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letra de abstract - luke davis

the focus of this research is to determine whether the term “black music” should still be used in the music industry today. since the late 19th century, music derived from the descendants of african slaves has undergone numerous changes, expansions and offshoots, sonically and socially. a collective term to characterise this music has also differed throughout the 20th century and beyond

through the guidance of literature discussing the same subject, the use of the term “black music” has been constantly re-evaluated as the socio-political landscape that defines it has changed. a number of different terms have been used, including “negro music” and “african-american music” but they all converge together with certain notions of origin. the paper includes notable examples from each major genres of “black music” such as ragtime, blues, jazz, rhythm & blues, soul and hip hop. the centre of this -n-lysis includes works by scott joplin, muddy waters, miles davis and ray charles. their musical characteristics are what set them apart from other so called “non-black music” as well as their socio-historical presences amongst society. there will also be social and cultural critiques of political movements of the time, to add basis to the argument for or against the term “black music”

from the literature read and discussed, there is no clear indication for the term “black music” to be used any longer within the music industry. it is an integral identifier within black history but due to the racial overlaps throughout the 20th century, there is nothing fundamentally “black” about the music to warrant the term

- luke davis

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