Music and Race

Artists do not create specific music to treat diseases or do scientific or technical discoveries, but music is something that society can not do. For artists and their audience, music provides life essential and provides essential beauty to connect with nature. Music expresses human condition in the most pure way and affects everyone at a personal level. Greek famous classical philosopher Plato says, "If you want to measure the spiritual depth of society, you must mark that music." And I wish for their society and their current era.

Music is intertwined with all aspects of American social and cultural identity such as social class, race, ethnicity, geography, religion, language, gender, sexuality. The relationship between music and race may be the most powerful determinant of American music. The musical identity of African Americans developed by different sources of Africa and Europe was the subject of American music history. When Western African styles, songs and instruments are mixed with European styles and instruments in slavery crucibles there are very few literature on colonial African American music. By the mid-nineteenth century, a unique African American folk tradition was known, African-American music skills, instruments and images are spiritual, through bird performance and slave song American mainstream music It became a part.

Many of contemporary pop music dates back to the rise of the African American blues of the late nineteenth century and the gospel music of the 1920s. The base of African-American pop music uses elements derived from European and native music. In the music tradition of the original Caucasian immigrants there are also strong roots in Africa, such as the country and bluegrass. Ethnic-style pop music such as folk music and Ukraine, Ireland, Scotland, Poland, Spain, Jewish community, etc. are recorded in the United States.

In the 1920s, the record became what the public can get. Country music, folk music, jazz are produced by black artists, ethnic records / ethnic music with white audiences, blues, avant-garde jazz, and gospel records. White music executives believe black music and artists will not appeal to white consumers. That is why "ethnic music" distinction has become a standard practice in business. However, as expected, ethnic records have not been isolated from black culture for a long time. Their successes were not only great success in the black community, but the wonderful talent and shine of black artists soon exceeded the audience of black music. The appeal of the white audience to "demon's music" can not be denied, white musics giants see the money and follow it. By the 1940's, "ethnic music" disappeared as a genre, and a place where black artists competed was opened. But on the contrary, this means that black music is beginning to occupy increasingly commercial levels.