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MUS 503 > Final > Flashcards

Final Flashcards

1
Q

Jali/Griot

A
  • Ancient tradition of travelling praise-singers, musicians, and oral historians of West Africa
  • Gatekeepers of their culture, repositories of oral tradition
  • Ambiguous social class
  • Poetry/spoken word is linked to this
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2
Q

Ring shouts

A

Worshipers move in a circle while singing and using body percussion

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3
Q

Spirituals

A

Christian-themed songs with double meaning

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4
Q

Blues

A
  • Secular storytelling
  • AABB form
  • Everyday issues
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5
Q

R&B

A
  • Draws on blues, gospel, pop, jazz

- Secular lyrics

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6
Q

What causes the relationship between commerce, politics, and genre in black popular music?

A

Wanting/needing to make a living from their music

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7
Q

Contested meanings

A

Like “Keep on Rockin’ In The Free World” or “Born In The USA”

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8
Q

Pre-civil rights, artists had to be ___ when presenting a political message in their music. An example?

A

Subtle; “Chain Gang” by Sam Cooke

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9
Q

Which two cities had more political messages and why?

A

Detroit and Chicago due to less oppressive politics

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10
Q

An example of a post-civil rights song with a political message

A

“Message from a Black Man” by the Temptations

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11
Q

Typology

A

A classification system according to the shared or distinct characteristics

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12
Q

Internal audience

A

Music with a message intended primarily for members of the marginalized community

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13
Q

Nationalist

A

Intended to promote community political mobilization

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14
Q

External audience

A

Music with a message intended to tell stories/send messages to listeners in the dominating group

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15
Q

Integrationist

A

Music with a message intended to cross over to white audiences

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16
Q

Double coding

A
  • Secular songs that address particular social issues
  • Common during the civil rights era
  • “Respect” by Aretha Franklin
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17
Q

Audio imagery

A
  • The experience of “hearing” a song without auditory stimulation
  • Facilitates the transmission and retention of information because of how melodies and rhythms are stored in our brains
  • Useful for encoding/decoding
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18
Q

Community theatre

A

Spaces that provide audiences with the chance to encounter and negotiate with one another

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19
Q

Documentary

A

1) Internal or external
2) Describes and documents negative conditions
3) “Living in the City” by Stevie Wonder

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20
Q

Jeremiad

A

1) External
2) Challenges outsiders to help
3) “If There’s a Hell, We’re All Going to Go” by Curtis Mayfield

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21
Q

All God’s Children

A

1) Internal or external
2) Calls for equal treatment
3) “People Get Ready” by Curtis Mayfield

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22
Q

Defiant Challenge

A

1) External
2) Demands for external forces to stop exploitive behaviour
3) “Fight the Power” by Isley Brothers

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23
Q

Awareness Raising

A

1) Internal
2) Describes negatives conditions to raise awareness
3) “Respect Yourself” by Staple Singers

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24
Q

Collective Self-Helf

A

1) Internal or external

2) Calls for collective problem-solving efforts

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25
Q

Revolutionary Manifestos

A

1) Internal or external
2) Calls for overturning political and economic institutions
3) “The Revolution Will Not Be Televised” by Gil Scott-Heron

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26
Q

Instrumental messages (such as Disco)

A

Party music in circumstances where there is no reason to party as a form of defiant celebration in the face of “dehumanizing” hostility and oppression

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27
Q

Contemporary political music

A

“The Blacker The Berry” by Kendrick Lamar
“New Slaves” by Kanye West
“Mad” by Solange
- Internal/external audience
- Documentary, Jeremiad, All God’s Children, Awareness, Defiant Challenge, Revolution

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28
Q

Mediation

A

i) The ways in which messages are conveyed to an audience

ii) A process that connections production and consumption

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29
Q

3 types of mediation

A

1) Intermediary action
2) Transmission
3) Social relationships

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30
Q

Intermediary action

A

Practices of all people who intervene as music is produced distributed, and consumed

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31
Q

Transmission

A

Role of media technologies that distribute sound

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32
Q

Social relationships

A

How works of art may communicate a limited range of specific meanings which might ideologically privilege certain interests

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33
Q

Who invented the phonograph and when?

A

Thomas Edison in 1877

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34
Q

What did the phonograph symbolize?

A

Upward mobility, replaced the piano in middle-class homes

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35
Q

What did the phonograph play?

A

Music recorded on fragile wax cylinders

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36
Q

What was the first big-selling record?

A

“Celeste Aide” by Enrico Caruso

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37
Q

Who invented the radio?

A

Guglielmo Marconi

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38
Q

Mediators

A

Involved in the distribution of music, but not in a directly material way, distributing musical knowledge to people in certain ways

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39
Q

What did MTV and MuchMusic do?

A

Link sound and image

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40
Q

What was the first music video?

A

Bohemian Rhapsody

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41
Q

What was the first video on MTV?

A

Video Killed the Radio Star

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42
Q

What was the first video on MuchMusic?

A

The Enemy Within

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43
Q

What are the 2 video styles?

A

Live performance simulation and storytelling

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44
Q

What are the 3 ways the relationship between sound and image are mediated?

A

1) Illustration
2) Amplification
3) Disjuncture

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45
Q

Illustration

A

Video tries to tell the story narrated in the song or incite the kind of engagement the song intends
e.g. “Super Freak” by Rick James

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46
Q

Amplification

A

Video adds things that cannot be immediately grapsed from the song
e.g. “I Want to Break Free” by Queen

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47
Q

Disjuncture

A

Lyrics/mood of the song are not connected to the video

e.g. “Triumph of a Heart” by Björk

48
Q

Capitalism

A

A form of social and economic organization, typified by the existence of extensive markets by which production, distribution, and consumption of goods and services (including labour) is organized

49
Q

Anti-capitalist music

A

“Merchandise” by Fugazi

50
Q

The music field

A

A structured social space with its own rules, schemes of domination, valued objects/practices, legitimate opinions and so on

51
Q

Institutional autonomy

A
  • Corporate interests control what musicians and producers make
  • Musicians and producers are like the research and development people because they are closer to the audience
  • Musicians can make the music they want until it is no longer profitable
52
Q

Surplus value

A

When something can be sold for more than it costs to make

53
Q

Overproduction

A
  • Creating more than necessary in attempt to reduce the risk of a specific product failing
  • Record labels produce many recordings annually, then only promote those that seem the most profitable
54
Q

Proto-market

A
  • Small, local scenes where people make music for their the enjoyment or the potential to make a living
  • Functions as research and development, a labour pool of people who will work for little or no money for the chance of “making it”
  • e.g. Canada Music Week, North By Northeast, YouTube, Soundcloud
55
Q

What does fans claiming direct links to musicians do?

A

Protects the artists from corporate control

56
Q

Contradiction

A

A cultural commodity is difficult to valourize, requiring exceptional routines in its production or association

57
Q

Why is music subordinate to visual culture?

A

It doesn’t demand unidirectional focus

58
Q

Self-determination

A

Creating artist-controlled institutions for the production and distribution of artwork to attempt to avoid the corrupting influence of capital and potential exploitation of labour

59
Q

Field theory

A

Independent models of production and distribution are just transformed versions of “big business” models, as we are all regulated by the demands of capital accumulation

60
Q

Prince “SLAVE”

A
  • Protesting his contract with Warner Bros.
  • Didn’t own his music and was prevented from releasing the music he wanted
  • Self-released his own records after
61
Q

Motown

A
  • Founded by Berry Gordy
  • Largest black-own corporation in the US at the time
  • In-house songwriters and producers
62
Q

Motown charm school

A
  • Run by Maxine Powell

- Taught musicians how to appeal to white audiences

63
Q

Civil rights in Motown

A
  • Typically politically neutral
  • Marvin Gaye threatened to leave the label if he couldn’t release What’s Going On?
  • It became a hit, Gordy then allowed songs with political messages
64
Q

What does Timothy Taylor say about MTV?

A

It’s playing more programs and less videos, therefore selling-out

65
Q

Jingles

A

Commissioned pop songs written specifically for ad campaigns, must be memorable and suit brand

66
Q

Licensing

A
  • Obtaining the rights to use an existing pop song in an ad campaign
  • Puts certain musicians and composers out of business but creates new jobs too
  • Artists allow it in exchange for exposure
67
Q

Of Montreal & Outback Steakhouse

A
  • Of Montreal didn’t license the song, but allowed it to be rewritten
  • Accused of selling out by fans
  • Band said there’s no such thing as selling out anymore
68
Q

What does Jessica Hopper say about selling out?

A
  • Bands need to do it in order to survive

- Brings attention to bands in ways other media no longer can

69
Q

What does Timothy Taylor say about advertising

A

It is the union of commerce and art, as advertisers try to connect to people to show them what the next thing is

70
Q

Parity products

A

Products that are more or less interchangeable but marketed as different

71
Q

Lovemarks

A

A marketing concept that is intended to replace the idea of brands as products with better utility than their competitors

72
Q

What are the 3 types of lovemarks?

A
  • Mystery
  • Sensuality
  • Intimacy
73
Q

Groove Armanda

A

Signed a contract with Bacardi

74
Q

Rubber Tracks

A

Converse’s record label

75
Q

Copyright

A
  • A law that gives you ownership of things you created

- Grants the owner exclusive legal right to reproduce, publish and sell a work, usually for a limited time

76
Q

Why does copyright exist?

A
  • To give developers temporary monopolies over their work to encourage further development
  • Allows people to profit from their ideas and creative practices
77
Q

Resistance to copyright

A
  • Not of benefit to society, instead serves to enrich a few at the expense of general, collective creativity
  • Needs to adapt to digital culture
  • Copyleft/open source
78
Q

What musical aspects are protected under copyright?

A
  • Melody
  • Lyrics
  • Recognizable hooks
  • Riffs
  • Tunes
79
Q

What is wrong with the musical aspects that can be protected under copyright?

A

It’s eurocentric

80
Q

What musical aspects can’t be protected under copyright?

A
  • Harmonic chord progressions
  • Rhythms/grooves
  • Song titles
  • Instrumental arrangements
81
Q

What is the complication with musical copyright?

A

Record labels hold the right over physical recordings whereas artists hold the rights to the intellectual property

82
Q

Frictionless capitalism

A

Internet engenders continual gains in productivity and perfect market equilibrium between producers and consumers

83
Q

Eurocentrism

A

The practice, conscious or not, of placing emphasis on European concerns, culture, and values at the expense of other cultures

84
Q

Postmodernism

A

An artistic movement since the 1970s defined by an attitude of skepticism or distrust toward grand narratives of truth, progress, European exceptionalism, the “Great Man” theory, and various tenets of Enlightenment rationality, including the existence of objective reality and human nature

85
Q

Elements of postmodern aesthetic

A

1) Blending of styles, genres, and cultures (mixing the old with the new)
2) An ironic or cynical conception of art
3) Breaking down barriers between popular and fine art
4) Raising questions about nature and role of art in society

86
Q

How is rap music postmodern?

A

1) Blends old and new
2) Oppositional to eurocentrism
3) Challenges legal system
4) Uses pop culture to deliver messages of political opposition
5) Repositions popular music as a communal resource rather than private property

87
Q

Pastiche

A

A work of art that imitates the style or character of the work of one or more other artists, often combining multiple references

88
Q

Deconstruction

A

Taking apart ideas and assumptions about authorship and art

89
Q

Eclecticism

A

Influence of diverse sources

90
Q

Afrological music contains which 2 main aspects?

A
  • Repurposing technology (double bass, 808, turntables)

- Repetition (enforces a sense of identity, continuity, and security)

91
Q

Teleology

A

An account of a given thing’s end or purpose

  • Tonal system is built on the narrative of tension and release
  • Cyclical rhythms build tension through repetition
92
Q

3 songs of intertextuality

A

1) “Don’t Look Any Further” by Dennis Edwards
2) “Paid in Full” by Erik B and Rakim
3) “Hit ‘Em Up” by Tupac Shakur

93
Q

Signifying or “playing the dozens”

A

A verbal game of rhyme and wit

94
Q

Personality DJs

A

Use of rapid-fire hip language

95
Q

Jamaican toasting

A

2 turntables and 1 mic, talking/singing over an instrumental track

96
Q

Sound systems

A

Outdoor dance parties hosted by a DJ and MC on the weekend in Jamaica (started in the 1950s)

97
Q

1960s African American “beat” poetry

A

Intellectual movement that fused music and poetry

98
Q

What are the four elements of hip hop?

A

1) DJ-ing
2) Rap
3) Graffiti art
4) Breakdancing

99
Q

DJ Kool Herc

A
  • From Kingston
  • Graffiti artist, MC, DJ, “Father of Hip Hop”
  • Credited with inventing beatmatching
  • Observed that people dance most during instrumental breaks
100
Q

Crate digging

A
  • Selecting obscure records

- Aspect of turntablism

101
Q

Back spinning

A
  • Rewinding to cue up a record

- Aspect of turntablism

102
Q

Beat-matching

A
  • Transitioning between records and matching the BPM

- Aspect of turntablism

103
Q

Cutting

A
  • Seamlessly cueing back and forth from 2 copies of the same record
  • Aspect of turntablism
104
Q

Blending

A
  • Combining 2 records together

- Aspect of turntablism

105
Q

Beat juggling

A
  • Creating new rhythms by manipulating drum breaks using other techniques of turntablism
106
Q

Scratching

A
  • Rhythmically moving a record back and forth
107
Q

“Funky Drummer” by James Brown is sampled in which songs?

A
  • “Fight the Power” by Public Enemy
  • “Let Me Ride” by Dr. Dre
  • “I Am Stretched on Your Grave” by Sinead O’Connor
  • “Touch of My Hand” by Britney Spears
108
Q

What does Michael Bull say about iPod culture?

A

It reorders social spaces of the city, giving greater prominence to media-generated privacy

109
Q

Privatizing impulse

A
  • Capitalist ethos around valuing owning space that we can control
  • Desire to make active decisions about our social interaction
  • Focus on individual rather than communal experiences
110
Q

What did the iPod do in terms of privatization?

A
  • Displaces social intimacy from physical to digital
  • Privatizes the acoustic experience by tuning out public noise
  • Freedom of movement between home, street, transit, and work
111
Q

Who is John Cage?

A

Composer who wrote “4’33”

112
Q

Who is R. Murray Schafer?

A
  • Canada’s best-known composer and musical thinker

- Pioneer in “acoustic ecology”, studied the natural soundscape and looked for ways to incorporate it in compositions

113
Q

Muzak

A
  • A company that distributes non-obtrusive background music to stores and other companies
  • Works with psychology to manipulate mood
  • Designed to play in a continuous loop
114
Q

Brian Eno - Music for Airports

A
  • Intended to diffuse tense atmosphere of airports

- “Should be as ignorable as it is interesting”

115
Q

Aphex Twin - Selected Ambient Works Vol.III

A
  • Lengthy and textured with minimal percussion

- Set template for the “chill out” rooms, purposely crafted sonic environment

116
Q

Sensory gating

A

Screening out unwanted sounds (like a pair of sunglasses for your ears)

MUS 503 (3 decks)

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