“America's rich musical heritage reflects the diversity of our people. Among many influences, the cultural traditions brought to this land from Africa more than four centuries ago and the remarkable musical achievements of African Americans since then have strongly and unmistakably improved the sound of American music.”

2000s, 2001, Black Music (June 2001)

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George W. Bush675

43rd President of the United States 1946

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“Jazz, often called America's classical music, so influenced our culture that Americans named a decade after it. Like the country of its birth, jazz blends many traditions, such as African-American folk, rhythm and blues, French Creole classical form, and gospel. Through the creation and performance of music like jazz, black Americans were better able to exchange ideas freely across racial and cultural barriers. Before our Nation made significant strides in truly promoting equal justice and opportunity for all, black and white musicians in the genres of jazz, blues, and country played together in jam sessions, recording studios, and small bands. In many ways, their art preceded social change, allowing black and white musicians to meet as equals and to be judged on their musical ability, rather than the color of their skin. Their music also provided an outlet for African Americans to speak passionately and brilliantly to the rest of the Nation and the world.”

George W. Bush (1946) 43rd President of the United States

2000s, 2001, Black Music (June 2001)

“From historical burdens such as slavery and injustice to the celebration of faith, much of the origin of African-American music reflects our national story. The work songs, shouts and hollers, spirituals, and ragtime of an earlier era laid the creative foundation for many of America' s most distinctive and popular musical genres. These include rhythm and blues, jazz, hip hop, gospel, rap, and the roots of rock and roll.”

George W. Bush (1946) 43rd President of the United States

2000s, 2001, Black Music (June 2001)

“We’re from Germany but we grew up with English and American music which was such a strong inspiration for the young band. Very early on, in the Seventies, we went to England and France, to Japan and America, we toured and then became an international band. I think our music was never German, it’s always had this Anglo-American influence – we never tried to be a German band! We are Germans, yes, but not in our music. When we grew up, there was schlager music, this pop music kind of thing.”

Klaus Meine (1948) German singer

“In applications of the music-as-language metaphor we should attend to diverse musical traditions in musical terms, including not only traditions of the music we study but also traditions of how we study music.”

Harold Powers (1928–2007) American academic

Harold Powers, "Language Models and Musical Analysis", p.54-55.

“Jazz I regard as an American folk music; not the only one, but a very powerful one which is probably in the blood and feeling of the American people more than any other style of folk music.”

George Gershwin (1898–1937) American composer and pianist

"The Relation of Jazz to American Music", in Henry Cowell (ed.) American Composers on American Music (1933); reprinted in Gregory R. Suriano (ed.) Gershwin in His Time (New York: Gramercy, 1998) p. 97.

“A tonal type is minimally identifiable by its three markers and thus objectively observable completely apart from its musical or cultural context; it is 'scientific,' it is 'etic.' 'Mode' conversely is all bound up in sixteenth-century musical culture, not as a living doctrine of the music of the church and a heritage fomr the Middle Ages but also as a musical construct being expirimented with by members of the culture, from both humanistic and traditional points of view; it is thoroughly 'emic' and requires study on its own terms….”

Harold Powers (1928–2007) American academic

Harold Powers, "Tonal Types", p.439.

“I think America concedes that true American music has sprung from the Negro.”

W. C. Handy (1873–1958) American blues composer and musician

“For all families, participation in music and the arts, can help people reclaim and achieve the American dream.”

Linda Ronstadt (1946) American pop singer

Linda Ronstadt, Arts Advocacy Day 2009 Congressional Hearing https://www.youtube.com/watch?v=uLo6o_ayKZ0, 1 May 2009

“[Is "90 Millas" another crossover -- into World Music? ] I can see that. The core is African rhythm -- half of the world's music comes from that. The difference between our music and American blues: Cubans may have been slaves, but in Cuba slaves became part of the family. They could buy their freedom. And they are Island people. And Island people are happier. But, you know, in the '80s, when we released "Conga," wasn't that World Music? Everywhere we went, people got it. And why? The drums. So maybe all music is World Music, and the only question is: Do you like it?”

Gloria Estefan (1957) Cuban-American singer-songwriter, actress and divorciada

www.huffingtonpost.com (September 7, 2007)
2007, 2008

“Leroy Anderson is an American original - direct, honest, personal, idiosyncratic, and free of pretension. His music is directed to, and reflective of, the American soul.”

John Williams (1932) American composer, conductor and pianist

John Williams, conductor laureate, Boston Pops Orchestra, Leroy Anderson Square Dedication, Cambridge, Massachusetts, July 17, 2003.
Source: http://news.harvard.edu/gazette/2003/07.17/12-anderson.html

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