Building of the Country Scene - Thesis Example

? Building of the Country Scene Introduction Country music is one of the most well – known genres of music and is heard throughout the country. It iscurrently recognized as the national genre of America because of its popularity. However, the particular genre relates directly to a specific identity and way of life. This is reflected in the space where country music is played, as well as the architecture and design of the country music club. When looking at this genre, it can be seen that the use of space is in direct correlation to the cultural aspects of country music and how this is related to the identity of those who are interested in the genre. The architecture of the country music clubs become a space that reflects the identity of those interested in the music as well as the depiction which is related to the concepts portrayed in the music. When examining the history, relevance to social identity and the fabrication of country music, it can be seen that the architecture and ideology of the genre is a direct reflection of the identity of what is now known as the country scene. History of Country Music The beginning of country music was first seen in the Deep South and was associated with the Southern culture, specifically among slaves. This derived from the folk songs which many slaves sang while on the plantations, specifically which were used with the understanding that one could overcome the difficult times and problems which persisted in the situation which most were in. The slave songs which were created led to the blues and jazz music, pieces of music which were known specifically among the African – American population and which were based on the hardships of living in the south. Country music was a spin – off of the blues, specifically which came from the musical techniques that were used and the arrangements of the songs. It was also found that elements of blue grass and folk were incorporated into the sound, specifically which came from individuals living in the high country of the South and which were building a life from the land. More importantly, the country music depicted the same concept of hardships that were associated with the blues and with the country living in the South (Ellison, 12). By 1923, the concept of country music began to evolve in the south, mostly with the evolution of the blues music. Atlanta, Louisville, Texas and other southern areas began to use the music for barn dances and entertainment. This stretched to Chicago and to New York City with the same ideology. When the Great Depression began, many began to focus on the concept of country music, specifically because of its relationship to overcoming hardships needed at the time. From this, the concept of country music became commercialized with barn dances, entertainment and with radio recordings of musicians who reflected overcoming the difficulties of the time. By the 1940s, areas such as Kentucky and Tennessee took these ideas and changed it into a popular genre to depict country living and styles which related to blues, bluegrass music, folk music and earlier entertainment o the time. These traditions led into country music being a part of the southern culture and depicting the lifestyle through the 1960s (Ellison, 15). The concept of country music evolved through the 1960s with the other types of music which were a part of the time. The commercialization during this time led to new sounds that were depicted, specifically which combined the electronic instruments of the time frame, rock arrangements which were popular throughout America and the combined musical progressions of blues and jazz. During this time, the Country Music Foundation also became a part of the history, specifically which was associated with finding ways to popularize the music and to give musicians opportunities for performances and recordings. This led the country music style through the current day and to those interested in the specific sounds of the music. The depictions from other forms of music is based on the musical techniques, such as the continuous bass and soft drum beat, as well as the dance like movements. The country music is also known for the fiddle players in the arrangement. The “twang” of the voice and the specific themes related to the idea of living in the country continue to be the style which is representative of the country music genre (Malone, 19). Identity of Music by Place The identity of music is divided not only by the traits of listening, but is further identified by the different placement of the music. The Southern music is the most well – known form because of the identity of the south and the country living that is popular in this region. The country music cut off point is in Nashville, Tennessee, which is also known as the Hollywood for country artists. The concept of place is furthered with the idea of the southern areas being peaceful and not being corrupted by the modern ideologies of life. However, this particular country genre also moved into the Northeast region from New York and New England areas. These areas were known for performances not for the general public, but instead were associated with competitions to find the best country singers in the region, in which the tours following would be through Texas, Tennessee, Georgia and other Southern states (Tichi, 218). The cut off line of country music to the Northeast, as well as out of the Southern states, is one which is depicted specifically by the concept of identity. Historically, country music came from the Southern states, specifically as a combination of the blues and the bluegrass and folk songs of the country singers of the region. Those in the Southern regions are able to identify with the sound and the meaning of the music in a different way than those in the Northeast or Western states. Furthermore, the spatial traditions of the South are open to the concepts of country living, where the Northeast has developed into a cosmopolitan region. The cut off line for country music stops at Chicago from one end and cuts off with Kentucky to Virginia being the most Northern states which listen to the music. While New York rectified the sound with competitions, the main population doesn’t associate with this music. This cut off line is associated specifically with lifestyle, identity, understanding of the nature of the working class and a history which differs from the Northern states from the time of slavery and the hardships which the South went through after this time. Most country singers of the Northeast are known for the exposure to the South first, specifically because of the identity and influence in these regions (Carney, 34). Country Music and Socio-cultural Theories The location and space which is associated with country music is followed by the socio – cultural theories which combine the understanding of individuals interested in the genre and how this links to the use of space. The past and present surveys (Peterson, Maggio, 497), indicate that the individuals interested in country music come from the working class. Most are not associated with executives or managers, but instead work in labor fields as basic employees. Many are also considered in the low to mid-income range with fewer wages available for living. The demographics is followed by individuals who don’t live in the larger metropolitan areas or in a contemporary lifestyle, but instead maintain a focus on simple living and finding rural areas that are simpler for living (Peterson, Maggio, 497). Another concept which is associated with the lifestyle and those interested in country music comes from the ideology that the music serves a purpose to the listener and reflects their interest. The values and functions of music remain the most important component and include styles that are associated with the content and context first. Those interested in the country music style are interested in the ideology of living in the country, associations with the way in which this reflects the lifestyle and the hardships which are overcome through the music. The roots of the music indicate these same concepts, specifically because it comes from the slavery components as well as the association with living in the deeper parts of the country and trying to find the right way to live in a sense of isolation. The country music today reflects this from both the generational understanding of these lifestyle differences as well as the newer ideals of content related to country living, relationships and perspectives on different concepts in life (Schafer, Sedlmeier, 279). The country music as a reflection of lifestyle is furthered by divisions of the music into sub-genres, usually related to the region. For example, Texas honkey-tonk, Kentucky blue grass and other styles of the music create a sense of segregation through place. There is also a sense of segregation in terms of race and stereotypes within the music. Today, there are not as many known artists that are African – American or from a different background which sing the country music, despite the popularity of the South and the roots in the slave music from earlier times. The division in country music is one which has led most of African – American descent into the interest of blues and jazz, as well as the folk songs which were popular for this race. The country music associated with this came from the blues grass and the associations with country living that were a part of the lifestyle. The text, themes, design of the composition and the overall approach to the music is known to be segregated specifically because of the division which occurred with the history of country music and which has made it to be associated with the lifestyle of those who are still living on a piece of land and which are not associated with modern living (Neal, 41). Country Music and Architecture The architecture which is associated with the country music is also one which is based on the simple Southern living that is the basis of this identity. The mid – 1930s began to develop the first country clubs, specifically with the National Barn Dance which became one of the forms of entertainment during this time. The architecture reflected the ideology of simple and country living and also was able to remain a component in the reflection of the simplicity of country music, which fit with the Depression of the time. The barn dance atmosphere had a place for the band and an open area for the southern dances which were popular in folk music and had turned into a form of entertainment. This was combined with the ideology of the Southern hospitality with a place for food and for relaxation in the interior of the architecture. The outer areas of architecture expressed the same Southern and simple style, often which included the theme of the barn or rural elements which were strongly associated with the music (Malone, 79). The concept of the architecture used for the country music was not only based on the Southern identity that had built the ideology of the genre. The architecture combined the simplicity of the southern country life with the ideology of presenting diversity in most regions. The architecture of the country clubs in the larger cities was known to carry the simple designs through the barns or smaller areas within the city. This was combined with the growth of the design, which began to develop into the modern image of the club while keeping the interior atmosphere the same. The country clubs included a smaller area that didn’t hold as many and which retained an intimate atmosphere. However, the clubs were also noted to have neon signs, flashing symbols and other lights on the exterior of the club. This was in addition to the smaller club, showing that it was an addition when the country music became popular. Areas like the Nashville, Tennessee strip used this to popularize the genre and to combine the ideology of modernism with the country clubs that were well – known throughout the region. These changes led into an ideology of popularity of the genre while keeping the basic design of simplicity from the beginning of the country music genre (Gibson, Connell, 160). The changes in the country clubs from the simplistic look of the 1930s and the commercialization through the 1960s and to the present day is one which was built on the concept of fabricating the country life style. The country music of today is known to be built out of places in New York, LA and Tennessee, specifically because of the larger recording studios that are in these regions. Most of the country singers are known as pop artists and stars and remain in the highlights of talented individuals in the region. More important, the culture has taken the approach not only of the country living, but has altered this with the political, economic and cultural roles that are now changing throughout America and which are causing the same hardships. The cultural landscapes remain a part of this fabrication, both by showing the older style of country music, combined with the content that is used today (Wood et al, 867). The fabrication of the country music in development from the past and today is reflected with the architecture that is a part of each of the scenes. The fabrication includes the symbolism of the country lifestyle, beginning with the style of jeans, boots and shirts of the country star singers, to the cowboy hats and images of men riding horses. The style continues with the use of space, which often reflects the same ideology of the barn dance from the 1930s while continuing to add into the country style with the different decor that is in the area. The country music clubs in areas such as Nashville are now integrated into the skyline of the city with the smaller and simpler places available and the neon lights allowing the modern style and fabrication to remain apparent through the region. The architecture used and integrated into the modern city is one which is now being approached with the fabrication of themes such as “losing a place at home to the city” while creating a Hollywood like style to the look of the country stars (Wood et al, 867). The country music of today further reflects this with the ideology of the globalized culture which is affecting the younger generations. The different areas that have emerged and the fabrication of the style of being country are now a representation of the global identity, specifically with becoming the identity of American music. The country music clubs which have developed from this continue to keep the roots of the country music, specifically with the simplicity and the room for Southern hospitality. However, the development of the culture into the global scene has led into new transformations into images of the architecture that reflect a scene. The scene of the country music then takes place with clubs that are based on the idea of culture that belonged to the Southern country and which has emerged into the group of individuals working the land of America. The concept of patriotism is often combined with the outlook of the country scene, specifically with decor and overall looks with the architecture of the club that reflects the American identity of living (Seago, 85). The concept of country music and the architecture which was used throughout the development of the genre can be seen as a reflection of the identity of those interested in the genre. The individuals which listened to country music in the beginning were based on the social class of workers and those living in rural areas. The development of the country club architecture reflected this with the simplicity of design and the identity which was welcoming in a sense of providing hospitality. The movement into the barn dances and the clubs which were reflective of the barn furthered the concept of rural and simple living as well as hospitality. As this emerged in the 1960s and through the development of the city, there was a change in the identity. The architecture reflected this with the additions to the different clubs, such as neon lights and fancier decor that was able to reflect the fabrication of the culture. These initiatives with the design and for the country music then provided a different outlook which created an identity, both through the architecture and the context of being in the country scene. Conclusion The use of different genres is one which is not only based on expression of an artist and the approach taken toward music. More important, there is a sense of expression which is used for cultural identity. When looking at the genre of country music, it can be seen that this was the identity of the working class which lived in rural areas. This specific concept emerged from the slave workers and branched into the blues pieces, folk music and the bluegrass heard throughout the time. The country music was taken in by those living in the South which was focused on building and development of the land. The content and context of the music is reflective of this, specifically with the earlier pieces. As the movement into modernism developed, so did the identity of country music. The emergence of the barn dances and country clubs reflected this with the architecture representing the same simplistic nature of living in the country as well as being a part of Southern hospitality. Today, this has been fabricated to include both a sense of modernism as well as the ideology and reflection of living in rural America. Works Cited Carney, George. “Bluegrass Grows All Around: the Spatial Dimensions of a Country Music Style.” Journal of Geography 73 (4), 1994. Ellison, Curtis. Country Music Culture: From Hard Times to Heaven. University Press of Mississippi: Mississippi, 1995. Gibson, Chris, John Connell. “Tourism Geographies: an International Journal of Tourism Space, Place and Environment.” Music, Tourism and the Transformation of Memphis 9 (2), 2007. Malone, Bill. Country Music, USA. University of Texas Press: Houston, 2002. Malone, Bill. Don’t Get Above Your Raisin: Country Music and the Southern Working Class. University of Illinois Press: Chicago, 2002. Neal, Jocelyn. “Narrative Paradigms, Musical Signifiers, and Form as Function in Country Music.” Music Theory Spectrum 29 (1), 2007. Peterson, Richard, Paul Di Maggio. “From Region to Class, the Changing Locus of Country Music: A Test of the Massification Hypothesis.” Social Forces 53 (3), 1995. Schafer, Thomas, Peter Sedelmeier. “From the Functions of Music to Music Preference.” Psychology of Music 37 (3), 2009. Seago, Alex. “The Kraftwerk – Effekt: Transatlantic Circulation, Global Networks and Contemporary Pop Music.” Atlantic Studies: Literary, Cultural and Historical Perspectives 1 (1), 2004. Tichi, Cecelia. High Lonesome: The American Culture of Country Music. University of North Carolina Press: North Carolina, 1994. Wood, N, M Duffy, SJ Smith. “The Art of Doing Geographies of Music.” Environment and Planning 25 (5), 2007. Read More