One of the most iconic symbols of Appalachian culture— the banjo— was brought to the region by
African-American slaves in the 18th century. It is likely related to
West African instruments such as the
akonting.
[21] Black banjo players were performing in Appalachia as early as 1798, when their presence was documented in
Knoxville, Tennessee.
[22] It is also likely that the guitar was introduced to white Appalachians by African Americans.
[23]
Cecil Sharp described the practice among white ballad singers of "dwelling arbitrarily upon certain notes of the melody, generally the weakest accents," unaware that this feature was African in origin, being widespread among African Americans and in
West Africa.
[23] In early Appalachia, black and white
fiddlers would exchange tunes, allowing the rhythms of Africa to influence white fiddle music.
[23] African slaves brought a distinct tradition of community songs of work and worship, usually involving
call and response, and African percussion rhythms affected the rhythms of Appalachian song and dance.
[15]
Early African-American vocal music, probably the ancestor of
blues music,
[24] brought harmonic (third and seventh
blue notes, and
sliding tones) and verbal dexterity to Appalachian music, and many early Appalachian musicians, such as
Dock Boggs and
Hobart Smith, recalled being greatly influenced by watching black musicians perform at the beginning of the twentieth century.
[25][26] Dock Boggs,
Doc Carter and
Doc Watson have all been described as "white
blues" musicians due to the presence of African American blues features in their styles.
[23][27]