02858nam 2200733 a 450 991080727030332120230422040651.01-62103-085-71-283-43466-097866134346611-60473-728-X0-585-20318-0(CKB)111004365821292(EBL)840332(OCoLC)779827436(SSID)ssj0000489407(PQKBManifestationID)12182657(PQKBTitleCode)TC0000489407(PQKBWorkID)10458401(PQKB)10878709(SSID)ssj0000099702(PQKBManifestationID)11122543(PQKBTitleCode)TC0000099702(PQKBWorkID)10017441(PQKB)11285804(OCoLC)44959610(MdBmJHUP)muse13574(Au-PeEL)EBL840332(CaPaEBR)ebr10529420(CaONFJC)MIL343466(MiAaPQ)EBC840332(EXLCZ)9911100436582129219990309d1999 uy 0engur|n|---|||||txtccrAfrica and the blues[electronic resource] /Gerhard KubikPrint-on-demand ed.Jackson University Press of Mississippic19991 online resource (261 p.)Description based upon print version of record.1-57806-145-8 1-57806-146-6 Includes bibliographical references and indexes.pt. 1. Out of Africa -- pt. 2. Return to Africa.In 1969 Gerhard Kubik chanced to encounter a Mozambican labor migrant, a miner in Transvaal, South Africa, tapping a cipendani, a mouth-resonated musical bow. A comparable instrument was seen in the hands of a white Appalachian musician who claimed it as part of his own cultural heritage. Through connections like these Kubik realized that the link between these two far-flung musicians is African-American music, the sound that became the blues. Such discoveries reveal a narrative of music evolution for Kubik, a cultural anthropologist and ethnomusicologist. Traveling in Africa, Brazil, VenezuelBlues (Music)African influencesBlack peopleAfricaMusicHistory and criticismMusicAfricaHistory and criticismBlues (Music)African influences.Black peopleMusicHistory and criticism.MusicHistory and criticism.781.643/096Kubik Gerhard1934-469939MiAaPQMiAaPQMiAaPQBOOK9910807270303321Africa and the blues3932828UNINA$12.5003/14/2019Music