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African Ethnic Music



How Sweet the Sound: Music in the Spiritual Lives of Americans

How Sweet the Sound: Music in the Spiritual Lives of Americans
Musical expression is at the heart of the American spiritual experience. And nowhere can you gauge the depth of spiritual belief and practice more than through the music that fills America's houses of worship. Most amazing is how sacred music has been shaped by the exchanges of diverse peoples over time. "How Sweet the Sound traces the evolution of sacred music from colonial times to the present, from the Puritans to Sun Ra, and shows how these cultural encounters have produced a rich harvest of song and faith. Pursuing the intimate relationship between music and spirituality in America, Stowe focuses on the central creative moments in the unfolding life of sacred song. He fills his pages with the religious music of Indians, Shakers, Mormons, Moravians, African-Americans, Jews, Buddhists, and others. Juxtaposing music cultures across region, ethnicity, and time, he suggests the range and cross-fertilization of religious beliefs and musical practices that have formed the spiritual customs of the United States, producing a multireligious, multicultural brew. Stowe traces the evolution of sacred music from hymns to hip-hop, finding Christian psalms deeply accented by the traditions of Judaism, and Native American and Buddhist customs influenced by Protestant Christianity. He shows how the creativity and malleability of sacred music can explain the proliferation of various forms of faith and the high rates of participation they've sustained. Its evolution truly parallels the evolution of American pluralism.
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Plenty, Plenty Rhythm: A New Introduction to Jazz by Brian Morton,
Plenty, Plenty Rhythm: A New Introduction to Jazz by Brian Morton,
Buddy Bolden's legendary wax cylinder recording of 1905. Louis Armstrong in 1928 taking jazz to a level of perfection never to be equaled. Benny Goodman at Carnegie Hall playing a complex blend of blues, Jewish themes, and classical forms. The birth of bebop, a revolutionary form of jazz--complex, difficult, artful, and often antagonistic. John Coltrane takes the show tune "My Favorite Things" and turns it into a dark and sinister exercise in musical estrangement. Taking five key moments in jazz history, Brian Morton challenges our assumptions about jazz's origins, its ethnic identity, and its social and political nature. Morton follows jazz as it weaves a constantly evolving tale, full of intriguing sidetracks and occasional dead ends, sudden extinctions and bizarre archaeological survivals. Underneath it, though, there is a constant questioning spirit, an unwillingness to accept orthodoxies, conventional resolutions and simple chronologies. Morton is prompted to ask, at the end of jazz's first century, how can we define a music that embraces both the traditional Dixieland band as well as highly-innovative performances that blend pop, classical music, Karelian folk song, and the cool aesthetic of Miles Davis. Does the music have any more than nostalgic connections with its African-American origins? Is there some philosophy or cast of mind which creates jazz? What does it have to do with other, more settled genres, and why do people turn to it? This is a book for jazz lovers ready to reconsider the accepted versions of jazz history, but also for those who have until now looked on either in puzzlement or suspicion. It is, above all, an invitation to listen afresh.
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African American music - African American music (also called black music, formerly known as race music) is an umbrella term given to a range of musical genres emerging from or influenced by the culture of African Americans, who have long constituted a large ethnic minority of the population of the United States. They were originally brought to North America to work as slaves in cotton plantations, bringing with them typically polyphonic songs from hundreds of ethnic groups across West and Sub-Saharan Africa.

Ethnic Swazi music - The Swazi are an ethnic group split between South Africa and Swaziland. The Swazis in South Africa became a major part of South African music, though they were not identified as Swazi musicians, but rather as South African musicians; these included Zakes Nkosi, who began in the 1940s as a jazz musician instruments==

Zulu music - The Zulu are a South African ethnic group. Many Zulu musicians have become a major part of South African music.

Music of Africa - Africa is a large and diverse continent, consisting of dozens of countries, hundreds of languages and thousands of races, tribes and ethnic groups. As such, there is little that can be said that applies to all the music of Africa, as there is no distinctly pan-African tradition of folk or classical music of any kind; the only shared form of musical expression is popular.



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