The Influences of African American Music
by Russell Lee, Arts, Literature and Sports Department, Central Library
During the month of June we celebrate African-American Music Appreciation Month. All genres of music have been influenced by the contributions of African American music in some way or another.
When slaves arrived in America during the 1700s, they were forced to reinvent the music, rhythms, moans, chants, and even some of the instruments of their homeland. These were often used to send secret codes and messages to one another, which is the main reason drums were banned on plantations by slave owners. Many slaves were forced to learn and play the banjo or fiddle to provide music and entertainment for slaves and plantation owners to try and keep the thought and reality of slavery out of the slave’s minds.
In 1892 Czech composer, Antonín Dvořák traveled to the United States at the invitation of a wealthy music lover. Dvořák was enthralled with the spirituals of African American slaves. He stated, "I am
now satisfied that the future music of this country must be founded upon what are called the Negro melodies. This must be the real foundation of any serious and original school of composition to be developed in the United States.” While in America he wrote his most popular work, “Symphony No. 9” ("From the New World"). Dvořák stated, "It is the spirit of the Negro melodies which I have endeavored to produce in my new symphony.” Dvorak’s themes are thought to be inspired by spirituals he learned from Harry Burleigh, a black man who studied composition at the National Conservatory under Dvořák. The themes of Dvořák initiated the style of American music composed by Aaron Copeland, George Gershwin, and Duke Ellington. Rock, pop, country, and rhythm and blues have all utilized some characteristics of African American music to produce the sound we hear in present times.
Spirituals were derived from field hollers and work songs. From spirituals the evolution of blues, jazz, and gospel evolved blended hollering, shouting, moaning, scatting (wordless singing using syllables or sounds), and melisma (sliding from one note to the next when singing).
Elvis Presley’s big hit “Hound Dog” recorded in 1956 had been previously recorded by female blues belter Big Mama Thornton in 1952. Listening to both versions you can definitely hear the soulful growl and rough sound of Big Mama Thornton in the Elvis Presley version. Elvis was the king but Big Mama Thornton was definitely the queen.
While listening to Janis Joplin or Aretha Franklin you can hear the wailing and hollering similarity of Bessie Smith who possessed a strong voice that could be heard from the stage to the balcony without her using a microphone. Aretha Franklin and Janis Joplin both possessed big voices that could fill a hall. They all sang with pathos, passion, and emotion that could bring tears, pain, and other strong emotions.
Listen to George Gershwin’s orchestral composition “Rhapsody in Blue” or his contemporary opera, “Porgy and Bess” and you can hear jazz and blues themes in these great well-known compositions.
It would be hard pressed to say any popular music since the 1900s cannot be linked or traced to some type of influence of the spiritual. The African American Spiritual, from the shores of Africa, to the United States gave rise to blues, jazz, gospel, ragtime, country, folk, rhythm and blues, pop, rap and hip-hop.
During the month of June we celebrate African-American Music Appreciation Month. All genres of music have been influenced by the contributions of African American music in some way or another.
When slaves arrived in America during the 1700s, they were forced to reinvent the music, rhythms, moans, chants, and even some of the instruments of their homeland. These were often used to send secret codes and messages to one another, which is the main reason drums were banned on plantations by slave owners. Many slaves were forced to learn and play the banjo or fiddle to provide music and entertainment for slaves and plantation owners to try and keep the thought and reality of slavery out of the slave’s minds.
Spirituals were derived from field hollers and work songs. From spirituals the evolution of blues, jazz, and gospel evolved blended hollering, shouting, moaning, scatting (wordless singing using syllables or sounds), and melisma (sliding from one note to the next when singing).
Elvis Presley’s big hit “Hound Dog” recorded in 1956 had been previously recorded by female blues belter Big Mama Thornton in 1952. Listening to both versions you can definitely hear the soulful growl and rough sound of Big Mama Thornton in the Elvis Presley version. Elvis was the king but Big Mama Thornton was definitely the queen.
While listening to Janis Joplin or Aretha Franklin you can hear the wailing and hollering similarity of Bessie Smith who possessed a strong voice that could be heard from the stage to the balcony without her using a microphone. Aretha Franklin and Janis Joplin both possessed big voices that could fill a hall. They all sang with pathos, passion, and emotion that could bring tears, pain, and other strong emotions.
Listen to George Gershwin’s orchestral composition “Rhapsody in Blue” or his contemporary opera, “Porgy and Bess” and you can hear jazz and blues themes in these great well-known compositions.
It would be hard pressed to say any popular music since the 1900s cannot be linked or traced to some type of influence of the spiritual. The African American Spiritual, from the shores of Africa, to the United States gave rise to blues, jazz, gospel, ragtime, country, folk, rhythm and blues, pop, rap and hip-hop.
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