MUSC 171 MIDTERM NOTES

MUSC 171 MIDTERM NOTES GENERAL MUSICAL TERMS Rhythm: steady beat/pulse, turned into diff patterns, have diff. accents Measure: pattern of strong and weak beats, separated by bar line (4/4 how many beats in measure/what duration gets the beat) Syncopation: displacing anticipated accents Timbre: texture of a sound/ voice (full/thin) Pitch: highness/ lowness of a sound/ voice Volume (dynamics): loudness/softness of a sound/ voice (percussion does not have pitch) Chord: 3 or more notes played at same time Tempo: fastness/ slowness of a piece Bridge: bridges sections, shorter, diff. sounding Chorus: same throughout (music & lyrics) Verse: same music, different lyrics Intro: begins piece, usually instrumental TIN PAN ALLEY Technology & Evolution Platform 1 st 2 nd - Cylinder= first surface of music - Thomas Edison invented cylinder & lined w/ tinfoil (1877) - A. Graham Bell replaced tinfoil w/ wax (better sound) Acoustic recording (cranked so no power) Tin Pan Alley 3 rd 4 th - Louis Glass father of the Juke Box - John Philip Sousa (wrote marches) - Emilie Berliner flat disc, coated in wax - Made negatives (so he could have copies stampers ) records - Tinny sounds of the piano 1. Block in NYC 2. 1890-1950 (people getting together to write music) 3. Sheet music= major (thus people could do it themselves) 4. Style of song (melodramatic ballads and comic novelty songs) - Vaudeville show o Pre-cursor to musical o Used TPA music in shows o Theatrical variety entertainment

- 1880-45,000 pianos, recording companies wanted ppl to buy sheet music - Payola o Paying $$/ gifts for radio play - WW1= no pianos & no music - 1909 copyright act o Before: no control over melodies, publishers would print own version of popular songs o 1909: stronger laws, everyone gets paid, work together (mutual financial benefit) - 1914 o ASCAP (American Society of Composers, Authors and Publishers) o Aid & protect the interests of publishers & composers o Blanket license: anyone whose song was played, got paid Characteristics: - High end emphasis - Enunciation - Reserved - Until 1950 (then stops) Song #1: I Get a Kick Out of You Ethel Merman, 1934 (analysis: refer to analysis page) Characteristics - White-euro music - Clear enunciation - Bells & strings (high timbre) - Emphasis on beats 1 & 3 (very white) COMPARED TO: Try a little tenderness - Otis Redding (1932)- NOT ON LIST - Soul music - More interesting (additive texture) - Performance based (one shot) - Cathartic COUNTRY (HILLBILLY) - **white - ASCAP supported - Hillbilly (refer to pg 44) - Gene Autry: singing cowboy, popular b/c depression (like a buddy) Song #2: You are my Sunshine Gene Autry, 1941 (refer to analysis page) - Enunciation: clear - Instruments: strings (fiddle, slide guitar, acoustic, bass)

RAG TIME - similar to African American wind band music - 2 beat feel - 16 measure sections - Trio- subdued, different key Song #3: Maple Leaf Rag Scott Joplin, 1899 (analysis sheet) - No lyrics AFRICAN AMERICAN WORK SONG - Oral tradition - 1) Origins in African song tradition - 2) By captors to raise morale & keep time while working - 3) Vocal opposition Old Alabama Mississippi Inmates at Parcham Farm, 1947 - All written down - White and black music coming together - **differences o Syncopation**, modification of the march, broken chords - African American music - No instruments - Call & response** THE BLUES - Lyrically important - AAB lyric structure** - Syncopated voices Emotion: sadder content Structure/pattern: AAB lyric (most times), call & response, pattern of chord progression Style: flatter History - Known as race music until 1920s, race taken out in 1949

2 DISTINCTIVE STYLES OF BLUES: (1) COUNTRY BLUES (aka rural blues) - Male performer accompanied by himself on guitar/banjo Song #5: That Black Snake Moan Blind Lemon Jefferson, 1926 (no analysis) - No structure (not needed because only 1 person playing/ singing) o Rhythm= out of order - Emotional (in 1 st person), sexualized content - AAB lyric structure - Guitar= extension of singer, call &response (2) CLASSIC BLUES - Nickname= important o Tradition in African American music o Desexualizes, unthreatening therefore crosses racial boundaries - Dominated by African American Women - Very professional (accompanied by other singers or instruments) Song #6: Have You Ever been Down Sippie Wallace with Louis Armstrong (trumpet) and Artie Starks (clarimet), 1927 (refer to analysis page) Characteristics - AAB lyric structure - Sexualized/ relationship - No chorus (early dvlp of genre) - 12 measure sections follow a pattern - Call and response BLUES CHORD PROGRESSION I IV V = blues chord progression A 4 A 4 B 4 12 Bar Blues (song #7 has 12 bar blues progression) no analysis I I I I I I I IV I IV I I I I V I IV I I I I History ASCAP - Protected & promoted music - Interested in white music (Tin Pan Alley)

- Blanket License: want to play TPA (in Vaudeville) = must pay 1940s: recording coming up, TPA threatened (dependant on sheet music) therefore ASCAP tries to get $$ from radio stations (played live music) **records are cheaper for radio stations** - National Association of Broadcasters go against ASCAP & create BMI (broadcaters music inc.) o Include diff types of music o ASCAP prohibits BMI from playing their music (no recoil from listeners they love the new music on radios) o # DJs increases 1935: Martin Locke (NY > WNEW) - Make Believe Ballroom show just of recorded music (groundbreaking & CHEAPER) - Big Bands= loosing jobs/ suffering b/c no licensing for songs AFM (American Federation of Musicians) music union: 1st response= prohibit records on radio - Begins formula radio: o Read audiences o Easier to program o More creative 2 nd = prohibit recording onto records BUT broadcasters stockpiled records & continued to produce new music AFM finally agrees that musicians must be paid fair royalties (if music is played) 1950s= stations (WIN) play recorded music only GOSPEL Song #8: I Love the Lord Reverend R.C Crenshaw and Congregation, 1959 (no analysis) - *precursor to Rock n Roll - Vocal style (very important) o Powerful o Cathartic o lining out : getting words ahead before you sing it (bypasses literacy, flexibility w/ words) - Timbre: rough, loud, heightened range, pushing it (called surge singing ) - Another example: James Brown Sex Machine **includes vocables: nonsense words HONKY TONK PIANO MUSIC - 30s-40s= above, 50s= BOOGIE WOOGIE - More bass (lower end/left hand on a piano)

World War 2 - People=moving to cities incl. African Americans from south moving north - **long train rides back home birth of HONKT TONK PIANO o Played piano to keep squished people content cheap and LOUD o Style gets translated into cities (ie rent parties) techniques are spread Characteristics/ Techniques - Tremelo (opposite of trill): quick, 2 far apart notes - Trill: quickly played adjacent notes - Additive Melody: builds on itself - Riff: short musical idea that is repeated (becomes impt) o Very impt. can tell the piece by the riff, percussive Song #9: Honky Tonk Train Blues Meade Lux Lewis, 1935 (refer to analysis page) BIG BAND - # of diff. sections of instruments - Music that is written down (rep. switch in Afro. Amer. Music) = o Tight measures o Hybrid o Lots of people (had to!) o Improv &arranged solos - War: dances in ports to Big Band - Mid 1930s: go where the ppl are Song #10: Conga Brava Duke Ellington, 1940 (refer analysis page) - 1945: war ends & not economical to travel w/ Big Band o Jump Bands (rhythm & blues) became popular (1 per./section) & Solo Singers o Big Bands couldn t record during War (ASCAP), solo singers could (AFTRA, American Federation Television and Radio Artists) o THUS: Big Band Fades @ end of war singers who sang in Big Bands left established + invention of microphone = STARDOM/CELEBRITY - **Jump Bands bring R&B to forefront (1 st intro to AA music) RHYTHM & BLUES (R&B) - 1945-1960 - Blues up-tempo - Dance music - Back beat=impt (2 nd & 4 th ) - AA Music + Dance Music= early R&B

Radio - Dominated by stations o Audience=target - Broadcasters (family friendly=wide audience) - Post war = car radios (and kids w/ $, want to rebel & listen to their music) Television - Narrowcasting (smaller segments) - 1951= AA music played (Alan Fread - $$$ to be made - TV > Radio Song #11: Louis Jordon Choo Choo Ch Boogie, 1946 (analysis pg) - Post war - Stop time: beat drops out but time cont. - Chorus: gets out name of song - Flag: gives finish/polish EARLY 1950s (this is early rock n roll but it is COMPLICATED) - Mix black & white artists - Less women (they sang out-dated stuff) Music Industry= changing - Mix of arranged & improve sounds (combo 2 genres) - **riff **C&R - Shuffle - Shorter chorus - Big labels (80% of top hits/week) o Appeal to masses - Early Rn R creates change o Indie labels appear (less $ for big guys) o Diff. music is played - Indie labels=indie music - Indie labels bought up= chains form - The 45 (easy way to distribute records to youth)= $$$$$ o Side A= hit o Side B= throwaway piece - BUT THEY ARE IN SCHOOL!!! o Storz & McClendin: top 40 is created (rotation of top hits played at targeted times) Song #12: Shake Rattle and Roll Big Joe Turner, 1954 **original (analysis page) - Woman= sexualized/ in kitchen - But for tv: not sexualized! - Low end emphasis - 12 beat measures - Boogie woogie piano - Riffs= C&R

ALL THE ABOVE ARE SIGNS FOR AFRICAN AMERICAN (AA) MUSIC Bill Haley (Crooners early rock n rollers) - 1 st rock n roller (country musc??) - 2 covers (Rock Around the Clock &Shake Rattle & Roll) Song #13: Shake Rattle N Roll Bill Haley, 1954 (cover) - Riffs starting to have melodic idea (b/c note is held) - AAB lyric struc - Upbeat - Faster tempo - Cleaner lyrics Song #14: Chuck Berry Johnny Be Good, 1958 - - the moves : not just the sound, but the performance - #2 on R&B, #8 on Pop= crosses over INFLUENCES ON THIS SONG: - Huge in white audiences o Teens letting loose - Solo= choreographed (ppl can join in) - Shorter (for radio) - Chorus: hooks faster, radio - Sam riff as org. (swing) - Piano= less impt - Brighter (less sexual) - AAB lyrics o This is text heavy vs. the earlier text light Euro-American Middle African American - Straight eights Improve b/c arranged & Clear enunciation improvised Boogie woogie piano High end **a real mix** 12 bar measures Faster tempo Call & response Stop time PRECURSORS TO ROCK AND ROLL: 1. Gospel 2. African-American Work Songs (blues) 3. Honky Tonk piano (boogie woogie) 4. Big Band/Jump Band

SONGS ON THIS EXAM 1. I Get a Kick out of You Ethel Merman, 1934 TIN PAN ALLEY 2. You Are My Sunshine Gene Autry 1941 COUNTRY (HILLBILLY) 3. Maple Leaf Rag Scott Joplin, 1899 RAGTIME 4. Old Alabama Mississippi Inmates at Parcham Farms, 1947 AFRICAN AMERICAN WORK SONG 5. That Black Snake Moan Blind Lemon Jefferson, 1926 COUNTRY BLUES 6. Have You Ever Been Down Sippie Wallace with Louis Armstrong (trumpet) and Artie Sparks (clarinet), 1927 CLASSIC BLUES 7. Treat Her Right The Commitments, 1991 12 BAR BLUES 8. I Love the Lord Reverend R.C Crenshaw and Congregation, 1959 GOSPEL (PRECURSOR RN R) 9. Honky Tonk Train Blues Meade Lux Lewis, 1935 HONKY TONK PIANO 10. Conga Brava Duke Ellington, 1940 BIG BAND 11. Choo Choo Ch Boogie Louis Jordan, 1946 JUMP BAND (BLUES) 12. Shake Rattle and Roll Big Joe Turner, 1954 R&B 13. Shake Rattle and Roll Bill Haley and His Comets, 1954 ROCK N ROLL 14. Johnny B Good Chuck Berry 1958 ROCK N ROLL