Asclepias
Diamond Member
I'm describing musical history that I know. Yes, both blues and jazz originated here. That's obvious. But yes it also exists in Africa (and throughout the world), even if imported as a style. You were trying to tell us it doesn't exist there, but it does.
The original point IIRC was that the musical elements, the sensibilities of spirit that brought it about, were re-membered (put back together) from the collective experience of Africa. Both Asclepias and I linked articles detailing how that worked. The fact that the exact same development didn't take place in the Caribbean is absolutely meaningless. The Caribbean would have had different circumstances around it, especially the French (e.g. Haiti) or Spanish (e.g. Cuba) colonizers that ran the places. These would develop into forms like Merengue and Rara and Charanga and Danzón and myriad others again incorporating African approaches, especially to rhythm.
Or take the example of Brazil, a huge importer of West African slaves, where the wistful Portuguese Fado (which is what's going on in my avatar) was merged with the Semba rhythms of Angola to produce the new form Samba. Or before that, take the same Portuguese melodious structure and introduce the uniquely African sense of syncopation discussed earlier, and you get Chôro --- developed at the same time the same sense of syncopation was developing Ragtime ("ragged time") in this country, and using a markedly similar thematic structure of AA-BB-A-CC-AA:
ALL of these forms depend on vital ingredients from African culture --- without which they could not exist.
That's simple reality.
You're making my points for me. Those regional styles all involved cultural influences of their respective region which included African and European elements. The factors that created the distinctions are all relative to the region. You don't have samba and Calypso in the US and you don't have blues in Brazil or the Caribbean (I'm talking about origins so don't go petty again about imports).
The Richter-tuned harmonica was the distinctive element that generated the distinctive American sound that is blues.
Again --- bullshit. The harmonica was picked up to play along. So were the trumpet, the violin, the clarinet, the organ, the saxophone, etc etc etc. Doesn't make any of them a "source" for what, by the time any of them were picked up and applied, already existed.
While I'm happy to wax prolific on musical origins I've studied in depth, I'm still at a loss to figure out what the point of this tangent is.
I laid it out with specifics. I even gave you a perfect example of the juxtaposition of instruments to demonstrate the simple but relevant musical math. You can't refute. Parroting propaganda and indoctrination isn't refuting.
I can't prove my theory as there is no record or documentation. But the sequence of events and the evolution of the form and musical voicing is undeniable.
And the relevance of this tangent is that the thread is about origins of unique American culture.
Stop being an illiterate cave chimp. You cant prove it because its not true. Pogo on the other hand has already proved you wrong numerous times.
You're obviously not paying attention and/or have no clue to begin with.
Thats your problem. I actually paid attention to your bullshit and you revealed how truly ignorant you are.