CITATION — REFERENCE ENTRY
Fiddling as an Avenue of Black-White Musical Interchange — Black Music Research Journal
- Key
- wells2003-fiddling-black-white
- Authors
- Wells, Paul F.
- Issued
- 2003
- Type
- article-journal
- Container
- Black Music Research Journal
- Volume
- 23
- Issue
- 1/2
- Pages
- 135-147
Raw CSL JSON
{
"URL": "https://www.jstor.org/stable/3593212",
"page": "135-147",
"type": "article-journal",
"issue": "1/2",
"title": "Fiddling as an Avenue of Black-White Musical Interchange",
"author": [
{
"given": "Paul F.",
"family": "Wells"
}
],
"issued": {
"date-parts": [
[
2003
]
]
},
"volume": "23",
"container-title": "Black Music Research Journal"
}
Claims
-
Wells concludes that the blues exerted a strong influence on white southern fiddling and, ultimately, on the commercial genres that grew out of it.
"The blues exerted a strong influence on white southern fiddling and, ultimately, on commercial genres that grew out of it."
-
Dance music played primarily on the fiddle was the earliest meeting ground of Black and white musicians in America, from at least the late seventeenth century; drawing on Alan Jabbour, Wells argues that the syncopated bowing patterns of Upper South fiddling were likely an African American contribution.
"Syncopated bowing patterns, which were likely borrowed from black fiddling, strongly influenced the development of a particularly southern version of fiddling and later other forms of popular music."
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