Download PDF by Gerhard Kubik: Africa and the Blues

By Gerhard Kubik

ISBN-10: 1578061466

ISBN-13: 9781578061464

In 1969 Gerhard Kubik chanced to come across a Mozambican hard work migrant, a miner in Transvaal, South Africa, tapping a cipendani, a mouth-resonated musical bow. A similar device was once obvious within the arms of a white Appalachian musician who claimed it as a part of his personal cultural history. via connections like those Kubik discovered that the hyperlink among those far-flung musicians is African-American song, the sound that turned the blues.

Such discoveries demonstrate a story of tune evolution for Kubik, a cultural anthropologist and ethnomusicologist. touring in Africa, Brazil, Venezuela, and the USA, he spent 40 years within the box amassing the fabric for Africa and the Blues. during this e-book, Kubik relentlessly lines the distant genealogies of African cultural song via eighteen African international locations, particularly within the Western and important Sudanic Belt.

Included is a entire map of this cradle of the blues, besides 31 pictures amassed in his fieldwork. the writer additionally provides transparent musical notations and outlines of either African and African American traditions and practices and calls into query the numerous assumptions approximately which components of the blues have been "European" in starting place and approximately which got here from Africa. specified to this ebook is Kubik's perception into the methods present-day African musicians have followed and enlivened the blues with their very own traditions.

With scholarly care yet with an ease for the overall reader, Kubik proposes a completely new idea on blue notes and their origins. Tracing what musical characteristics got here from Africa and what mutations and mergers happened within the Americas, he exhibits that the African American culture we name the blues is really a musical phenomenon belonging to the African cultural world.

Gerhard Kubik is a professor within the division of ethnology and African experiences on the collage of Mainz, Germany. considering the fact that 1983 he has been affiliated with the guts for Social learn of Malawi, Zomba. he's an everlasting member of the heart for Black track examine in Chicago and an Honorary Fellow of the Royal Anthropological Institute of serious Britain and eire, London.

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By Gerhard Kubik

ISBN-10: 1578061466

ISBN-13: 9781578061464

In 1969 Gerhard Kubik chanced to come across a Mozambican hard work migrant, a miner in Transvaal, South Africa, tapping a cipendani, a mouth-resonated musical bow. A similar device was once obvious within the arms of a white Appalachian musician who claimed it as a part of his personal cultural history. via connections like those Kubik discovered that the hyperlink among those far-flung musicians is African-American song, the sound that turned the blues.

Such discoveries demonstrate a story of tune evolution for Kubik, a cultural anthropologist and ethnomusicologist. touring in Africa, Brazil, Venezuela, and the USA, he spent 40 years within the box amassing the fabric for Africa and the Blues. during this e-book, Kubik relentlessly lines the distant genealogies of African cultural song via eighteen African international locations, particularly within the Western and important Sudanic Belt.

Included is a entire map of this cradle of the blues, besides 31 pictures amassed in his fieldwork. the writer additionally provides transparent musical notations and outlines of either African and African American traditions and practices and calls into query the numerous assumptions approximately which components of the blues have been "European" in starting place and approximately which got here from Africa. specified to this ebook is Kubik's perception into the methods present-day African musicians have followed and enlivened the blues with their very own traditions.

With scholarly care yet with an ease for the overall reader, Kubik proposes a completely new idea on blue notes and their origins. Tracing what musical characteristics got here from Africa and what mutations and mergers happened within the Americas, he exhibits that the African American culture we name the blues is really a musical phenomenon belonging to the African cultural world.

Gerhard Kubik is a professor within the division of ethnology and African experiences on the collage of Mainz, Germany. considering the fact that 1983 he has been affiliated with the guts for Social learn of Malawi, Zomba. he's an everlasting member of the heart for Black track examine in Chicago and an Honorary Fellow of the Royal Anthropological Institute of serious Britain and eire, London.

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Extra resources for Africa and the Blues

Example text

But as the style evolved, ragtime coalesced into a structured four-theme form, with each melody typically encompassing sixteen bars. The most common form for these classic rag pieces was AABBACCDD, with a modulation to a different key typically employed for the C theme. Although the published ragtime compositions came to include vocal works and band arrangements, this style reached its highest pitch as a form of solo piano music. Nor should this be surprising. In many ways, the spread of this jubilant new music went hand in hand with the growing popularity of pianos in turn-of-the-century American households.

The city sits below sea level, and its damp, warm climate combined with dismal local sanitation—the city had no sewage system until 1892, long after most North American cities had adopted modern methods of fluid waste disposal—made the Crescent City an ideal breeding ground for mosquitoes, roaches, and other assorted vermin. 3 After the 1878 epidemic, population growth resumed at a sluggish 1 percent annual rate, but the number of foreign-born members of the population actually declined, as new immigrants sought more flourishing economies and healthier surroundings.

Undeterred, Joplin proceeded with the daunting tasks of orchestrating the lengthy work and seeking financial backing for a full-scale production. On completing the orchestration, Joplin began auditioning singers, determined to stage the opera at his own expense to test the public response. A single performance took place, in 1915 in a Harlem hall, with an underrehearsed cast, no scenery or costumes, and without an orchestra—merely the composer playing the piano score. The work, staged in such an austere manner, generated little enthusiasm at the time among a Harlem audience more interested in assimilating established artistic traditions than in celebrating the roots of African American culture.

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Africa and the Blues by Gerhard Kubik


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