https://digitallis.isg.siue.edu/files/original/14c8b3b20080a279b77b6630647a7fc5.pdf 0d47bac7b7b9c26e737aad5a45173419 PDF Text Text THE BLACK ROOTS OF OUR AMERICAN MUSIC These comments, definitions, and the diagram are based on my experience as a jazz musician during size of the last twelve years. They owe much to the work of Gunther Schuller (Early Jazz), Paul Oliver (The Story of the Blues), and Tony Luckenback (“Negro Music in America”—a radio series), and to many long and instructive hours of conversation and music with Tony and his wife, Jane P. Luckenback, who is not only the best cook in southern Illinois but also the artist who created the cover design. Jean Kittrell Southern Illinois University September 1971 COPYRIGHT 1971 ETHEL JEAN KITTRELL ALL RIGHTS RESERVED �The dates of events relevant to the development of Afro-American folk music, read in conjunction with the diagram, indicate approximate times (exact dates seldom exist in folk music) of development of various forms. Double-lined boxes indicate European musical forms brought to America by whites. The black bordered box indicated the African musical form brought here by enslaved blacks. Checkered boxes indicate musical forms created by blacks in America. Plain boxes indicate forms created by whites in America. [see diagram] 1500 1526-first settlement in America to contain Negro slaves was a Spanish settlement in what is now South Carolina 1600 1607-first English settlement, Jamestown, Virginia 1700 1718-New Orleans founded 1740-Baptist and Methodist churches established in nearly all colonies 1769-traveling variety show 1775-1783-Revolutionary war 1800 -white camp meetings and revivals 1808-law against importation of slaves passed; the practice continued illegally until 1865 1840-minstrels by whites in blackface in N.Y. 1850-a little over 300 Negroes in Chicago 1861-1865-Civil War 1867-1877-Reconstruction 1871-1878-Fisk Jubilee Singers toured U.S., Europe 1877-Callender’s Colored Minstrels -Negro migrations to the North increasing rapidly 1885-String bands, spasm and jug bands flourished for next several decades. Marching brass bands, black or white, in many cities. 1888-segregation established 1890-Miss. disfranchised Negroes; La. and S. Car. 1895-followed in 1895. In 15 years 5 more Southern states limit Negroes’ rights. 1900 1909-Theater Owners Booking Agency – first Negro vaudeville chain 1920-109,000 blacks in Chicago -first recording of blues 1933-Prohibition Amendment repealed 1940-New Orleans jazz revival �A FEW COMMENTS AND DEFINITIONS BALLADS – Ballads are impersonal narratives of unusual events sung in poetic form using dialogue and repetition of words, phrases, complete lines, or refrain. The non-involvement of the singer in the story he tells is in great contrast to the subjective nature of the blues. Ballads appear early in the folk literature of nearly all countries. Scotch and English ballads were brought to America by early pioneers. This ballad tradition was continued and enriched by ballads from the southern Appalachian mountain area, from the cowboys of the western plains, and ballads featuring black heroes such as “John Henry,” “Stack-o-Lee,” “Frankie and Albert (Johnnie).” BARRELHOUSE PIANO – A blend of ragtime and blues appearing in the last decade of the 19th century. Jelly Roll Morton recalls a large number of barrelhouse piano players working around the turn of the century along the Gulf Coast from Florida to Texas. The turpentine, sawmill, and logging camps, and the levee camps for men maintaining the levees, had “barrelhouse jukes,” so named for the barrels supporting planks for a bar, where the entertainment was usually provided by a piano player. BOOGIE-WOOGIE PIANO – Blues with an ostinato (constantly repeated figure) bass usually in eighth notes, giving rise to the term—“eight-to-a-bar” music. “Boogie” parties were “house-rent” parties thrown in private apartments during the height of the prohibition era (mid-20’s to ’33) by a host with some moonshine who needed to raise money to pay the rent. He would hire a piano player and then charge admission (usually 25 cents) to the “boogie” party. The style of piano played at Chicago parties came to be designated “boogie-woogie”; in New York it was “stride piano.” A Chicago pioneer of boogie was Jimmy Yancey (1894-1951); other outstanding boogie players include Clarence “Pine Top” Smith (b.Troy, Ala., 1904-d.Chicago, 1929); Meade “Lux” Lewis (b.Louisville, 1905); and Albert Ammons (b.Chicago, 1907). Famous stride piano artists who made the scene at New York rent parties were James. P. Johnson, Fats Waller, Willie the Lion Smith. BLUES – At first a solo Negro folk music (as contrasted to the group music of the spiritual), standardized about 1920 into a 12-bar form (although there are also 8- or 16-bar blues) in 4/4/ time, consisting of three 4-bar phrases with one harmony per bar in the following set harmonic pattern: PHRASE MEASURES 1 1-4 HARMONIC PATTERN I I I I 2 5-8 IV IV I I 3 9-12 V V I I LYRICS Trouble, trouble,/ I’ve had it all my/ days INSTRUMENTAL/ RESPONSE Trouble, trouble,/ I’ve had it all my/ days INSTRUMENTAL/ RESPONSE It seems to me like trouble’s gonna/ follow me to my/ grave INSTRUMENTAL/ RESPONSE/ Within each 4-bar phrase there is a well developed call and response form (2-bar vocal call, 2-bar instrumental response). The words, and often the melody though not the harmony, of Phrase 2 usually repeat those of Phrase 1, a kind of repetition also found in the call and response form of work songs and spirituals when the call and the response are identical. Blues are intense emotional expressions of personal disasters, hard times, trouble with a man or woman, offering catharsis to the performers and listeners. Blues appeared in the rural areas of the South in the last half of the 19th century, deriving their richness of inflection, intensity of emotional expression, and modal quality from the field hollers. �COUNTRY BLUES – This earliest form of the blues is closest to the rich inflections and modal quality of the hollers. The fragmentary quality of the holler is elongated into one, two, three, or four rough melodic phrases of irregular lengths and rhythms. There is no set meter. Within each phrase the country blues singer calls out and his instrument—he usually accompanies himself—responds. His tempos are medium to slow. He uses extremely simple harmonies (usually only three chords: I, IV, V) with very few chord changes. At least three-fourths of the chords are tonic (I). As one phrase moves to another a harmonic progression to the sub-dominant (IV) or dominant (V) occurs briefly for one to three beats before a return to the tonic (I). Most often he plays the guitar to accompany himself, but sometimes uses a fiddle, harmonica, mandolin, or banjo. He might be joined by others playing washboards, kazoos, Jew’s harps, jugs, saws. CITY BLUES – By 1920 the city blues singer’s inflections were less varied than those heard in the hollers but retained the African modal qualities. The form and rhythm of the blues were also regularized to the 8-bar (earliest set form), 12-bar, and 16-bar blues forms with an unvarying 4 beats to a bar, and 4 bars to a complete phrase, which included an approximate 2-bar vocal call and 2-bar instrumental response. Variety was often introduced by dropping the repetition of words and melody in the second phrase and introducing different words and melody. The form was also often embellished with the addition of a verse, usually of 16 bars, reflecting the influence of minstrel songs and other popular songs of the 20’s on the blues. Some variations in the harmonic pattern were also introduced, the most common being the use of IV for I in Measure 2. Tempos were medium to slow. The blues singer was usually accompanied by a small ensemble (two to four pieces usually including a piano) or by a jazz band of six or seven pieces. By the mid-20’s the blues were no longer necessarily a vocal form. Jazz men often played instrumental blues without a vocalist, a practice which continues today. The greatest of the early city blues singers were Gertrude “Ma” Rainey (1886-1939, b. Columbus, Ga.), called the “Mother of the Blues,” and Bessie Smith (1898-1937, b. Chattanooga, Tenn.), called the “Empress of the Blues.” Actually Ma Rainey spanned the transition from country to city blues. Her voice inflections are closer to country blues than the smoother singing style of Bessie Smith, and she preferred to sing with guitars or jug bands—with the rhythm regularized, however, to four beats to a measure, and with four-bar phrases. Bessie Smith chose the more sophisticated accompaniments of the pianist Fletcher Henderson, leader of the first successful large jazz band, and later famous for his arrangement for Isham Jones, the Dorsey brothers, and particularly for Benny Goodman. BLUES STYLE – Many popular songs were and are played and sung in blues style—that is, with rich inflections, intense emotions, voice and instrumental give and take (though there is never as much room for instrumental response in non-blues forms), and a pulsing beat. These songs consistently retain the 4bar phrase, but the total length of the composition may vary from 32 bars (most frequently used) to 16, 20, or 24 bars. The length is always a multiple of 4 due to the 4-bar phrase. BREAK – Usually a 2-bar vocal or instrumental solo, occurring most often as the last two measures of a phrase but also at other points. The ensemble stops playing after the first beat of the measure which begins the break, and the solo instrument sings out: ENSEMBLE: [quarter note – quarter rest x3/ whole rest/] Often an entire “break chorus” is played by a solo instrument accompanied by ensemble chords on the first beat of every second measure throughout a chorus. This practice is called “stop time.” CAKEWALK – A high-stepping strutting walk or dance. Originally the cakewalk was done by blacks strutting in a dancing imitation of white slave owners, who awarded cake to the best performers. In 1840 the first black-faced white minstrel show featured cakewalks, this time with whites doing the imitation of �the blacks’ imitations of whites. To do the cakewalk was the rage for dancing Americans in the ay 90’s, as it was for the Parisiennes in the 1900’s. The swing and syncopation of the cakewalk music, played on banjos, was repeated in the piano ragtime of the 90’s. CALL AND RESPONSE FORM – An African musical form shaping most Negro work songs and spirituals and profoundly influencing blues and jazz. The leader calls with lines that may vary to a chorus which response with a fragment sung repeatedly. Sometimes the call and the response are identical. Blues may derive their second line repetition (response) of the first line (call) of the lyrics from this form. Certainly the blues singer’s call and the instrumental response within a 4-bar phrase reflect this form, as does the jazz band’s practice of single instruments call to and answering other single instruments or the ensemble. The same pattern is found where a preacher calls to his responding congregation. CHORUS – In jazz “to take a chorus” means to play or sing a solo through one entire 12- or 16-bar blues or through one chorus (usually 16 or 32 bars) of a tune which has both verse and chorus. The musician improvises solo upon the harmonic pattern of the tune with which the rhythm section of the band accompanies him. Breaks, riffs, or ensemble “stop time” (see Break) add variety to the soloist’s “ride.” “To take a chorus” is also expressed as “to take a ride.” When a musician really gets going, he may take two, three, or an indefinite number of choruses before he relinquishes the lead to someone else. HOLLER – An unaccompanied improvised solo work song of solitary occupations. Hollers were very brief intense musical expressions, in slow time and free meter, characteristically African in their inflections, part yodel with changes to falsetto and slides to lower notes, part yell, part grunt, part song, full of glissandi, bends, and vibrato. Neither the European even-tempered scale (where each half-step is exactly the same size) nor modal tunings (where the size of the half-step varies according to the mode) can provide a medium for the transcription of the immense variety of pitch inflections in the holler. Phonophotography can—a technique of taking pictures of sound. Below is a rough indication (the roughness due to my reproduction of a phonophotograph of a holler; the phonophotograph itself is exactly accurate) of how a holler might look in relation to the rigidified even-tempered scale which American and European ears since the 18th century are used to. The vertical lines represent seconds of time. The horizontal lines represent the even-tempered scale. [Phonophotograph diagram] Throughout the South hollers were sung on farms by the solitary slaves of poor whites and, after the Civil War, by Negro share croppers, in the firsts by mill hands and mule skinners, one the railroads by section bosses. The street cried of peddlers heard in the cities of the South in the 20 th century were descendants of the hollers. IMPROVISATION – Playing music extemporaneously (not memorized notes). In traditional jazz there is a set harmonic pattern over which the melody is improvised. In modern jazz there may or may not be a set harmonic pattern underlying the improvisation. JAZZ – Improvised or composed music with a swinging rhythmic syncopated pulse. TRADITIONAL JAZZ is music in 4/4 time, usually improvised, based upon a melodic composition with comparatively simple harmonies and phrases of two, four, or eight bars’ length. The harmonic patterns of the composition are repeated in the improvisations. Harmonic patterns vary from one jazz tune to another much more freely than the fairly set harmonic pattern of the blues. MODERN JAZZ may be composed or improvised music. It often changes meter from measure to measure. It may be based upon motifs without set harmonic patterns and may have extremely complex and often changing harmonies. Jazz developed around the turn of the century out of the potpourri of music in New Orleans: the �brass bands, the string bands, the orchestras of well-trained musicians, the dance music of the French quadrille, the composed rags coming down river from Missouri, the Negro folk music of the spasm and jug bands of self-taught street performers, the highly complex rhythms of the African drummers in Congo Square (heard from about 1817 through the middle 1880’s), the blues just coming to the city via Negro musicians working the vaudeville circuit or traveling alone, and the pervading background of African work songs and Negro spirituals. Ragtime influenced the music of jazz bands more than did the blues (predominantly a vocal music) until the 20’s, when the bands began playing instrumental blues, often without a vocalist at all. Two known early jazz band leaders of the mid-90’s were guitarist Charlie Galloway (born during the Civil War) and cornetist Buddy Bolden (b. 1878), who was called by Jelly Roll Morton the “great ragtime trumpet man.” Bolden and Galloway played jazz together in New Orleans, mainly rag jazz tunes, through Bolden is known to have worked out three or four blues tuned for the band. Ferdinand Joseph “Jelly Roll” Morton (b. 1885-New Orleans; d. 1941-Los Angeles), pianist extraordinaire, was one of the self-acclaimed “inventors of jazz.” A fantastic improviser, Jelly also knew how to read and notate music. According to his own statements he was composing jazz tunes as early as 1902-1906, though none of his works was published so early. Jelly made clear distinctions between the musical forms of blues, rags, and jazz. He incorporated many rag features into his jazz: multithematic structures, harmonies more complex than those of the blues, syncopated rhythms. His jazz differed from rags in its much more swinging beat and use of improvisation. Jelly developed out of the germinal form of break found in rags the jazz break and was among the first to emphasize riffs. These characteristics of Jelly’s jazz sometimes required his musicians to adhere much more closely to the music than was generally the case in improving jazz bands. In fact Jelly wrote out arrangements for his bands, the first such being published in 1915. Thus Jelly—one of the giants of jazz-was in part an exception to the general rule of traditional jazz as improvised melodies over simple harmonies. However, the tasteful use of improvisation was a vital part of his jazz piano and of his bands. In fact he had no respect for W.C. Handy’s concert band, which could not improvise blues. Jelly’s blues, as might be expected, were a more complex form than the blues structure described herein. Two of his first three known compositions were “New Orleans Blues” and “Jelly Roll Blues.” These exhibit much contrast in their variations on a single theme, offer more variety in the harmonies while retaining the basic three chord progressions of the blues, and enrich the melodies with the whole gamut of European classical music’s non-harmonic tones—the appoggiatura, passing tones, suspensions—as well as the African modal qualities resulting in flatted thirds and sevenths. The rhythms often reflect a “Spanish tinge” – a requisite for true jazz feeling, according to Jelly. MINSTRELS AND VAUDEVILLE – Minstrels were America’s first original theatrical form. They appeared in New York in 1840 as an imitation by whites of Negro music and dancing and jokes. The performers used burnt-cork to blacken their faces, sang Negro songs like “Jump Jim Crow” (which referred to a way of hopping about), and played banjos, and instrument created by the Negro in America as an adaptation of his African banjor. By 1877 all-black minstrel shows appeared, providing one way for the black to express himself and to earn an independent living. Traveling minstrel and vaudeville shows were a major employer of black blues singers, as well as of wrestlers, comics, jugglers, vaudeville teams, for several decades. Among the first blues singers working with minstrels were Ida Cox (1889-1968, born and died in Knoxville), Ma Rainey, and Bessie Smith. Husband-and-wife vaudeville teams popular on the minstrel and vaudeville circuit were Dora Carr and Cow Cow Davenport, and Butterbeans and Susie (who were married on-stage in 1917). RAGS – A composed piano music with an often syncopated right hand swinging against the left hand’s steady four beats. Rags are a fusion, originated by Negroes, of country and city, of the syncopated folk music of plantation banjos and the learned music of European harmonies, particularly as heard in marches �with three- or four thematic sections and modulating interludes. It was in Sedalia, Mo., that the first rag was published in 1897—Tom Turpin’s Harlem Rag. And it was there that the most well-known of all rags, The Maple Leaf Rag, was written in 1899 by the “King of Ragtime Composers”—Scott Joplin. Within a year ragtime swept the country. St. Louis, New Orleans, Chicago, Kansas City, New York—all were centers of ragtime piano players and publishers. Scott Joplin, James Scott, and Joseph Lamb stand out as masters among the many black and white ragtime composers. Americans at the turn of the century were dancing the cakewalk to ragtime, as were the French in Paris after 1901 when John Philip Sousa’s concert band of 64 included rags and cakewalks among its repertoire of brassy marches, overtures, and symphonic classics. Debussy, under the influence of this new American music, composed “The Golliwog’s Cake Walk” and “Minstrels.” RIFF – A rhythmic and harmonic pattern repeated throughout a chorus of half-a-chorus with very little variation either as an accompaniment to a solo or as the musical substance of the chorus. SPIRITUALS – A Negro religious folk music appearing in the early 1800’s, originally sung by the entire worshipping group in unison or two part harmony without instrumental accompaniment other than the rhythm of hand-clapping or foot stomping. They never sand a number in quite the same way twice. Instead there was a spontaneous collective improvisation coming from the deep fervor and emotion in each individual. Jazz and blues have taken much from this approach. While a few spirituals have a one-part structure (“We Are Climbing Jacob’s Ladder,” “Were You There When They Crucified My Lord”), most have a verse-refrain two-part structure. Most spirituals also have a call and response form. The leader calls out in phrases with varying words but generally unchanging melody to a chorus which responds with generally unvarying words and melody. The majority of spirituals are sung with a lively, highly rhythmic swinging beat: these are the jubilee songs. Others, having long sustained phrases, are sung in slow tempos and are usually laments. On concert tour from 1871 to 1878 the Fisk Jubilee Singers introduced most of the U.S. and Europe to spirituals, though in a hybrid form related as much to European traditions of harmony, set meter, and Anglo-Protestant verse-chorus hymn forms, as to the African call and response forms, modes, and rhythms. Seventy-five years later the vitality of the spirituals moved the world again as Mahalia Jackson concertized throughout Europe and England in 1952. WORK SONGS – The earliest Negro folk music in America. The group work songs of the 17th century were purely African in their call and response form. The tempos fit the rhythm of the work being done by the work gang, which might number 100 or more. Work songs were sung by men chopping weeds in the cotton fields, by rice field workers beating rice, by boatmen in the Sea Islands of Georgia, South Carolina, and Florida, by roustabouts loading river prison work gangs, down to the fifth decade of this century. Some prison work songs were recorded in the 30’s by John and Alan Lomax. Among the earliest worksongs recorded are those of Georgia Sea Island singers. Huddie “Lead Belly” Ledbetter, self-styled “Ling of the 12-String Guitar Players of the World” (b. 1885 in western La.), has also recorded work songs. BOOKS – A list including histories of jazz, blues, and ragtime, biographies and autobiographies of musicians, and studies of the society which has produced this music. ALLEN, William Francis, WARE, Charles Pickard, and GARRISON, Lucy McKim. Slave Songs of the United States. A. Simpson & Co., 1867; reprinted Oak Publications, 1965. BOTKIN, B.A., editor. Lay My Burden Down. U. of Chicago, 1945. Statements by ex-slaves of their experiences during slavery. BROONZY, Big Bill, as told to BRUYNOGHE, Yannick. Big Bill Blues. Reprinted Oak publications, 1964. Autobiography of one of the greatest country blues singers of �all time. BLESH, Rudi. Shining Trumpets. 2nd edition, Alfred A. Knopf, 1958. BLESH, Rudi, and JANIS, Harriet. They All Played Ragtime. 1950; revised edition, Oak Publications, 1966. Excellent history of ragtime. CHARTERS, Samuel B. The Country Blues. Rinehart & Winston, 1959. __________. The Poetry of the Blues. Oak Publications. __________. The Bluesmen. Oak Publications, 1967. __________. Jazz: New Orleans, 1885-1957. Printed by Walter C. Allen, 1958; reprinted Oak Publications, 1963. __________, and KUNSTADT, Leonard. Jazz: A History of the New York Scene. Doubleday & Company, 1966. COURTLANDER, Harold. Negro Folk Music, U.S.A. Columbia U. Press, 1963. FEATHER, Leonard. The Book of Jazz. Horizon Press, 1957. __________. The New Edition of the Encyclopedia of Jazz. Bonanza Press, 1960. FISHER, Miles Mark. Negro Slave Songs in the United States. Cornell U. Press, 1953. HANDY, W.C. Father of the Blues. 1941; MacMillan, 1970. __________. A Treasury of the Blues. 1926. Reprinted Charles Boni, 1949. HERSKOVITS, Melville J. The Myth of the Negro Past. Harper, 1941; reprinted Beacon Press, 1958. HODEIR, Andre. Jazz: Its Evolution and Essence. Translated by David Noakes. Grove Press, 1956. HUGHES, Langston and BONTEMPS, Arna. The Book of Negro Folklore. Dodd, Mead and Company, 1958. JONES, A.M. Studies in African Music. 2 vols. Oxford U. Press, 1959. JONES, Leroi. Blues People. William Morrow & Company, 1963. KEIL, Charles. Urban Blues. U. of Chicago, 1966. KREMBLE, Fanny. Journal of a Residence on a Georgia Plantation (1838-1839). Harper & Brothers, 1864; reprinted Alfred A. Knopf, 1961. KMEN, Henry A. Music in New Orleans: The Formative Years 1791-1841. Louisiana State U. Press, 1966. LOMAX, John A. Negro Folk Songs as Sung by Leadbelly. Macmillan, 1937. __________. Adventures of a Ballad Hunter. Macmillan, 1947. LOMAX, Alan. Mister Jelly Roll. Duell, Sloan and Pearce, 1950; reprinted Grove Press, 1956. Biograph of Jelly Roll Morton. MEZZROW, Mess, and WOLFE, Bernard. Really the Blues. Random House, 1946; reprinted Signet, 1964. MILLER, Paul Edwards. Esquire’s Jazz Book. Peter Davies, 1947. METFESSEL, Milton. Phonophotography in Folk Music. U. of N. Car., 1928. OLIVER, Pail. Bessie Smith. Cassel & Co., 1959; Perpetua Ed., A.S. Barnes and Co., 1961. Blues Fell This Morning, Cassell, 1960. Conversation with the Blues, Cassell, 1960. The Story of the Blues, Barrie & Rockliff, The Cresset Press, 1968. PARRISH, Lydia. Slave Songs of the Georgia Sea Islands. 1942; Folklore Associates reprint, 1965. RAMSBY, Frederic, Jr. Been Here and Gone. Rutgers, 1960. __________ and SMITH, Charles Edward, editors. Jazzmen. 1939; reprinted Sidgwick and Jackson, 1957. ROSE, Al, and SOUCHON, Edmond. New Orleans Jazz: A Family Album. Louisiana State University Press, 1967. ROSE, Al. Storyville. Not yet released from U. of Ala. Press. SARGEANT, Winthrop. Jazz: Hot and Hybrid. E.P. Dutton, 1946; reprinted McGraw-Hill, 1964. �SCHULLER, Gunther. Early Jazz. Oxford U. Press, 1968. SHAPIRO, Nat, and HENTOFF, Nat. Hear Me Talkin’ To Ya. Rinehart & Co., 1955. STEARNS, Marshall. The Story of Jazz. Oxford U. Press, 1956. WORK, John W. American Negro Songs and Spirituals. Bonanza Books, 1940. CONDON, Eddie, and SUGRUE, Thomas. We Called It Music. Peter Davies, Ltd., London. CARMICHAEL, Hoagy. Sometimes I Wonder. Farrar, Strauss, and Girous. KAMINSKY, Max. My Life In Jazz. Harper & Row, 1963. LEONARD, Neil. Jazz and the White American. WHITE, Newman L. American Negro Folk-Songs. Harvard U. Press, 1928; reprinted by Folklore Associates, Inc., 1965. PERIODICALS Sing Out, Music & Artists, Jazz Review, Jazz & Pop – all in U.S. Blues Unlimited, Blues World, Jazz Journal, Jazz Monthly, Storyville – all in England. Two jazz clubs in the U.S. have magazines which publish articles and record reviews. The New Orleans Jazz Club of California, 291 Spinnaker Street, Orange, California 92668, publishes The Jazzologist. The New Orleans Jazz Club, 340 Bourbon Street, New Orleans, Louisiana, 70130, publishes The Second Line. � https://digitallis.isg.siue.edu/files/original/eac4aa807a4fd30f40f40ba38d571094.jpg c8bc760376785ca877a7e3ecd17dd09f https://digitallis.isg.siue.edu/files/original/05754967c7404c97b94c0774fda4a0b0.jpg c82463d6d99b6feb9913781a10c578cb https://digitallis.isg.siue.edu/files/original/8baca78a310520eb877eabb51fc8e0e4.jpg c9a07d6e610780738aed07e9234369f4 https://digitallis.isg.siue.edu/files/original/55dcc2e35c0b836647601af55bb1ec96.jpg 6b98f297b28b4182dd5c4a8ca21d84e1 https://digitallis.isg.siue.edu/files/original/3d3d38844462f6f295732ea61db754ac.jpg 609f82a1f64be5e57962ba60c311b359 https://digitallis.isg.siue.edu/files/original/36fd2232f9faa053c72bf5e62baccaf2.jpg 4af9ef9cc00068f6b8e62b29f1f28c79 https://digitallis.isg.siue.edu/files/original/27190998d82a4a4f18822273385d3d47.jpg 8df6eafbd43f15c0dfbceca17b46dbb0 https://digitallis.isg.siue.edu/files/original/1f65481fea347e5a0dd6936043849590.jpg d93941701d4e3ec2adca845c12b67491 https://digitallis.isg.siue.edu/files/original/a67b83ed8cb779f533e1e6a171e66c91.jpg eb970255f432e38c4fb50e57ae3c9f33 https://digitallis.isg.siue.edu/files/original/fc967c12645e7662db316d54293008a2.jpg 62eed4df7d822451c466aea9e66df5c8 https://digitallis.isg.siue.edu/files/original/3bb54900dccdd7e960f81dd559c12307.jpg 3116fbac1847de744d3bb23248b5eec0 https://digitallis.isg.siue.edu/files/original/ec9c6b5c7fc3a50fee3cbf1f1c61ef4d.jpg 3bdb1b871afa59ca22bb073fc698864c https://digitallis.isg.siue.edu/files/original/d93b96ddce549674785f0edc7c5b8c70.jpg d7e1d1cf60d1947592ddece4d71abd2b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Jean Kittrell Digital Collection Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Text Any textual data included in the document [Transcription attached as text-searchable PDF] Original Format The type of object, such as painting, sculpture, paper, photo, and additional data Book Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Identifier An unambiguous reference to the resource within a given context JMK_2015_8_2_0001 Title A name given to the resource The Black Roots of Our American Music, 1971 Description An account of the resource Published and copyrighted by Jean Kittrell in 1971, this 13 page book covers the history of jazz and related forms using a historical context. The cover art for the book (not pictured) was designed by Jane P. Luckenbach, wife of musician Tony Luckenbach, and features black musicians in a circle motif with musical instruments at the center. A pair of hands are featured on the bottom of the circle. The content of the book includes a timeline of Afro-American folk music related to development of European musical forms and historic events, comments and definitions of jazz terminology with associated diagrams, and a bibliography of related literature including books and periodicals. The inside cover of this copy is signed "To Gail & Steve with best wishes, Jean Kittrell 23 Nov 71." Language A language of the resource English Creator An entity primarily responsible for making the resource Kittrell, Jean Date A point or period of time associated with an event in the lifecycle of the resource 1971 Rights Information about rights held in and over the resource For digital rights and permissions, see <a href="https://www.siue.edu/lovejoy-library/about/policies.shtml">https://www.siue.edu/lovejoy-library/about/policies.shtml</a> In copyright. <a href="http://rightsstatements.org/vocab/InC/1.0/">http://rightsstatements.org/vocab/InC/1.0/</a> Relation A related resource Jean Kittrell Digital Collection Type The nature or genre of the resource Text Jean Kittrell