Many elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. The origins of the blues are also closely related to the religious music of the Afro-American community, the spirituals. The first appearance of the blues is often dated to after the ending of slavery and, later, the development of juke joints. It is associated with the newly acquired freedom of the former slaves. Chroniclers began to report about blues music at the dawn of the 20th century. The first publication of blues sheet music was in 1908. Blues has since evolved from unaccompanied vocal music and oral traditions of slaves into a wide variety of styles and subgenres. Blues subgenres include country blues, such as Delta blues and Piedmont blues, as well as urban blues styles such as Chicago blues and West Coast blues. World War II marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience, especially white listeners. In the 1960s and 1970s, a hybrid form called blues rock developed, which blended blues styles with rock music.
The phrase "the blues" was written by Charlotte Forten, then aged 25, in her diary on December 14, 1862. She was a free-born black woman from Pennsylvania who was working as a schoolteacher in South Carolina, instructing both slaves and freedmen, and wrote that she "came home with the blues" because she felt lonesome and pitied herself. She overcame her depression and later noted a number of songs, such as "Poor Rosy", that were popular among the slaves. Although she admitted being unable to describe the manner of singing she heard, Forten wrote that the songs "can't be sung without a full heart and a troubled spirit", conditions that have inspired countless blues songs.[11]
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Other recordings that are still available were made in 1924 by Lawrence Gellert. Later, several recordings were made by Robert W. Gordon, who became head of the Archive of American Folk Songs of the Library of Congress. Gordon's successor at the library was John Lomax. In the 1930s, Lomax and his son Alan made a large number of non-commercial blues recordings that testify to the huge variety of proto-blues styles, such as field hollers and ring shouts.[41] A record of blues music as it existed before 1920 can also be found in the recordings of artists such as Lead Belly[42] and Henry Thomas.[43] All these sources show the existence of many different structures distinct from twelve-, eight-, or sixteen-bar.[44][45]The social and economic reasons for the appearance of the blues are not fully known.[46] The first appearance of the blues is usually dated after the Emancipation Act of 1863,[37] between 1860s and 1890s,[2] a period that coincides with post-emancipation and later, the establishment of juke joints as places where African-Americans went to listen to music, dance, or gamble after a hard day's work.[47] This period corresponds to the transition from slavery to sharecropping, small-scale agricultural production, and the expansion of railroads in the southern United States. Several scholars characterize the development of blues music in the early 1900s as a move from group performance to individualized performance. They argue that the development of the blues is associated with the newly acquired freedom of the enslaved people.[48]
During the blues revival of the 1960s and 1970s, acoustic blues artist Taj Mahal and Texas bluesman Lightnin' Hopkins wrote and performed music that figured prominently in the critically acclaimed film Sounder (1972). The film earned Mahal a Grammy nomination for Best Original Score Written for a Motion Picture and a BAFTA nomination.[138] Almost 30 years later, Mahal wrote blues for, and performed a banjo composition, claw-hammer style, in the 2001 movie release Songcatcher, which focused on the story of the preservation of the roots music of Appalachia.
I recently bought satellite radio for my car. It’s a marvel. I recommend it if you don’t know it. For $10 a month, I get a hundred stations. They’re almost completely commercial-free. There’s a whole station for reggae. A whole station for Latin jazz. A whole station for music of the ‘40s. A hundred stations—every kind of music you can think of, with good DJs—for $10 a month. It’s music from the Internet, music from book and record superstores, really a blinding array of music, so much to make you dizzy. There’s jazz. There’s country. There’s gospel. There’s folk. There’s blues. There’s classical. There’s romantic music. There’s opera. There’s rap. There’s techno. There’s raga. And you could go on and on and on. And the choices of music we have today are just remarkable, and this has all come about because of modern technology, markets and free trade.
But again, when we export songs, or musical forms, or artworks, it’s an artifact, it’s a thing. And the culture behind that artifact, blue jeans, record players, video cameras, all these things are things. What created them? What caused them to be created? And that’s what we can’t export. We can only export the things. The values we have to teach. And hopefully Dallas was popular abroad not because JR was a good guy, but because here you had people living in wealth that was natural. There was an Elia Kazan movie [“America, America” (1963)] in which there’s a young Greek boy at the dock, calling out to the American freighter, “America! America!” hoping that they would take him to America. This dream of a better life—without even knowing what it involved, he wanted to go. But he was looking for a value more than a thing—of what we export are things.
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