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| beats 2 and 4; Essential component of rhythm |
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| the series of notes, chord pattern or musical phrase that is repeated, they are usually short; A short melody that often gets repeated; Appeared often in Motown melodies. They are usually instrumental, while hooks (a type of riff) are vocal |
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| Blackface performance (white people performing black arts); Designated as America’s first type of popular music; supported racism; Music fuses aspects of African and European traditions; Showed disdain for the attitude of elite/genteel society; Enforced ugly racial stereotypes; Instruments included Banjo, bones & tambourine (all of African origin) as well as the fiddle (Anglo-American origin); Minstrelsy gradually fell out of favor. Minstrelsy had an ambiguity of white/black relationship that maintained strict hierarchy of power and relationships. (Listened to “Boatman’s Dance” in class as example, Dan Emmett). George Washington Dixie was portrayed as ‘city slicker’ and ‘country bumpkin”; Bob Farrell: “zip coon” |
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| imitated an African-American dance-step called the “cakewalk” (African-American parody of White Americans making the grand entry to a social dance, usually accompanied by rhythms of exemplified syncopation) and called it the “Jumpin Jim Crow” |
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| Theatrical genre of variety entertainment; The groups would follow a geographical itinerary. |
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| Originated through the Mississippi Valley; Introduces syncopated African-American rhythm into popular music; Enlivens music by shifting melodic accents off the beat (aka syncopation) in a bouncy beat; Additive rhythm that takes groups of` beats and strings them together linearly (ex. 12 beats divided 3-2-3-2-2); Marching band music contributed the regular “oom-pah” bass (popular in Germany) common in ragtime pieces; Provided music for social dances such as the turkey trot, chicken scratch and bunny hug; The growing market for ragtime songs at the turn of the century suggests a continuation of the white fascination with African American music first evinced in minstrelsy. |
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| Popular among white audiences. Accompanied a simplified version of piano ragtime music. Fascination of black people by white people. |
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| Famous ragtime composer; Developed ragging piano style, improvising around the themes of popular songs and marches in a syncopated style; Composed the song, “Maple Leaf Rag”. Sheet music published in 1899. Also created “Take Me Out To the Ballgame” |
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| Rhythmic complexity with accents off the down beat. Emphasizing notes that are normally not emphasized. |
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| permanent character in minstrelsy and vaudeville which characterized/stereotyped black people. <-- Ben specifically stated that this has nothing to do with the Jim Crow Laws. not that it matters much anyways, we’re not gonna be tested on Jim Crow Laws. (The Law was named after the character Jim Crow) |
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| songs that cross over into different genres - ex, country songs become pop or top billboard songs. |
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I I I I/IV IV I I /V IV I I
(1111,
4411,
5411) |
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| follows 12 bar blues; piano is dominant; sounds more professional than country blues, and often has a female singer. |
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| famous classic blues singer, “Mother of the Blues” and mentor to Bessie Smith |
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| famous blues singer sang “Backwater Blues” |
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| vaudeville theater chain (keith-albee-orpheum co.) |
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| the system where audiences will pay big money just to see one performer out of a lot of many. performers were celebritized, build an image of celebrities to the public |
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| Term used to describe the creation of music as a product to sell. (ie: The development of the record) |
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| used to be popularly sold so anyone could perform it any way they wished to. However, people soon became more interested about a particular artist’s version of a song, and songs started to be identified by who recorded them rather than who wrote them |
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| located in NYC - produced sheet music and popular songs; Named after the barrage of different sounds that could be heard coming out of windows as songwriters worked. Notion of crossing racial divide. |
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| Composers - Arrangers – Publishers – Pluggers |
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1. Composers: The person who creates the music, either by notation or oral tradition
2. Arrangers: The person who prepares and adapts an already written composition in a different way
3. Publishers: The people responsible for ensuring artists and composers are paid when their material is used commercially
4. Pluggers: The person responsible for advertising songs/sheet music |
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| song form for Tin Pan Alley songs; first two lines are repeated, then new line introduced |
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| Berlin was the most prolific and consistent of TPA composers. (considered one of the greatest American songwriters in history.) |
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urban style, salacious lyrics. Example: Tampa Red - “It’s Tight Like That”. Lyrics are a good indication of Hokum Blues. “a humorous song which uses extended analogies or euphemistic terms to make sexual innuendos” - Had an ABCDBC rhythm with A and D telling a story, while B and C were a chorus and punch line.
-End weighted refrain form |
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| Hokum Blues band - sings “It’s Tight Like That” also “I’m Gonna Get High” |
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| Thomas A. Dorsey is regarded as the father of the Black Gospel. (piano player of the Hokum Brothers). Described Black Gospel as “always uplifting and bright lyrics.” |
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recorded by Tampa Red
* Novelty song, syncopation, dance like beat
* Sexually suggestive lyrics
* Verse/refrain form (4 bars tell a story; eight repeat the refrain)
* No Piano (only guitar and voice) |
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a style of piano-based blues that became very popular in the late 1930s and early 1940s; boogie-woogie is mainly associated with dancing.
* Repetitive bass figure outlines blues harmony
* Shuffle beat
* Right hand plays riffs idiomatic to piano.
* Associated with the dance, the Jitterbug |
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| sings “Come On In My Kitchen” - country blues; sold soul Texas musicians |
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| Huddie “Leadbelly” Ledbetter |
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| famous ethnomusicologist/folklorist in the 1940s. Interviewed Lead Belly, Muddy Waters, Jelly Roll Morton- for Library of Congress |
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| Clarence “pine top” Smith - sang “pine tops boogie woogie” |
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| Muddy Waters (McKinley Morganfield) |
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| Chicago/Electric Blues “I’m Your Hootchie Cootchie Man”. Chess Records. -Electric blues |
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| “famous clarinetist of 1930s, very popular in big-band setting. Said to be “king of swing”. Glory of Love” Example of Doo-Wop |
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| W.C. Handy, “St. Louis Blues” |
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contains jazz genre
* Hybrid approach, blending aspects of Tin Pan Alley style with blues
* Hybridization contributed to the blues entering mainstream of American popular music.
* Cornet replies with call and response |
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| coined the term “race records”, most associated with commercial field recordings |
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| formed during the late 1950s as a sub-genre of American country music, replacing the chart dominance of honky tonk music which was most popular in the 1940s and 1950s. |
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| a music journalist/music producer; regarded as one of the major record industry players behind music from the 1950s through the 1980s. He claimed to have coined the term "rhythm and blues", and was integral in signing and/or producing many of the biggest acts of the last 50 years, including Ray Charles, the Allman Brothers, Chris Connor, Aretha Franklin, Led Zeppelin, Wilson Pickett, Dusty Springfield and Bob Dylan. |
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| a center of activity for the popular music industry, especially for music publishing and songwriting. Many music publishers had offices in this building and publishers sent out song pluggers to radio stations. Over 120 independent music businesses in the building by the 1960’s. |
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| 33’s were also known as “LPs” or “long playing records” that often were able to hold entire albums. 45s were the mass produced records that were tougher, had a huge donut hole in the middle, and were often for singles. 33s and 45s were made of vinyl. 78s were the old antiques, the originals - made of shellac which was brittle. 78s could only play for 3 minutes per side. (The numbers refer to the discs revolutions per minute) |
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| Broadcasting Music Inc., vs. American Society of Composers, Authors, and Publishers: BMI allowed songwriters outside of TPA (Tin Pan Alley) to collect royalties from the use of their songs in the broadcast media, thus boosting western and R&B music. ASCAP didn’t like this at all. Not one bit. BMI was stealing their money that they were making from sheet music |
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| record company established in Detroit, MI by Berry Gord |
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Founder of Motown records in Detroit
o “sound of young America,” targeted an age group rather than race
o dry cleaned the sweat out of rhythm and blues to make it more accessible to whites
o crossed the black/white racial divide
o examples: Smokey Robinson and the Miracles, Marvin Gaye, Stevie Wonder, and The Temptations |
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| Chess/Acuff Rose/Imperial/Sun Records |
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* Chess - American record label based in Chicago, Illinois. It specialized in blues, R&B, soul, gospel music, early rock and roll, and occasional jazz releases.
* Acuff Rose - (Roy Acuff & Fred Rose) publishing firm headquartered in Nashville. Ex: Hank Williams
* Imperial Records - a United States based label started in 1947 by Lew Chudd phased out in 1970 and reactivated in 2006 by label owner EMI.
* Sun Records - a record label founded in Memphis, Tennessee, starting operations on March 27, 1952. |
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record company founded by Ahmet Ertegun and Herb Abramson. “the house that ruth brown built”
* Ahmet Ertegun & Herb Abramson - Both were producers at Atlantic Records who worked closely with Ruth Brown, and are responsible for developing a style that fused elements of blues, jazz, and pop (R&B). |
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| female R&B artist - worked for Atlantic Records. The first, and probably most well known African American FEMALE R&B artists. |
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| was able to tweak gospel songs into his own R&B songs. played all kinds of music including old country; in charge of all his own music production, didn’t have producers, etc. He was blind. Sang “I Got A lrf” Gospel style, pre soul to soul |
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| an up-tempo blues usually played by small groups with horns, popular in the late 1930’s and 1940’s. Was an extension of the boogie-woogie craze. Produced “Jump Bands”. |
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| Choo Choo ch’Boogie - Jordan’s biggest hit, ex. of jump blues |
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| “Roll ‘Em Pete” (1938) - Boogie woogie at a faster tempo |
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| lead of the Soul Stirrers - eventually left and became a successful pop singer; sex symbol (Killed by a female hotel owner who shot him, body was found with nothing but a jacket and shoes on. Sexual harassment, or a failed quick-getaway attempt? We may never know. (Probably the latter though)) |
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| when 2 cultures come together, elements of both may combine to form something new that didn’t exist in either culture. Occurs in urban centers where you have people from various cultures. (New Orleans). Led to many of the blended music we’re studying in this class----- A + B = C |
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| Exchange of cultures when people of two cultures come together in contact |
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| Exchange of cultures without direct contact. Radio and other means of getting the culture there without people of the culture not actually being there |
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| One melody performed by a single performer or by multiple performers playing/singing the same melody (think gregorian chant) |
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| Background of chords and rhythm providing harmony to one main melody (very common in rock music). Ex/lead vocals + rhythm guitar |
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| Number of different melodies occuring simultaneously-no one melody is dominant (occurs less in rock music) ex/bach fugue n |
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| Simultaneous variation of one single melody. Usually multiple performers. -Different interpretations of the same melody |
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