Grooving Body Movements Through Bass Lines: A Tradition in African American Music Stan L. BRECKENRIDGE—CALIFORNIA STATE UNIV. AT FULLERTON Abstract 141s well nown hat performers of African American muste generally exibir uring theirperjormancessome type of visual and/ ‘or audible emotion, Indeed his coexistence is duly noted as a tradition in African American music performance. A question remains: what substances incite such emotions, and what is their importance? This paper shows by means of specific body ‘movements—a visual emotion—indicativeof selected styles, music notation, atd philosophical inquiries, shat a song'sbasstine sone such substance. As tothe importance ofthis, information imparted suggests that anexus exist inthe rhythmic character of ‘bass lines, and that of specific body movencents; a connection that provides apathay toa greater understanding ofthe music: ‘nd, ultimately, the strucural forms in black culture orwhat I might refer as epistemology of African American culture, Introduction Performances of African American music have en- Joyed a long tradition and have been and are continu ally presented to a broad range of audiences. Begin- ning with the popularity of Ragtime— America's first international music occurring during the 1890s—and ‘continuing with Hip-Hop century later Aftican Ameri- ‘can music has contributed to the social and cultural milieu of American society. Scholars, musicians, and listeners of different cultures and from different coun- tries continue to probe, and offer reasons as to why there exist a wealth of interest and fascination con- ceming African American music. Aside from obvious reasons, ass the case of music in general (ie. its inter- dependence with mature, the social organization of music within a culture, etc), itis my opinion that Afri ‘can American music contains a certain heartfelt char- acter. an affective quality that permeates one’s spiri- tual, moral, and physical self. Any music, of course, given the right moment may do this; that is not the focus of this study, But rather, itis the importance of “Grooving Body Movements Through Bass Lines,” as discussed here that will help uncover the substance of African American masic’s inner character. Moreover, it isthe rhythmicbass line that will be the specific line of inquiry, as it Hes, in this music, atthe core of musical processes. ‘As.apointof departure, rhythmicbass lines will be ‘viewed and understood as corporeal substance, articu- lated here as a continuum of melodicfthyihmic move- ‘ment, whereupon emotional matter exisis in its ambi- ent space and is expressed through performance, The intent of which is to show the seriousness of this prac- tice within the tradition of African American music performance. ‘Undemeath the often heavily orchestrated piece marked by complex melodic, harmonic, and rhythmic ‘gestures lies an enlivening continuum or, in the Afri- can American vernacular, “groove.” Identifiable by a seemingly simple bass line—i.e, a musical synthesis of certain melodic intervals and a particular rhythma— the groove represents the heart of the piece. It is the bedrock by which specific internal matter eventually becomes embodied in extemal emotions, which are empowered by a rhythmic bass line. Itshould be pointed (out that groove is generally established only through repetition. Similarly, it is through this condition, as will be discussed, where one experiences euphoria (see Asante, 1996). centtted Abican on Wey haste tain tory of Rack Rees of Mute, Come ial Cit Plane Seal Me Enceabe Toca Comer Reyboord ad, Povlfcon Benes & Monentncand Muse Lert ers aden Some of hs resin works heen ss Fe Everyone Wik Wl be pully Kendal aa chad poison ts Fall 21 a CD ed Expos, ‘eitetprofcstnal mute profes (elected Deo 1999) avaible on Aatoncom Dr, Stom L. Breckenridge is faculty n the depertment of Afro-ubnie staes at California State University. Fullerton. He received a Bachelor of Arts degree in Musi Education from Calfornia State Universlty, Fullenon, a Master of Arts degree and PhD. in Musicology from Claremont Graduate University. Dr iences include World Muste, History of Jaz, Afro-American Music Appresia- 7 Applicatons in Mule, Musl- inclade a tertbook which Includes 21 original plano soos, is his most ‘The Western Journal of Black Studies, Vol. 24, No. 3, 2000 175 Copyright (c) 2008 ProQuest LLC Copyright (c) Washington State University Press