黑人之音—美国黑人的布鲁斯与说唱The Voices of the Blacks—Blues and Rap [2]
论文作者:佚名论文属性:短文 essay登出时间:2009-04-10编辑:刘宝玲点击率:10371
论文字数:26000论文编号:org200904101104064243语种:中文 Chinese地区:中国价格:免费论文
关键词:BluesRapthe blacksdiscriminationvoices布鲁斯说唱黑人歧视心声
c was gradually absorbing the characters of string instruments and formed a new music, which was full of sadness. That is Blues.
Blues belonged to the pure black folk music. It was mainly spread out in the South America, particularly the area of Mississippi triangle. When the first batch of the Blacks was sold there, a blue melody was hovered in their brains.
Most early Blues singers got inspirations from their ancestries and sought themes from daily lives. To them, Blues was a way to express their feelings, not a fashion to get the understanding or sympathy from the white people. So, these characters and qualities endowed Blues a prosperous vitality.
The original Blues usually conveyed sad and depressive emotions of the Blacks. In a word, sadness is an eternal theme of Blues. Generally speaking, Blues adopts a direct way to describe their feeling and emotions from deep heart. In the 19th century, due to the economic disintegration in the south, abundant slaves led a wretched life far from home. So, the Black music was also circulated to other areas, which advanced the spread of Blues and helped Blues absorb new forms of expression and techniques of manifestation. In the south, Blues began to combine with work songs that were much more dynamic.
B. Blues in the 20th Century and its Social Function
1. Blues in the 1920s
In the 20th century, Blues met with new opportunities and challenges. In the 1920s, Mami·Smith, for the first time, made disc from songs of Blues. Thereby, Blues had gone up on a new stage. At that time, the Blues singers were almost black women. Through their efforts, Blues became a brand-new form of music accepted by more and more popular music lovers.
2. Blues in the 1940s--1960s
After World War II, the center of Blues had been moved to big cities such as Chicago. In the region of black inhabitants, the form and manifestation of Blues wasn’t only a social phenomenon in the imperialist society, but also a product with the policy of racial discrimination of the monopoly capitalist class. In order to extort a high profit from the blacks, American monopoly capitalist class pursued a policy of racial discrimination. They droved away millions of Blacks to the slums and put into practice bloody suppression and cruel exploitation.
Living in poor housing conditions, the blacks almost could not get any living allowances or housing loans by the government. In this case, most Black singers had to perform in pubs. For the American Black musicians, the only stage for them was the bars in noisy environments and in the face of drinking listeners. To enhance the performance affections in a rowdy pub, singers used microphone and electric guitar to sing songs. In the 1950s, the Rhyme and Blues relied on its strongly accented rhythms and intense sense stimulations to make surprising attack on the American popular music circles. Then, the urban Blues music was produced. Its style was based on the Gospel music; and it used intense sound and rhythm to express the noisy city life and roaring machines. Then, another new music appeared: Rock.
Rock was produced after World War Ⅱ.To be a new music form it was destined to be a significant part in the lives of the young people. Rock depended on its special charm to conquer the younger generation all over the world.
In this period, Rock still only belonged to the Blacks, specially the urban young Blacks. The White class had virtually no chance to come into contact with the Blacks
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