Jazz Chapter Summary

In chapter ten Jones discusses the two secularities ways that blues began to separate into throughout these next few years. People who moved forward to citizenship moved away from older blues. When the city blues began to be powerful, the larger negro dance bands hired some of the emigrants as soloists and the blues began to be heard everywhere. However, the materials of blues were unavailable to the middle class and the white man. The movement far from mainstream developed what was known as ‘Jazz’. “Jazz made it possible for the first time for something of the legitimate feeling of Afro-American music to be imitated successfully (Jones, p.148).” Jazz was a music that relied on older Afro-American traditional music, but during this time …show more content…
In the late thirties, rhythm and blues developed. Still experiencing segregation and unequal rights the music was still almost exclusively for and aim to satisfy the negro audience. Just like the other form of blues music, rhythm and blues was not understood by the white man and the middle class did not support it. “Rhythm and blues not only reflected that stream of music that had been city blues and was a farther development of the growing urban tradition, it also reflected a great deal about the America it came out of and the negroes who sang or listed to it. (Jones, p.171).” By the forties Afro American musical tradition was an urban one. World War 1 and the Great Depression produced the ‘modern’ Negro. The music in the forties, fifties, and sixties was not confined merely to social areas. During these years, identifiable relationships were created by stance of aesthetic analogies. Jones illustrates that “what has happened is that there are many more Negroes, jazz musicians and otherwise, who have moved successfully into the featureless syndrome of that culture, who can no longer realize the basic social and emotional philosophy that has traditionally informed Afro-American music (Jones,