Historic Traits
As well as bringing harmonic and rhythmic features from Western and Sub-Saharan Africa into European musical styles, it was the historical condition of chattel slavery experienced by black Americans within American society that contributed the conditions which would define their music. Many of the characteristic musical forms that define African-American music have historical precedents. These earlier forms include:
- field hollers
- work song
- call and response
- vocality (or special vocal effects): guttural effects, interpolated vocality, falsetto, melisma, vocal rhythmization
- improvisation
- blue notes
- polyrhythms: syncopation, concrescence, tension, improvisation, percussion, swung note
- texture: antiphony, homophony, polyphony, heterophony
- harmony: vernacular progressions; complex, multi-part harmony, as in spirituals and barbershop music
Read more about this topic: African American Music
Famous quotes containing the words historic and/or traits:
“Never is a historic deed already completed when it is done but always only when it is handed down to posterity. What we call history by no means represents the sum total of all significant deeds.... World history ... only comprises that tiny lighted sector which chanced to be placed in the spotlight by poetic or scholarly depictions.”
—Stefan Zweig (18811942)
“In the years of the Roman Republic, before the Christian era, Roman education was meant to produce those character traits that would make the ideal family man. Children were taught primarily to be good to their families. To revere gods, ones parents, and the laws of the state were the primary lessons for Roman boys. Cicero described the goal of their child rearing as self- control, combined with dutiful affection to parents, and kindliness to kindred.”
—C. John Sommerville (20th century)