Delta Blues And The Clash Of Cultures America is one of the most heterogeneous countries in the world. Immigration from all over the world has brought diverse ethnicities, cultures, customs and music to America. This has made us the great melting pot of the world. The diversity has given America an amazing variety of music due to the influence of culture, economic status, class standing and views of those who are writing the music. Blues music is influenced by the culture and views of those creating it, reflects the poverty and despair throughout the southern US, brought the black community together and contributed to modern rock and roll.
One can surely conclude that without the blues the face of music would be very different today. Originating in African-American communities of primarily the "Deep South" of the United States at the end of the 19th century from spirituals, work songs, field hollers, shouts and chants, and rhymed simple narrative ballads This form of music dipped into the emotions felt by lonely slaves removed from their families and native land. The first appearance of the blues is often dated after the Emancipation Act of 1863, between 1870 and 1900, a period that coincides with Emancipation and, later, the development of juke joints as places where Blacks went to listen to music, dance, or gamble after a hard day's work. The transition from country to urban blues began in the 1920s, with the Great Migration. The long boom in the aftermath of World War II induced a massive migration of the African American population, from rural small towns from the south to urban cities of the north.
Compare the Differences and Similarities of Jazz and Classical Music In this essay I will be analysing some of the differences in background between two popular styles of music, Jazz and Classical music. Firstly let us take a look at the history of Jazz music at a glance. Jazz Originating in southern USA early 1900, and is a combination of African and European music traditions. It puts together the use of blue notes, improvisation techniques, and syncopation and swing notes.  Furthermore, Black slaves from early America used to sing and play music as a form of spiritual or ritualistic hymns, which set its roots around the time of segregation in USA.
Until the dawn of the 20th century the pale-skinned poets and their rose-tinted interpretation of the world dominated the whimsical world of literature. But the fiery uprising of the Harlem Renaissance in the early 1920’s shook America to its core. Fortified black voices broke out across the nation, effectively using rhythms and cadences so clearly defined by the African-American culture, but the soulful voice that rose above the rest was the voice of Langston Hughes. The poetry that Hughes crafted was filled with sensual rhythms and beats. His stanzas united the beautiful simplicity of blues and jazz music with the heart rendering soulful cries of a race defined by oppression.
This paper will ultimately investigate how jazz originated and developed in South Africa. Specifically, what conditions created an environment suitable for jazz to flourish in South Africa, what aspects of American music influenced South Africa, what indigenous musical traditions allowed the music to take on a national South African identity and sources of musical training was available to South African musicians. Setting the Stage: Early American Influences The time period between 1920 and 1940 is ultimately the era of the birth of defined jazz in South Africa, however in order to understand how
Jazz is music like no other. It’s considered the “musical language of communication” and it’s also the first American Native style of music to affect many cultures around the world. Jazz is a type of African-American music that originated in the late nineteenth and early twentieth century in the South of the United States. This type of music is a combination of European harmony and different types of African musical elements such as blue notes, improvising, polyrhythms, and syncopation. As it started spreading around the world, Jazz made an amazing impression on national, regional and local cultures forming many distinctive styles of jazz.
Also in the melting pot creating a new musical form were country and western music (including Western swing and influences from traditional Appalachian folk music), jazz, and gospel music. However, elements of rock and roll can be heard in country records of the 1930s, and in blues records from the 1920s.  During that period many white Americans enjoyed African-American jazz and blues performed by white musicians.  Often "black" music was usually relegated to "race music" outlets (music industry code for rhythm and blues stations) and was rarely heard by mainstream white audiences.  A few black rhythm and blues musicians, notably Louis Jordan, the Mills Brothers, and The Ink Spots, achieved crossover success; in some cases (such as Jordan's "Choo Choo Ch'Boogie") this success was achieved with songs written by white songwriters.
Some conditions under which we are in can foster courage, unity and hope. During the Harlem Renaissance, Langston Hughes expressed the identity of a black American. He spoke out about the injustices of racism, inequality, and forecasted change through poetry. He defines this cultural movement. Throughout this time African Americans increasingly migrated North due to the living conditions in the south after the American Civil War.
Racial tensions ran high among troops and harmed the morale of the black GIs. Japanese society generally inherited American’s concept of racial hierarchy which whiteness means ‘normative and privileged’ and blackness means ‘radical and regressive otherness’. Despite being discriminated on and off base, many African-American soldiers perform Jazz in the demi-monde, where many Japan’s leading postwar jazz artists and popular entertainers got their start.  They
The Narrative of the Life of Frederick Douglass and The Showman and the Slave: Race, Death, and Memory in Barnum’s America are two compelling tales of racial and class prejudice, the exploitation of black people, and the as well as the influence of the capitalist mass media in shaping opinion. Through a skillful use of depiction, both Davis and Reiss recover and retell the stories of Barnum, Heth, and Douglass from host primary sources. Reiss’s text is a result of newspaper accounts, court records, letters, drawings, pamphlets, and diaries. Both scholars capitalized on the use of autobiographies, one from Barnum and the other from Frederick Douglass. In piecing together the history and story told by the different primary sources used, Davis and Reiss paints a picture of people looking at history, at the black body, at social class, at slavery, at performance, at religion, at death, and at themselves.