One Size Does Not Fit All: The Precarious Position of the African American Entrepreneur in Post-World War II American Popular Music

1997 ◽  
Vol 15 (4) ◽  
pp. 535 ◽  
Author(s):  
David Sanjek
Keyword(s):  
African American ◽  
World War Ii ◽  
Popular Music ◽  
World War ◽  
Post World War Ii ◽  
American Popular Music

‘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.

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.

Modern Jazz

2021 ◽  
pp. 237-326
Author(s):  
Ted Gioia
Keyword(s):  
World War Ii ◽  
Popular Music ◽  
Art Music ◽  
World War ◽  
Big Band ◽  
Post World War Ii ◽  
Thelonious Monk ◽  
Modern Jazz ◽  
Charlie Parker

The rise of modern jazz—or “bebop” as it was called—dramatically changed the landscape of the music in the 1940s, transforming the genre into a truly progressive and experimental idiom. But this came at a cost, marking a shift from jazz’s predominance as a popular music, and turning it into an art music addressing a much smaller audience. This chapter looks at the innovations of the leading bebop musicians, especially Charlie Parker, Dizzy Gillespie, and Thelonious Monk. Other artists addressed include Bud Powell, Lennie Tristano, Sarah Vaughan, and Dave Brubeck. The chapter concludes with an assessment of big band jazz during the post–World War II era, including the work of Woody Herman and Stan Kenton.

scholarly journals 14. Nostalgia as a Perspective on Past Dance Culture in Finland

2020 ◽  
pp. 395-416
Author(s):  
Helena Saarikoski
Keyword(s):  
Twentieth Century ◽  
African American ◽  
World War Ii ◽  
Elderly People ◽  
World War ◽  
Post World War Ii ◽  
Dance Culture ◽  
The Core ◽  
Look Back ◽  
Archive Material

Saarikoski (Finland) bases the core of her article on ethnological archive material produced in the course of an inquiry in 1991 about the dancing on so-called pavilions or at outdoor dancing venues in the middle of the twentieth century. Accounts of the post-World-War-II period predominate, and Saarikoski finds nostalgia to be the primary attitude displayed as elderly people look back on their youth and happy memories of dancing. The dance repertoire was a mix of round dances and African-American-derived dances, and the distinction between the styles did not seem to be important to the dancers.

THE ROLE AND ROLE OF OIL POLICY IN SAUDI ARABIA IN POST WORLD WAR II ECONOMIC LIFE

2019 ◽  
Vol 20 (2) ◽  
pp. 37-41
Author(s):  
Maftuna Sanoqulova ◽  
Keyword(s):  
Saudi Arabia ◽  
World War Ii ◽  
Economic Life ◽  
World War ◽  
Post World War Ii ◽  
The World ◽  
History Of ◽  
Oil Policy

This article consists of the politics which connected with oil in Saudi Arabia after the World war II , the relations of economical cooperations on this matter and the place of oil in the history of world economics

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