Historical Atlas of the 20th Century An interesting and informative collection of information on the twentieth century. Maps are often interactive, allowing you to zoom in on details. Helpful revision sheets and essays on some 30 topics make this a useful study site. The resource hot sheets can act as a primary or secondary reading or to assist in classroom discussions of a variety of topics.
The music of the United States can be characterized by the use of syncopation and asymmetrical rhythms, long, irregular melodieswhich are said to "reflect the wide open geography of the American landscape " and the "sense of personal freedom characteristic of American life". Throughout the later part of American history, and into modern times, the relationship between American and European music has been a discussed topic among scholars of American music.
Some have urged for the adoption of more purely European techniques and styles, which are sometimes perceived as more refined or elegant, while others have pushed for a sense of musical nationalism that celebrates distinctively American styles.
Modern classical music scholar John Warthen Struble has contrasted American and European, concluding that the music of the United States is inherently distinct because the United States has not had centuries of musical evolution as a nation.
Instead, the music of the United States is that of dozens or hundreds of indigenous and immigrant groups, all of which developed largely in regional isolation until the American Civil Warwhen people from across the country were brought together in army units, trading musical styles and practices.
Struble deemed the ballads of the Civil War "the first American folk music with discernible features that can be considered unique to America: Amateur musical ensembles of this era can be seen as the birth of American popular music.
Music author David Ewen describes these early amateur bands as combining "the depth and drama of the classics with undemanding technique, eschewing complexity in favor of direct expression.
If it was vocal music, the words would be in English, despite the snobs who declared English an unsingable language. The entrance of the Grammy Museum at L. Live Music intertwines with aspects of American social and cultural identity, including through social classrace and ethnicitygeographyreligionlanguagegenderand sexuality.
The relationship between music and race is perhaps the most potent determiner of musical meaning in the United States. The development of an African American musical identity, out of disparate sources from Africa and Europe, has been a constant theme in the music history of the United States.
Little documentation exists of colonial -era African American music, when styles, songs, and instruments from across West Africa commingled with European styles and instruments in the melting pot of slavery. By the midth century, a distinctly African American folk tradition was well-known and widespread, and African American musical techniques, instruments, and images became a part of mainstream American music through spiritualsminstrel showsand slave songs.
In contrast, country music derives from both African and European, as well as Native American and Hawaiian, traditions and yet has long been perceived as a form of white music. Musical divisions based on class are not absolute, however, and are sometimes as much perceived as actual;  popular American country music, for example, is a commercial genre designed to "appeal to a working-class identity, whether or not its listeners are actually working class".
Women were also a major part of early popular music performance, though recorded traditions quickly become more dominated by men. Most male-dominated genres of popular music include female performers as well, often in a niche appealing primarily to women; these include gangsta rap and heavy metal.
Though aspects of American music can be traced back to specific origins, claiming any particular original culture for a musical element is inherently problematic, due to the constant evolution of American music through transplanting and hybridizing techniques, instruments and genres. Elements of foreign musics arrived in the United States both through the formal sponsorship of educational and outreach events by individuals and groups, and through informal processes, as in the incidental transplantation of West African music through slavery, and Irish music through immigration.
The most distinctly American musics are a result of cross-cultural hybridization through close contact. Slavery, for example, mixed persons from numerous tribes in tight living quarters, resulting in a shared musical tradition that was enriched through further hybridizing with elements of indigenous, Latin, and European music.Essay in american essays of the 20th century.
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