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Journal articles on the topic 'Blues musicians Blues (Music)'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Migliaccio, John N. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXVI." Innovation in Aging 3, Supplement_1 (2019): S786. http://dx.doi.org/10.1093/geroni/igz038.2891.

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Abstract This 26th annual symposium again showcases a world-wide musical genre in a regional setting with local performers. Texas Blues has emanated from a pantheon of talented artists beginning in the earliest days of Roots and Blues music to the present day, and Austin has become the epicenter of this talent and music. With legendary classic blues musicians from the early 2oth century to emerging younger musicians who re-energize and re-invent this uniquely American musical genre, to legendary music labels and venues like Antone’s which continue to engage blues music artists of all ages, Aus

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ALLEN, DAVE. "Feelin' bad this morning: why the British blues?" Popular Music 26, no. 1 (2006): 141–56. http://dx.doi.org/10.1017/s0261143007001183.

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This paper considers the Mike Figgis film Red, White & Blues as a history of blues music in Britain. The film was produced as part of a series celebrating the centenary of the blues, and not unnaturally its British focus begins with the 1950s and 1960s. The paper argues, however, that it is an incomplete history because it fails to consider how the British blues genre and scene developed subsequently. It also argues that the film focuses too much on the memories and performances of the musicians. It fails to consider the industrial context in which any ‘new’ genre can emerge, and pays almo

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3

Cole, Ross. "Mastery and Masquerade in the Transatlantic Blues Revival." Journal of the Royal Musical Association 143, no. 1 (2018): 173–210. http://dx.doi.org/10.1080/02690403.2018.1434352.

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ABSTRACTFocusing on two influential broadcasts staged for British television in 1963–4, this article traces transatlantic attitudes towards blues music in order to explore the constitutive relationship between race, spectatorship and performativity. During these programmes, I claim, a form of mythic history is translated into racial nature. Ultimately, I argue that blues revivalism coerced African American musicians into assuming the mask of blackface minstrelsy – an active personification of difference driven by a lucrative fantasy on the terms of white demand. I ask why this imagery found su

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Marcos, Marcos José Bernal, Jorge Castro-Tejerina, and Florentino Blanco Trejo. "Hooked on the Blues: Technical and expressive continuities between life and music." Culture & Psychology 24, no. 1 (2017): 80–95. http://dx.doi.org/10.1177/1354067x17729625.

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This article proposes a very specific approach to music, defined as a cultural, material or symbolic tool that intermeshes with certain people’s life experience. From that standpoint, music may be seen as one of the essential keys for interpreting a biography. The theoretical argument, described from a cultural and mediational perspective, is exemplified in the relationship established between musician and instrument. The singular value of each interpreter’s personal and non-transferable encounter with musical mediators is addressed, and the possible interweave between musicians’ technical and

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Oliver, Paul. "That certain feeling: blues and jazz … in 1890?" Popular Music 10, no. 1 (1991): 11–19. http://dx.doi.org/10.1017/s0261143000004281.

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‘And this, after all, we do know with certainty: that in the 1880s in and around New Orleans and in other parts of the South, they were beginning to play the music we call jazz.’ So wrote Barry Ulanov who was convinced that jazz ‘reached back to the twelve bar form of the folk tune … and evolved that most durable and most thoroughly adaptable of jazz forms, the blues’. Picked out by ‘men and women in the backwoods and the front parlors making the delicate little changes, insisting upon the famous “blue notes”’, it took shape ‘long before the famous early names of jazz – before Buddy Bolden and

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ROTHENBUHLER, ERIC W. "For-the-record aesthetics and Robert Johnson's blues style as a product of recorded culture." Popular Music 26, no. 1 (2006): 65–81. http://dx.doi.org/10.1017/s0261143007001134.

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Robert Johnson (1911–1938) is the most venerated of all pre-war blues musicians; the veneration borders on hagiography. Recently published revisionist literature has constructed a sociologically realistic portrayal of a professional musician working among other musicians for a contemporary audience in a specific historical context. This has left unexplained, however, the veneration granted to his music by the audience for his records from the 1960s to today. This paper presents the case that these two bodies of fact can be connected and the one serve as an explanation for the other. As Robert

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Narvaez, Peter. "The Influences of Hispanic Music Cultures on African-American Blues Musicians." Black Music Research Journal 22 (2002): 175. http://dx.doi.org/10.2307/1519948.

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Narvaez, Peter. "The Influences of Hispanic Music Cultures on African-American Blues Musicians." Black Music Research Journal 14, no. 2 (1994): 203. http://dx.doi.org/10.2307/779484.

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9

Migliaccio, J. N. "THE BLUES AND OLDER MINORITY MUSICIANS: MORE THAN JUST MUSIC XXV." Innovation in Aging 2, suppl_1 (2018): 804–5. http://dx.doi.org/10.1093/geroni/igy023.2989.

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SPRINGER, ROBERT. "Folklore, commercialism and exploitation: copyright in the blues." Popular Music 26, no. 1 (2006): 33–45. http://dx.doi.org/10.1017/s0261143007001110.

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Though federal law in the United States provides for the protection of artistic property, including music, African-American blues musicians, since the appearance of their first commercial records in the 1920s, have generally not received their due. Part of the problem came from the difficulty of squaring the discrete notions of folk composition and artistic property in those early days. But the exploitation of black artists was largely attributable to common practices in the record industry whose effects were multiplied in this case by the near total defencelessness of the victims. Imitations

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11

Yves Laberge. "The Cambridge Companion to Blues and Gospel Music, and: Nothing but the Blues: The Music and the Musicians (review)." Journal of American Folklore 121, no. 480 (2008): 245–47. http://dx.doi.org/10.1353/jaf.0.0002.

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12

Zbikowski, Lawrence M. "Modelling the Groove: Conceptual Structure and Popular Music." Journal of the Royal Musical Association 129, no. 2 (2004): 272–97. http://dx.doi.org/10.1093/jrma/129.2.272.

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A musical groove is most typically created by a small group of musicians working together, each contributing parts to the whole. Characterizing the knowledge behind such interactive ventures has proved to be challenging. This article attempts to characterize the knowledge basic to grooves first by concentrating on ‘the groove’ as it is practised in soul, rhythm and blues, jazz fusion and various other popular genres, and second by focusing on cognitive knowledge structures called conceptual models. It is argued that musicians rely on such structures to produce grooves, and that listeners make

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Boye, Gary R. "Lagniappe: Country Music in North Carolina: Pickin' in the Old North State." North Carolina Libraries 61, no. 3 (2009): 103. http://dx.doi.org/10.3776/ncl.v61i3.167.

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While all Southern states share historical connections in culture and geography, North Carolina is in many ways unique. From the Outer Banks to the industrial Piedmont to the High Country of the west, the state has a unique mix of regions and cultures. Music figures prominently in North Carolina, and its musicians reflect the diversity of the geography. The state’s earliest musicians were the Native Americans, especially the Cherokee, whose music has been recorded and studied in some detail. European-American music has flourishedsince colonial days: in Salem, the Moravian church has sponsored

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Henderson, Darwin L., Brenda Dales, and Teresa Young. "These Books Are Not Quiet Bebop, Blues, Swing, and Soul: Jazz in Children’s Books." Children and Libraries 14, no. 1 (2016): 20. http://dx.doi.org/10.5860/cal.14n1.20.

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Pages seem to pulse as they fill the senses with rhythm, setting, and pattern. Reflecting attitude and time, young readers and listeners are inducted into the world of . . . jazz. Music and musicians are represented in visual and textual styles that mix and balance, amplify, and absorb, like the sounds that jazz makes.

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Lee, Stephen. "Re-examining the concept of the ‘independent’ record company: the case of Wax Trax! records." Popular Music 14, no. 1 (1995): 13–31. http://dx.doi.org/10.1017/s0261143000007613.

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In the American record industry, independent record companies have long held a cultural status that far exceeds the actual economic impact they have in the market-place. Independent record companies, or ‘indies’, have become understood as innovative and creative oases for new or unconventional musicians in the midst of a capital-driven and profit-oriented record business. The development of a wide range of musical genres and styles – from rhythm and blues and soul to punk and industrial – are often attributed to the small companies that operated outside of the control of the larger ‘major’ lab

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Lawson, R. A. "The First Century of Blues: One Hundred Years of Hearing and Interpreting the Music and the Musicians." Southern Cultures 13, no. 3 (2007): 39–61. http://dx.doi.org/10.1353/scu.2007.0031.

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Rapetti, Valentina. "Singing back to the Bard: A conversation on Desdemona with Rokia Traoré." Journal of Adaptation in Film & Performance 13, no. 3 (2020): 337–44. http://dx.doi.org/10.1386/jafp_00035_7.

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Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer

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Huron, David. "Interval-Class Content in Equally Tempered Pitch-Class Sets: Common Scales Exhibit Optimum Tonal Consonance." Music Perception 11, no. 3 (1994): 289–305. http://dx.doi.org/10.2307/40285624.

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Pitch-class sets (such as scales) can be characterized according to the inventory of possible intervals that can be formed by pairing all pitches in the set. The frequency of occurrence of various interval classes in a given pitch-class set can be correlated with corresponding measures of perceived consonance for each interval class. If a goal of music-making is to promote a euphonious effect, then those sets that exhibit a plethora of consonant intervals and a paucity of dissonant intervals might be of particular interest to musicians. In this paper, it is shown that the pitch-class sets that

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19

FORD, ROB. "Paul Oliver: a selective bibliography, 1952–2005." Popular Music 26, no. 1 (2006): 157–86. http://dx.doi.org/10.1017/s0261143007001195.

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This selective listing concentrates on Paul Oliver's writings on music – therefore, references to books and articles on architecture have been omitted. For reasons of space, Paul's numerous record, book and concert reviews, published in journals such as Jazz Monthly, Audio & Record Review, Melody Maker, and Blues Unlimited, have not been included. For similar reasons, I have chosen not to include the many entries Paul contributed to the following encyclopedias: Jazz on Record: A Critical Guide to the First 50 Years, 1917–1967, ed. A. McCarthy, A. Morgan, M. Harrison and P. Oliver (London,

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Patton, Alec. "Jazz and Music-Hall Transgressions in Theatre Workshop's Production of A Taste of Honey." New Theatre Quarterly 23, no. 4 (2007): 331–36. http://dx.doi.org/10.1017/s0266464x07000255.

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Shelagh Delaney's A Taste of Honey in the Theatre Workshop production of 1959 opened to the sound of a fast twelve-bar blues played on trumpet, saxophone, and guitar by musicians sitting in a box to the right of the stage. Though rarely mentioned by historians, the ‘Apex Jazz Trio’, as they were called, were a lively and unpredictable element in the production. Between the actors' open acknowledgement of the band, and Avis Bunnage's direct comments to the audience, the play shattered the ’realistic‘ conventions that still held sway in the West End, at the same time transgressing the distinctio

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DJEDJE, JACQUELINE COGDELL. "The (Mis)Representation of African American Music: The Role of the Fiddle." Journal of the Society for American Music 10, no. 1 (2016): 1–32. http://dx.doi.org/10.1017/s1752196315000528.

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AbstractDuring the early twentieth century, research on African American music focused primarily on spirituals and jazz. Investigations on the secular music of blacks living in rural areas were nonexistent except for the work of folklorists researching blues. Researchers and record companies avoided black fiddling because many viewed it not only as a relic of the past, but also a tradition identified with whites. In the second half of the twentieth century, rural-based musical traditions continued to be ignored because researchers tended to be music historians who relied almost exclusively on

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22

Rigg, John L., Randy Marrinan, and Mark A. Thomas. "Playing-related Injury in Guitarists Playing Popular Music." Medical Problems of Performing Artists 18, no. 4 (2003): 150–52. http://dx.doi.org/10.21091/mppa.2003.4026.

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Playing a musical instrument involves the repetitive use of muscles, often at their extreme range of motion. Consequently, musicians in general are at an increased risk for the development of pain syndromes related to nerve or musculoskeletal damage. Acoustic and electric guitars are among the most popular instruments in the world today, with a large population of musicians at risk of injury. This article examines the results of a survey completed by 261 professional, amateur, and student guitarists to determine the most common anatomic locations of playing-related pain and its relationship to

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23

Burford, Mark. "Sam Cooke as Pop Album Artist—A Reinvention in Three Songs." Journal of the American Musicological Society 65, no. 1 (2012): 113–78. http://dx.doi.org/10.1525/jams.2012.65.1.113.

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Abstract Though African American singer, songwriter, and entrepreneur Sam Cooke (1931–1964) is commonly celebrated as a pioneering soul singer, the preponderance of Cooke recordings suggesting to many critics a “white” middle-of-the-road pop sound has troubled this reception. From June 1957 until the end of 1959, Cooke recorded for the independent label Keen Records, where he charted a course for realizing his professional and socioeconomic aspirations, including his determination to harness the prestige attached to the long-playing album and the “album artist.” This article explores relations

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Stoia, Nicholas, Kyle Adams, and Kevin Drakulich. "Rap Lyrics as Evidence." Race and Justice 8, no. 4 (2017): 330–65. http://dx.doi.org/10.1177/2153368716688739.

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Recent scholarship has shed light on the troubling use of rap lyrics in criminal trials. Prosecutors have interpreted defendants’ rap lyrics as accurate descriptions of past behavior or in some cases as real threats of violence. There are at least two problems with this practice: One concerns the interpretation of art in a legalistic context and the second involves the targeting of rap over other genres and the role of racism therein. The goal of the present work is translational, to demonstrate the relevance of music scholarship on this topic to criminologists and legal experts. We highlight

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FARLEY, JEFF. "Jazz as a Black American Art Form: Definitions of the Jazz Preservation Act." Journal of American Studies 45, no. 1 (2010): 113–29. http://dx.doi.org/10.1017/s0021875810001271.

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Jazz music and culture have experienced a surge in popularity after the passage of the Jazz Preservation Act (JPA) in 1987. This resolution defined jazz as a black American art form, thus using race, national identity, and cultural value as key aspects in making jazz one of the nation's most subsidized arts. Led by new cultural institutions and educational programs, millions of Americans have engaged with the history and canon of jazz that represent the values endorsed by the JPA. Record companies, book publishers, archivists, academia, and private foundations have also contributed to the effo

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Riley, Tim. "For the Beatles: notes on their achievement." Popular Music 6, no. 3 (1987): 257–72. http://dx.doi.org/10.1017/s0261143000002312.

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Rosie and the Originals released their only 45 rpm single in early 1960. ‘Angel Baby’, the A side, reached number five in America, but it never even saw the light of day on the British charts. The song is dismissable, a one-hit wonder from singer Rosie Hamlin that didn't deserve a follow-up. But the B side is something else entirely: for one thing, one of the Originals is hogging the mike, Rosie is nowhere to be heard – a mystery that the label doesn't explain. The record is much as Lennon describes: after a revved-up guitar intro, the drums vanish and leave everyone else playing straight off

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Stewart, Alexander. "‘Funky Drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music." Popular Music 19, no. 3 (2000): 293–318. http://dx.doi.org/10.1017/s0261143000000180.

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The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little an

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Bintarto, A. Gathut. "Aspek Olah Vokal Musik Klasik Barat pada Musik Populer." Journal of Urban Society's Arts 1, no. 1 (2014): 44–56. http://dx.doi.org/10.24821/jousa.v1i1.787.

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Setiap medium musik mempunyai keistimewaan yang bisa dikaji seperti halnyapada musik klasik Barat dan musik populer. Norma daya tarik musik populeryang ringan dan mudah dinikmati tidak seperti pada musik klasik Barat atauyang sering disebut sebagai musik seni, namun demikian bukan berarti bahwamemainkannya tidak ada syarat artistik. Bervariasinya musik dan banyaknya pelakumusik mengakibatkan standar yang tinggi dan menuntut pemahaman terhadapdetail musik. Musik populer bertolak dari kebiasaan orang dan musisinya inginmemenuhi kebutuhan tersebut. Gambaran emosional yang muncul pada teksmenyebab

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Marcus, M. "OLDER BLUES MUSICIANS." Innovation in Aging 2, suppl_1 (2018): 805. http://dx.doi.org/10.1093/geroni/igy023.2990.

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Marcus, Michael. "OLDER BLUES MUSICIANS." Innovation in Aging 3, Supplement_1 (2019): S786. http://dx.doi.org/10.1093/geroni/igz038.2892.

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Sheets, Debra J. "OLDER BLUES MUSICIANS." Innovation in Aging 3, Supplement_1 (2019): S786. http://dx.doi.org/10.1093/geroni/igz038.2893.

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Voskoboinikov, Yakov. "George Gershwin’s jazz transcriptions in piano performance of academic tradition." Aspects of Historical Musicology 19, no. 19 (2020): 429–48. http://dx.doi.org/10.34064/khnum2-19.25.

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Background. Today, jazz transcriptions of works by George Gershwin can be heard around the world. Works such as “The Man I Love”, “I Got Rhythm”, “Summertime”, “Liza”, “Fascinating Rhythm”, “Somebody Loves Me”, “Swanee”, included in the collection “Gershwin songs”, and also “Seven virtuoso etudes on the themes of G. Gershwin” by E. Wilde are performed by modern academic musicians. Thus, widely known performance versions of piano transcriptions “Gershwin songs” by M.-A. Hamelin, the song “The Man I Love” performed by A. Tharaud, P. Barton, and others famous performers. The evidence of growing i

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Sheets, D. "OLDER BLUES MUSICIANS AND RESILIENCE." Innovation in Aging 2, suppl_1 (2018): 805. http://dx.doi.org/10.1093/geroni/igy023.2991.

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Angus, Bill. "Going down to the crossroads: popular music and transformative magic." Popular Music 39, no. 2 (2020): 257–69. http://dx.doi.org/10.1017/s0261143020000379.

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If there is a single narrative that captures the modern understanding of transformative crossroads magic it is the spurious fable of the selling of Robert Johnson's soul. When, in the palaeoanthropology of 20th century rock and roll music, the biographers of the short-lived blues legend claimed that he had been down to the Dockery Plantation crossroads at midnight to sell his soul to the Devil in exchange for guitar skills, they were perhaps unwitting witnesses to the deep history of myth and ritual that has long been associated with the transformative space of the crossroads. They were not la

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Stetsiuk, Bohdan. "The origins and major trends in development of jazz piano stylistics." Aspects of Historical Musicology 19, no. 19 (2020): 411–28. http://dx.doi.org/10.34064/khnum2-19.24.

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This article characterizes development trends in jazz piano from its origins in the “third-layer” (Konen, V., 1984) of music (ragtime and other “pre-jazz” forms) to the present time (avant-garde and retro styles of the late 20th – early 21st centuries). Main attention was devoted to the stylistic sphere, which represents an entirety of techniques and methods of jazz piano improvisation and combines genre and style parameters. In this context, the currently available information about jazz pianism and its sources (Kinus,Y., 2008; Stoliar, R., 2017) was reviewed, and sociocultural determinants,

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Thomas, W. Sheehan. "Iggy's Blues." Journal of Popular Music Studies 19, no. 2 (2007): 133–56. http://dx.doi.org/10.1111/j.1533-1598.2007.00117.x.

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Yurchenco, Henrietta. ""Blues Fallin' Down Like Hail" Recorded Blues, 1920s-1940s." American Music 13, no. 4 (1995): 448. http://dx.doi.org/10.2307/3052403.

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Pearson, Barry Lee. "Appalachian Blues." Black Music Research Journal 23, no. 1/2 (2003): 23. http://dx.doi.org/10.2307/3593207.

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Mueller, Charles. "Baudrillard's Blues." Popular Music 35, no. 1 (2015): 84–99. http://dx.doi.org/10.1017/s0261143015000823.

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AbstractIn his book, America, Jean Baudrillard characterised the United States as a nation created for the sole purpose of escaping history, a place that has purged itself of all negativity, and whose citizens live life in a perpetual present. Baudrillard's study of America provides an ideal framework with which to examine the ways that blues is both congenial and antithetical to postmodern America, and how the significations and meanings of blues have changed as the music has passed from modernity to postmodernity. Of particular interest is the question of whether African-American interpretat

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Jones, Jeff. "‘Blues’ music and psychiatry." Psychiatric Bulletin 14, no. 8 (1990): 499. http://dx.doi.org/10.1192/pb.14.8.499.

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Littlejohn, John. "Early Blues: The First Stars of Blues Guitar." Popular Music and Society 41, no. 4 (2018): 466–67. http://dx.doi.org/10.1080/03007766.2018.1518491.

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Block, Geoffrey, Count Basie, and Albert Murray. "Good Morning Blues." American Music 5, no. 3 (1987): 326. http://dx.doi.org/10.2307/3051745.

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Tallmadge, William H. "Memphis Blues Today!" American Music 4, no. 1 (1986): 118. http://dx.doi.org/10.2307/3052194.

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Black, Leo, Franz Schreker, and Christopher Hailey. "Inner City Blues." Musical Times 134, no. 1806 (1993): 452. http://dx.doi.org/10.2307/1003019.

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Hauptman, Fred, Elie Siegmeister, Blanche Abram, et al. "Prelude, Blues, Finale." American Music 6, no. 1 (1988): 119. http://dx.doi.org/10.2307/3448362.

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Bowman, Rob. "Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown." Canadian University Music Review 17, no. 1 (2013): 20–39. http://dx.doi.org/10.7202/1014691ar.

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The classification of different styles of North American popular music has often been problematic. This paper investigates some of the music referred to as rhythm and blues (r & b) in the late 1940s and early 1950s by specifically looking at the works of one of the music's leading practitioners of the time, Roy Brown. Brown recorded both jump and club blues between 1947 and 1955, placing fifteen records in the Top 20 of the Billboard rhythm and blues charts. For the purposes of this paper fifty-four of the seventy-four songs that Brown recorded in this period were analyzed with respect to

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Buffa, Alessandro. "Inner City Blues." Review of International American Studies 12, no. 2 (2019): 129–40. http://dx.doi.org/10.31261/rias.7369.

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In this article, I would like to propose an alternative and long view of “1968” which is grounded in black liberation movements, Afrodiasporic cultures, neighborhood-based organizations and sustained and propagated by music and sound. Venturing into this alternative history, I consider the Bronx, Harlem, and Naples, Italy as networks of resistance and nodal junctures for the transmission of Afrodiasporic cultures of opposition. Connecting the mutual influence of global social movements, music and neighborhood-based organizations, my article is also an invitation to start thinking about history

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Kitts, Thomas M. "Classic Harmonica Blues." Popular Music and Society 36, no. 4 (2013): 554–57. http://dx.doi.org/10.1080/03007766.2013.814225.

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SAGEE, ALONA. "Bessie Smith: ‘Down Hearted Blues’ and ‘Gulf Coast Blues’ revisited." Popular Music 26, no. 1 (2006): 117–27. http://dx.doi.org/10.1017/s026114300700116x.

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A re-examination of Bessie Smith's first two released blues recordings – ‘Down Hearted Blues’ and ‘Gulf Coast Blues’ – demonstrates that her interpretative originality and expressive individuality were evident from the start of her recording career in 1923. The micro-components of Bessie's early vocal tendencies are revealed through full transcriptions of her vocal line on each of these recordings combined with detailed description and analysis of the pitch content, the main rhythmic and melodic characteristics, and the melodic-harmonic and text-music relationships. The method demonstrates tha

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Lourie, Dick. "Poetry and the Blues." Journal of Popular Music Studies 13, no. 1 (2001): 111–15. http://dx.doi.org/10.1111/j.1533-1598.2001.tb00018.x.

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