Mountain Echoes Of The African Banjo Analysis

Both the Tin Pan Alley and swing was influenced by Black musicians and Black music. Both the Tin Pan Alley and Swing are both written down to be played by musicians. (Starr, 2013)

He was somewhat of a musician, he was a great bit humble in his way. He would play a pennywhistle harmonizing Irish jigs. He was not a heckler or a beggar, he did not have a sign that he would hold, he simply would set a ball cap in front of him while he played. Counting on the good graces of good people.

Even with the definite roots in Black culture, most of the main performers however were white. Take Elvis Presley for example, the songs he sang were the normal blues rock style, but he was white. He was still part of the culture, he was thought as black. It was a common saying among the musicians at the time was that “If you were white and played blues you were black once.” These Black roots and White musicians led to this music being called a black and white hybrid. This fact was what turned away most adults from this

Andrew Barton Paterson, more commonly known as Banjo Paterson, was a famous Australian poet who was born on the 17th February, 1863. He spent his early life at a farm near Yass, in between Melbourne and Sydney. His early education came from a governess, but as soon as he was able to ride a pony by himself, he was taught at a school in Binalong. At 11, Paterson went to Sydney Grammar School whilst his family was living in Gladesville. He left SCS at 16 after failing an examination. From 1885, he started having poetry published in Australian magazine, The Bulletin, where he first coined the pseudonym ‘Banjo’, the name of his favourite horse. In 1899, Paterson became a war correspondent for multiple newspapers, but in 1908, he decided to take a break from journalism writing and focus more on his poetry. In WWI, Paterson served as an ambulance driver and returned to Australia in 1919. His third collection of poetry, Saltbush Bill JP, was published soon after. Paterson died of a heart attack in 1941, just 12 days before his 77th birthday.

“When first entering in America, British folk music was distinguished by three-chord tunes, sparse instrumentation (with some fiddlers), mostly male performers, improvisation, the singers’ sporadic shouts (Scottish “yips”), Christian themes served up in hundreds of hymns, and a secular collection of songs that told stories, generally about love and lost love, using metaphor and symbol to tell those stories” (Allen 101). By the late nineteenth and early twentieth centuries, British music changed and became Americanized. Vocal harmonizing slowly evolved, and fiddlers were accompanied by those who played banjo, an African American opening. “Tambourines and “bones” (tapping out rhythms using pork rib bones) were a minstrel show contribution” (Allen 102). When African Americans were forced into slavery and brought to North America in the 1600s, they brought their own musical traditions and sounds. Slaves who were on the Mississippi River Valley delta soil developed what will later be introduced as blues music. On the plantations, slaves greatly changed British American hymn singing. They took non-religious British American songs and turned it into their own forms of music that followed their culture and taste of music. Blues emerged in the early twentieth century at the same time country music became settled from its folk roots. Blues music talked about the indifferences African American slaves were going through at that time. “The blues voiced human

Charley Pride is one of the few successful black country musicians in a white dominated industry. He was the second African-American to play at the Grand Ole Opry and later became one of the three black musicians inducted as a member of the Opry stage show. From 1967 to 1987, 52 of his songs were Top-10 Country hits, and many of his number 1 Country hits charted on Billboard Hot 100. His record sales are only topped by those of Elvis Presley.

For this music analysis project, I would like to discuss the oral nature of the legacy of Appalachian music. I would like to complete this project to bring attention to the amazing history of Appalachian music and the distinct ways it lives on. I plan to use research to study the different manners in which Appalachian music has continued to survive throughout the years despite the general modernization of the world.

Many Renaissance writers felt some hesitancy about the use of the black lingo as well as an onus to maintain the separation between high and low art, an issue that continues to be debated. How to confront questions of race commonly had to be more nuanced and subtle as well. Advances in black music were somewhat more efficacious because of the high demand for black talented artistes like Count Basie, Ethel Waters, Ella Fitzgerald, Billie Holiday, and Louis Armstrong. New York nightclubs regularly featured black musicians, whose innovations in jazz embodied America 's first original music form. Black women vocalists also found success as the music industry quickly discovered the commercial advantages of race music.

Jazz to me is one of the inherent expressions of Negro life in America: the eternal tom-tom beating in the Negro soul-the tom-tom of revolt against weariness in a white world, a world of subway trains, and work, work; the tom-tom of joy and laughter, and pain swallowed in a smile. Yet the Philadelphia club woman , turns up her nose at jazz and all its manifetations-likewise almost anything else distinctly racial... She wants the artist to flatter her, to make the white world believe that all Negroes are as smug and as near white in soul as she wants to be. But, to my mind, it is the duty of the younger Negro artist, to change through the force of his art that old whispering "I want to be white, hidden in the aspirations of his people, to "Why should I want to he white? I am Negro-and beautiful"

     He was not the first black player in the major league baseball; neither was he the first black star athlete. Words cannot describe what he brought to the game of baseball and the rest of America. His success in baseball proved that blacks and white can coexist, and corporate well together. His importance to the public was more then just playing baseball.

One of the two most important musical influences was Ragtime, a style of music of insistent syncopated “ragged” rhythm created by black piano players. Photos and video clips of people playing and dancing to ragtime are examples of Burns amazing use of art photography and photojournalism to make the story more vivid for the viewers. Ragtime was a style of music the youth enjoyed to listen and dance to while the older generation of white men considered it a product of anarchism. A quote by a Massachusetts attorney and politician of the nineteenth century, Edward Baxter Perry explains that “ victims in [his] opinion can be treated successfully only like the dog with rabies, with a dose of led,” when talking about people who listened, and danced to ragtime. As segregation took over New Orleans, formerly freed creoles, whites who were of black descendants began to play together with the African Americans, combining their musical styles and creating an entirely new one that incorporated which came to be known as jazz. Creoles were affluent in classical music and piano, which they incorporated into the making of jazz music.

Traditionally, Country music has usually been associated as a white mans genre of music. Looking back over the history of this type of music one can attest to the fact that only a few artists fall outside this stereotype. For instance, you have musicians such as DeFord Bailey and Darius Rucker who have contributed so much to the genre through their works. However, as great as they are, there is one artist who has truly paved the way for African Americans in Country music and that is none other than Charlie Pride.

He wrote Ethiopian minstrel, plantation melodies, American melodies, parlor ballads, serenades, politics and war, music hall, and hymns. He often wrote very compassionate lyrics, with themes that were very American. He wrote about the love for one’s home, political matters, war, slavery, and working on the plantations in the South.

Frederick Augustus Washington Bailey who later changed his name to Frederick Douglass, was born February 1818 and died February 20, 1895 was an African-American social activist, abolitionist, orator, writer, and political leader. After evade from vassalage in Maryland, he became a public driver of the abolitionist motion from Massachusetts and New York, convenient character for his dazzling oratory and incisive antislavery writings. In his time he was described by abolitionists as a living contrasted-specimen to slaveholders ' arguments that captive lacked the mental capacity to activity as independent American citizens. Northerners at the time found it powerful to believe that such a numerous orator had once been a slave.

In this course we have learned about all of the different cultures and their musical traditions. My favorite so far has had to be the west African music culture. They have a variety of different music, instruments, and dances to contribute to the reasons I liked this music culture so much. So, I have taken it upon myself to further my research on this particular musical group. I will compare and contrast a variety of different videos from the west African music culture and I will analyze how they connect to this culture.