421:, 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 first hand. Musical Blackness was a way of communicating and a way to express themselves especially 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 the music helped stress their emotions.
413:, it 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 the U.S. black experience but also a global black experience that stretches from Africa to Americas.
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1105:“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.”
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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 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
1037:. Spirituals were the songs that the enslaved Africans sang. Most have religious texts, and they were sung by the enslaved Africans at many different times, 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.
808:. (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.
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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
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However, Gilroy proceeds to counter this perception by saying, “In all these cases it 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
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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
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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 the mass marketing of successive Black folks cultural forms to white audiences,”
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starts a discussion of authenticity in the Black trans-Atlantic arena of diasporic music production by presenting how black music has become 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
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as having “formal borrowings from 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
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indigenous groups. Aboriginal peoples and Torres Strait
Islanders were able to identify with 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
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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
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ensemble that evolved from improvised percussion instruments used in
Carnival processions. Steel bands were banned by the British colonial authorities. Nevertheless, steel drums spread across the Caribbean, and are now an entrenched part of the culture of
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onto them. Through
Christianity, the enslaved Africans learned many hymns. Eventually, 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
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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 a song would be,
674:. The subjects of bachata are often romantic with tales of heartbreak and sadness. The original term used to name the genre was amargue ("bitterness", "bitter music", or "blues music"), until the more neutral term bachata became popular.
1074:; 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.
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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
1324:
Daynes, Sarah and Peter Martin. “Ch. 5: Slavery and the
Diaspora: Temporal and Spatial Articulations.” In Time and Memory in Reggae Music: The Politics of Hope. Manchester: Manchester University Press, 2010. Pp. 85,
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UNSW, Brewster, Anne, English, Media, & Performing Arts, Faculty of Arts & Social
Sciences, UNSW Miller, Benjamin Ian, English, Media, & Performing Arts, Faculty of Arts & Social Sciences (2009).
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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
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In Jamaica, African diasporic music 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.
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Kunzler's dictionary of jazz provides two separate entries: "blues", and the "blues form", a widespread musical form (p. 131). Kunzler, Martin (1988). Jazz-Lexicon. Hamburg: Rowohlt Taschenbuch Verlag.
800:). Mento is a style of Jamaican music that predates and has greatly influenced ska, which was also fused with African traditions, American jazz and blues. Subsequent styles besides ska include,
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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
1200:
637:, 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
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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.
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369:, 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
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is a phenomenon that occurred post-1970s, however the racial identifications expressed within said phenomenon originate from the mid 20th century during
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that became the focal point of cultural communication, including music and the arts. Popular music bands with an evident anti-colonial,
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identity were the Black Brothers, a rock-reggae band from West Papua in 1970s, and the Black Sweet, a Melanesian band in the 1980s.
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971:. American presence in the Second World War brought African-American and West Indian soldiers into contact with Melanesian and
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When Africans came to the United States they brought their music with them. Over time, a new genre of music developed, called
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arose, characterized by a focus on dance rhythms rather than lyricism. Soca has since spread across the Caribbean and abroad.
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style is an especially potent part of the music of the other former British colonies, which also share traditions like the
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dance. Trinidadian folk calypso is found throughout the area, as are African-Caribbean religious music styles like the
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Stephen Davis. "Reggae." Grove Music Online. Oxford Music Online. Oxford University Press. Web.16. 30 January 2020.
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Pacific, i.e. the cultural contact of African and Melanesian people, was fostered mainly through the Melanesian
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Curtis, Marvin V. (August 1996). "The Lyric of the African-American Spiritual: The Meaning behind the Words".
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Starting from the second half of the 19th century, African American performance through the colonial type of
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tribes, while the European slaveholders added their own musics into the mix, as did immigrants from India.
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Solis, Gabriel (2015). "The Black Pacific: Music and Racialization in Papua New Guinea and Australia".
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ambiguous authenticity can be. As such, Gilroy effectively deconstructs the concept of authenticity.
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in West Africa. Hence, the melodic traditions of the African diaspora are probably most alive in
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that states a Knowledge editor's personal feelings or presents an original argument about a topic.
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689:. It developed during the early decades of the 19th century. When jazz became popular worldwide,
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in the French-speaking Antilles of the Caribbean. Haiti's most well-known modern music genre is
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music of Trinidad. Calypso's early rise was closely connected with the adoption of Carnival by
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346:
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1432:"The "Black pacific" and decolonisation in Melanesia: Performing 'negritude and indigenitude'"
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Many other African-American music genres, such as gospel and jazz, developed from this genre.
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The Struggle for Freedom: A History of African Americans, Combined Volume, Second Edition
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The Fantasy of Whiteness: Blackness and Aboriginality in American and Australian Culture
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for cadence, followed the mini-jazz era. Kadans had an influence on the development of
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drumming and the music masquerade processions. In the 1970s, a calypso variant called
670:. Having strong African and Spanish influences, it is therefore also considered to be
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Many genres of music originate from communities that have visible roots in Africa. In
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1517:"The Black Lives Matter protest that you missed from Beyoncé's halftime show dancers"
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1193:"The soundtrack of history: How Black music has shaped American culture through time"
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pattern) and syncopation. This eventually formed into the genre called spirituals.
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Black hymnody: a hymnological history of the African-American church
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Carson, Clayborne; Lapsansky-Werner, Emma J.; Nash, Gary B. (2011).
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Webb, -Gannon Camellia; Webb, Michael; Solis, Gabriel (2018-07-01).
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Spirituals developed because the enslaved Africans masters forced
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tension around what music can be considered authentically Black.
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The conventional zouk sound has a slow tempo, and it is sung in
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The black Atlantic : modernity and double consciousness
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The black Atlantic : modernity and double consciousness
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The black Atlantic : modernity and double consciousness
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The black Atlantic : modernity and double consciousness
1164:"Roots: The Impact of Black Music on America and the World"
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style and have also had extensive musical contact with the
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personal reflection, personal essay, or argumentative essay
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365:. The music of the African diaspora makes frequent use of
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641:, was adapted to become one of the most famous arias in
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during the 1980s,It has many influences, from Haitian,
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popular style. The islands also share a passion for
824:musical cultures are largely based on the music of
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771:Former British West Indies and the Lesser Antilles
666:is a popular guitar music that originated in the
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1133:List of calypsos with sociopolitical influences
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257:. Please do not remove this message until
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820:As is the case throughout the Caribbean,
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277:Learn how and when to remove this message
216:Learn how and when to remove this message
114:Learn how and when to remove this message
1708:. Cambridge, Massachusetts. p. 85.
1661:. Cambridge, Massachusetts. p. 99.
1611:. Cambridge, Massachusetts. p. 96.
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1253:"Exploring the History of Black Music -"
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701:) was created as Haiti's local variety.
253:Relevant discussion may be found on the
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1162:Singley, Richard Lawson (2021-02-02).
1494:. Boston: Prentice Hall. p. 22.
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1282:"Negro Spiritual Singers"
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319:African music traditions
953:blackface entertainment
605:music forms lie in the
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1754:Spencer, Jon Michael.
1223:"What is Black Music?"
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1101:he was quoted saying:
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719:Nemours Jean-Baptiste
323:African popular music
1284:. New Deal Network.
1199:. 21 February 2021.
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1343:Caribbean Currents
1099:The Black Atlantic
1085:The Black Atlantic
1013:. You can help by
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1078:Authenticity
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1015:adding to it
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969:World War II
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585:Saudi Arabia
561:Liwa (music)
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359:Gospel Music
351:
327:music genres
317:, including
315:Black people
310:
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148:Please help
143:verification
140:
110:
104:October 2021
101:
82:
58:
51:
45:
44:Please help
41:
1090:Paul Gilroy
982:Black Power
877:Trinidadian
862:Trinidadian
806:raggamuffin
798:The Bahamas
792:(a type of
631:contradanza
583:regions of
555:Middle East
459:, country,
381:, found in
379:Jola people
339:Latin music
18:Black music
1766:Categories
1715:0674076052
1668:0674076052
1618:0674076052
1571:0674076052
1539:2017-12-06
1368:1130301951
1292:31 January
1267:2022-11-07
1237:2022-12-05
1207:2022-11-30
1178:2022-11-30
1149:References
1035:spirituals
973:Aboriginal
802:rocksteady
794:folk music
738:Martinique
734:Guadeloupe
725:Zouk music
611:Afro-Cuban
521:dub reggae
405:Background
354:work songs
267:March 2024
244:neutrality
176:newspapers
47:improve it
1732:cite book
1685:cite book
1635:cite book
1588:cite book
1529:0190-8286
1458:149505067
1417:144748531
1376:cite book
1068:Formation
978:négritude
959:Melanesia
947:Australia
866:camboulay
784:music in
695:mini-djaz
691:mini-jazz
592:Caribbean
549:bluegrass
441:spiritual
255:talk page
206:July 2014
53:talk page
1724:28112279
1677:28112279
1627:28112279
1580:28112279
1533:Archived
1479:(1): 15.
1341:Manuel,
1286:Archived
1261:Archived
1231:Archived
1201:Archived
1197:NBC News
1172:Archived
1127:See also
854:Big Drum
848:, whose
790:Junkanoo
687:MĂ©ringue
635:Habanera
607:cabildos
545:afrobeat
533:amapiano
375:Akonting
367:ostinato
248:disputed
1325:94-104.
1120:Hip-Hop
1072:Beyoncé
942:Oceania
916:Bonaire
912:Curaçao
850:calypso
786:Jamaica
776:Jamaica
746:beguine
742:calypso
683:Haitian
664:Bachata
581:Tihamah
537:hip hop
489:calypso
481:R&B
383:Senegal
363:Hip-Hop
329:of the
190:scholar
90:Please
1758:(1992)
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1168:Medium
932:Guyana
924:kaseko
858:Shango
765:Quebec
761:France
750:compas
715:compas
703:Kadans
648:Carmen
517:reggae
505:kwaito
445:gospel
429:Genres
387:Gambia
192:
185:
178:
171:
163:
1454:S2CID
1413:S2CID
627:Rumba
603:Cuban
577:Hejaz
525:house
501:disco
485:samba
477:salsa
457:bomba
453:blues
449:rumba
395:Blues
371:banjo
197:JSTOR
183:books
1738:link
1720:OCLC
1710:ISBN
1691:link
1673:OCLC
1663:ISBN
1641:link
1623:OCLC
1613:ISBN
1594:link
1576:OCLC
1566:ISBN
1525:ISSN
1496:ISBN
1382:link
1364:OCLC
1294:2020
934:and
899:zouk
892:The
870:soca
804:and
788:was
763:and
748:and
736:and
730:Zouk
711:Zouk
625:and
623:yuka
621:and
619:Batá
579:and
563:and
541:gqom
509:funk
497:soul
493:soca
469:jazz
465:rock
399:Jazz
397:and
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1444:doi
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