Music: Black White and Blue
Music: Black White and Blue
Introduction
It is believed that the criticism meted out to Afro-American works of art is in one way or the other a stereotype which is largely informed by lack of goodwill at the political level. Ortiz Walton’s book “Music: Black White and Blue” has been hailed as one of best literary works in the recent times. In this text I come up with a critical review of Walton’s book.
Music: Black White and Blue: a critical review
An in-depth study of the literary pieces of Walton is highly warranted as he is an accomplished sociologist, composer as well as musician when it comes to Afro-American artistic works. Burnim (2006) notes that through his book, Walton has unearthed issues that have not been analyzed for quite a long period of time. In his own opinion, Walton identifies vital and significant differences between what he refers to as classical American music as well as classical African music.
“Music: Black White and Blue” has a good number of comments that are cogent and accurate. Through this comments, this book goes far enough to retrace the roots of various African as well as European traditions as well as what influenced major changes with regard to both. Some of the issues thought or known to have influenced the changes include geography, ecology as well as religion changes. European classical music to Walton can only be defined as very predictable, unalterable and quite rigid. This seems to be in sharp contrast to African music which to him has better rhythms and calls for innovation as well as an all inclusive participation. He however notes that previously, European music was much better.
It is however very important to note that change in European music can arguably be thought to have been influenced by triumph of Christian churches. In some quarters, the Christian churches are believed to have suppressed pagan music that was synonymous with ancient European tribes. On suppressing pagan music, Christian churches replaced this kind of music with ecclesiastical music.
According to Walton, the absolute music rationalization was informed symphony orchestra. This is what can be said to have brought about specialization with specific individuals playing certain music sheets continuously and in a similar way. Here, we had a conductor whose duty was well cut out for him. He was to ensure that deviations whether rhythmic or harmonic were not allowed. In his own opinion, Walton argues that the elite tend to identify more with European classical music as opposed to Afro-American music which is enjoyed by every person across the board. He drives his assertion home by saying “……..imagine a symphony audience snapping its fingers……. Saying…baby, swing?”
However, I tend to disagree with Walton’s generalization. By arguing that European classical music are tailor made for the elite members of the society, he alienates some classical musicians whose works attract acclaim as well as admiration across the board. Similarly, we have some Afro-American music which appeal to the elite as well
Apart from such generalizations, Walton’s work can still be regarded as witty and interesting and throughout the book, the reader is entertained with well thought and exiting insights. One of the most interesting insights in “Music: Black White and Blue” involves the significant contributions the Afro-Americans have made to music on the global scale. In the light of this, Walton suggests that individuals should in one way or the other embrace their cultural heritage and avoid copying other people’s cultural heritage.
Walton notes in his book that American social conditions have in one way or the other been a handicap to the economic development of blacks. Though their economic prowess has not been well defined, they have worked to retain their culture in the world setting. Walton contends that Afro-Americans have what he refers to as “essential qualities” which are in one way or the other sourced from African art.
Walton’s work has a number of interesting chapters which seek to address a variety of issues including but not limited to ragtime, popular music in the twenties and thirties, slave music as well as New Orleans blues. He has an interesting account of the hermetic movement which was essentially forced to fold.
Walton’s account on the public enemy number one is written coherently and it brings out the characters that have been very influential with regard to Afro–American music both in the previous years and in the modern day. It is good to note that despite their relevance in which Walton brings out well, Afro-Americans are also to blame in a large part for the low level of esteem with which Afro-American music is in one way or the other regarded.
There is one chapter that is particularly moving, that is, the Edward Kennedy Ellington tribute. In this particular chapter, there is a clear description of a University of California symposium in which a certain Californian resident who happened to be black wrote something to the effect that Ellington’s music has always been tailored for the white community. The writer of this however remains anonymous.
Walton has also dedicated a whole part that talks about a suit brought about by Arthur Davis, a bassist against a philharmonic from New York. Walton advocates for the development of a number of training programs with regard to Afro-American music. It is clear however that Walton does not favor funding policies of a good number of institutions including but not limited to the National Endowment for the arts etc. Walton feels that such funds are designed as well as tailored to support the European culture as opposed to American classical music.
However, Walton’s assertion can be taken to be speculative as it is not supported in any way by factual information. In this regard, his assertion can be taken to be largely speculative as the support of European culture by these funding policies is in one way or the other implied rather than explicit.
‘White’ as well as ‘Black’ politics have been disastrous over time in America. Burnim (2006) notes that things like exodus, extermination as well as revolution has been a constant companion of Black politics. He goes on to note that individuals out to develop culture politics have been branded “uncle toms”. Such stereotypes are largely unhelpful but there are still brave individuals who have been brave enough to disapprove them. Wynm (2007) notes, people who can utilize their intellectual capabilities can easily think for themselves without necessarily following other people.
He also notes that what is to blame for the current scenario has been as a result of groupthink. This is a concept that tends to bring out the best and often, the worst in people. It therefore calls for great courage on the part of Walton to come up with a literary piece that can in one way or the other be regarded as an initiative towards the Tran valuation of the various values of Afro-Americans.
Conyers (2001) notes that Afro-Americans have over time come to relate to untrue myths including those that proclaim that it is better to belong to the lower class as opposed to the upper or even middle class. Unlike various ethnic and Hispanic groups are regarded as better off not having properties of their own (Burnim 2006). This could be another stereotype or groupthink at work.
Walton closes his book with the assertion that Afro-American music as a large and momentous industry and as such, Afro-Americans should not concentrate on dictating to artists which paths to follow but should rather concentrate on the development of the industry as a whole.
Conclusion
It is important to note that Walton’s book is a great feat and saves for the two or three inconsistencies with facts; it has inevitably earned its rightful place in the Afro-American cultural history. “Music: Black White and Blue” is a book that anybody with a desire to have a glimpse at the various aspects of Afro-American music should consider acquiring.
References
Burnim, M.V., & Maultsby, P.K. (2006). African American music: an introduction. Routledge
Conyers, J.L. (2001). African American jazz and rap: social and philosophical examinations of Black expressive behavior. McFarland
Wynm, N.A. (2007). Cross the water blues: African American music in Europe. Univ. Press of Mississippi
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