This paper explains that, as an aural music, the blues has few absolute features, intending to take on its shape and style
during the
performance, reflecting the personal response of its inventor to a specific occurrence or situation. The author points out that, like other black
folksong, blues' lyrics are rich in imagery; the blues is distinctive for its three-line stanza, an apparent throwback to its African origins because the three-line stanza is uncommon in American and European folksong repertories. The paper relates that blues lyrics were filled with provocative and sexually pervasive imagery, openly addressing both male and female sexuality; the music was performed solo marking the advent of popular culture performances.