ABSTRACT
A general conclusion provides an outlook that summarizes the questions that have been hypothesized, it resumes the evolution of blues which is, as it were, a consequence of the linguistic changes in the Black community. This evolution rests on the appropriation of the English language and of its prosody by African Americans, and leads to other musical forms which are also based on the rhythm of speech connected with that of spoken American English. The aim of this book is to see whether the musical structure should prevail over the rhythmic rules of the language, or if, on the contrary, the language can possibly originate a particular music genre. The truth is certainly in between. It is not necessary to have an extensive knowledge in phonology and music to read this text. Each section will supply the useful explanations for any of the aspects which are dealt with. There is a pedagogical interest in that, which is to provide learners of English (as well as readers whose English is at an advanced level) with both a few basic notions in phonology and intonation, and a rhythmic reference to balance their expression when they speak English. The first part, for example, may well be construed as a succinct phonology lesson, but it gives a good idea of what the music of a language can be. It may also encourage readers to delve into the study of sounds and rhythm. As for the second part, it presents a few basic rhythmic reading elements, though it is not the only purpose. It is indeed a research project focusing on a specific aspect of language and music which may not only be of interest to specialists in English linguistics, but also to musicians, in that it investigates the close links between the sound system of English and the structure of blues songs.
