scholarly journals Post-World War II Rhythm and Blues: Jump Blues, Club Blues, and Roy Brown

2013 ◽  
Vol 17 (1) ◽  
pp. 20-39
Author(s):  
Rob Bowman
Keyword(s):  
World War Ii ◽  
Popular Music ◽  
North American ◽  
Social Behaviour ◽  
Rock And Roll ◽  
World War ◽  
Performance Style ◽  
Rhythm And Blues ◽  
American Popular Music

The classification of different styles of North American popular music has often been problematic. This paper investigates some of the music referred to as rhythm and blues (r & b) in the late 1940s and early 1950s by specifically looking at the works of one of the music's leading practitioners of the time, Roy Brown. Brown recorded both jump and club blues between 1947 and 1955, placing fifteen records in the Top 20 of the Billboard rhythm and blues charts. For the purposes of this paper fifty-four of the seventy-four songs that Brown recorded in this period were analyzed with respect to structure, performing force, performance style, tempo, arrangement, bass lines, approach to the beat, rate of singing, vocal ornamentation, and lyric content and structure. Three main subdivisions were found within Brown's repertoire, all connected to social behaviour, namely, dance. In the process, a basic biography of Brown is provided and his influence on many subsequent rhythm and blues and rock and roll performers is contextualized.

‘Funky Drummer’: New Orleans, James Brown and the rhythmic transformation of American popular music

Popular Music ◽  
2000 ◽  
Vol 19 (3) ◽  
pp. 293-318 ◽  
Author(s):  
Alexander Stewart
Keyword(s):  
New York ◽  
World War Ii ◽  
Popular Music ◽  
New Orleans ◽  
World War ◽  
Related Development ◽  
American Popular Music ◽  
Rock N Roll ◽  
The 1960S ◽  
Reverse Development

The singular style of rhythm & blues (R&B) that emerged from New Orleans in the years after World War II played an important role in the development of funk. In a related development, the underlying rhythms of American popular music underwent a basic, yet generally unacknowledged transition from triplet or shuffle feel (12/8) to even or straight eighth notes (8/8). Many jazz historians have shown interest in the process whereby jazz musicians learned to swing (for example, the Fletcher Henderson Orchestra through Louis Armstrong's 1924 arrival in New York), but there has been little analysis of the reverse development – the change back to ‘straighter’ rhythms. The earliest forms of rock 'n' roll, such as the R&B songs that first acquired this label and styles like rockabilly that soon followed, continued to be predominantly in shuffle rhythms. By the 1960s, division of the beat into equal halves had become common practice in the new driving style of rock, and the occurrence of 12/8 metre relatively scarce. Although the move from triplets to even eighths might be seen as a simplification of metre, this shift supported further subdivision to sixteenth-note rhythms that were exploited in New Orleans R&B and funk.

‘One night on TV is worth weeks at the Paramount’: musicians and opportunity in early television, 1948–55

Popular Music ◽  
2002 ◽  
Vol 21 (3) ◽  
pp. 249-276 ◽  
Author(s):  
Murray Forman
Keyword(s):  
Popular Music ◽  
North American ◽  
Early Stage ◽  
Music Industry ◽  
Positive Influence ◽  
Musical Performance ◽  
Historical Study ◽  
Performance Style ◽  
Stage Of Development ◽  
American Popular Music

This article addresses a gap in the historical study of music on television by revisiting North American popular music in conjunction with the broadcast medium's early stage of development. Central to its analysis is the fact that music has always been deemed essential to the character and success of television. Emphasising the circulating discourses of ‘opportunity’, the article isolates the ways in which some musicians and others in various sectors of the music industry regarded the new medium as a positive influence at its inception. Among key considerations at the time were issues of musical performance style and aesthetics, repertoire, promotional capabilities, career enhancement, and additional leisure options for audiences.

scholarly journals Sounds German?: Popular Music in Postwar Germany at the Crossroads of the National and Transnational

2017 ◽  
Vol 35 (2) ◽  
pp. 1-6
Author(s):  
Kirkland A. Fulk
Keyword(s):  
World War Ii ◽  
National Identity ◽  
Popular Music ◽  
Hip Hop ◽  
Classical Music ◽  
Technological Development ◽  
Rock And Roll ◽  
Intellectual Life ◽  
World War ◽  
Postwar Germany

A musical undercurrent has long permeated German culture and intellectual life. For more than a century, theories and practices of folk, art, and classical music—variously understood both in their mutual interrelation and as entirely distinct—have anchored definitions of German national identity and the German cultural heritage. More recently, musical styles such as jazz, rock and roll, and hip-hop have also played a key role in the emergence of new social movements and alternative sensibilities in Germany. Indeed, since the end of World War II, popular music practices in Germany have been alternatively decried as drivers of Americanization and hailed as catalysts of technological development that prompt new ways of producing and consuming music to emerge.

scholarly journals Re-evaluating DSM-I

2015 ◽  
Vol 46 (3) ◽  
pp. 449-456 ◽  
Author(s):  
R. Cooper ◽  
R. K. Blashfield
Keyword(s):  
World War Ii ◽  
20Th Century ◽  
International Classification Of Diseases ◽  
World War ◽  
Statistical Manual ◽  
Dsm 5 ◽  
Mental Diseases ◽  
Classification Of Diseases ◽  
The Military

The DSM-I is currently viewed as a psychoanalytic classification, and therefore unimportant. There are four reasons to challenge the belief that DSM-I was a psychoanalytic system. First, psychoanalysts were a minority on the committee that created DSM-I. Second, psychoanalysts of the time did not use DSM-I. Third, DSM-I was as infused with Kraepelinian concepts as it was with psychoanalytic concepts. Fourth, contemporary writers who commented on DSM-I did not perceive it as psychoanalytic. The first edition of the DSM arose from a blending of concepts from the Statistical Manual for the Use of Hospitals of Mental Diseases, the military psychiatric classifications developed during World War II, and the International Classification of Diseases (6th edition). As a consensual, clinically oriented classification, DSM-I was popular, leading to 20 printings and international recognition. From the perspective inherent in this paper, the continuities between classifications from the first half of the 20th century and the systems developed in the second half (e.g. DSM-III to DSM-5) become more visible.

scholarly journals Made in Yugoslavia: Studies in Popular Music

2021 ◽  
Vol 57 (1) ◽  
pp. 271-282
Author(s):  
Laura Emmery
Keyword(s):  
World War Ii ◽  
Popular Music ◽  
Eastern Europe ◽  
New Wave ◽  
World War ◽  
The West ◽  
The Balkans ◽  
History Of ◽  
Comprehensive Discussion ◽  
Made In

Made in Yugoslavia: Studies in Popular Music (edited by Danijela Špirić Beard and Ljerka Rasmussen) is a fascinating study of how popular music developed in post-World War II Yugoslavia, eventually reaching both unsurpassable popularity in the Balkans and Eastern Europe, and critical acclaim in the West. Through the comprehensive discussion of all popular music trends in Yugoslavia − commercial pop (zabavna-pop), rock, punk, new wave, disco, folk (narodna), and neofolk (novokomponovana) − across all six socialist Yugoslav republics, the reader is given the engrossing socio-cultural and political history of the country, providing the audience with a much-needed and riveting context for understanding the formation and the eventual demise of Tito’s Yugoslavia.

Ballad for Incarcerated Americans: Second Generation Japanese American Musicking in World War II Camps

2017 ◽  
Vol 11 (3) ◽  
pp. 284-312 ◽  
Author(s):  
MARTA ROBERTSON
Keyword(s):  
World War Ii ◽  
Second Generation ◽  
Classical Music ◽  
Cultural Practices ◽  
The United States ◽  
United States Government ◽  
Japanese Americans ◽  
Japanese American ◽  
World War ◽  
American Popular Music

AbstractDuring World War II, the United States government imprisoned approximately 120,000 Japanese Americans, two-thirds of whom were American-born citizens, half of whom were children. Through ethnographic interviews I explore how fragile youthful memories, trauma, and the soundscape of the War Relocation Authority (WRA) Incarceration Camps shaped the artistic trajectories of three such former “enemy alien” youth: two pianists and a koto player. Counterintuitively, Japanese traditional arts flourished in the hostile environment of dislocation through the high number ofnisei(second generation) participants, who later contributed to increasing transculturalism in American music following resettlement out of camp. Synthesizing Japanese and Euro-American classical music, white American popular music, and African American jazz, manyniseiparadoxically asserted their dual cultural commitment to both traditional Japanese and home front patriotic American principles. A performance of Earl Robinson and John Latouche's patriotic cantata,Ballad for Americans(1939), by the high school choir at Manzanar Incarceration Camp demonstrates the hybridity of these Japanese American cultural practices. Marked by Popular Front ideals,Ballad for Americansallowedniseito construct identities through a complicated mixture of ethnic pride, chauvinistic white Americanism allied with Bing Crosby's recordings of theBallad, and affiliation with black racial struggle through Paul Robeson's iconicBalladperformances.

Journeys to the Heart of Empire after World War II

2017 ◽  
Author(s):  
Tuire Valkeakari
Keyword(s):  
World War Ii ◽  
Small Island ◽  
World War ◽  
Middle Passage ◽  
Caribbean Diaspora ◽  
Black Caribbean ◽  
African Caribbean ◽  
The Relationship ◽  
Identity Formations

An analysis of The Emigrants, The Final Passage, and Small Island, chapter 4 brings together this book’s arguments by exploring the relationship among diasporic, imperial, and national identity formations in George Lamming’s, Caryl Phillips’s, and Andrea Levy’s novels about West Indian immigrants (who are both African Caribbean diasporans and subjects of the British empire) settling in Britain after World War II. Lamming and Phillips—members, respectively, of the first and second generations of post-Windrush writers—convey a Middle Passage sensibility more powerfully than does Levy, who, in the generational classification of post-Windrush novelists, belongs to the third generation. Like The Emigrants and Final Passage, Small Island, too, underscores the antiblack racism experienced by black Caribbean migrants to Britain. Yet exilic melancholy, though a presence, does not dominate Small Island in the way it controls Lamming’s and Phillips’s writing. In Levy’s treatment, the story of the postwar black Caribbean diaspora in Britain grows into a narrative of active diaspora-making. Finally, the chapter also examines how each of these three authors portrays the gendered aspects of the postwar Caribbean migration to Britain.

The tough Westerner

2021 ◽  
pp. 127-146
Author(s):  
Gillian Kelly
Keyword(s):  
World War Ii ◽  
Social Context ◽  
Real Life ◽  
World War ◽  
Career Trajectory ◽  
Performance Style ◽  
Major Curve ◽  
Star Image ◽  
And Performance

This chapter explores Power’s work within the Western genre. When Power was cast in the title role of Hollywood’s first ‘A Western’ of the 1930s: Jesse James (Henry King) in 1939 it marked the first major curve in Power’s career trajectory. When it became Twentieth Century-Fox’s biggest hit of the year this proved that audiences were ready to accept Power in more masculine roles at the close of the decade. Released in the period directly preceding America’s entry into World War II, the film was integral in developing a much-needed shift in Power’s screen masculinity, appearance and performance style, reflecting the shifting industrial and social context in which it was made. In advancing his star image away from a womaniser, and instead placing it within an overtly homosocial environment, Power was able to convincingly demonstrate male bonding and leadership through a tougher masculinity which was essential for both the historical timeframe and Power’s own upcoming real-life war service. Despite the film’s huge success, it was another 12 years before Power starred in another Western, and made just four in overall: Jesse James, Rawhide (Henry Hathaway, 1951), Pony Soldier (Joseph M. Newman, 1952) and The Mississippi Gambler (Rudolph Maté, 1953).

Sign in / Sign up

Export Citation Format

Share Document