Innovation is synthesis" - Trace the development of any one musical genre from the beginning of the 20th century to the present day demonstrating how each new innovation is created by synthesis of previous styles.
Reggae originated from Jamaica in the 1960's and was developed from traditional African Caribbean music such as mento, calypso and ska…
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It also made explicit the relationship with the underworld of the "Rastafarians" (adepts of a millenary African faith, revived Marcus Garvey who advocated a mass emigration back to Africa), both in the lyrics and in the appropriation of the African nyah-bingi drumming style (a style that mimicks the heartbeat with its pattern of "thump-thump, pause, thump-thump"). Compared with rock music, reggae music basically inverted the role of bass and guitar: the former was the lead, the latter beat the typical hiccupping pattern. The paradox of reggae, of course, is that this music "unique to Jamaica" is actually not Jamaican at all, having its foundations in the USA and Africa. (.www.history-of-rock-music.com/age/Reggae.php - 6k -)
For decades, beginning in the 1920's, the dominant music in the Caribbean was Trinidad-based calypso. The lilting, topical and frequently risqu' songs were initially sung in an African-French patois but began to switch to English as the music began to attract the interest of American record labels such as Decca and Bluebird.
Post World War II saw the emergence of various Caribbean music forms, notably steel-pan music of Trinidad and Tobago. In the late 40's and early 50's, Jamaican musicians began combining the steel-pan and calypso strains with an indigenous mento beat (e.g. Harry Belafonte - Jamaica Farewell).
During the 1950's Jamaican youth was turning away from the American pop foisted on them by Radio Jamaica Rediffusion (RJR) and the Jamaican Broadcasting Corporation (JBC). Weather conditions permitting they listened instead to the sinewy music being played on New Orleans stations or Miami's powerful WINZ, whose playlists included records by Amos Milburn, Rosco Gordon and Louis Jordan. Significant New Orleans artists of the time included Fats Domino, Jelly Roll Morton, Champion Jack Dupree and Professor Longhair. It is surmised that the delay effects which are an important part of the reggae/dub sound may have initially been inspired by the oscillations in the signal from these far away radio stations.
During this period, Jamaican bands began covering U.S. R&B hits, but the more adventurous took the nuts and bolts of the sound and melded them with energetic jazz conceits - particularly in the ever-present horn section - and emerged around 1956 with a hybrid concoction christened ska. Ernest Ranglin, the stellar jazz-rooted Jamaican guitarist who backed up the Wailers on such ska classics as "Love and Affection" and "Cry to Me," says that the word was coined by musicians "to talk about the skat! skat! skat! scratchin' guitar strum that goes behind."
Practically overnight, ska spawned a major Jamaican industry, the Sound System, whereby enterprising record shop D.J.'s with reliable U.S. connections for 45's would load a pair of hefty P.A. speakers into a pickup truck and tour the island from hilltop to savanna, spinning the latest hits. D.J.'s also gave themselves comic book nom de plumes like Prince Buster and Sir Coxsone Downbeat. Competition grew so heated that D.J.'s covered up labels or scratched them off so that rivals couldn't keep up with the latest sounds.
The ska craze spread to London in the late 1950's and early 1960's and in the United Kingdom ska soon came to be labelled bluebeat.
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“Music Industry Essay Example | Topics and Well Written Essays - 2750 Words”, n.d. https://studentshare.org/performing-arts/1507605-music-industry-essay.
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