Music through out the years have changed with the times. European music during the 1800s was classical composer after the other. Then one day an African American involved himself into crafting a new style of music. Samuel Coleridge Taylor took the exoticnist of African American music and mixed it with contemportrary English music. Not only was Samuel making changed in music; but he also stood against dicrimination and injustice of African American. Born August 15, 1875 in Holborn, United Kingdom; Samuel Clebridge-Taylor was born. There had been many speculations on his parents including his dad was a African man who was a surgeon and returned to his him leaving him and his white mother. What is for certain is that jhis mother name was Alice Hughes and he grew up in …show more content…
Even when he studied for his degree Samuel Colebridge-Taylor had one numerous awards for small pieces that he composed. Samuel was being recognized for fusing African American music with the British music to create a unique and popular style. While still being dicriminated by others at The Royal College of Music, Taylor continues to change the stubron view of peers by creating a new spin on European style of music. Later on in the years he begans to branch off so he can again create new systems of music to complemend the music of this time period. In, 1896 he and African American poet Paul Laurence Dunbar and Samuel Colebridge Taylor became good friends and decided to work together ro improve the life of the arts. Soon after the two began to design a performance where the poetry and the music worked together as one. Both men then decided to create more works like "Seven African Romance", "Dream Taylor" and many other works that are appreciated by his peers.
[the black musician] improvises, he creates, it comes from within” (Gerard 28). Despite Malcolm X’s criticism of the classically-trained musician’s inability to improvise, the European-influenced creole musicians began to learn to create variation within ragtime’s syncopated form. Likewise, blues musicians adopted parts of the genre of ragtime and implemented it into their call-and-response based music. The merging of these two styles of music occurred as a result of external socio-political pressure of Jim Crow segregation, but ultimately helped establish an innovative and swinging genre of jazz
William Grant Still was an African American composer born in Woodsville, Mississippi on May 11, 1895. He grew up playing violin, starting at the age of 14, in Little Rock Arkansas. He attended Wilberforce University in 1911 determined to be a composer of concert music and opera. Early in his musical career, his primary role model in the classical world was Coleridge- Taylor, a british composer of mixed race. Around 1916, Still started to work for W.C. Handy in the arranging business.
James joseph brown, a name that will be remembered throughout history for lifetimes to come. To understand how he changed society throughout the world we must start from the beginning. James brown was born May 3rd, 1933 in Barnwell, SC in extreme poverty, James Brown worked his way to the top of the funk and R&B. When James was 16, he was arrested for stealing a car, there he met music producer Bobby byrd and together they changed the world. When both brown and byrd returned from prison byrd ask brown to join his R&B vocal group,”The Gospel Starlights”.
“Duke Ellington’s composition was a musical history of African Americans, ‘Black, Brown, and Beige”(Pop Culture of 20th-Century America). He took jazz in a new direction. Duke wrote more elaborate pieces of music that mixed classical and jazz music together. The popularity of jazz led younger black musicians to break into new techniques. Soon after jazz became popular, African American musicians soon became very successful.
The Harlem Renaissance was a time period between the end of World War 1 and the 1930s. It was a musical, literary, cultural, and artistic movement in Harlem that greatly impacted the 1920s along with the world today. Many African Americans were able to live normally when they were not ruled by the White people. During the Renaissance, these Africans Americans were able to take pride in their race and show how intellectually capable and talented they were. The movement along with many of the people associated with it broke many Black stereotypes, started integration, and was the early beginning of the Civil Rights Movement.
African American music has a rich history of serving as a form of resistance against oppression and injustice. Four prominent musical forms during the Antebellum period were work songs, field hollers, folk songs, and spirituals. Work songs were sung by slaves while they performed manual labor and often contained hidden messages of resistance and hope. For example, Levine (587-598) notes that work songs often contained coded lyrics that referred to escape or rebellion. For example, “Pick a Bale of Cotton” was a work song that contained hidden references to the difficulties of slave life and the hope of freedom.
Blues could not exist if the African captives had not become American slaves. Without African slaves from West Africa, there would be no blues music. The immediate predecessors of blues were the Afro-American/American Negro work songs, which had their musical origins in West Africa. It is impossible to say how old the blues are but it is certainly no older than the presence of Negros in the United States. The African slaves brought their music with them to the New World.
As I will study Afrofuturism and music in the 21st century, it is important to look at the historical and musical background of Afrofuturism in the 20th century in order to get a good image of the history of Afrofuturism. There are different musical genres and artists that can be associated with this term. I will give some examples of musical genres and artists that were involved in the Afrofuturistic music. Jazz is the first musical genre that will be discussed. Jazz is often associated with blackness and slavery.
He was great at expressing his soul and love through his music, which was exactly what the black community had during
As early as the seventeenth century, black musicians performed English ballads for white audiences in distinctively African American style… By the eighteenth century, slaves in these regions organized black election or coronation festivals that lasted several
Elizabeth Rosemond Taylor was born on February 27, 1932, in London England. There she grew up with her mom, Sara, her father, Francis, and her older brother, Howard. Both of her parents were American, but they moved to England so her father could pursue his career as an art dealer. Liz’s mother used
Jackson was wanting to change Washington and America. He done that very fast. The very first major piece of legislation, Jackson had recommended and got passed, was the Indian Removal Act of 1830. This act forced Jackson to prevent all the Indian tribes to live East of the Mississippi River. There were five Indian nations that were highly effected.
However, there were no complaints and Coleridge-Taylor was able to flourish with the attention he received. Two years later he began composing his own pieces. In 1892
Some of them included Duke Ellington, Fletcher Henderson, and Jimmy Lunceford. Interestingly enough, because of the popularity of the music, African Americans were able to produce music and bring it into white society for them to listen to. These African American musicians also influenced many of the white musicians as well. White jazz musicians had taken inspiration from black jazz music for many years, but because of swing, they became even more deeply devoted to integrating this music to blacks and whites. Benny Goodman was one of these white musicians.
Armstrong’s Hotter Than That had a variety of instruments playing in the piece, but the clear focus was on the interplay between Armstrong’s trumpet and scatting and Lonnie Johnson’s guitar. The trombone, clarinet, and piano were used throughout the piece to add a variation in sound to prevent the piece from sounding to monotonous. One section I appreciated was the end of Armstrong’s first trumpet solo transitioning into the clarinet solo, which was accentuated by the clarinet playing a single, syncopated high note. Throughout the clarinet solo, Johnny Dodds utilized many blue’s slides, which I think added an interesting dynamic to this otherwise concise piece. In regards to Armstrong’s solos, both trumpet and scatting, his improvisational