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MUH3025 Race Differences in Jazz Music Jacklyn Dougherty

Race Differences in Jazz Music

The differentiations made between "white jazz" and "dark jazz" in the text reflect verifiable and social settings as opposed to inborn racial qualities. While early jazz music was affected by the racial elements of the time, ascribing explicit melodic characteristics stringently to race misrepresents the rich, various impacts that formed the class.

"Tiger Cloth," performed by the First Dixieland Jazz Band (ODJB) in 1918, addresses what is frequently alluded to as "white jazz." ODJB contained white artists who played an exceptionally cheerful style and, in fact, were capable of stressing a more organized type of jazz that engaged the standard crowd of the time. Conversely, "Scoop Mouth Blues" by Lord Joe Oliver and performed by the Creole Jazz Band in 1923 exhibits the improvisational and blues-arched style related to "dark jazz." This piece mirrors the African American experience, with its underlying foundations in the blues and the oral customs of African American culture. Additionally, "East St. Louis Goodbye" by Duke Ellington, kept in 1927, further shows the refinement and development in dark jazz, portrayed by its mind-boggling game plans and emotive profundity.

In any case, classifying these distinctions based on race overlooks the hybrid and shared impact among highly contrasting artists. Jazz was, and continues to be, a cooperative work of art where thoughts stream unreservedly across racial lines. Performers from both racial foundations impacted one another, making a hybridization of styles that rises above racial order.

In the present music, the lines between "dark music" and "white music" are significantly more obscured. Types like hip-jump, R&B, rock, and pop are delighted in and performed by individuals, everything being equal. While specific classes might have been established in unambiguous social encounters — like hip-jump in the African American people group — craftsmen from assorted foundations add to and develop these types. The computerized age has additionally democratized music creation and utilization, making it less applicable to sort music by the race of its entertainers or crowd.

The abundance of music comes from its capacity to rise above racial limits and associate individuals through shared human encounters. While it is critical to recognize and commend the commitments of various societies to music, we ought to zero in on the general components that make music a strong and binding together power.


Reference

Monson, I. (2009). Saying something: Jazz improvisation and interaction. University of Chicago Press.


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