The Evolution of the North American Guitar
| The Performer, the Instrument Maker, and the instrument | The Evolution of the North American Steel String Guitar; Meeting the Needs of and Helping to Fuel the Creative Process of African American Musicians. | | Bob Shields | 12/31/2012 |
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For: Professor Robert Witmer
Class: 5140, 2012F; African American Music
Student Number: 210232338
Often the creative product of an individual within a musical framework reflects not only his or her own creative behavior but the creative expression afforded by the instrument and the facilitation of that creativity contributed by the instrument maker. This is certainly the case when one looks at the early African American rural blues and songster musicians and the luthiers that developed the North American steel string guitar that functioned as the primary vehicle of instrumental artistic expression in those art forms. This paper will explore the connection between the performer, instrument maker, and the instrument, and the creative product that resulted in an expression of the African American experience. I will also highlight parts of the creative process in the evolution of the steel string guitar in America that may benefit educators and students in terms of leading them to look beyond the familiar when inspired, in order to facilitate their creative needs.
If you were to listen to the music of early 20th century African American rural blues players and songsters played on steel string guitars and juxtapose it with guitar music of European tradition played by the white middle class players of the Spanish classical guitar, many differences would be immediately audible. The steel string guitar was louder, brighter sounding, and provided the player with increased ability to sustain notes, bend pitches, and add more percussive qualities. The Steel string guitar was also played with a new technique that evolved to help express the new music being played on it.
Understanding the evolution of the Steel
|
For: Professor Robert Witmer
Class: 5140, 2012F; African American Music
Student Number: 210232338
Often the creative product of an individual within a musical framework reflects not only his or her own creative behavior but the creative expression afforded by the instrument and the facilitation of that creativity contributed by the instrument maker. This is certainly the case when one looks at the early African American rural blues and songster musicians and the luthiers that developed the North American steel string guitar that functioned as the primary vehicle of instrumental artistic expression in those art forms. This paper will explore the connection between the performer, instrument maker, and the instrument, and the creative product that resulted in an expression of the African American experience. I will also highlight parts of the creative process in the evolution of the steel string guitar in America that may benefit educators and students in terms of leading them to look beyond the familiar when inspired, in order to facilitate their creative needs.
If you were to listen to the music of early 20th century African American rural blues players and songsters played on steel string guitars and juxtapose it with guitar music of European tradition played by the white middle class players of the Spanish classical guitar, many differences would be immediately audible. The steel string guitar was louder, brighter sounding, and provided the player with increased ability to sustain notes, bend pitches, and add more percussive qualities. The Steel string guitar was also played with a new technique that evolved to help express the new music being played on it.
Understanding the evolution of the Steel
Cited: Andreasen, Nancy C. 2005. The Creative Brain: The Science of Genius. New York: Plume. Bradford, David K. 2009. The Unstrung History of the American Guitar; the guitar and 19th century American Music. Retrieved from http://www.19thcenturyguitar.com/index.php?option=com_content&view=article&id=52:guitar-fever&catid=34:a-rage-for-the-guitar&Itemid=59#_ftn2. (Accessed November 20, 2012). Grossman, Stefan. Interview with Mississippi John Hurt by Tom Hoskins and Nick Perls, Ontario Place in Washington, DC. October 13, 1963, retrieved from: http://www.guitarvideos.com/artists (accessed November 12, 2012). Noonan, Jeffrey, J. 2008. The Guitar in America; Victorian Era to Jazz Age. Jackson: University Press of Mississippi. Noonan, Jeffrey. 2004. The Guitar in America as Reflected in Topical Periodicals, 1882-1933, Doctoral Dissertation, Washington University Department of Music. 56 Oliver, Paul. 1969. The Story of the Blues. London: Barrie and Jenkins. Somogyi, Ervin. 2010 Whence the Steel String Guitar? Or: The Steel String Guitar, for Dummies. Retrieved from: http://esomogyi.com/ssg1.html (accessed Dec 2, 2012). Weissman, Dick. 2005. Blues; the Basics. New York: Routledge.