Wing-Zero wrote:rath wrote:Yhe & you think coz you re-name a genre from easten or middle easten or trible to ROCK N ROLL it means the usa invented music or a genre of music.
You still don't know what you're talking about. It's even more hilarious because you're putting in SO much effort trying to prove yourself right when really you're just making an idiot out of yourself.
Here, I'll give you a freebie. Explain how middle eastern music and tribal music had ANY effect on the outcome of Rock and Roll?
Protip: The blues and jazz were born in the US, so try a different route sparky.
blues music evolved from Jazz.
& Jazz evolved from European & gypsy music.
This period corresponds to the transition from slavery to sharecropping, small-scale agricultural production and the expansion of railroads in the southern United States. Several scholars characterize the early 1900s development of blues music as a move from group performances to a more individualized style. They argue that the development of the blues is associated with the newly acquired freedom of the enslaved people.
According to Lawrence Levine, "there was a direct relationship between the national ideological emphasis upon the individual, the popularity of Booker T. Washington's teachings, and the rise of the blues." Levine states that "psychologically, socially, and economically, African-Americans were being acculturated in a way that would have been impossible during slavery, and it is hardly surprising that their secular music reflected this as much as their religious music did."
Blues has evolved from an unaccompanied vocal music and oral traditions of African-American slaves (imported from West Africa; principally present day Mali, Senegal, the Gambia and Ghana) and rural blacks into a wide variety of styles and subgenres, with regional variations across the United States. Though blues, as it is now known, can be seen as a musical style based on both European harmonic structure and the African call-and-response tradition, transformed into an interplay of voice and guitar.
By 1808 the Atlantic slave trade had brought almost half a million Africans to the United States. The slaves largely came from West Africa and brought strong tribal musical traditions with them. Lavish festivals featuring African dances to drums were organized on Sundays at Place Congo, or Congo Square, in New Orleans until 1843, as were similar gatherings in New England and New York. African music was largely functional, for work or ritual, and included work songs and field hollers. The African tradition made use of a single-line melody and call-and-response pattern, but without the European concept of harmony. Rhythms reflected African speech patterns, and the African use of pentatonic scales led to blue notes in blues and jazz.
The blackface Virginia Minstrels in 1843, featuring tambourine, fiddle, banjo and bones. In the early 19th century an increasing number of black musicians learned to play European instruments, particularly the violin, which they used to parody European dance music in their own cakewalk dances. In turn, European-American minstrel show performers in blackface popularized such music internationally, combining syncopation with European harmonic accompaniment. Louis Moreau Gottschalk adapted African-American cakewalk music, South American, Caribbean and other slave melodies as piano salon music. Another influence came from black slaves who had learned the harmonic style of hymns and incorporated it into their own music as spirituals.
The origins of the blues can be seen as the secular counterpart of the spirituals. Paul Oliver has drawn attention to similarities in instruments, music and social function to the griots of the West African savannah.
Rhythms reflected African speech patterns, and the African use of pentatonic scales led to blue notes in blues and jazz.
The Diddley bow, a homemade one-stringed instrument found in parts of the American South in the early twentieth century, and the banjo are African-derived instruments that may have helped in the transfer of African performance techniques into the early blues instrumental vocabulary. The banjo seems to be directly imported from the western African music. It is analogous to the musical instrument that griots played and which was called halam or akonting by African peoples such as the Wolof, Fula and Madinka. However in the 1920s, at the time country blues began to get recorded, the use of the banjo in blues music was quite marginal and limited to individuals such as Papa Charlie Jackson and later Gus Cannon.
Blues music also adopted elements from the "Ethiopian airs", minstrel shows and Negro spirituals, including instrumental and harmonic accompaniment. The style also was closely related to ragtime, which developed at about the same time, though the blues better preserved "the original melodic patterns of African music".
The musical forms and styles that are now considered the "blues" as well as modern "country music"