Introduction
Southern soul music emerged from the southern USA. This music origin was derived from styles combination comprising of blues, rock, country and gospel influence, which emanated from churches of African-American. The focus in music was in the groove. This rhythmic effort created a significant influence on the growth in funk music. James Brown, one of those who early started soul music between the 1960s and 1950s.
The soul music was constructed in a way that portrays quietness in music. Southern folk had offered the state music of its kind, conveying its unique features. James established a soul sound- pure tenor voice, high and powerful solos (Malone, 1979). Soul music remains a most distinctive in all substyles in African-American music. The tempo of the song is slower of a speed ranging between 60-96 beats/seconds. The beats of soul music are arranged in a recurring accent pattern. This depicts quietness of the songs that was performing and taken to heart by persons.
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The instruments employed in songs meant to produce a soft sound that entertains audiences. Wind instrument mostly applied in these songs such as saxophones, trombones, and trumpets as well as piano and guitars (Malone, 1979). The song is sung primarily by solos and organized. Romantic images in southern music have fired imaginations for songwriters who began exploiting South cultural symbols and musical forms (Malone & Ward, 2002). The visions of lazy rivers, smoky mountains, and lonesome pines have enraptured lyricists of southern USA, delighting audiences through land images in which time goes slowly, simple life and persons hold apparent love and values to create music.
Southerners have significantly enhanced United States music as songwriters, performers, promoters, folklorists and record producers. Music has made many of the southern born musicians as James, Mary Martin, and Van attain international distinction expressing no regional identity, south folk have highly broaden musical styles of the nation. Also, these musical styles have conquered the universe creating immense opportunities for musicians and entrepreneurs despite them being born in poverty like James Brown(Malone & Ward, 2002).They developed in folk societies of the southern, in churches, homes, juke joints, honky tonks, fiddle contests and brothels with other sceneries for social interchange. The south us music flowed mainly from a confluence amongst two cultural streams, the West African and the British. The mighty rivers have enhanced through the periodic infusion of Spanish, German, Caribbean and French plus other stylistics and melodic elements. The admixture of African has contributed more to appeal and distinctiveness of music of southern such as improvisation, blue notes, antiphony and syncopation (Malone & Ward, 2002). However, other groups of ethnic have added to the musical mix. The German accordion hymn and rhythms tunes of the infectious style of Cajun dance and soulful cry for Mexican singers of conjunto, they all shaped the southern sound.
Conclusion
Southern soul music turns out to be America’s favorite. The themes and styles of the music seem to attract much of country’s youth and adult of African-American and White people. The trend can reflect otherization of North part. Nevertheless, it also proposes cultures and music, which made them are turning out to be part of the national mainstream. However, a country musician like James Brown still substantially emanate from the Southern part and their lyrics frequently self- consciously reflect on South longings and preoccupations. Southerner's export of musical treasures to global destinations and earns much in turn. The young commercial musicians have proved that 1958 Louisiana cast can still make new, accessible and exciting sounds through establishing musical genres that are time-tested. The southern music has influenced a larger part of the world than it may describe from souls to blues kinds of songs.
References
Malone, B. C. (1979). Southern music, American music . Lexington: University Press of Kentucky.
Malone, B. C., & Ward, G. C. (2002). Jazz: A History of America's Music. The Journal of Southern History , 68 (4), 913. doi: 10.2307/3069778
