Jiana Barnes IME

Introduction

Hello, my name is Jiana Barnes. I am a graduating senior psychology major from Staten Island, NY. I am 21 years old, a Scorpio, and lover of all show that play on ABC on Thursday nights.

Mindset

I essentially have a very realistic mindset I believe you give what you get 100%. This semester I am very focused on applying to law school and finishing my last semester of undergrad strong. As far as my mindset going into this class, I am very excited. I enjoy listening to all types of music, but I enjoy African American music the most. Also, after meeting for the first time with Dr. Johnson I am extremely excited to see how fun and informative this class will be.

Experience

Growing up I played the piano and guitar. I also took vocal lessons, sang in my church choir, was part of the vocal performing arts program at my high school, and was a member of a dance team in middle and high school. My grandmother and great aunts were gospel recording artists in the 60s, so I’ve been around music for as long as I can remember. I really enjoy Neo Soul and R&B music preferably from the 90s and early 00s. However, I enjoy trap music just as much as the next person.

 

Jiana Barnes Artists Submission

  1. Jhene Aiko – Neo Soul/R&B
  2. Dave East – Hip Hop
  3. Chuck Berry – Rock

Jiana Barnes Folk Post

African American folk music began in Africa long before Africans were enslaved and transported to America for free labor. This music uses instruments such as banjos, drums, and even body parts to create beats.

These beats were used for ceremonial songs in Africa. Once slaves arrived in America they adapted to their surroundings to survive. With this came the adaptation of their music. Singing was no longer for ceremonial use, but now to motivate each other while working. The use of group singing and chanting was used in work songs.

Here is a list of several popular Black Folk Songs:

 

The musical heritage of Africa was passed down not only through the forceful transportation of enslaved Africans to America, but all the way to the black home after the abolishment of slavery. In the early 1900s, the essence of black folk music shifted with commercial interests. As European Americans started to become interested in black folk music as an art form they began to copy and commodify it to fit their taste. This alteration changed the sound and the narrative.

Jiana Barnes Jubilee Quartet Post

Jubilee quartets originated in the mid-1800s and consisted of African American religious musical artists. The name was derived from the Fisk Jubilee Singers, which was a student-organized group at Fisk University that performed Negro spirituals.

Jubilee quartets consisted of a minimum of four and a maximum of six voices, that were mostly men, singing a four-part harmony. Early jubilee quartet music consisted of close harmonies, formal arrangements, and “flatfooted” style singing that developed from western music. These characteristics soon evolved when jubilee quartet style music audiences shifted from universities to black churches.

During WWII the Golden Gate Quartet released a song that acted as a form of propaganda. It was titled ‘Stalin Wasn’t Stallin’ WWII’.

European Americans began to take Jubilee quartet style music as their own, using African American Jubilee artists for entertainment purposes. Jubilee quartet music is now present on Broadway and in concert for a capitalist benefit.

Jubilee Quartets lead to the development of Gospel music. Blues and Jazz beats were added to Negro spirituals, along with electric instruments that led to the creation of the gospel genre. Gospel music adopted many Jubilee quartet characteristics, including four-part and six-part harmonies and hand clapping.

 

Important performers include:

Golden Gate Quartet

Heavenly Gospel Singers

Mills Brothers

The Soul Stirrers

The Mighty Clouds of Joy

The Blind Boys of Alabama

Jiana Barnes Ragtime Post

Ragtime developed toward the end of the 19th century in African American communities in the Southern Midwest, particularly St. Louis, Missouri. This music form became prominent through the sale of sheet music and piano rolls.

Ragtime is characterized by its ragged rhythm and use of the piano. The defining characteristic of ragtime music is a particular type of modification in which melodic accents fall between metrical beats. Which is achieved by the Right Hand playing a modified melody while the Left-Hand plays a simple regular line of alternating bass notes and simple chords.

Ragtime music began to become the interest of European American classical composers. They then began to adopt ragtime into their own compositions. Which were published and used for ballets and Broadway shows to their benefit with no credit to the ragtime influence.

Ragtime emerged before music recordings were an option. Which is why sheet music and piano rolls were the most prominent form of sale or transmission between composers. This led to actual audio recordings. Ragtime also strongly influenced Blues and Jazz pianist, who incorporated ragtime piano structures in their works.

Important Ragtime Composers Include:

Scott Joplin

Jelly Roll Morton

Eubie Blake

James P. Johnson

Joseph Lamb

James Scott

Here are some Ragtime songs

https://www.youtube.com/watch?v=nFeF_yFtssk

Bibliography 

Browne, David, et al. “Essential Chuck.” Rolling Stone no. 1285 (April 20, 2017): 36-37. Music Index, EBSCOhost (accessed February 19, 2018).

Cooper, B. Lee. The History Teacher 8, no. 2 (1975): 300-01. doi:10.2307/491539.

Daniels, Douglas H. American Music 7, no. 3 (1989): 335-38. doi:10.2307/3052082.

Doherty, Thomas. Popular Music 8, no. 2 (1989): 199-202. http://www.jstor.org/stable/853472.

Fryer, Paul H. “”Brown-Eyed Handsome Man”: Chuck Berry and the Blues Tradition.” Phylon (1960-) 42, no. 1 (1981): 60-72. doi:10.2307/274885.

Gilmore, Mikal. “Chuck Berry 1926-2017.” Rolling Stone, April 20, 2017., 22-56, Music Index, EBSCOhost (accessed February 19, 2018)

Taylor, Timothy D. “His Name Was in Lights: Chuck Berry’s ‘Johnny B. Goode’.” Popular Music 11, no. 1 (1992): 27-40. http://www.jstor.org/stable/853225.

Richards, Keith. “‘The Granddaddy of Us All’.” Rolling Stone, April 20, 2017., 34, Music Index, EBSCOhost (accessed February 19, 2018).

Rutherford, Kevin. “CHUCK BERRY TOOK HIS ‘DING A LING’ TO NO. 1.” Billboard 129, no. 24 (October 28, 2017): 176. Music Index, EBSCOhost (accessed February 19, 2018).

Schultz, Barbara. “COOL SPIN: CHUCK BERRY CHUCK (DUALTONE).” Mix 41, no. 7 (July 2017): 16. Music Index, EBSCOhost (accessed February 19, 2018).