ABSTRACT
A major point arises from the foregoing anecdote – while acoustic blues in North America has experienced noticeable surges of popularity from time to time. The intellectual groundwork for blues revivalists’ acceptance of the myth of acousticity was further developed by popular music author Samuel B. Photographs of African-American blues artists with their instruments have also influenced contemporary Canadian blues musicians’ taste in guitars. Since the blues revival that accompanied the great folk boom of the late 1950s and 1960s, thinking about blues has shifted from a perspective of ‘country’ or ‘folk blues’, which reflected the myth of acousticity, to ‘acoustic blues’, which today is more concerned with the accurate presentation of acoustic guitar sounds than with reflecting ideology. The development of the acoustic steel-stringed guitar as a legitimate form on its own has furthered an appreciation of blues as acoustic art form without ideological attachments.
