song culture of a city where African food, language |
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Musical Strains in Black American Music B. Religious faith and protest Development of the Conclusion The Influence of African Music on Slave Songs such, and the only truly American musical form, jazz |
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Development of Jazz in the US safe to say that in purely musical terms the of the complexity, richness, and perfection of its African . the unique flavor of whatever American popular music |
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John Coltrane Religion was not the only influence on ColtraneÆs musical development. influenced by his African roots, as well as by his experiences as an African American. |
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Modern Jazz Religion was not the only influence on ColtraneÆs musical development. influenced by his African roots, as well as by his experiences as an African American. |
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Dixieland & Ragtime made essential contributions to the development of jazz both to a specific type of musical composition and The earliest form of African American music that can |
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