The embellishment of African derived rhythm/melody with European harmonics gave birth to Jazz, arguably the worlds most significant musical explosion of the millennium. In the 100 years since, African American music, which became largely synonymous with American music, has been exerting a tremendous amount of global influence. The spread of this influence accelerated even more after WW2, as the US became a global economic and military super power, aggressively pursuing a program of cultural imperialism, which increasingly saturated the world with its ideas, stories, images, and sounds.
But there is one peculiar thing which nearly all American music has in common – and the more one considers it, the more peculiar it becomes – an extensive emphasis on a unique rhythm, a rhythm very different from that which is found almost anywhere else in the world. It goes like this: Boom – Bap – Boom – Bap, with a kick drum on the 1 and 3 or all 4, a snare drum precisely on the 2 and 4, with nearly nothing in between except maybe a high hat, and no major hits ever landing off the grid. This rhythm is called the “Duple” in music theory, and you can find variations of it driving all modern popular American music styles: Blues, Motown, Soul, Funk, Rock, Disco, Hiphop, House, Pop, and beyond.
Duple Rhythm (beginning of video):
The pervasive dominance of this simplified, rigid, and mechanical mono-rhythm, minimizing poly-rhythmic elements in the music to the role of embellishment, sometimes to the point of non-existence, is very different from the focus on complex polyrhythms in various forms of modern South American and Caribbean music. Cuban Son and Rumba, Brazillian Bossa Nova, Haitian Gwo Ka and Compas, Trinidadian Calypso; none of them rely so extensively on the Duple (besides sub-genres which were directly influenced by US exports, such as Ska Reggae, which heavily borrows from the Rhythm’n’Blues of the 50s).
And if we zoom out to look at great traditions of music of the world: Asia, Middle East, and of course, Africa, with zero exceptions, the Duple beat is never a central element, and hardly even exist at all in the major bodies of music produced by these ancient cultures. All of them are based on intricately interlocking polyrhythms arranged in hypnotic, complex mathematical patterns. (the much younger European classical tradition, which developed as entertainment for royalty and the rich, has always regarded rhythm as an element of the under classes and “primitives”, and has “long discarded African music as an oddity of the animal kingdom” – Piero Scaruffi. With very few exceptions, these attitudes and a refusal to accept African music and its offspring continued all the way through the 20th century until today, which explains the increasing gap between it and the rest of the world.) (01)
Siamou Music in Burkina Faso:
Slapping Juba (the teacher in this video actually recounts a version of the actual incident which result in the first banning of the drums: the murder of a slaver by a slave named Juba, his execution, the subsequent large scale revolt organized with talking drums, and its brutal suppression. From that point on, any slave caught with a drum would have his hands cut off, or hung):
The most widely used substitute for drums, partly because of its ready availability, was the human voice. Field Hollers, Call and Response, Work Songs, Prison Songs, and all kinds of Vocality were developed, with the voice often replicating drum patterns and to create counterpoints, using standard singing, chanting, as well as extended techniques such as guttural effects, interpolated vocality, falsetto, melisma, etc. Sounds of the work itself such as chopping wood or marching, as well as foot stomping or hand clapping during off hours, provided a basic, skeletal time signature, over which the polyrhythmic vocal sounds could improvise (the roots of Scat Singing). Sometimes imitating the beats of many drums in one line, these vocal elements filled the incremental temporal spaces between each clap of the hand or fall of the hammer, and played an important role in the preservation of African rhythmic heritage.
Thus Afro rhythm traditions survived through mutation and adaptation, and formed the drum-less foundation of American music. The descendants of these earlier styles later became wildly popular beginning in the 19th Century: Ragtime, Minstrelsy, Spirituals, Salon Music, Jubilee, Blues, and Gospel (which has been called “percussion music without drums” by historians). The appropriation of Black slave music by White mainstream society started at this time, with the phenomenon of Blackface Minstrelsy. One of the first and most enduring artist/thieves was Stephen Foster, who took African derived rhythms played on the African derived instrument the Banjo, and incorporated them into songs such as “Oh Susana” (which became one of the most popular American songs ever). This, and the mixing of African slave traditions with European folk music were the origins of Country Music: “One of the reasons country music was created by African Americans, as well as European Americans, is because blacks and whites in rural communities in the south often worked and played together” – DeFord Bailey (03)
And because the drums were taken away, the forms of West African music which either were purely vocal or featured the voice prominently, traditionally played without drums, using simple instruments, such as many kinds of narrative song cycles in the Griot traditions of Mali and Senegal, took root in a big way and gained wide popularity in the deep South. No specific African musical form can be identified as the single direct ancestor of the blues, but many elements of the Blues, such as the call-and-response format and the use of blue notes, can be traced back to the music of Africa. (04)
Historians have also speculated that the Spanish slavers, who first set up colonies in the Americas in South America, at that time had not long expelled the North African Moors after 800 years of Islamic rule back home, preferred not to import Afro-Muslims. Thus a higher concentration of people from the Sahel/Mali/Senegal regions, many of whom were Muslim, ended up in North America, bringing with them their more vocal and string based traditions. While more people from the Congo/Ghana/Nigeria regions arrived in South America and the Caribbean, with their more extensive drumming traditions.
A classic sound collage (Alan Lomax) comparing traditional vocal music from Africa and vocal music from the Delta, alternating, line by line, between American and Senegalese singing:
the direct ancestor of the banjo was the Malian/Senegalese instrument Xalam or Ngoni, widely used by Griots:
There was one exception to this drum-lessness: due to the Catholic laws in Luisiana being different from the protestant ones in Georgia and the Carolinas, drums were not banned in New Orleans, the center of the American slave trade, until much later, the second half of the 19th Century. This and other crucial social conditions were the ingredients of a series of cultural/musical explosions that would change the course of the entire world.
Prior to new waves of repression that would come, this port city directly connected to Cuba and the Caribbean, run by the French and Spanish, included a substantial Creole of colour land-owning middle class, so that “black” was not automatically equated with slavery – an anomaly in the South at the time, to say the least. Before the 1890s when this mixed race group suddenly lost their privilege and equality, they participated in every level of society including politics, making a huge difference in terms of racial tolerance, inclusiveness, cultural exchange with Cuba, and the development of both local music as well as music in Cuba.
An economy based on trade meant less regimented attitudes and more respect for difference: “Untouched by the industrial revolution and less socially stressed than other plantation-oriented economies, New Orleans was able to retain the traditions of the various ethnic groups while they were rapidly being annihilated in the rest of the USA.” – Piero Scaruffi (01) Also, Southern Europeans had somewhat different ideas from the Northern Europeans in their treatment of slaves, due to their countries of origin being closer to Africa, and already heavily influenced by African culture. New Orleans brothels allowed sex across the colour line (not just unheard of but completely INSANE in the 1800s) all the way until 1918, when the US government forced the mayor of New Orleans to segregate.
In this atmosphere of relative tolerance and less repressive laws, for much of the 19th century this opulent melting pot city was host to a vibrant nightlife, exotic rituals, tribal dances, pagan festivals, funeral marches and all kinds of parties which never seemed to stop. Further, there was one place, indeed the only place on the entire continent, the “Congo Square”, in the Tremé neighborhood, where slaves had for a long time been allowed to make music: “In Louisiana during the 18th century, slaves were commonly allowed Sundays off from their work. They were allowed to gather in the “Place de Negres”, informally “Place Congo”, where the slaves would set up a market, sing, dance, and play music.” – Peter Kolchin (05)
“It is probably safe to say that by and large the simpler African rhythmic patterns survived in jazz … because they could be adapted more readily to European rhythmic conceptions. Some survived, others were discarded as the Europeanization progressed. It may also account for the fact that patterns such as [tresillo have] … remained one of the most useful and common syncopated patterns in jazz.” – Gunther Schuller (08)
A few decades later a new hybrid style with even more reduced, simplistic, and obvious drum beats was born in the same city, in fact the exact same neighborhood: the first Rock ‘n’ Roll records were made in the Tremé district. “Without New Orlean’s rich musical contribution there would have been no Elvis Presley or Beatles. Because both acts were heavily influenced by the songs recorded by Fats Domino and Little Richards at Cosimo Matassa’s Studios (close to Congo Square).” – Fabian Jolivet.
So there you have it: Jazz and Rock’n’Roll, probably the 2 most significant American cultural exports ever, both born in the only place in America where for a few decades slaves were allowed to play drums and dance.
Though New Orleans Jazz did sometimes use rhythm patterns more subtle and complex than the Duple (but still much less intricate and nuanced than its influences: Afro-Latin and African music), the much wider and older history of drum-lessness had a deeply profound effect on American music in general, and the Duple fundamentally shaped all popular music to come in the 20th Century.
There were of course other sources and reasons, both historical and modern: Native American music and Irish, Italian, German folk music such as the Oompah or Polka all used simple mono-rhythms; as well as modern environmental factors such as the rigid and repetitive sound of machines, factories, automobiles and trains in the industrialized landscape.
Native American Ritual Music:
Irish Folk Music:
German Volkstümliche Musik:
All of these cultures contributed to the complex hybrid which is American music, but from where i’m standing, as a person from East Asia, an outsider to American music, to European music, and to African music alike, the origins of Jazz, Rock, Hiphop, etc. are clearly located much more in the blues and slave music from both at home and Latin America than traditions represented by the above 3 videos. If one accepts the seminal, foundational influence exerted by transplanted African culture, this legacy of drum-less evolution might just be the most important piece of the puzzle, the main answer to the question of how the Duple came to dominate American modern music.
But unlike African Americans who RE-invented their African musical heritage through memory and forgetfulness in a completely new context, Africans in Latin America and the Caribbean large preserved homeland drumming traditions, which survive nearly intact until today. (09)
Trinidadian Steel Drums:
Drums were also banned in the Caribbean, in places like Trinidad, but much later in the 19th Century. So the slaves had a stronger connection to African rhythm culture, which was apparent when they started using frying pans, dustbin lids and oil drums after the ban (as oil was an important national product), forming the Trinidadian tradition of Steel Pan and Steel Drum music (10). Similarly, drums were taken away from slaves in Cuba at a later time, and the roots of Rumba lies in Afro-Cubans playing African music with “household items: the side of a cabinet functioned in the role of the present-day tumba or salidor (the primary supportive drum), while an overturned drawer served as the quinto (the lead drum) and a pair of spoons played the cáscara part on whatever was available.” – David Peñalosa (11) The handmade percussion instrument Claves, which came from hitting wooden pegs together in shipyards to accompany slave work songs, is now a ubiquitous in all Cuban music and its derivatives from Son to Mambo to Salsa to Timba, playing the Clavérhythm pattern of African origin.
Other reasons for the stronger ties with African culture in the Caribbean and South America include the much greater number of slaves (North America: 0.5 million, Caribbean: 5 million, South America: 5 million); as well as slavery lasting much longer: Brazil until the 1880s, and Cuba until the 1890s. Also important were certain practices in slavery: in places like Cuba, unlike in North America, slaves were literally worked to death to increase the profit of the sugar trade. Since they were not bred to be sold (like in North America), fresh supplies had to be imported directly from Africa, a practice that continued in Havana until 1873. Thus Africans continued to arrive in South America constantly and much more frequently during the later period of the slave trade, maintaining their folkloric traditions through secret societies (particularly Yoruba and Kikongo) (12), producing amazing cultural hybrids such as Capoeira and music like in the videos above.
As we have seen, rhythm in America took on a very much unique and drastically different character, as result of a particular historical process, a specific evolutionary path. This can be acutely felt today: consider Hip Hop: the simple, skeletal “BOOM – BAP” beat is the modern version of foot-stomping and hand-clapping, performing the same function of time-keeping, and just as 500 years ago, complex vocal delivery (rap) fills in all the fractions of time between, imitating and substituting for drum patterns – a mutated continuation of African musical heritage.
Chicago Street Percussion:
Now we come to the grand finale, rainbow-in-the-sky, lighters-in-the-air, closing message of this long and dense story which spans half a millennium: African rhythm heritage not only survives, but THRIVES, in any hostile environment, despite every hardship, against every repressive measure, in defiance of all forces that tries to destroy it.
Thanks to Keith Jones, Wayne Marshall, and Darius James.
(01) Scaruffi, Piero. A History of Popular Music before Rock Music.
(02) Palmer, Robert. Deep Blues.
(03) Kingsbury Paul. The encyclopedia of country music: the ultimate guide to the music.
(04) Barbara Vierwo. Andy Trudeau. The Curious Listener’s Guide to the Blues.
(05) Kolchin, Peter. American Slavery,
(06) Sublette, Ned. The World that made New Orleans: from Spanish silver to Congo Square.
(07) Peñalosa, David. The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins.
(08) Schuller, Gunther. Early Jazz; Its Roots and Musical Development.
(11) Peñalosa, David. Rumba Quinto.