The music of the United States reflects the country's multi-ethnic population through a diverse array of styles. Among the country's most internationally-renowned genres are hip hop, blues, country, rhythm and blues, jazz, barbershop, pop, techno, and rock and roll. After Japan, the United States has the world's second largest music market with a total retail value of 3,635.2 million dollars in 2010 and its music is heard around the world. Since the beginning of the 20th century, some forms of American popular music have gained a near global audience.
Native Americans were the earliest inhabitants of the land that is today known as the United States and played its first music. Beginning in the 17th century, immigrants from the United Kingdom, Ireland, Spain, Germany and France began arriving in large numbers, bringing with them new styles and instruments. African slaves brought musical traditions, and each subsequent wave of immigrants contributed to a melting pot.
Much of modern popular music can trace its roots to the emergence in the late 19th century of African American blues and the growth of gospel music in the 1920s. The African American basis for popular music used elements derived from European and indigenous musics. The United States has also seen documented folk music and recorded popular music produced in the ethnic styles of the Ukrainian, Irish, Scottish, Polish, Hispanic and Jewish communities, among others.
Many American cities and towns have vibrant music scenes which, in turn, support a number of regional musical styles. Along with musical centers such as Philadelphia, Seattle, New York City, San Francisco, New Orleans, Detroit, Minneapolis, Chicago, Atlanta, Nashville, Austin, and Los Angeles, many smaller cities such as Asbury Park, New Jersey have produced distinctive styles of music. The Cajun and Creole traditions in Louisiana music, the folk and popular styles of Hawaiian music, and the bluegrass and old time music of the Southeastern states are a few examples of diversity in American music.
Read more about Music Of The United States: Characteristics, Diversity, Folk Music, Classical Music, Popular Music, Government, Politics and Law, Industry and Economics, Education, Scholarship, Holidays and Festivals
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“If mass communications blend together harmoniously, and often unnoticeably, art, politics, religion, and philosophy with commercials, they bring these realms of culture to their common denominator—the commodity form. The music of the soul is also the music of salesmanship. Exchange value, not truth value, counts.”
—Herbert Marcuse (1898–1979)
“We can beat all Europe with United States soldiers. Give me a thousand Tennesseans, and I’ll whip any other thousand men on the globe!”
—Andrew Jackson (1767–1845)
“I cannot say what poetry is; I know that our sufferings and our concentrated joy, our states of plunging far and dark and turning to come back to the world—so that the moment of intense turning seems still and universal—all are here, in a music like the music of our time, like the hero and like the anonymous forgotten; and there is an exchange here in which our lives are met, and created.”
—Muriel Rukeyser (1913–1980)
“Morning work! By the blushes of Aurora and the music of Memnon, what should be man’s morning work in this world?”
—Henry David Thoreau (1817–1862)
“The boys dressed themselves, hid their accoutrements, and went off grieving that there were no outlaws any more, and wondering what modern civilization could claim to have done to compensate for their loss. They said they would rather be outlaws a year in Sherwood Forest than President of the United States forever.”
—Mark Twain [Samuel Langhorne Clemens] (1835–1910)
“I asked myself, “Is it going to prevent me from getting out of here? Is there a risk of death attached to it? Is it permanently disabling? Is it permanently disfiguring? Lastly, is it excruciating?” If it doesn’t fit one of those five categories, then it isn’t important.”
—Rhonda Cornum, United States Army Major. As quoted in Newsweek magazine, “Perspectives” page (July 13, 1992)