The origin of Bruce

Blues evolved from amateur music of poor slaves into various forms of complex music, which can also be classified. It was also found in all parts of the United States, and later in Europe, Africa and other parts of the world. Today's blues, like today's country music, began in the southern United States in the19th century. The earliest recordings of blues and country music were made in the1920s. At that time, the fledgling mass music industry studied and produced market types such as "African-American music" and "traditional music" to attract corresponding black or white customers. At that time, apart from the race of the performers, there was no obvious difference between blues and country music, and sometimes record companies mislabeled them. In fact, this classification by race is wrong. For example, at that time, people divided the gospel songs played by black slaves to their masters into blues, but in fact, the origin of this black religious song was hebrides. Thomas sauville, an American black economist and historian, also pointed out that the former slave population in the southern United States was largely assimilated by their Scottish-Irish "countryman" neighbors. But the research of kubik and others also shows that Bruce still contains a considerable degree of African heritage.

There have been many studies on the social and economic background of Bruce. The earliest appearance time of the blues is not very accurate, and it is generally considered to be between 1870 and 1900. This period is consistent with the process of slave liberation and the transition from slavery to cooperatives and small-scale agriculture in the southern United States. Some scholars define the development of this period as the change from group performance to more personalized form. Lawrence Levine believes that "the state's emphasis on individual consciousness, the popularity of Booker Washington's thought and the formation of Bruce are directly related. The psychological, social and economic impact of slavery on blacks is immeasurable, so it is very natural for their secular and religious music to reflect. "