Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

The Death of Rhythm and Blues

The Death of Rhythm and Blues Boolrlenews TS based its interest in both sacred and secular forms of music. Building upon this premise (pastiche), theomusicology posits its own theory that signifyin(g) upon a music genre also involves an intentional or unintentional signification upon its religious or unreligious tenor. This is one of several reasons theomusicology plumbs the depths of secular music for potential theological referents and meanings: the sacred and the secular are inextricably linked. George, Nelson. The Death of Rhythm and Blues. New York : Pantheon Books, The postwar North, with its mixture of southern migrants and northern citizens, and its particular socioeconomic and political problems, is what Nelson George terms the "rhythm and blues world" (xii). During the forties, a new kind of black popular music evolved out of this world-rhythm and blues (R & B). It was a synthe­ sis of gospel, big-band swing, and blues, which incorporated the new technology of the electric bass (xii). Such rhythm and blues stars as Dave Clark, King Curtis, Otis Redding, Ray Charles, Solomon Burke, Sam Cooke, Aretha Franklin, Jackie Wilson, and James Brown were not only children of the black church, they were the products of the new independent record labels, black retail outlets, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Sacred Music Duke University Press

The Death of Rhythm and Blues

Black Sacred Music , Volume 4 (2) – Sep 1, 1990

Loading next page...
 
/lp/duke-university-press/the-death-of-rhythm-and-blues-vV2q43QqxK

References

References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.

Copyright
Copyright © 1990 by Duke University Press
ISSN
1043-9455
eISSN
2640-9879
DOI
10.1215/10439455-4.2.75
Publisher site
See Article on Publisher Site

Abstract

Boolrlenews TS based its interest in both sacred and secular forms of music. Building upon this premise (pastiche), theomusicology posits its own theory that signifyin(g) upon a music genre also involves an intentional or unintentional signification upon its religious or unreligious tenor. This is one of several reasons theomusicology plumbs the depths of secular music for potential theological referents and meanings: the sacred and the secular are inextricably linked. George, Nelson. The Death of Rhythm and Blues. New York : Pantheon Books, The postwar North, with its mixture of southern migrants and northern citizens, and its particular socioeconomic and political problems, is what Nelson George terms the "rhythm and blues world" (xii). During the forties, a new kind of black popular music evolved out of this world-rhythm and blues (R & B). It was a synthe­ sis of gospel, big-band swing, and blues, which incorporated the new technology of the electric bass (xii). Such rhythm and blues stars as Dave Clark, King Curtis, Otis Redding, Ray Charles, Solomon Burke, Sam Cooke, Aretha Franklin, Jackie Wilson, and James Brown were not only children of the black church, they were the products of the new independent record labels, black retail outlets,

Journal

Black Sacred MusicDuke University Press

Published: Sep 1, 1990

There are no references for this article.