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MUSI 2120 > Final Exam > Flashcards

Final Exam Flashcards

1
Q

Timbre

A

quality of sound or “tone/color” of sound

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2
Q

Timbre variation

A

you can take almost any instrument and mess with the sound; expressive changes in timbre

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3
Q

rhythm section

A

harmony, bass, and percussion (usually)

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4
Q

rubato

A

stretching of time for expression, having trouble determining where the piece ends, kind of just keeps going

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5
Q

downbeat

A

where you begin counting “one”

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6
Q

measure/bar

A

the space from downbeat to downbeat

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7
Q

meter

A

patterns of pulses

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8
Q

rhythmic contrast

A

a basic african-american rhythmic element, also known as polyrhythm

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9
Q

polyrhythm

A

always has two contrasting rhythmic layers happening simultaneously

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10
Q

layers in polyrhythm

A

foundation layer: keeps time, stable, not usually improvised

variable layer: constantly changing and improvised

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11
Q

dropping bombs

A

big accent booms of bass drum in unpredictable places

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12
Q

genres of african folk music

A

work song, spiritual, ballad, field holler (&blues), call and response

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13
Q

variable intonation

A

ex: blue notes

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14
Q

the “father of blues”

A

W. C. Handy

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15
Q

countrified blues

A

male singer with a guitar

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16
Q

classic or vaudeville blues

A

female singer on stage with a small jazz band

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17
Q

race records

A

recordings for the new urban black market c. 1920’s

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18
Q

who is credited for discovering blues?

A

Ma Rainey

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19
Q

powerful vaudeville and blues singer in the 1920’s

A

Bessie Smith

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20
Q

pitch

A

frequency of a note

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21
Q

tonality

A

scales’ center of gravity that they are working towards

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22
Q

diatonic scale

A

seven-note scale, simpler more “ordinary” scale, gives very non-western sound

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23
Q

pentatonic

A

five note scale that sounds much simpler (ex: black keys on piano), “folksy, simple sound”

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24
Q

chromatic scale

A

twelve notes, all half steps, more complicated and sounds more sly and forlorn

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25
Q

blue notes

A

a form of variable intonation, a way of bending/sliding pitches for expressive pitches

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26
Q

riff

A

a short, catchy melodic idea like a hook that is usually repeated

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27
Q

call and response

A

sometimes improvised but sometimes composed, continuous dialogue or interaction between instruments

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28
Q

tonic chord

A

chord that starts on note “1,” stable and good sounding

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29
Q

dominant chord

A

chord that starts on note “5”

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30
Q

basic extended chord

A

7th chord

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31
Q

harmonic progression

A

saying the music progresses through time and the chords are what progress it (“changes”). Each harmonic progression has a center of gravity

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32
Q

dissonance

A

unpleasant and unstable sounds that makes you want to move the music to new notes; moves you away from the tonic

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33
Q

cadences

A

different resting places that serve as sort of punctuation marks

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34
Q

chromatic harmony

A

based on chromatic scale, complex, dissonant, adds tension

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35
Q

modulation

A

change of key

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36
Q

atonal music

A

music with no tonal center, sounds dissonant but the dissonance is irrelevant

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37
Q

ragtime piano

A

based on improvisation but spread by composition, gives rhythmic contrast with left hand doing foundation layer and right hand doing variable layer, played in march form

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38
Q

Scott Joplin

A

ragtime composer, music was entirely notated

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39
Q

the only large city in the south

A

New Orleans

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40
Q

what made New Orleans different and good for jazz

A

had Riverport, which provided a gateway to the Caribbean or “sugar islands” (major port for french america)

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41
Q

important african element of new orleans

A

Congo Square

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42
Q

difference in racial caste systems

A

in the rest of the US: “one drop of blood” rule, if you have even the littlest of black heritage, you’re black
in NO: there are castes with different degrees of blackness

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43
Q

important caste of NO

A

Creoles of Color/mulattos, who have their own culture and form a unique artisan class of skilled trained workers (like musicians)

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44
Q

T/F: the black population in New Orleans in growing in the early 1900’s

A

True

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45
Q

plessy vs. ferguson

A

court case that wore down black privelage

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46
Q

Buddy Bolden

A

“the first jazz musician” and first jazz celebrity, cornet player, no recordings of him

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47
Q

jazz celebrity who was locked up as a schizophrenic

A

Buddy Bolden

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48
Q

New Orleans style jazz

A

strong influence from marching bands, contains a “frontline” with a rhythm section, small band groups

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49
Q

texture/structure and form of New Orleans jazz

A

collective improvisation and block chord harmony; either in 12-bar blues form or march/ragtime NOT AABA

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50
Q

jazz slowly replaces ______ in new orleans

A

ragtime

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51
Q

Why did music leave new orleans?

A

Great migration; music moving north (ex: chicago)

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52
Q

Joe “King” Oliver

A

cornet player, famous for using mutes to vary timbre, takes over Creole Jazz Band in 1922

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53
Q

harmonic improvisation

A

using notes from underlying chord progression

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54
Q

melodic paraphrase

A

varying a preexisting melody

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55
Q

Sidney Bechet

A

clarinet and soprano saxophone player, from prominent creole family, spent lots of time in Europe & overseas, good at changing timbre and improvising

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56
Q

Jelly Roll Morton

A

pianist and composer/song writer, wanted to break away from creole heritage so changed name, known for being a pool shark, hustler, and pimp

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57
Q

who was considered the first jazz composer

A

Jelly Roll Morton (found balance between improv and composition)

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58
Q

Jelly Roll Morton’s band

A

Red Hot Peppers

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59
Q

1917-1920’s New York

A

start getting vaudeville and recordings which begin to reach the mainstream and middle class

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60
Q

father of symphonic jazz

A

Paul Whiteman (violist)

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61
Q

Paul Whiteman

A

violist from colorado, puts on famous concert in NYC, brings in Bing Crosby as a vocalist

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62
Q

Fletcher Henderson

A

pianist and bandleader/arranger, considered a “black Paul Whiteman,” graduated from Atlanta University with a degree in Chemistry

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63
Q

known as the ‘black capital of the world’

A

Harlem

64
Q

Harlem Renaissance

A

growth in the black arts. “Official Art” was considered poets, painters, novelists, classical music

65
Q

specialty in Harlem

A

nightlife that were black clubs with black musicians and performers that catered to white trade

66
Q

Duke Ellington

A

pianist and composer, from a “fiercely proud black community,” dance bandleader, plays at Cotton Club

67
Q

Duke Ellington’s music

A

mix between “high class” with orchestral sound and “low class” with African roots and folk qualities that appealed to black people

68
Q

Known for playing with timbre and using growls, snarls, and mutes in his compositions

A

Duke Ellington

69
Q

the father of stride piano

A

James P. Johnson

70
Q

person who is a big influence on Duke Ellington

A

Bubber Miley (cornet player)

71
Q

Eubie Blake

A

stride piano player

72
Q

known as the first soloist in jazz

A

Louis Armstrong

73
Q

Mentor to Louis Armstrong

A

Joe “king” Oliver

74
Q

pianist who marries Louis Armstrong

A

Lil Hardin

75
Q

where Louis Armstrong originally learned music

A

reform school, where he was sent after firing a pistol

76
Q

Louis Armstrong’s music career progression

A

Starts with King Oliver, but moves to work with Fletcher Henderson in NYC as a “hot soloist” within dance-band arrangements

77
Q

Why was Louis Armstrong seen as the hero of the great migration?

A

○ Gives urbane, northern sophistication in music; but gives southern “downhome” authenticity and makes people feel comfortable

78
Q

Louis Armstrong’s group

A

Hot Five (later the Hot Seven), played in cabaret style with a star soloist

79
Q

male known for using scat singing

A

Louis Armstrong

80
Q

Earl Hines

A

stride pianist that played with Louis Armstrong, extremely experimental and bizarre & eccentric & risky

81
Q

Coleman Hawkins

A

tenor saxophonist and soloist that works with Earl Hines and Louis Armstrong

82
Q

Bix Beiderbecke

A

White cornet player, learns jazz from recordings, “drops out” of white world to go play music

83
Q

Frankie Trumbauer

A

White saxophone player

84
Q

White swing generation musicians

A

Benny Goodman, Glenn Miller, Artie Shaw

85
Q

Louis Armstrong’s later career

A

becomes involved in bigger bands, considered a hero to the black community, starts to embrace black stereotypes but begins to lose black audiences b/c he starts to be found as “old fashioned,” moves back to new orleans style jazz

86
Q

Swing band structure

A

bigger band (12-16 people), more structured than jazz, more on the beat, less improv with more notation, more integral to pop culture than new orleans jazz bands

87
Q

swing band music sections

A

wind: saxophones, trumpets, trombones
rhythm: piano, drums, banjo, tuba

88
Q

trademark of swing music

A

dance music, flashy solos, more polished and sophistocated

89
Q

Benny Goodman

A

clarinet player, helps make swing a big fad, has a large band and hires black arrangers and makes his music sound black

90
Q

Musician who plays a revolutionary jazz/swing concert in Carnegie Hall

A

Benny Goodman, leads to thinking of jazz as “art music”

91
Q

John Hammond

A

entrepreneur, activist, helps with fighting racism and injustice, promoted black music

92
Q

Post-bop

A

rhythm section getting looser, playing outside

93
Q

post-bop band leaders

A

Joe Henderson, Andrew Hill, Miles Davis

94
Q

Bill Evans

A

white piano player, quintessential modern pianist, rethought how harmony was used in jazz

95
Q

John Coltrane

A

tenor saxophonist for r&b groups like Dizzy Gillespie band, Thelonious Monk, and Miles Davis Quintet; struggled with drug addiction, incessant practicing, formed a quartet

96
Q

John Coltrane’s aesthetic

A

serious, spiritual, and followed by many musicians, used harmonic improvisation

97
Q

origin of the phrase “Avant Garde”

A

french for “advanced guard,” meaning sending troops out into new territory

98
Q

Avant-garde’s goal

A

not being stuck in tradition, creating something new, modernism, rethinking tradition, abstract, “free jazz”

99
Q

the two strains of Avant-garde music

A

bebop and cool jazz

100
Q

avant-garde form

A

rhythm section disappears, very open & democratic with very little steady beat, no reliance on chords or scales, lots of noisy timbres like squeaks and squawks, using all different types of instruments

101
Q

Avant-garde presentation

A

not for entertainment, to be considered “serious” and enjoyed in its totality and not as background music

102
Q

Ornette Coleman

A

alto saxophonist and composer, called the “most disruptive figure in jazz,”bebop musician, very weird mix between joking and serious

103
Q

Cecil Taylor

A

pianist and composer, virtuosic & intellectual, has classical training and knows a lot about modern avant garde in europe

104
Q

Sun Ra

A

“here to give people wisdom from the galaxies,” black nationalism through intergalactic imagination, avant garde improvisation

105
Q

collectives

A

groups that have gathered for political and cultural purposes

106
Q

examples of collectives

A

AACM (association for the Advancement of Creative Musicians), BAG (Black Artists Group)

107
Q

Loft jazz

A

“the eternal avant garde,” idea comes from factories/lofts in NYC that have shut down where people gather to live and perform in their own ways

108
Q

Fusion jazz

A

between jazz, rock, and pop, focuses on popular culture, dance music

109
Q

history of fusion jazz

A

new orleans (functional music, dancing), swing (pop song & dance/mass entertainment), and bebop (modernism)

110
Q

Where did traditional jazz and pop go during fusion jazz?

A

rhythm & blues (originally dubbed “race music”), focuses on urban, affluent, vibrant black populations

111
Q

what does rhythm and blues eventually turn into?

A

rock n’ roll

112
Q

what is a popular subgenre of rock n’ roll?

A

soul

113
Q

jump music

A

up-tempo swing + vocals (ex: Nat King Cole trio)

114
Q

soul jazz

A

offshoot of bebop, “keeping up with black pop,” commercially similar to pop, more syncopated bass line not on the beat, considered “funky,” gospel harmonies with ethnic themes

115
Q

what were some important instrument inventions during fusion jazz?

A

electric piano and Hammond B-3 organ (doesn’t have pipes attached to the walls, moved from the black church to the nightclub)

116
Q

organ trio

A

organ + guitar + drums

117
Q

popular soul/fusion jazz pianist

A

Jimmy Smith

118
Q

during soul jazz, what happens to jazz and pop?

A

lots of singers appear and break off from big bands and dominant pop music, becoming very famous, don’t write their own songs

119
Q

swing era singers

A

becoming pop icons; rosemary clooney, nat king cole, frank sinatra. sarah vaughan

120
Q

Sarah Vaughan

A

bebop jazz singer, worked with Dizzy Gillespie and Charlie Parker, recorded first version of Night In Tunisia

121
Q

images of jazz on tv/film

A

comic symbol of “beatnik” culture, representative of crime, drugs, violence, sultry women, and urban decay

122
Q

latin jazz

A

more percussive, different kind of dance beat, interesting to Dizzy Gillespie

123
Q

cubop

A

fusion of jazz + afro-cuban music

124
Q

salsa

A

new dance music in 1950’s-60’s, jazz brass/saxes, intense polyrhythm, timbales and congas

125
Q

Eddie Palmieri

A

salsa bandleader

126
Q

brazilian jazz

A

stems from cuban revolution, includes bosa nova (sweeps US in early 1960’s)

127
Q

what does 1960’s fusion eventually become?

A

(Jazz) Rock

128
Q

Rock

A

gives a more steady pulse, vocalists, electronic instruments, appeals to younger audience, limited audience

129
Q

jazz in relation to rock

A

jazz is on the defensive bc more people are liking rock more thas jazz and they can’t beat rock, but also rock on the attack bc forms rock groups with improvisation and jazz instruments

130
Q

instruments used in rock

A

electric guitars, effects (wa-wa pedal), keyboards, synthesizers

131
Q

types of rock

A

jazzy rock, improvisational rock, virtuosic rock

132
Q

prime example of virtuosic rock

A

Jimi Hendrix

133
Q

prime example of soul music

A

James Brown

134
Q

what jazz elements does soul use

A

saxes and other jazz instruments, extended chords and modes, rhythmic layers (polyrhythm), improvisation

135
Q

Miles Davis and fusion

A

experimenting with youth fashion and rock music, opening up to a new audience, discards solos, more layers with more things going on, layered funk texture

136
Q

Chick Corea

A

piano/keyboard player, plays with Miles Davis

137
Q

Herbie Hancock

A

important funk-fusion person, inspired by Sly Stone and James Brown

138
Q

Pat Metheny

A

guitar player, known for doing virtuoso solos

139
Q

Keith Jarett

A

musical piano prodigy, only does acoustic music, very weird and idiosyncratic and annoying and eccentric

140
Q

Oregon

A

acoustic-fusion group

141
Q

“New Fusion”

A

jazz + rhythm & blues

142
Q

Grover Washington Jr

A

fusion saxophonist

143
Q

smooth jazz

A

created to fit in with the radio bc of limited playtime and upbeat mood

144
Q

the king of smooth jazz

A

Kenny G

145
Q

Jam bands

A

“different” from ordinary rock bc closer to jazz than rock, performance based, not recording bassed, non-commerical, committed audiences, sometimes dont have vocalists

146
Q

Acid Jazz

A

term invente by DJ’s in Britain in 1980’s

147
Q

Robert Glasper

A

mixed jazz with modern r&b and pop

148
Q

historicist jazz

A

links jazz to the past, trying to keep older music alive

149
Q

mainstream jazz

A

between modern (bebop) and ancient (new orleans)

150
Q

Herman Leonard

A

photographer known for using black & white, lighting, and smoke to create visual jazz myths

151
Q

Martin Williams

A

UVA grad, fascinated with jazz, went on to do journalism in NYC

152
Q

Marian McPartland

A

piano jazz, had a radio show and invited other pianists to talk and play with her

153
Q

historicism

A

how musicians use history in their music, begins with avant garde in 1970’s and picks apart conventions

154
Q

Dexter Gordon

A

returned from Denmark and made best selling album “Homecoming”

155
Q

Wynton Marsallis

A

trumpet player, born to a musical family, trained by juilliard, known for funk, jazz, and speaking

156
Q

Harry Connick Jr

A

newer pop, singer w/ sinatra style

MUSI 2120 (2 decks)

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