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Essay / Research Paper Abstract
A 3 page analysis of Blues People: Negro Music in White America by Leroi Jones. This book is a comprehensive and highly readable account that traces the birth and development of African American music and the considerable effect that it has had on white mainstream culture. No additional sources cited.
Page Count:
3 pages (~225 words per page)
File: KE9_99bluesp.rtf
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Unformatted sample text from the term paper:
combines with his formidable knowledge of black, and also white, American culture. In so doing, he shows African American music in the larger context of mainstream American culture. In Chapter
1, Jones description of the evolution of the special music known as the "blues" begins with by retracing the steps of African slaves. Jones begins his story in 1619 with
the first wholesale exportation of slaves from West Africa to the United States. Jones describes the music of these people and also illuminates the reader on the function that such
music performed in their lives. In this initial chapter, Jones also lays a foundation for understanding with the reader, defining musical terminology and giving the reader a feeling for what
factors make up the unique musical category of the "blues." Although white scholars have tried to explain black influences away, overlook them, or just pretend that they don?t exist,
modern scholars no longer can deny that much of what white America looks at and listens to is a direct result of African-American contributions to art and music. Granted that
all of what is referred to as ?American culture? comes from a complex synthesis of all the cultures which have ?rubbed elbows? on this continent, yet, in many ways it
has been African-American influences which have stimulated creativity in others, both within the black race and outside of it. Field hollers, work songs and accompanying rhythmic movements all came together
in an African-American musical tradition that eventually gave birth to the blues. The enslaved Africans of early colonial America were severely restricted by their white masters as to what sort
of creative outlets were allowed. Plantation owners did not want Africans communicating with other plantations because they feared slave revolts and uprisings. Essentially, music, and specifically song, became the
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