In India or Africa or Latin America or the Arab world, the music you hear on the radio is a fusion of indigenous traditions with electric instruments and Afro-American rhythms.
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The overarching cultural assumption of Ireland in the early s was still that we were a distinctive people with our own traditions, as particular and peculiar in their own way as those of any other post-colonial society. Why should we not have our own pop music, our own Bob Marley or Fela Kuti? So the coming thing was Celtic Rock. Fairport Convention had already invented that genre in England.
And for a while, there was a boom in so-called Celtic Rock, with bands like Mushroom, Spud and the excellent Woods Band moving into the space that Horslips had cleared.
A look at the marketing and mockery of a genre on its 70th birthday.
Spud, if I remember rightly, were managed by a fellow called Paul McGuinness, who afterwards drifted into looking after some minor showband and was never heard of again. Thin Lizzy got in on the act with Whiskey in the Jar.
Celtic Rock was the future. Yet it was soon the past. And in truth, Horslips themselves were gradually killing off the genre by then. By , with punk in the ascendant, Horslips had laid up their fiddles and curling tongs and Celtic Rock had joined prog rock in the dustbin of musical history. What happened? Part of the answer was, ironically, that traditional music was too vibrant.
Not only was it no longer uncool to listen to The Dubliners who, after all, made most rock bands seem pretty tame but Planxty was on the rise. The dazzling talents of that original Planxty line-up gave an immediacy and potency, but also a rich sophistication, to acoustic folk music.http://co.organiccrap.com/11962.php
Donald Clarke (writer)
For those with a taste for traditional music, there were other, richer options. The other irony is that the real legacy of Celtic Rock was in the Irish diaspora. Somehow, in the re-inventions of exile, hybrids that withered at home could blossom. The rise and fall of Celtic Rock Sat, Jul 11, , Fintan O'Toole.
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Watch More Videos. Most Read in News. At the same time, a craze for ragtime gripped the US.
The evolution of music: Blues, jazz and the rise of popular music - Reader's Digest
The "ragged time" meaning syncopated tunes were influenced by folk tradition, minstrel shows and marching bands. Scott Joplin's "Maple Leaf Rag" written in sold more than a million copies as sheet music. While this popular style of music was taking off, there was a more organic style of music moving across the underground in America. Blues took its roots from the sometimes improvised call and response chorus that African slave labourers would sing, adapted from field shouts and hollers.
Behind the scenes, rhythms originally brought to the US by African slaves could be heard in New Orleans' brothels, where black musicians entertained the clients. Jazz didn't remain behind closed doors, during an era when America was having huge issues with racism, a group of white southerners formed The Original Dixieland Jazz Band in and entertained the rest of the city.
The jazz sound drifted north, played by bands on Mississippi riverboats, and when the New Orleans' red light district closed in , the Dixieland band traveled to New York. Soon, Dixieland jazz became known across the US. In , the Cotton Club jazz venue opened in New York, making the new sound fashionable. Alongside the newly popular genre, musical comedy continued to develop.
Memorable songs caught the public imagination in light entertainment shows such as Lady Be Good , George Gershwin's first major musical. Gershwin's music fused classical music, popular music and jazz to create a new distinctively American sound. By , Broadway had 80 theatres, and between and , new productions opened, including Jerome Kern's Show Boat, with plotting and characterization that set new standards for the stage musical.
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A new style of solo improvisation earned trumpeter, cornet player and gravelly-voiced singer Armstrong worldwide acclaim. Musicals now moved onto the big screen in lavish Hollywood productions. Radio star Bing Crosby introduced his smooth looks and crooning voice in King of Jazz The end of Prohibition in forced many musicians out of the illegal drinking clubs and into the open.
Jazz adapted its style for wider appeal, tailoring itself to the dance hall in the form of big bands and swing. Vocalist Billie Holiday dominated the decade with her jazz interpretations of popular songs, recording with saxophonist Lester Young, whose light tone influenced soloists such as Charlie Parker. In , Fats Waller below introduced his humorous vocal jazz style, and three years later, Glenn Miller began leading orchestras in his distinctive style of swing.
Meanwhile, Hollywood continued to create star vocalists—Ella Fitzgerald and Frank Sinatra among them. In , Irving Berlin's genius for melody produced the song "White Christmas.
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