The Gospel Of The Blues Analysis
The Gospel of the Blues
By: Nikita Gabrielle Taggart
Nikita Taggart
MUS 426
Dr. Lewis
5/1/14
Have you ever gone out on a Saturday night to hear someone sing the blues? In the same respect, gone to a church the next morning and heard a gospel soloist? If not, one might think that these two musical expressions have nothing in common with one another. However, by listening to the motivic development, form, and studying their histories, one will come to learn how similar they actually are.
If American music is truly exceptional, it is solely due to root of blues and gospel music. These two forms of music materialized in the late 19th and early 20th century. Blues and gospel music are inspired riveting …show more content…
The sacred and secular tunes of ordinary black people, embody the characteristics of sorrow, despair, hope, love, restoration, and dreams. Decades later, this music is still commonly known. The essence and musical form of these styles have paved a way for American music thereafter. The blues and gospel of that time was known as country blues. It allowed blues music to be drawn from many sources. Country blues was a smorgasbord of music containing negro-spirituals, work songs, field hollers, and blues notes. Blues and gospel music usually narrates or depicts a story that is connected to trial or event that they have or will …show more content…
Blues artist began to grasp the benefits and options of being a musician instead of working in a factory or on a farm. Women of that time were still seen worthless compared to a man. Conversely, women that were talented blues or gospel musicians were put on a higher pedestal. Gospel music gave women a reputation or status that ordinarily they didn’t obtain. Women started to be viewed as powerful, dominant, dynamic, and tenacious. For example, classic blues became a distinct tradition among African-American singers. Women singers such as Ma Rainey and Alberta Hunter were typically accompanied by a small piano or group. These women prospered in the settings of minstrel circuits, in club and on many recordings. In August of 1920, Mamie Smith raised the standards not only for African-Americans, but for all musicians. Smith was the first musician to record a blues song. Her song, Crazy Blues made her extremely popular and rare to other recording companies. Recording companies began to flourish and thrived for original blues talent. The records targeted to African-Americans were known as “race
By: Nikita Gabrielle Taggart
Nikita Taggart
MUS 426
Dr. Lewis
5/1/14
Have you ever gone out on a Saturday night to hear someone sing the blues? In the same respect, gone to a church the next morning and heard a gospel soloist? If not, one might think that these two musical expressions have nothing in common with one another. However, by listening to the motivic development, form, and studying their histories, one will come to learn how similar they actually are.
If American music is truly exceptional, it is solely due to root of blues and gospel music. These two forms of music materialized in the late 19th and early 20th century. Blues and gospel music are inspired riveting …show more content…
The sacred and secular tunes of ordinary black people, embody the characteristics of sorrow, despair, hope, love, restoration, and dreams. Decades later, this music is still commonly known. The essence and musical form of these styles have paved a way for American music thereafter. The blues and gospel of that time was known as country blues. It allowed blues music to be drawn from many sources. Country blues was a smorgasbord of music containing negro-spirituals, work songs, field hollers, and blues notes. Blues and gospel music usually narrates or depicts a story that is connected to trial or event that they have or will …show more content…
Blues artist began to grasp the benefits and options of being a musician instead of working in a factory or on a farm. Women of that time were still seen worthless compared to a man. Conversely, women that were talented blues or gospel musicians were put on a higher pedestal. Gospel music gave women a reputation or status that ordinarily they didn’t obtain. Women started to be viewed as powerful, dominant, dynamic, and tenacious. For example, classic blues became a distinct tradition among African-American singers. Women singers such as Ma Rainey and Alberta Hunter were typically accompanied by a small piano or group. These women prospered in the settings of minstrel circuits, in club and on many recordings. In August of 1920, Mamie Smith raised the standards not only for African-Americans, but for all musicians. Smith was the first musician to record a blues song. Her song, Crazy Blues made her extremely popular and rare to other recording companies. Recording companies began to flourish and thrived for original blues talent. The records targeted to African-Americans were known as “race