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100   $a19990309d1999      uy             0
101 0 $aeng
135   $aur|n|---|||||
181   $ctxt
182   $cc
183   $acr
200 10$aAfrica and the blues$b[electronic resource] /$fGerhard Kubik
205   $aPrint-on-demand ed.
210   $aJackson $cUniversity Press of Mississippi$dc1999
215   $a1 online resource (261 p.)
300   $aDescription based upon print version of record.
311   $a1-57806-145-8 
311   $a1-57806-146-6 
320   $aIncludes bibliographical references and indexes.
327   $apt. 1. Out of Africa -- pt. 2. Return to Africa.
330   $aIn 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, Venezuel
606   $aBlues (Music)$xAfrican influences
606   $aBlack people$zAfrica$xMusic$xHistory and criticism
606   $aMusic$zAfrica$xHistory and criticism
615  0$aBlues (Music)$xAfrican influences.
615  0$aBlack people$xMusic$xHistory and criticism.
615  0$aMusic$xHistory and criticism.
676   $a781.643/096
700   $aKubik$b Gerhard$f1934-$0469939
801  0$bMiAaPQ
801  1$bMiAaPQ
801  2$bMiAaPQ
906   $aBOOK
912   $a9910807270303321
996   $aAfrica and the blues$93932828
997   $aUNINA
999   $p$12.50$u03/14/2019$5Music