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The Power of Black MusicInterpreting its History from Africa to the United States$
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Samuel A. Floyd

Print publication date: 1997

Print ISBN-13: 9780195109757

Published to Oxford Scholarship Online: September 2011

DOI: 10.1093/acprof:oso/9780195109757.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 07 December 2021

Syncretization and Synthesis: Folk and Written Traditions

Syncretization and Synthesis: Folk and Written Traditions

Chapter:
(p.58) Chapter 3 Syncretization and Synthesis: Folk and Written Traditions
Source:
The Power of Black Music
Author(s):

Samuel A. Floyd

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780195109757.003.0004

In this chapter, the author examines the continuing development of the old, established, and developing genres and their syncretization into new forms. In the early years of the nineteenth century, white-to-black and black-to-white musical influences were prevalent. This is a fact documented in several contemporary accounts. The author concludes that the emerging African American genres were not formed by the insertion of African performance practices into the formal structures of European music, as conventional wisdom would have it, but were molded in a process that superimposed European forms on the rich and simmering foundation of African religious beliefs and practices. The foundation of the new syncretized music was African, not European.

Keywords:   syncretized music, African American music, European music

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