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blues is the name given to both a musical form and a music genre that originated in african american communities of primarily the deep south of the united states at the end of the 19th century from spirituals work songs field hollers shouts and chants and rhymed simple narrative ballads 1 the blues form ubiquitous in jazz rhythm and blues and rock and roll is characterized by specific chord progressions—the twelve bar blues chord progressions being the most common—and the blue notes notes that for expressive purposes are sung or played flattened or gradually bent minor 3rd to major 3rd in relation to the pitch of the major scale
`the blues genre is based on the blues form but possesses other characteristics such as specific lyrics, bass lines and instruments. blues can be subdivided into several subgenres ranging from country to urban blues that were more or less popular during different periods of the 20th century. best known are the delta, piedmont, jump and chicago blues styles. world war ii marked the transition from acoustic to electric blues and the progressive opening of blues music to a wider audience. in the 1960s and 1970s, a hybrid form called blues rock evolved.
the term "the blues" refers to the "blue devils", meaning melancholy and sadness; an early use of the term in this sense is found in george colman's one-act farce blue devils (1798).[2] though the use of the phrase in african american music may be older, it has been attested to since 1912, when hart wand's "dallas blues" became the first copyrighted blues composition.[3][4] in lyrics the phrase is often used to describe a depressed mood.[5]`

the social and economic reasons for the appearance of the blues are not fully known 40 the first appearance of the blues is often dated after the emancipation act of 1863 31 between 1870 and 1900 a period that coincides with emancipation and later the development of juke joints as places where blacks went to listen to music dance or gamble after a hard day s work 41 this period corresponds to the transition from slavery to sharecropping small scale agricultural production and the expansion of railroads in the southern united states several scholars characterize the early 1900s development of blues music as a move from group performances to a more individualized style they argue that the development of the blues is associated with the newly acquired freedom of the enslaved people according to lawrence levine quot there was a direct relationship between the national ideological emphasis upon the individual the popularity of booker t washington s teachings and the rise of the blues quot levine states that quot psychologically socially and economically african americans were being acculturated in a way that would have been impossible during slavery and it is hardly surprising that their secular music reflected this as much as their religious music did quot 42
there are few characteristics common to all blues music because the genre took its shape from the idiosyncrasies of individual performances 43 however there are some characteristics that were present long before the creation of the modern blues call and response shouts were an early form of blues like music they were a quot functional expression style without accompaniment or harmony and unbounded by the formality of any particular musical structure quot 44 a form of this pre blues was heard in slave ring shouts and field hollers expanded into quot simple solo songs laden with emotional contentquot 45
blues has evolved from the unaccompanied vocal music and oral traditions of slaves imported from west africa and rural blacks into a wide variety of styles and subgenres, with regional variations across the united states. though blues, as it is now known, can be seen as a musical style based on both european harmonic structure and the african call-and-response tradition, transformed into an interplay of voice and guitar,[46][47] the blues form itself bears no resemblance to the melodic styles of the west african griots, and the influences are faint and tenuous.[48][49] in particular, no specific african musical form can be identified as the single direct ancestor of the blues.[50] however many blues elements, such as the call-and-response format and the use of blue notes, can be traced back to the music of africa. that blue notes pre-date their use in blues and have an african origin is attested by english composer samuel coleridge-taylor's "a negro love song", from his the african suite for piano composed in 1898, which contains blue third and seventh notes.[51] the diddley bow (a homemade one-stringed instrument found in parts of the american south in the early twentieth century) and the banjo are african-derived instruments that may have helped in the transfer of african performance techniques into the early blues instrumental vocabulary.[52] the banjo seems to be directly imported from western african music. it is similar to the musical instrument that griots and other africans such as the igbo[53] played (called halam or akonting by african peoples such as the wolof, fula and madinka).[54] however, in the 1920s, when country blues began to be recorded, the use of the banjo in blues music was quite marginal and limited to individuals such as papa charlie jackson and later gus cannon.[55]
blues music also adopted elements from the "ethiopian airs", minstrel shows and negro spirituals, including instrumental and harmonic accompaniment.[56] the style also was closely related to ragtime, which developed at about the same time, though the blues better preserved "the original melodic patterns of african music".[57]
the musical forms and styles that are now considered the "blues" as well as modern "country music" arose in the same regions during the nineteenth century in the southern united states. recorded blues and country can be found from as far back as the 1920s, when the popular record industry developed and created marketing categories called "race music" and "hillbilly music" to sell music by blacks for blacks and by whites for whites, respectively. at the time, there was no clear musical division between "blues" and "country," except for the ethnicity of the performer, and even that was sometimes documented incorrectly by record companies.[58][59] though musicologists can now attempt to define “the blues” narrowly in terms of certain chord structures and lyric strategies thought to have originated in west africa, audiences originally heard the music in a far more general way: it was simply the music of the rural south, notably the mississippi delta. black and white musicians shared the same repertoire and thought of themselves as “songsters” rather than “blues musicians.” the notion of blues as a separate genre arose during the black migration from the countryside to urban areas in the 1920s and the simultaneous development of the recording industry. “blues” became a code word for a record designed to sell to black listeners.[60]
the origins of the blues are closely related to the religious music of the afro american community the spirituals the origins of spirituals go back much further than the blues usually dating back to the middle of the 18th century when the slaves were christianized and began to sing and play christian hymns in particular those of isaac watts which were very popular 61 before the blues gained its formal definition in terms of chord progressions it was defined as the secular counterpart of the spirituals it was the low down music played by the rural blacks depending on the religious community a musician belonged to it was more or less considered as a sin to play this low down music blues was the devil s music musicians were therefore segregated into two categories gospel and blues singers guitar preachers and songsters however at the time rural black music began to get recorded in the 1920s both categories of musicians used very similar techniques call and response patterns blue notes and slide guitars gospel music was nevertheless using musical forms that were compatible with christian hymns and therefore less marked by the blues form than its secular counterpart 62

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