Great Music and Lyrics


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Visit Great Music and Lyrics, for the best of American Music!

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The music of the United States reflects the country’s multi-ethnic population through a diverse array of styles. It is a mixture of music influenced by West African, Irish, Scottish, Mexican, and Cuban music traditions among others. The country’s most internationally renownedgenres are jazz, blues, country, bluegrass, rock, rhythm and blues, ragtime, hip hop, barbershop, pop, experimental, techno, house, dance,boogaloo, salsa, and rock and roll. The United States has the world’s largest music market with a total retail value of 4,481.8 million dollars in 2012,[1] and its music is heard around the world. Since the beginning of the 20th century, some Forms of American popular music have gained a near global audience.[2]

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Native Americans were the earliest inhabitants of the land that is today known as the United States and played its first music. Beginning in the 17th century, immigrants from the United Kingdom, Ireland, Spain, Germany and France began arriving in large numbers, bringing with them new styles and instruments. African slaves brought musical traditions, and each subsequent wave of immigrants contributed to a melting pot.

Much of modern popular music can trace its roots to the emergence in the late 19th century of African American blues and the growth of gospel music in the 1920s. The African American basis for popular music used elements derived from European and indigenous musics. There are also strong African roots in the music tradition of the original white settlers, such as country and bluegrass. The United States has also seen documented folk music and recorded popular music produced in the ethnic styles of the Ukrainian, Irish, Scottish, Polish, Hispanic and Jewishcommunities, among others.Frank_Sinatra_by_Gottlieb_c1947-_2

Many American cities and towns have vibrant music scenes which, in turn, support a number of regional musical styles. Along with musical centers such as Philadelphia, Seattle, New York City, San Francisco, New Orleans, Detroit, Minneapolis, Chicago, Miami, Atlanta, Nashville,Austin, and Los Angeles, many smaller cities such as Asbury Park, New Jersey have produced distinctive styles of music. The Cajun and Creoletraditions in Louisiana music, the folk and popular styles of Hawaiian music, and the bluegrass and old time music of the Southeastern states are a few examples of diversity in American music.

The music of the United States can be characterized by the use of syncopation and asymmetrical rhythms, long, irregular melodies, which are said to “reflect the wide open geography of (the American landscape)” and the “sense of personal freedom characteristic of American life”.[3]Some distinct aspects of American music, like the call-and-response format, are derived from African techniques and instruments.

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Throughout the later part of American history, and into modern times, the relationship between American and European music has been a discussed topic among scholars of American music. Some have urged for the adoption of more purely European techniques and styles, which are sometimes perceived as more refined or elegant, while others have pushed for a sense of musical nationalism that celebrates distinctively American styles. Modern classical music scholar John Warthen Struble has contrasted American and European, concluding that the music of the United States is inherently distinct because the United States has not had centuries of musical evolution as a nation. Instead, the music of the United States is that of dozens or hundreds of indigenous and immigrant groups, all of which developed largely in regional isolation until the American Civil War, when people from across the country were brought together in army units, trading musical styles and practices. Struble deemed the ballads of the Civil War “the first American folk music with discernible features that can be considered unique to America: the first ‘American’ sounding music, as distinct from any regional style derived from another country.”[4]

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The Civil War, and the period following it, saw a general flowering of American art, literature and music. Amateur musical ensembles of this era can be seen as the birth of American popular music. Music author David Ewen describes these early amateur bands as combining “the depth and drama of the classics with undemanding technique, eschewing complexity in favor of direct expression. If it was vocal music, the words would be in English, despite the snobs who declared English an unsingable language. In a way, it was part of the entire awakening of America that happened after the Civil War, a time in which American painters, writers and ‘serious’ composers addressed specifically American themes.”[5] During this period the roots of blues, gospel, jazz and country music took shape; in the 20th century, these became the core of American popular music, which further evolved into the styles like rhythm and blues, rock and roll and hip hop music.images (3)

Music intertwines with aspects of American social and cultural identity, including through social class, race and ethnicity, geography, religion, language, gender and sexuality. The relationship between music and race is perhaps the most potent determiner of musical meaning in the United States. The development of an African American musical identity, out of disparate sources from Africa and Europe, has been a constant theme in the music history of the United States. Little documentation exists of colonial-era African American music, when styles, songs and instruments from across West Africa commingled in the melting pot of slavery. By the mid-19th century, a distinctly African American folk tradition was well-known and widespread, and African American musical techniques, instruments and images became a part of mainstream American music through spirituals, minstrel shows and slave songs.[6] African American musical styles became an integral part of American popular music through blues, jazz, rhythm and blues, and then rock and roll, soul and hip hop; all of these styles were consumed by Americans of all races, but were created in African American styles and idioms before eventually becoming common in performance and consumption across racial lines. In contrast, country music derives from both African and European, as well as Native American and Hawaiian, traditions and yet has long been perceived as a form of white music.[7]

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Economic and social classes separates American music through the creation and consumption of music, such as the upper-class patronage of symphony-goers, and the generally poor performers of rural and ethnic folk musics. Musical divisions based on class are not absolute, however, and are sometimes as much perceived as actual;[8] popular American country music, for example, is a commercial genre designed to “appeal to a working-class identity, whether or not its listeners are actually working class”.[9] Country music is also intertwined with geographic identity, and is specifically rural in origin and function; other genres, like R&B and hip hop, are perceived as inherently urban.[10] For much of American history, music-making has been a “feminized activity”.[11] In the 19th century, amateur piano and singing were considered proper for middle- and upper-class women. Women were also a major part of early popular music performance, though recorded traditions quickly become more dominated by men. Most male-dominated genres of popular music include female performers as well, often in a niche appealing primarily to women; these include gangsta rap and heavy metal.[12]

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Visit Great Songs and Lyrics for the best of American Music.

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References:

  • Baraka, Amiri; Leroi Jones (1963). Blues People: Negro Music in White America. William Morrow. ISBN 978-0-688-18474-2.
  • Blush, Steven (2001). American Hardcore: A Tribal History. Feral House. ISBN 978-0-922915-71-2.
  • Chase, Gilbert (2000). America’s Music: From the Pilgrims to the Present. University of Illinois Press. ISBN 978-0-252-00454-4.
  • Clarke, Donald (1995). The Rise and Fall of Popular Music. St. Martin’s Press. ISBN 978-0-312-11573-9.
  • Collins, Ace (1996). The Stories Behind Country Music’s All-Time Greatest 100 Songs. Boulevard Books. ISBN 978-1-57297-072-4.
  • Crawford, Richard (2001). America’s Musical Life: A History. W. W. Norton & Company. ISBN 978-0-393-04810-0.
  • Edmonds, Ben (2001). Let’s Get It On (Deluxe edition). booklet liner notes. Motown Records, a Division of UMG Recordings, Inc. MOTD 4757.
  • Ewen, David (1957). Panorama of American Popular Music. Prentice Hall.
  • Ferris, Jean (1993). America’s Musical Landscape. Brown & Benchmark. ISBN 978-0-697-12516-3.
  • Gilliland, John (1969). “Play A Simple Melody” (audio). Pop Chronicles. Digital.library.unt.edu.
  • Hall, Roger L. (2006). A Guide to Shaker Music. PineTree Press.
  • Koskoff, Ellen (ed.), ed. (2000). Garland Encyclopedia of World Music, Volume 3: The United States and Canada. Garland Publishing. ISBN 978-0-8240-4944-7.
  • Garofalo, Reebee (1997). Rockin’ Out: Popular Music in the USA. Allyn & Bacon. ISBN 978-0-205-13703-9.
  • Gillett, Charlie (1970). The Sound of the City: The Rise of Rock and Roll. cited in Garofalo. Outerbridge and Dienstfrey. ISBN 978-0-285-62619-5.
  • Nelson, George (2007). Where Did Our Love Go?: The Rise and Fall of the Motown Sound?. New York: University of Illinois Press. ISBN 978-0-252-07498-1.
  • Kempton, Arthur (2003). Boogaloo: The Quintessence of American Popular Music. New York: Pantheon Books. ISBN 978-0-375-42172-3.
  • Lipsitz, George (1982). Class and Culture in Cold War America. J. F. Bergin. ISBN 978-0-03-059207-2.
  • Malone, Bill C. (1985). Country Music USA: Revised Edition. cited in Garofalo. University of Texas Press. ISBN 978-0-292-71096-2.
  • Nettl, Bruno (1965). Folk and Traditional Music of the Western Continents. Prentice-Hall.
  • Palmer, Robert (April 19, 1990). cited in Garofalo. “The Fifties”. Rolling Stone: 48.
  • Ward, Ed, Geoffrey Stokes and Ken Tucker (1986). Rock of Ages: The Rolling Stone History of Rock and Roll. Rolling Stone Press. ISBN 978-0-671-54438-6.
  • Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.) (2000). Rough Guide to World Music. Rough Guides Ltd, Penguin Books. ISBN 978-1-85828-636-5.
  • Sawyers, June Skinner (2000). Celtic Music: A Complete Guide. Da Capo Press. ISBN 978-0-306-81007-7.
  • Schuller, Gunther (1968). Early Jazz: Its Roots and Musical Development. Oxford University Press. ISBN 978-0-19-504043-2.
  • Struble, John Warthen (1995). The History of American Classical Music. Facts on File. ISBN 978-0-8160-2927-3.
  • Szatmary, David (2000). Rockin’ in Time: A Social History of Rock-And-Roll. Prentice Hall. ISBN 978-0-13-022636-5.
  • Weisbard, Eric (1995). Spin Alternative Record Guide. 1st edition. Vintage Books. ISBN 978-0-679-75574-6.
  • Werner, Craig (1998). A Change Is Gonna Come: Music, Race and the Soul of America. Plume. ISBN 978-0-452-28065-6.
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