Music of the United States
The music of the United States includes a number of kinds of distinct folk and popular music, including some of the most widely-recognized styles in the world. The original inhabitants of the United States included hundreds of Native American tribes, who played the first music in the area. Beginning in the 15th century, immigrants from England, Spain and France began arriving in large numbers, bringing with them new styles and instruments. Africans imported as slaves provided the musical underpinnings of much of modern American music, including blues, jazz, country, rock and roll and hip hop. Other styles of music were brought by Hispanics from Mexico, Cuba and Puerto Rico, the Cajun descendants of French-Canadians, Jews, Eastern Europeans and Irish, Scottish and Italian immigrants.
Since the beginning of the 20th century, popular recorded music from the United States has become increasingly known across the world, to the point where some form of American popular music is listened to almost everywhere African American music, especially the blues. African American folk music is a part of the Afro-American tradition, which extends across most of the Western Hemisphere, where elements of African, European and indigenous music mixed in varying amounts to form a wide array of diverse styles. Celtic music, especially Irish and Scottish, also played an integral role in shaping modern American music, through massive immigration of Irish and Scottish people, brining with them folk music. Long a land of immigrants, the United States has also seen documented folk music and recorded popular music produced in the ethnic styles of Ukrainian, Polish, Mexican, Cuban, Spanish and Jewish communities.
The modern United States is divided into fifty states and the inhabited non-state territories of Washington, D.C., Puerto Rico, American Samoa, U.S. Virgin Islands, Northern Mariana Islands and Guam music scenes, ranging from casual opportunities for amateur performers at bars and other establishments to large-scale orchestras, local indie record labels and community performing venues, all supporting a number of vibrant regional traditions in various styles. Though none doubt the importance of a handful of major cities, like New York, Nashville and Los Angeles, many smaller cities and regions have produced memorable and distinctive styles of music. The Cajun and Creole traditions in Louisianan music and the unique folk and popular styles of Hawaiian music are two notable exceptions, though other styles of distinct regional music range from the colonial First New England School to modern scenes like Memphis rap and the Omaha sound.
Characteristics
The music of the United States can be characterized by the use of syncopation and asymmetrical rhythms, long, irregular melodies, which are said to "reflect the wide open geography of (the American landscape)" and the "sense of personal freedom characteristic of American life", and elements of distinctively American jazz, blues and Native American music Afro-American musical country, in that its music is a fusion of African, European and Native American styles. The African part of this fusion manifests in elements like the use of a call-and-response format, derived from African music but "not found too frequently in (African American folk music); but the original importance of this form... seems possibly to have led to the alternation of the various instruments for the 'choruses' in jazz", noted Bruno Nettl in 1965, predating the more widespread use of call-and-response form in popular funk and hip hop American Civil War, when people from across the country were brought together in army units, trading musical styles and practices. Indeed, with a few limited exceptions, such as New England hymns, the ballads of the Civil War were "the first American folk music with discernible features that can be considered uniqe to America: the first 'American' sounding music, as distinct from any regional style derived from another country" American art, literature and music. Amateur musical ensembles of this era can be seen as the birth of American popular music. "(these early amateur bands) combined the depth and drama of the classics with undemanding technique, eschewing complexity in favor of direct expression. If it was vocal music, the words would be in English, despite the snobs who declared English an unsingable language. In a way, it was part of the entire awakening of America that happened after the Civil War, a time in which American painters, writers and 'serious' composers addressed specifically American themes" American roots music
Folk music in the United States is varied across the country's numerous ethnic groups. The Native American tribes each play their own varieties of folk music, most of it spiritual in nature. African American music includes blues and gospel, descendents of West African music brought to the Americas by slaves and mixed with Western European music. During the colonial era, English, French and Spanish styles and instruments were brought to the Americas. By the early 20th century, the United States had become a major center for folk music from around the world, including polka, Ukrainian and Polish fiddling, Ashkenazi Jewish klezmer and several kinds of Latin music.
Native American music
Main article: Native American music
The Native Americans played the first folk music in what is now the United States, using a wide variety of styles and techniques. Some commonalities are near universal among Native American traditional music, however, including the lack of harmony and polyphony, the presence of choiral vocals, the use of vocables and the descending melodic figures. Traditional instruments include the flute and many kinds of percussion instruments like drums, rattles and shakers Waila, or chicken-scratch music, is a fusion of Mexican-Texan norteño and European dance music like the polka and mazurka. Modern Native American music may be best-known for powwow gatherings, pan-tribal gatherings at which traditionally-styled dances and music are performed; despite the traditional appearance of this music, powwows are a modern, syncretic invention, dating back to the early 20th century, though there are those who claim that the tradition goes back hundreds or thousands of years "in essence" info)
Main article: Music of Hawaii
The earliest known music of Hawaii was the hula, which featured a chant (mele) accompanied by ipu (a gourd) and 'ili'ili (stones used as clappers). Listeners danced in a highly ritualized manner. The older, formal kind of hula is called kahiko, while the modern version is auana. There are also religious chants called mele, which may be addressed to families or gods or chiefs. When a mele chant is accompanied by dancing and drums, it is called mele hula pahu. African American music
The ancestors of today's African American population were brought to the United States as slaves, working primarily in the cotton plantations of the South. They were from hundreds of tribes across West Africa, and they brought with them certain traits of West African music including call and response vocals and complexly rhythmic music syncopated beats and shifting accents African musical focus on rhythmic singing and dancing was brought to the New World, and where it became part of a distinct folk music culture that helped Africans "retain continuity with their past through music"; these polyrhythmic percussive practices using clapping, foot-stamping and other techniques (this was called patting juba), spread because drums were outlawed by slaveowners who feared they would be used in slave rebellions work songs, field hollers Christianization, hymns. In the 19th century, a Great Awakening of religious fervor gripped both blacks and whites across much of the country, especially in the South. Protestant hymns written mostly by New England preachers became a feature of camp meetings held among devout Christians across the south. When blacks began singing sometimes adapted versions of these hymns, they were called Negro spirituals. It was from these roots, of spiritual songs, work songs and field hollers, that blues and gospel developed.
Main article: Spirituals
Originally monophonic and a cappella, spirituals are antecedents of the blues. Spirituals were often improvised and used call-and-response vocals, in which a leader and a chorus alternated lines and refrain responses Underground Railroad, instructing escapees to follow the Big Dipper (the "drinking gourd.") "Wade in the Water" was another such song that combined religious imagery and codified instructions for potential runaways Roll, Jordan Roll", published in Philadelphia in 1862. It was followed by a few other publications, and the first spiritual collection, Slave Songs of the United States (1867) abolitionists. In 1871, Fisk University became home to the Jubilee Singers, a pioneering group that popularized spirituals across the country. In imitation of this group, gospel quartets arose, followed by increasing diversification with the early 20th century rise of jackleg and singing preachers, from whence came the popular style of gospel music.
Main article: Blues
Blues is a combination of African work songs, field hollers and shouts, chants and hymns and spirituals. It developed in the rural south in the first decade of the 20th century. The most important characteristics of the blues is its use of the blue scale, with a flatted or indeterminate third, as well as the typically lamenting lyrics; though both of these elements had existed in African American folk music prior to the 20th century, the codified form of modern blues (such as with the AAB structure) did not exist until the early 20th century info)
Main article: Anglo-American music
The Thirteen Colonies of the original United States were all former English possessions, and Anglo culture became a major foundation for American folk and popular music.
Many American folk songs use the same music, but with new lyrics, often as parodies of the original material. American Anglo songs can also be distinguished from British songs by having fewer pentatonic tunes, less prominent accompaniment (but with heavier use of drones) and more melodies in major broadside ballads, humorous stories and tall tales, and disaster songs regarding mining, shipwrecks (especially in New England) and murder. Folk heroes like John Magarac, John Henry and Jesse James are also part of many songs. Folk dance of Anglo origin include the square dance, descended from the European high society quadrille, combined with the American innovation of a caller instructing the dancers. Folklorist Alan Lomax described regional differences among rural Anglo musicians as included the relaxed and open-voiced northern vocal style and the pinched and nasal southern style, with the west exhibiting a mix of the two. He attributed these differences to sexual relations, the presence of minorities and frontier life info)
Main article: Old-time music
Old-time music, a traditional style of American music, has roots in Irish, Scottish and African folk music. During the late 19th and early 20th century, minstrel, tin pan alley and other popular music also entered the genre. Practitioners play it with stringed instruments such as the fiddle, banjo, guitar, mandolin and bass.
Protestant Christian music was an important influence on old-time music, which was originally derisively labelled hillbilly music. The hillbillies who innovated old-time music were deeply religious, though not by and large devoted churchgoing people; they belonged to churches like the Holiness Pentecostal church, known for guitar and banjo-led happy clappy services, and the Old Regular Baptist church, which disapproved of instrumentation and allowed only a cappella and unharmonized singing info)
Main article: Bluegrass music
Bluegrass developed in the 1930s, a fusion of old-time Appalachian folk music with blues, jazz and other styles. Bill Monroe is the most well-remembered pioneer of bluegrass' early days. At its root, bluegrass was originally acoustic country music played using a banjo, and drew on earlier country string band traditions; soon, Monroe began working with Lester Flatt and Earl Scruggs. It was Scrugg's "unusual three-finger banjo-picking style" that fueld the development of modern bluegrass fiddle, banjo, acoustic guitar, mandolin, and upright bass are sometimes joined by the dobro (also known as a resophonic guitar or steel guitar), and a bass guitar, which is occasionally substituted for the upright bass. This instrumentation originated in rural black dance bands and was being abandonded by those groups (in favor of blues and jazz ensembles) when picked up by white musicians Music of immigrant communities in the United States
The United States is a melting pot consisting of numerous ethnic groups. Many of these peoples have kept alive the folk traditions of their homeland, often producing distinctively American styles of foreign music.
Some nationalities have produced local scenes in regions of the country where they have clustered, including Cape Verdean music in Rhode Island, Armenian music in Fresno, California, Norwegian music in Minnesota and Italian music in New York City. Some of these local scenes have produced performers with some mainstream appeal, such as Pawlo Humeniuk, a star of the Ukrainian fiddling scene info)
Main article: Cajun and Creole music
The Cajuns are a group of Francophones who arrived in Louisiana after leaving Acadia in Canada Creoles are African Americans who combine elements of Cajun culture with their own. The city of New Orleans, Louisiana, being a major port, has acted as a melting pot for people from all over the Caribbean basin. Thus, many Caribbean music styles have left their mark on Cajun and Creole music, which has evolved into a popular style called zydeco, best-exemplified by the 1950s pop star Clifton Chenier.
In southwestern Louisiana in the 1800s, the fiddle was the most popular Cajun instrument and the music still carried clear influences from the Poiteu region of France and the Scottish/Canadian influences of their earlier homeland. In the late 19th century German immigrants spreading outward from central and eastern Texas and New Orleans soon brought the accordion as well. African American farmhands at the time sang a rhythmic type of work song called juré, which mixed with Cajun folk music to form la la, a central component of Creole music. La la was primarily rural, played at parties also known as la las.
Main article: Tex-Mex and Tejano
Mexico controlled much of what is now the western United States until the Mexican War, including the entire state of Texas. After Texas joined the United States, the Mexicans living in the state (Tejanos) began culturally developing somewhat separately from their neighbors to the south, and also remained culturally distinct from other Texans.
Central to the evolution of early Tejano music was the blend of traditional Mexican forms such as the corrido, and Continental European styles introduced by German and Czech settlers in the late 19th century accordion was adopted by Tejano folk musicians at the turn of the 20th century, and it became a popular instrument for amateur musicians in Texas and Northern Mexico. Small bands known as orquestas, featuring amateur musicians, became a staple at community dances.
Main article: Klezmer
Klezmer is a style of Jewish music that came to the United States through Ashkenazi Jews immigrating from Eastern Europe. The United States soon became a major center for klezmer development. Klezmer remains rooted in the music of Eastern Europe, especially the Yiddish-speaking peoples of Romania, Ukraine, Poland and Russia.
The klezmorim were travelling musicians who played for weddings and other events in Eastern Europe. Their ensembles (kapelyes) were often based around families, and were usually based on string instruments, led by a violin. In the 19th century, the clarinet replaced the violin as the lead instrument, creating an important element of modern klezmer.
By the middle of the 1920s, more than three million Eastern European Jews arrived in New York City through Ellis Island. These included such legends as Dave Tarras. In 1917, Abe Schwartz signed to Columbia Records and Harry Kandel signed to Victor Records; this was the beginning of modern popular klezmer Polka
Main article: American classical music
The European classical music tradition was brought to the United States with some of the first colonists. European classical music is rooted in the traditions of European art, ecclesiastical and concert music. The central norms of this tradition developed between 1550 and 1825, centering on what is known as the common practice period. At the time the first Europeans arrived in North America, the prevailing view was that the only serious music worth considering was the European classical tradition; styles of folk music were denigrated as repulsive and proper only for the lower classes.
John Warthen Struble notes that early American music historians felt that the United States was "in effect, another European nation partaking of the same cultural values, traditions and artistic objectives" as European nations, ignoring the "vital traditions of rural folk music and the important musical subculture of African Americans". Indeed, American classical composers, until the 19th century, attempted to work within European models; Struble contends that these attempts were a "blind alley, a necessary period of experimentation, the result of which was to demonstrate that American classical music would never find itself by imitating European models" (emphasis in original). Antonin Dvorak, a prominent Czech composer, iterated this idea, that American classical music needed its own models instead of imitating European composers, when he visited the United States from 1892 to 1895 -- Struble also points out that Dvorak's visit predates "one of the first pieces of characteristically American-sounding classical music, music that could not have been written by any European composer (namely) Edward MacDowell's Woodland Sketches" old-time music, jazz, blues and Native American music were used in classical compositions.
During the colonial era, there were two distinct fields of what are now considered classical music. The First New England School was inarguably the more influential in the long-term, and was based around simple hymns that were performed with increasingly sophistication over time. The other colonial classical tradition was that of the mid-Atlantic cities like Philadelphia and Baltimore, which produced a number of prominent composers who worked almost entirely within the European model, and are little appreciated today; these composers were mostly English in origin, and worked specifically in the style of prominent English composers of the day, like Samuel Arnold and George Frideric Handel First New England School
European classical music was brought to the United States during the colonial era. Many American composers of this period worked exclusively with European models, while others, such as William Billings, Supply Belcher, Daniel Read, Oliver Holden, and Justin Morgan, also known as the First New England School, developed a native style almost entirely independently of European models Stoughton Musical Society, and was also influential "as the founder of the American church choir, as the first musician to use a pitch-pipe, and as the first to introduce a violoncello into church service" fuging tune, suitable for performance by amateurs, and often using harmonic methods which would have been considered bizarre by contemporary European standards Notre Dame school of Perotin or other examples of early polyphony, where such phenomena are accepted as legitimate elements of the style" Yankee pioneers (who were) untouched by the influence of their sophisticated European contemporaries" and who were not entirely aware of the development of "tonality (as) the major harmonic system" of European classical music. Ferris also notes that the First New England School based "their melodies upon modal or pentatonic scales" instead of using the European model, and that the "European rules harmony, that governed relationships between 'tense' and 'relaxed' (or dissonant and consonant) sounds were quite unfamiliar to the American pioneers Second New England School
During the mid to late 19th century, a vigorous tradition of home-grown classical music developed, especially in New England. The composers of the Second New England School included such figures as George Whitefield Chadwick, Amy Beach, Edward MacDowell, and Horatio Parker George Gershwin was greatly influenced by African American music; however, this was during an era of legally enforced "Jim Crow" segregation during which his music perhaps enjoyed undue fame owing to the refusal of white listeners to listen to music that formed Gershwin's sources. On the other hand, he created a convincing synthesis of music from several traditions once considered to be irreconcilable, and which continues to enjoy enormous popularity.
Many of the major classical composers of the 20th century were influenced by folk traditions, none more quintessentially, perhaps, than Aaron Copland. Other composers adopted features of folk music, from the Appalachians, the plains and elsewhere, including Roy Harris, William Schuman, David Diamond, and others. Yet other early to mid-20th century composers continued in the more experimental traditions, including such figures as Charles Ives, George Antheil, and Henry Cowell.
Main article: American popular music
The United States has produced many of the most popular musicians and composers in the modern world. Beginning with the birth of recorded music, American performers have continued to lead the field of popular music, which, out of "all the contributions made by Americans to world culture... has been taken to heart by the entire world" ragtime or Tin Pan Alley; David Clarke, however, in The Rise and Fall of Popular Music, traces popular music back to the European Renaissance and through broadsheet ballads and other popular traditions spirituals, minstrel shows and vaudeville, or the patriotic songs of the American Civil War.
Of especial importance are a handful of performers who did more than anyone to create American popular music. Louis Armstrong's "virtuosity (which) inspired awe among his followers" helped make him a "giant figure" in the world of jazz, and a major foundation for later popular styles swing phase, a number of vocalists like Ella Fitzgerald and the Ink Spots became very popular, especially among the youth. A number of Italian-American crooners also found a major youth audience, including Dean Martin, Tony Bennett, Perry Como, Frankie Laine and, most famously, the "first pop vocalist to engender hysteria among his fans" Elvis Presley and Bill Haley, responsible for popularizing rock and roll, also deserve special note for changing the whole of popular music, both within and without the United States.
The era of the modern teen pop star, however, began in the 1960s. Bubblegum pop groups like The Monkees were chosen entirely for their appearance and ability to sell records, with no regard to musical ability. Pop groups like these remained popular into the 1970s, producing such acts as the Partridge Family and The Osmonds. By the 1990s, there were numerous varieties of teen pop, including boy bands like NSYNC and the Backstreet Boys, while female diva vocalists like Christinia Aguilera and Britney Spears also dominated the charts.
The first popular form of distinctively American music was the First New England School of classical choral singing, but it was the lay songs of the American Revolution that first arose as a mainstream kind of popular music, some few years after those New England composers. These songs were the first patriotic songs devoted to the fledgling nation, and included songs like "The Liberty Tree", written by Thomas Paine, and "The Liberty Song". Cheaply-printed as broadsheets, these songs were spread across the colonies and were performed at home and at public meetings Fife songs were especially celebrated, and performed commonly on fields of battle during the American Revolution. The longest-lasting of these fife songs is clearly "Yankee Doodle", which is still well-known today. The melody for "Yankee Doodle" dates back to 1755, and was sung by both American and British troops The American Hero", with words set to the melody of Andrew Law's "Bunker Hill". The song "Hail Columbia" was a major work, written by Joseph Hopkinson, and was set to the tune of "The President's March", composed by Philip Phile and published in Philadelphia in 1793 The Star-Spangled Banner".
Many songs from the early 19th century were sentimental ballads, like "Woodman Spare That Tree" and "Home, Sweet Home", the latter of which became an internationally famous song railroad industry and other technological developments that made travel and communication easier. Army units include individuals from across the country, and they rapidly traded tunes, instruments and techniques. The songs that arose from this fusion were "the first American folk music with discernible features that can be considered uniqe to America" Dixie", written by Daniel Decatur Emmett, who went on to become one of the most famous American composers of the 19th century. The song, originally titled "Dixie's Land", was made for a minstrel show, and specifically for the closing; it spread to New Orleans, first, where it was published and became "one of the great song successes of the pre-Civil War period" The Battle Hymn of the Republic", "Tenting on the Old Camp Ground" and "When Johnny Comes Marching Home", which is now more closely associated with the Spanish-American War. "Tenting on the Old Camp Ground" was one of many songs popularized by a concert group called the Hutchinson Family, and was written by George F. Root; Root was, along with Henry Clay Work, the "most prolific composers in writing Civil War songs" brass band pieces, from both the North and the South bugle call "Taps".
Main article: Minstrel show
The minstrel show was an indigenous form of American entertainment consisting of comic skits, variety acts, dancing, and music, usually performed by white people in blackface. The practice dates back to about 1843, when the full-fledged minstrel show was invented by the Dan Emmett and the Virginia Minstrels. Minstrel shows used African American elements in musical performances, but only in simplified ways; storylines in the shows depicted blacks as natural-born slaves and fools, before eventually becoming associated with abolitionism.
Minstrel shows produced the first well-remembered songwriters in American music history: Thomas Rice, Dan Emmett and, most famously, Stephen Foster.
Main articles: Military march and the cakewalk
The composer John Philips Sousa is closely associated with the most popular trend in American popular music just before the turn of the century. Formerly the bandmaster of the United States Marine Corps Band, Sousa wrote military marches like "The Stars and Stripes Forever" which reflected his "nostalgia for (his) home and country", giving the melody a "stirring virile character". His complete body of work, which includes "King Cotton", "Semper Fideles" and "Hands Across the Sea", are "an impressive library of marches without equal in American music", as well as ten serious and comic operas Ragtime
Main article: Tin Pan Alley
Main article: Theater of the United States
Main article: Blues
Blues had been around a long time before it became a part of the first explosion of recorded popular music in American history. This came in the 1920s, when classic female blues singers like Ma Rainey, Bessie Smith, Victoria Spivey and Mamie Smith grew very popular; the first hit of this field was Mamie Smith's "Crazy Blues". At the same time, record companies like Paramount Records and OKeh Records launched the field of race music, which was mostly blues targeted at African American audiences. The most famous of these acts went on to inspire much of the later popular development of the blues and blues-derived genres, including Charley Patton, Blind Lemmon Jefferson, Son House, Mississippi John Hurt, Lonnie Johnson, Blind Blake and the legendary Robert Johnson.
Main article: Country music
Country music is primarily a fusion of African American blues and spirituals with Appalachian folk music, adapted for pop audiences and popularized beginning in the 1920s. Rebee Garofalo cited country music historian Bill C. Malone as tracing the origins of country to rural Southern folk music, which "was a blending of cultural strains, British at its core, but overlain and intermingled with the (music of the) Germans of the Great Valley of Virginia, the Indians of the backcountry; Spanish, French and mixed-breed elements in the Mississippi Valley; the Mexicans of South Texas, and, of course, blacks everywhere" yodelers, Italian mandolin players, and Hawaiian string bands" Appalachian folk music, concluding that early hillbilly music was "primarily... Americanized interpretations of English, Irish, Scots, and Scots-Irish traditional music, shaped by African-American rhythms, and containing vestiges of nineteenth-century popular song, especially those of the minstrel tradition" sean-nós singing fiddle and the African-derived banjo, with the guitar being later added syncopated rhythms. According to Reebee Garofalo, the guitar entered country bands' repertoire through the interest of many white musicians in the fingerpicking style of African American playing, which was in turned based on West African techniques; Rolling Stone's Rock of Ages, however, attributes the guitar's rise entirely to its cheap availability, a factor that Garofalo considers as well, which facilitated the spread among the peoples of Appalachia, who adapted "their traditional melodies to fit the intonation of the readily available guitar, with its fixed frets" ukulele and steel guitar became commonplace due to the popularity of Hawaiian musical groups in the early 20th century Can the Circle Be Unbroken" album cover
This 1897 recording is of a traditional Omaha courtship song.
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Hawaiian music
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"Dollar Mamie" (info)
This is a work song for hoeing from the Library of Congress' John and Ruby Lomax 1939 Southern States Recording Trip; performed by Judge "Bootmouth" Tucker and Alexander "Neighborhood" Williams on May 23, 1939 at a State Penitentiary in Parchman, Mississippi.
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Spirituals
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"My Good Lord Done Been Here" (info)
This is a spiritual song from the Library of Congress' John and Ruby Lomax 1939 Southern States Recording Trip; performed by Aunt Florida Hampton on May 29, 1939 at the home of Mr. and Mrs. P.W. Tartt in Livingston, Alabama.
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Blues
This 1936-37 recording is by blues legend Robert Johnson.
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Anglo-American music
This is a British tune from the Library of Congress' Florida Folklife from the WPA Collections; performed by Bob Hall, Walter van Bass, Ned Hugh Bass and J. C. King with banjos, guitars and violin in Juli, 1940 in Kenansville, Florida.
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Old-time music
This is old-time Appalachian folk music from the Library of Congress' Gordon Collection; performed by Bascam Lamar Lunsford in the Asheville, North Carolina area on October 19, 1925.
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Bluegrass
This is Armenian folk music from the Library of Congress' California Gold: Northern California Folk Music from the Thirties Collection; performed a cappella by Ruben J. Baboyan on April 16, 1939 in Fresno, California.
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Cajun and Creole
Tex-Mex and Tejano
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"Caminode San Antonio" (info)
This is a corrido from the Library of Congress' John and Ruby Lomax 1939 Southern States Recording Trip; performed by Jose Ararjo on April 27, 1939 at his school near Brownsville, Texas.
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Klezmer
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"Jenny Lind" (info)
This is a polka from the Library of Congress' California Gold: Northern California Folk Music from the Thirties Collection; performed by John Selleck (violin) on October 2, 1939 in Camino, California.
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Classical music
Colonial music
Popular music
Early popular song
Minstrelsy
StephenFoster.jpeg Late 19th century music
Tin Pan Alley
Musical theater
Blues
Robertjohson.jpg Country music