Zur Ästhetik der afro-amerikanischen Musik
(Timbre - Geräusch - Emotion)
Although often ignored by research projects on African and Afro-American music, sound (timbre and voices) always played a major part in Black music from its origins until now. The sound qualities of Black music were and are causing profound misunderstandings since they are different from the well-defined standards of Western aesthetics. In certain places and periods, the oppressive situation even caused a "cleaning out" of Black music from its "dirty" sounds.
Also today, when the spectre of sound colors in 20th century music is much broader, the fundamental difference still exists. European art music, being mainly composed, verbalized and written down, is directed after all by rationalism. Afro-American music that features individual and spontaneous expression is more in touch with emotion and is specially fit for non-verbal group communication. Sound effects mostly indicate an increase of emotion. They seem also to express and/or evocate the presence of spiritual power. The need of power permeates Black life in all its facets. Because it aims or manifests the state of ecstasy, sound is used emotionally and guided by a logic of higher order.
Thus, Black music is a very efficient medium of release from adversary powers (e.g. with the blues) or enforcement of the positive powers (e.g. with Black gospel music). Even though jazz music, blues/R&B, and Black church music are often considered as existing apart, they all draw from the same sources and constantly influence one another. Also the new sound effects of modern instrumentalists can be traced back to the ethnic vocal origins which survived in the relatively secluded ghettos. A more profound investigation of the complicated subject of vocal behavior is likely to give the key to the various sound qualities in Black music.