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74-532: Music of the African diaspora was mostly refined and developed during the period of slavery. Slaves did not have easy access to instruments, so vocal work took on new significance. Through chants and work songs people of African descent preserved elements of their African heritage while inventing new genres of music. The culmination of this great sublimation of musical energy into vocal work can be seen in genres as disparate as Gospel Music and Hip-Hop . The music of

148-404: A call-and-answer format. Well before the nineteenth century, sea songs were common on rowing vessels. Such songs were also very rhythmic in order to keep the rowers together. Because many cultures used slaves to row, some of these songs might also be considered slave songs. Improvised verses sung by sailors spoke of ills with work conditions and captains. These songs were performed with and without

222-462: A melody with a harmony. Often, there will be multiple rhythmic patterns used in the same song "resulting in a counterpoint of rhythms." The focus on polyphony also allows for improvisation, a component that is crucial to African-American work songs. As scholar Tilford Brooks writes, "improvisation is utilized extensively in Black folk songs, and it is an essential element especially in songs that employ

296-907: A similar process of change, as can be seen for example in France, where Saint-Simon noted the rise of 'Chansons Industriale' among cloth workers in the early nineteenth century, and in the USA where industrialisation expanded rapidly after the Civil War . A.L. Lloyd defined the industrial work song as 'the kind of vernacular songs made by workers themselves directly out of their own experiences, expressing their own interest and aspirations...'. Lloyd also pointed to various types of song, including chants of labour, love and erotic occupational songs and industrial protest songs, which included narratives of disasters (particularly among miners), laments for conditions, as well as overtly political strike ballads. He also noted

370-595: A similar—if not the same—tune: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther ." Farm laborers in Holland at the time received as their wages "as much buttermilk ( Botermilk ) as they could drink, and a tenth ( tanther ) of the grain". African-American work songs originally developed in the era of slavery, between the seventeenth and nineteenth centuries. Because they were part of an almost entirely oral culture, they had no fixed form and only began to be recorded as

444-629: A slow tempo, and it is sung in Antillean Creole , although it also has varieties that have developed in francophone Africa. It is popular throughout the French-speaking world, including France and Quebec . Early forms of Afro-Caribbean music in Jamaica was Junkanoo (a type of folk music now more closely associated with The Bahamas ). Mento is a style of Jamaican music that predates and has greatly influenced ska, which

518-479: A song Africans would sing as they approached one of these festivals. It is from ex bonded African William Wells Brown 's memoir " My Southern Home." All them pretty gals will be there, Shuck that corn before you eat; They will fix it for us rare, Shuck that corn before you eat. I know that supper will be big, Shuck that corn before you eat; I think I smell a fine roast pig, Shuck that corn before you eat. These long, mournful, antiphonal songs accompanied

592-676: A song would be, " Formation " by the African-American singer, Beyoncé ; released in 2016. This popular musical composition mentioned racial injustice events that triggered the Black Lives Matter Movement (e.g. police brutality/violence) but, also included Beyoncé embracing her distinct African heritage. The current protest music scene has benefited greatly from the contributions of other musicians as well. For example: With its upbeat lyric "We gon' be alright," Kendrick Lamar's 2015 single "Alright" became an anthem for

666-483: A step further to express how sticking to conversations of what is authentic hurts our ability to better understand the “mutation” of Black music as it engages and it changed by the Black Diaspora . In understanding the motivations behind pronouncing authenticity, Gilroy identifies the financial and market-based benefits to this pronouncement by saying, “the discourse of authenticity has been a notable presence in

740-462: A striking resemblance between the Islamic call to prayer (originating from Bilal ibn Rabah , a famous Abyssinian African Muslim in the early 7th century) and 19th-century field holler music, noting that both have similar lyrics praising God, melody, note changes, "words that seem to quiver and shake" in the vocal cords, dramatic changes in musical scales , and nasal intonation . She attributes

814-450: A subversive form of expression. Enslaved people sang improvised verses to mock their overseers, express frustrations, and share dreams of escaping. Many work songs served to create connection and familiarity between workers. Yankee Doodle is thought to have started out as a harvest song, its words possibly originating from farmers in 15th century Holland . It contained mostly nonsensical and out-of-place words that were presumably sung to

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888-458: A truly global phenomenon leading to a dilution of black music into an ever-increasing number of genres and styles across the world. This dilution has created tension around what music can be considered authentically Black. In understanding how authenticity is conceived, Gilroy discusses how authenticity functions as an aspect of Black music that comes from perceived proximity to the origin of said music. On page 96 of his book The Black Atlantic he

962-628: Is a piece of music closely connected to a form of work, either one sung while conducting a task (usually to coordinate timing) or one linked to a task that may be a connected narrative, description, or protest song . An example is " I've Been Working on the Railroad ". Records of work songs are as old as historical records, and anthropological evidence suggests that most agrarian societies tend to have them. When defining work songs, most modern commentators include songs that are sung while working, as well as songs that are about work or have work as

1036-514: Is made to portray resistance through music in order to strengthen the communal bond and identity for groups that share collective memories of oppression, suffering, etc. As is the case throughout the Caribbean, Lesser Antillean musical cultures are largely based on the music of African slaves brought by European traders and colonizers. The African musical elements are a hybrid of instruments and styles from numerous West African tribes, while

1110-424: Is not enough for critics to point out that representing authenticity involves artifice. This may be true, but it is not helpful when trying to evaluate or compare cultural forms let alone in trying to make sense of their mutation.” By making the word artifice synonymous with the representation of authenticity in this context, Gilroy is acknowledging the lack of definitive ability to denote authenticity. Gilroy then goes

1184-408: Is one of the most recorded songs in the history of music. Another of Iradier's compositions is " El Arreglito ", a habanera used by Georges Bizet in his opera Carmen . Bizet, thinking it was a folk song, was inspired by the melody, and recomposed it as the aria "L'amour est un oiseau rebelle", also known as the "Habanera" . When he discovered his mistake, Bizet added a note to the vocal score of

1258-515: Is pop country, Cher 's "Working Girl" is also an office work anthem. Donna Summer 's "She Works Hard for the Money" is disco/techno and refers to "the oldest profession" ( prostitution ). Sebastian Yradier Sebastián Iradier Salaverri (Salaberri) (20 January 1809 – 6 December 1865), or Sebastián Yradier , was a Spanish Basque composer. Iradier was born in Lanciego , in

1332-563: Is very limited in scope and is not adopted by academic institutions as a true category of music. The individual aspects and collectively of black music is surrounded by the culture in itself as well as experience. Black music is centered around a story and origin. Many artist start song with the things they experience firsthand. Musical Blackness was a way of communicating and a way to express themselves during hard times such as slavery. Their songs were used to give guidance to one another and tell stories. The varieties of sounds and expressions used in

1406-629: The Fisk Jubilee Singers would spread across America. While a couple bands like the Fisk Jubilee Singers made main stage appearances a bulk of Spirituals would be in small Black churches. As the music of the African Diaspora progresses, more recent and popular songs have demonstrated an act of protest in their lyrics and significant elements that are featured in the music of the African Diaspora. An example of

1480-690: The Mbuti of the Congo, often incorporated distinctive whistles and yodels so that hunters could identify each other's locations and the locations of their prey. Most agricultural work songs were rhythmic , a cappella songs intended to increase productivity while reducing feelings of boredom. Rhythms of work songs, similar to an African drum beat, served to synchronize physical movement in groups, coordinating sowing, hoeing, and harvesting. The usage of verses in work songs were sometimes improvised and sung differently each time. Improvisation provided singers with

1554-498: The blues . The call and response format showcases the ways in which work songs foster dialogue. The importance of dialogue is illuminated in many African-American traditions and continues on to the present day. Particular to the African call and response tradition is the overlapping of the call and response. The leader's part might overlap with the response, thus creating a unique collaborative sound. Similarly, African-American folk and traditional music focuses on polyphony rather than

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1628-546: The cabildos , a form of social club among African slaves brought to the island. Traditional Afro-Cuban styles, include son , Batá and yuka and Rumba . The Cuban contradanza , which became also known as the Habanera , the first written music to be rhythmically based on an African rhythm pattern, gained international fame in the 19th century. The habanera "El Arreglito" composed by the Spanish musician Sebastian Yradier ,

1702-504: The combined rhythm popular style. The islands also share a passion for kaseko , a genre of Surinamese music ; Suriname and its neighbors Guyana and French Guiana share folk and popular styles that are connected enough to the Antilles and other Caribbean islands that both countries are studied in the broader context of Antillean or Caribbean music. Starting from the second half of the 19th century, African American performance through

1776-547: The 1940s and 1950s. Guthrie and other politically active performers, especially the Weavers with Pete Seeger , continued the Union Songs movement that had begun with Joe Hill in the early 1900s. From that time, most topical and activist singers including Joan Baez , Bob Dylan and Phil Ochs performed work-related songs. Rock performers with working-class leanings such as Bruce Springsteen have also been influenced by

1850-554: The 1980s,It has many influences, from Haitian, calypso , beguine and compas . Beyond its roots in the Caribbean, zouk has become more popular throughout the French-speaking world, especially in France, Quebec, and Francophone Africa, where regional varieties of the genre have emerged. African nations such as Cape Verde, Senegal, and the Ivory Coast have seen the fusion of zouk with indigenous music genres to create new hybrid styles such as Afro-funk. The conventional zouk sound has

1924-887: The African diaspora makes frequent use of ostinato , a motif or phrase which is persistently repeated at the same pitch. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody. The banjo is a direct descendant of the Akonting created by the Jola people , found in Senegal , Gambia and Guinea-Bissau in West Africa. Hence, the melodic traditions of the African diaspora are probably most alive in Blues and Jazz . Many genres of music originate from communities that have visible roots in Africa. In North America , it

1998-565: The Africans of home, while others were instituted by the captors to raise morale and keep Africans working in rhythm. They have also been seen as a means of withstanding hardship and expressing anger and frustration through creativity or covert verbal opposition. Similarly, work songs have been used as a form of rebellion and resistance. Specifically, African-American women work songs have a particular history and center on resistance and self-care. Work songs helped to pass down information about

2072-517: The American and West Indian servicemen due to the similarities of their physical appearance, most notably their darker skin color, and consequently shared dances and songs with them. The so-called Black Pacific, i.e. the cultural contact of African and Melanesian people, was fostered mainly through the Melanesian négritude that became the focal point of cultural communication, including music and

2146-561: The Black Lives Matter movement and reverberated throughout protests and demonstrations. Lamar further cemented his status as a protestor with his 2015 album To Pimp a Butterfly, which was an artistic investigation of racial injustice, police brutality , and African-American identity. In his book, The Black Atlantic , Sociologist Paul Gilroy starts a discussion of authenticity in the Black trans-Atlantic arena of diasporic music production by presenting how black music has become

2220-565: The British colonial authorities. Nevertheless, steel drums spread across the Caribbean, and are now an entrenched part of the culture of Trinidad and Tobago . The French islands of Martinique and Guadeloupe share the popular zouk style and have also had extensive musical contact with the music of Haiti , itself once a French colony though not part of the Lesser Antilles. The Dutch colonies of Curaçao , Bonaire and Aruba share

2294-542: The European slaveholders added their own music into the mix, as did immigrants from India. In addition to African and European influences, East Indian immigrants, who were brought to the Caribbean as indentured laborers after the abolition of slavery, also contributed to the region's musical diversity. East Indian musical traditions, particularly those rooted in Hindu devotional music and folk forms like chutney, further enriched

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2368-420: The U.S. black experience but also a global black experience that stretches from Africa to Americas. The term for many coming from places of "Black" origin can be perceived in a derogatory manner by cultures who see the term as a blurring of lines which ignores the true roots of certain peoples and their specific traditions. To refer to musical genres with strong African-American influence, such as hip hop music ,

2442-512: The adoption of Carnival by Trinidadian slaves, including camboulay drumming and the music masquerade processions. In the 1970s, a calypso variant called soca arose, characterized by a focus on dance rhythms rather than lyricism. Soca has since spread across the Caribbean and abroad. Steel drums are a distinctively Trinidadian ensemble that evolved from improvised percussion instruments used in Carnival processions. Steel bands were banned by

2516-482: The aid of a drum. Western music was directly influenced by the folk music traditions of immigrants in the nineteenth century as they moved west. They reflected the realities of the range and ranch houses where the music originated, played a major part in combating the loneliness and boredom that characterised cowboy life and western life in general. Such songs were often accompanied on portable instruments of guitars , fiddles , concertina and harmonica . In

2590-625: The arts. Popular music bands with an evident anti-colonial, Black Power identity were the Black Brothers, a rock-reggae band from West Papua in 1970s, and the Black Sweet, a Melanesian band in the 1980s. When Africans came to the United States they brought their music with them. Over time, a new genre of music developed, called spirituals . Spirituals were the songs that the enslaved Africans began to sing, and they were sung by

2664-415: The blues, each caller had his own signature. The effectiveness of a caller to move his men has been likened to how a preacher can move a congregation." Another common type of African-American work song was the "boat song." Sung by slaves who had the job of rowing, this type of work song is characterized by "plaintive, melancholy singing." These songs were not somber because the work was more troublesome than

2738-580: The call-and-response pattern." Brooks also notes that often in a work song, "the leader has license to improvise on the melody in [their] call, while the response usually repeats its basic melody line without change." Also evident were field hollers , shouts, and moans, which may have been originally designed for different bands or individuals to locate each other and narrative songs that used folk tales and folk motifs, often making use of homemade instruments. In early African captivity drums were used to provide rhythm, but they were banned in later years because of

2812-729: The colonial type of blackface entertainment gained popularity in Australia. The use of funk, hip hop, and reggae in Papua New Guinea is a phenomenon that occurred post-1970s, however the racial identifications expressed within said phenomenon originate from the mid 20th century during World War II . American presence in the Second World War brought African-American and West Indian soldiers into contact with Melanesian and Aboriginal indigenous groups. Aboriginal peoples and Torres Strait Islanders were able to identify with

2886-449: The eighteenth century, as workers took the forms of music with which they were familiar, including ballads and agricultural work songs, and adapted them to their new experiences and circumstances. Unlike agricultural work songs, it was often unnecessary to use music to synchronise actions between workers, as the pace would be increasingly determined by water, steam, chemical and eventually electric power, and frequently impossible because of

2960-418: The enslaved Africans often, including while working, in prayer meetings, and in Black churches. They helped the enslaved Africans cope with slavery. They were composed by the community and the genre came out of the enslaved African experience. Spirituals developed because the enslaved African's masters forced Christianity onto them. Through Christianity, the enslaved Africans learned many hymns . Eventually,

3034-461: The era of slavery came to an end after 1865. Slave Songs of the United States was the first collection of African-American "slave songs." It was published in 1867 by William Francis Allen , Charles Pickard Ware , and Lucy McKim Garrison . Though this text included many songs by slaves, other texts have also been published that include work songs. Many songs sung by slaves have their origins in African song traditions, and may have been sung to remind

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3108-532: The evolving musical culture of the Lesser Antilles. In Trinidad and Tobago , whose calypso style is an especially potent part of the music of the other former British colonies, which also share traditions like the Big Drum dance. Trinidadian folk calypso is found throughout the area, as are African-Caribbean religious music styles like the Shango music of Trinidad. Calypso's early rise was closely connected with

3182-410: The existence of songs about heroic and mythical figures of industrial work, like the coal miners the 'Big Hewer' or 'Big Isaac' Lewis. This tendency was even more marked in early American industrial songs, where representative heroes like Casey Jones and John Henry were eulogised in blues ballads from the nineteenth century. In the 1930s, Lead Belly (Huddie Ledbetter) was recorded in prison by

3256-575: The fast-paced music throughout the energetic dance. Similar to bachata, merengue was originally connected to the lower classes but rose to national popularity in the 20th century and has subsequently expanded globally. Haitian music is familiar to people in the English-speaking world as Méringue . It developed during the early decades of the 19th century. When jazz became popular worldwide, mini-jazz ( mini-djaz in Haitian Creole )

3330-477: The fear that Africans would use them to communicate in a rebellion; nevertheless, Africans managed to generate percussion and percussive sounds, using other instruments or their own bodies. In the 1950s, there are very few examples of work songs linked to cotton picking. Corn, however, was a very common subject of work songs on a typical plantation. Because the crop was the main component of most Africans' diet, they would often sing about it regardless of whether it

3404-502: The first traditional songs to be collected in the field in the 1950s. Merv Lilley and Dorothy Hewett wrote work poems that were set to music during the early 1960s folk revival and became standards, such as the call-and-reply canecutting song "Cane Killed Abel" and one of the first songs about the social and environmental damage caused by industrialisation, "Weevils in the Flour". Alternative rock bands like Midnight Oil and Goanna passed

3478-483: The folklorist Alan Lomax . Lead Belly knew hundreds of work hollers and traditional songs from the cotton fields, railroads and prison gangs. In the 1940s he toured widely on college campuses and folk music venues, popularising songs including "Take This Hammer", "John Henry" "Boll Weevil" and "Midnight Special". His repertoire was a major influence on the Folk Revival of the 1950s and 1960s. Mining songs written in

3552-415: The foreman and others. The lead singer, or caller, would chant to his crew, for example, to realign a rail to a certain position. His purpose was to uplift his crew, both physically and emotionally, while seeing to the coordination of the work at hand. It took a skilled, sensitive caller to raise the right chant to fit the task at hand and the mood of the men. Using tonal boundaries and melodic style typical of

3626-467: The genre was amargue ("bitterness", "bitter music", or "blues music"), until the more neutral term bachata became popular. The Dominican Republic gave birth to merengue in the 19th century, and it quickly became a vital component of that nation's musical culture. Melegue is a fast-paced 2/4 beat that combines bass guitar, accordion, guira (a metal scraper), and tambora (a two-sided drum). Couples grasp each other tightly and move their hips and feet in time with

3700-485: The genre. In Britain, Ewan MacColl and Peggy Seeger produced hundreds of albums of political and traditional songs, writing many songs referring to industrial and working conditions. Folk or folk-rock performers including Steeleye Span , Fairport Convention , The Watersons , Dick Gaughan , Capercaillie , Billy Bragg , James Fagan and Nancy Kerr have featured work songs in their performances. In Australia, shearing songs and droving songs featured strongly in

3774-641: The hymns and the text of the Bible combined with many elements of music that the enslaved Africans had brought with them from Africa, such as antiphony (the call-and-response pattern) and syncopation. This eventually formed into the genre called spirituals. They began as oral performances passed down by word of mouth but with the access to literacy that eventually followed the Emancipation Proclamation enslaved Africans eventually had their voices printed beyond orality. Published spirituals allowed

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3848-440: The industrial or proto-industrial songs of cloth workers (see Waulking song ), factory workers , seamen , longshoremen , mechanics , plumbers , electricians , lumberjacks , cowboys and miners . He also added prisoner songs and modern work songs. In societies without mechanical timekeeping , songs for mobilisation–calling members of a community together for a collective task–were extremely important. Both hunting and

3922-417: The keeping of livestock tended to involve small groups or individuals, usually boys and young men, who would spend long hours working, away from the centers of settlement. As a result, these activities tended to produce long narrative songs, often sung individually, which might dwell on the themes of pastoral activity or animals, designed to pass the time in the tedium of work. Hunting songs, such as those of

3996-500: The late 1940s by country artists Merle Travis ("Sixteen Tons" and " Dark as a Dungeon ") and Billy Edd Wheeler ("Coal Tattoo") also became fireside standards. The working class was glorified in Marxist theory and practice, and a strong link between work songs and activism developed in the USA and elsewhere. The "dustbowl balladeer" Woody Guthrie wrote and performed work-related songs such as " Deportee " and "Talking Hard Work" in

4070-399: The linguistic innovations of Jamaica's distinct modes of 'kinetic orality,' "This flips his earlier description of authenticity on its head by presenting a seemingly culturally regional and authentic Black art form as a truly global manifestation, depicting how ambiguous authenticity can be. As such, Gilroy effectively deconstructs the concept of authenticity. Work songs A work song

4144-463: The lived experience of enslaved people to their communities and families. A common feature of African-American songs was the call-and-response format, where a leader would sing a verse or verses and the others would respond with a chorus. This came from African traditions of agricultural work song and found its way into the spirituals that developed once Africans in bondage began to convert to Christianity and from there to both gospel music and

4218-435: The main subject, since the two categories are often interconnected. Norm Cohen divided collected work songs into the following categories: domestic, agricultural or pastoral, sea shanties , African-American work songs, songs and chants of direction, and street cries . Ted Gioia built on these categories by dividing agricultural and pastoral songs into subsections: hunting, cultivation and herding songs. Goia also highlighted

4292-444: The mass marketing of successive Black folks cultural forms to white audiences,” demonstrating the reason for desiring being denoted as authentic. However, he also acknowledges that even seemingly authentic art forms like hip-hop, an American art form, are diasporic in nature incorporating global influences into their origin questioning how definitive apparent authenticity can be. Gilroy describes Hip-Hop as having “formal borrowings from

4366-726: The music helped stress their emotions. Black music began to reflect urban environments through amplified sounds, social concerns, and cultural pride expressed through music. It combined blues, jazz, boogie-woogie and gospel taking the form of fast paced dance music with highly energized guitar work appealing to young audiences across racial divides. Genres include spiritual , gospel , rumba , blues , bomba , country, rock and roll , rock , jazz , pop , salsa , R&B , samba , calypso , soca , soul , disco , kwaito , funk , ska , reggae , dub reggae , house , Detroit techno , amapiano , hip hop , gqom , afrobeat , bluegrass , and others. The roots of most Cuban music forms lie in

4440-471: The nineteenth century cowboy bands developed and cowboy songs began to be collected and published from the early twentieth century with books like John Lomax 's Cowboy Songs and Other Frontier Ballads (1910). As cowboys were romanticised in the mid-twentieth century they became extremely popular and played a part in the development of country and western music . Industrial folk song emerged in Britain in

4514-454: The noise of early industry. As a result, industrial folk songs tended to be descriptive of work, circumstances, or political in nature, making them amongst the earliest protest songs and were sung between work shifts or in leisure hours, rather than during work. This pattern can be seen in textile production , mining and eventually steel, shipbuilding, rail working and other industries. As other nations industrialised their folk song underwent

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4588-569: The origins of field holler music to African Muslim slaves who accounted for an estimated 30% of African slaves in America. According to Kubik, "the vocal style of many blues singers using melisma , wavy intonation, and so forth is a heritage of that large region of West Africa that had been in contact with the Arabic - Islamic world of the Maghreb since the seventh and eighth centuries." There

4662-710: The province of Álava . His publisher in Paris urged him to "universalize" his name, from Iradier to Yradier. He is known primarily for his habaneras , especially the one titled " La Paloma ", written around 1860 after a visit to Cuba . "La Paloma" was extremely popular in both Spain and the Americas (especially Mexico ), where it was responsible for the great popularity achieved by the habanera. Radio Universidad Nacional Autónoma de México (UNAM) has estimated that there are more than one thousand versions of "La Paloma", and said that, together with " Yesterday " by The Beatles , it

4736-493: The songs to spread throughout the U.S. and attracting attention in Europe. Men like Frederick Douglass took notice and commentated on the genre, the religious aspects of it made it much more appealing to other African Americans. Many other African-American music genres, such as gospel and jazz, developed from this genre. Spirituals would continue to be created and played by African Americans post emancipation as well, bands like

4810-506: The tradition to a broader audience. With the end of the folk boom in the 1970s and the rise of the introspective singer-songwriter, the genre lost its wide public appeal, but work songs have continued to be very popular throughout the folk scene, at protest gatherings and with union choirs. Waulking songs from Scotland are a traditional genre performed while women communally beat and felted cloth. Some women's work songs have been created within modern genres. Dolly Parton 's "Nine to Five"

4884-422: The work of harvesting crops. Rather, they were low-spirited so that they could maintain the slow, steady tempo needed for rowing. In this way, work songs followed the African tradition, emphasizing the importance of activities being accompanied by the appropriate song. The historian Sylviane Diouf and ethnomusicologist Gerhard Kubik identify Islamic music as an influence on field holler music. Diouf notes

4958-534: The work on cotton plantations, under the driver's lash. Work songs were used by African-American railroad work crews in the southern United States before modern machinery became available in the 1960s. Anne Kimzey of the Alabama Center For Traditional Culture writes: "All-black gandy dancer crews used songs and chants as tools to help accomplish specific tasks and to send coded messages to each other so as not to be understood by

5032-450: Was a way that the early slaves could express themselves and communicate when they were being forcibly relocated and when there were restrictions on what cultural activities they could pursue. The sorrows of song were the only freedom slaves had working on cotton fields, and overall through labor tactics. This burden of slavery became a gateway for other genres of music such as the blues. For example, Black music does not just encompass sounds of

5106-564: Was adapted to become one of the most famous arias in Georges Bizet 's 1875 opera Carmen , " L'amour est un oiseau rebelled ". Bachata is a popular guitar music that originated in the Dominican Republic . Having strong African and Spanish influences it is therefore also considered to be music of Latin America . The subjects of bachata are often romantic with tales of heartbreak and sadness. The original term used to name

5180-594: Was also fused with African traditions, American jazz and blues. Subsequent styles besides ska include, rocksteady and raggamuffin . (Mical 1995) Along with the rise of ska came the popularity of deejays who began talking stylistically over the rhythms of popular songs at sound systems, known as toasting. This would later give birth to dancehall and pioneer rapping that later emerged in New York. Reggae stems from early ska and rocksteady, but also has its own style of Jamaican authenticity. In Jamaica, African diasporic music

5254-403: Was being harvested. Often, communities in the south would hold "corn-shucking jubilees," during which an entire community of planters would gather on one plantation. The planters would bring their harvests, as well as their enslaved workers, and work such as shucking corn, rolling logs, or threshing rice would be done, accompanied by the singing of Africans doing work. The following is an example of

5328-552: Was created as Haiti's local variety. Kadans , Haitian Creole for cadence, followed the mini-jazz era. Kadans had an influence on the development of Zouk in the French-speaking Antilles of the Caribbean. Haiti's most well-known modern music genre is compas music. It was first popularized in the 1950s by Nemours Jean-Baptiste . Zouk is a style of music originating in Guadeloupe and Martinique during

5402-565: Was particularly a significant trans-Saharan cross-fertilization between the musical traditions of the Maghreb and the Sahel . Work songs sung by sailors between the eighteenth and twentieth centuries are known as sea shanties. These songs were typically performed while adjusting the rigging , raising anchor, and other tasks where men would need to pull in rhythm. These songs usually have a very punctuated rhythm precisely for this reason, along with

5476-501: Was quoted saying: “folk, or local expressions of Black culture have been identified as authentic and positively evaluated for that reason, while subsequent hemispheric or global manifestations of the same cultural forms have been dismissed as inauthentic and therefore lacking in cultural or aesthetic value precisely because of their distance (supposed or actual) from a readily identifiable point of origin.” However, Gilroy proceeds to counter this perception by saying, “In all these cases it

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