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History Of Rock 'n' Roll > Midterm I Terms > Flashcards

Midterm I Terms Flashcards

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0
Q

Beat

A

Level of pulse that best expresses the heartbeat of the musical flow; tends to be on faster side like heartbeat rather than walking rhythm

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1
Q

Apollonian vs. Dionysian

A

emphasizes objective, calm experience of the reasoning mind, freed of the violent desires of the feeling body vs. emphasizes subjective, passionate experience of the emotional, erotic, sensuous mind, very much rooted in the body

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2
Q

Measure

A

Grouping of beats into larger, clearly perceptible units of time

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3
Q

Downbeat

A

Pulse that marks the first beat of each measure, usually the strongest pulse

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4
Q

Upbeat

A

Any beat of the measure that isn’t a downbeat

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6
Q

Oral Tradition vs. written tradition

A

learned or transmitted by ear vs. written notations, sheet music

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7
Q

walks, walking beat

A

plays a note evenly on every beat of a four beat measure

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8
Q

four beat feel

A

four beat time, 4/4

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9
Q

Backbeat

A

middle beat that is a relatively strong upbeat

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10
Q

backbeat rhythm

A

backbeat played hard, counterbalancing downbeat

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11
Q

offbeat

A

diversions within the beat

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12
Q

straight rhythm

A

offbeats are equal, dividing the beat into 2 even halves

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13
Q

swing rhythm

A

first half of the beat lasts longer than the second half

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14
Q

syncopation

A

an attack that occurs on a relatively weak pulse (cross-rhythmic patterning of black roots)

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15
Q

timbre

A

the specific, unique quality of sound made by any voice, instrument, or combo of the two

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16
Q

pitch

A

the higher or lower placement of a note along the melodic spectrum

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17
Q

fixed pitch

A

one, unwavering pitch (piano key)

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18
Q

variable pitch

A

range of possible pitches (human voice)

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19
Q

melodic grid (scale)

A

generalized, implicit background of notes, on which actual melodies are built

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20
Q

octave

A

higher or lower representation of a note when you double/halve its rate of vibration

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21
Q

diatonic scale

A

7 pitches, traditional scale found in Western classical music and the traditional mainstream music that emerged in relation to it

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22
Q

major diatonic scale

A

expresses strength or happiness but can be used for all kinds of emotions

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23
Q

minor diatonic scale

A

expresses suffering or sadness usually, but can express any emotion

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24
Q

chromatic scale

A

12 pitches, with additional sharps (raised) and flats (lowered)

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25
Q

tonic

A

home note of a scale, where the melody ends and often where it begins

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26
Q

5th degree

A

fundamental building block for melody and harmony

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27
Q

degrees

A

positional numbers

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28
Q

diatonic modal scales

A

7 notes within the octave, avoid chromatic inflections

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29
Q

mixolydian scale

A

sounds like major but has flatted 7th degree

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30
Q

pentatonic scales

A

five different pitches within the octave

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31
Q

major pentatonic scale

A

degrees 1,2,3,5,6

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32
Q

minor pentatonic scale

A

degrees 1,3,4,5,7

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33
Q

blues pentatonic scale

A

minor pentatonic scale plus blue notes in 3,5,7

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34
Q

roots music

A

marketing category beginning in 1980s combining elements of traditional, acoustic and popular music

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35
Q

personal roots

A

primary handed down by those who raise us and secondary roots of teenage/adult years when we strive to define ourselves

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36
Q

call and response

A

interaction between singer and audience, or singer and instrument

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37
Q

blue notes

A

pitch spaces centering around the 3, 5, 7 degrees of the diatonic scale

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38
Q

city blues

A

jazz or vaudeville style, first recorded in 1920

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39
Q

country blues

A

rural, folky style

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40
Q

shouting

A

loud, forceful voice, often begins its phrases on a high note and then descends

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41
Q

crying

A

more modulated, often quieter voice, often using arch-shaped phrases

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42
Q

12 Bar Blues

A

classic blues form (study summary diagram)

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43
Q

8 Bar Blues

A

modified 12 bar blues, more simple to pure duple

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44
Q

“Refrain” Blues

A

last 8 bars have a lyric that recurs in each stanza, functioning as refrain, while first 4 bars differ, functioning as verses

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45
Q

bluesiness

A

label for music that successfully incorporates blue notes

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46
Q

classical

A

aspect of music that makes us think about something admired, contemplated, emulated as a standard of aesthetic beauty and a benchmark of the highest quality

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47
Q

folk

A

aspect of music points to its origin in a specific community, usually with a specific ethnic profile

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48
Q

popular

A

aspect of music that points to the marketplace rather than to a perceived value or community

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49
Q

fake music vs. legit music

A

improvised, played by ear vs. proper classical music

50
Q

classical music

A

a benchmark of quality and enduring value

51
Q

folk/ethnic music

A

“roots music” that is neither classical nor popular (in sense of being widely admired, disseminated, or sold) but created in a distinct, ethnically defined community (usually at home or a social gathering)

52
Q

jazz

A

combines syncopation of ragtime with the wailing intensity of blues, incorporating both into a loose, often raucous sounding polyphonic band style

53
Q

Swing Era

A

begins on/shortly after August 21, 1935, Benny Goodman, dance music, big bands

54
Q

musical sections of big bands

A 
reed section (saxophones & clarinets)
horn section (trumpets & trombones)
rhythm section (accompaniment instruments such as piano/ guitar for chords, bass fiddle for bass notes, drums for percussion)
55
Q

sweet music

A

played entirely according to old ways (written notation, Euro-American style)

56
Q

hot music

A

fresh, exciting, edgy, excitement is provocatively intense and unbridled

57
Q

swing beat

A

lopsided (dum ba dum) to create a driving rhythm

58
Q

swing

A

general approach to rhythm that combines excitement, even driving intensity, with relaxed feeling (relaxed intensity)

59
Q

American popular song

A

song composed in a popular, sophisticated style (1920s-60) often for Broadway musicals; connection to elite society of era

60
Q

standards

A

universally known songs that any competent pianist or band could play for a musical or social occasion

61
Q

covers

A

performance of a song already identified with some other band and recording

62
Q

American popular song form

A

four stanzas arranged musically to form an AABA pattern

63
Q

33 or LP

A

long-playing record appeared in 1948, physically larger than 78 (12in), held more music, made out of lighter, flexible, more durable vinyl

64
Q

78

A

10in, made out of shellac, replaced gradually in involving marketplace of late 40s and beyond

65
Q

45

A

appeared in 2949, 7in, held same 3 min song on each side (A and B)

66
Q

hillbilly category

A

renamed country & western in 50s, now country

67
Q

race records

A

marketing category of 20s renamed rhythm & blues in 50s, now R&B

68
Q

western theme

A

cowboy or western showed connection to southwest and west

69
Q

western swing

A

swing jazz and hillbilly music hybrid; swing jazz (4, big band jazz horns and rhythm sections) and hillbilly (simple, folk-like tunes, harmonies and lyrics, hillbilly instruments such as fiddles and guitars)

70
Q

honky tonk

A

named for raunchy bars with dance floors that existed all over the South; evokes hot, lonely, edgy places where lost souls gather and do sinful things they later regret; emphasis placed on distinctive personality & mood of singing voice, accompanied by a restrained, polished electric swing band showing western swing influence in smooth balance of 2 and 4 beat feel

71
Q

Chicago Blues

A

grittier, hotter sound, a large number of singers and players congregated, recorded and interacted there

72
Q

rock

A

describes dancing or lovemaking in many blues and R&B songs

73
Q

jump bands

A

kind of dance band that played music that was simple, direct bluesy, rhythmic, and perfect for dancing

74
Q

independent record labels

A

white record company owners began in 40s to promote black music directly, take more risks than major labels but have less resources

75
Q

slap bass

A

stand up bass which is literally “slapped” while the notes are played to produce a percussive sound like a quiet drum set

76
Q

rockabilly

A

loud music, centering on twangy electric guitars, bass and drums; simple, based on diatonic melodies and chord patterns, often in blues form; stripped-down and lean (often guitarist is also a singer); edgy, even wild, theatrical excitement and tension of young, usually male performers, melodies and timbres, lyrics, on stage and on record; strong roots in Southern music; edgy electrify spoke to urban youth everywhere with equal power

77
Q

Sun Studios sound

A

Sam Phillips in Memphis, Tennessee
(loud, lean, edgy, strong, southern, R&B influenced blues and boogie basis adapted to a twangy hillbilly string band format, almost always white musicians, unvarnished ‘hillbilly’ approach to singing), electrification (guitars have sharp, hot, precise tone instead of softer, bell-like tone of older swing jazz guitars, with their mellow, hollow body Gibson style), sharply percussive to slap bass; slap-back echo

78
Q

slap-back echo

A

2 entrained tape recorders slightly out of synch with one another create a quick echo of extraordinarily clean, pure, wet sound, as well as directness and simplicity

79
Q

rockism

A

rock ‘n’ roll, when you get down to it, is just loud music played by white guys with guitars

80
Q

common practice

A

shared vocabulary of harmony, melody, form, texture, format, performance techniques, a complete musical language

81
Q

boogie

A

rhythmic power by pounding or leaning insistently on every beat of the measure, connected to blues form and expression, and to dance music, foundations of rock ‘n’ roll (blues boogie dance), also closely related to Chicago blues

82
Q

chromatic inflections

A

isolated sharps/flats, outside of a particular scale, frequently added to diatonic tunes for ornament/style

83
Q

modernism

A

‘aggressively’ innovative,

84
Q

abstraction

A

dissonance and other techniques made modernist music seem abstract; elimination of recognizable traditional design elements

85
Q

South

A

grew out of British and other European traditions, essential background in African traditions, hybridization of white and black, country/hillbilly music, southern rock (Georgia, Alabama, Mississippi, Louisiana)

86
Q

cool music

A

music in which the sense of excitement is controlled in order to produce a smooth, restrained effect

87
Q

lateness

A

something is rhythmically late in relation to the beat, suggestive of bending the melodic rhythm to musical ideas and emotions

88
Q

rock ‘n’ roll piano

A

influenced by New Orleans, can go back to rhythm and blues or the boogie style of the 1930s (Jerry Lee Lewis, Little Richard, Fats Domino), feverish intensity

89
Q

full triplet rhythm

A

plays all three parts, unlike swing rhythm that would not play on the 2 of 123 division (dum _ ba-dum vs. dum bah dah)

90
Q

teen crooners

A

‘lite’ version of a Romantic singer like Frank Sinatra; from above attempts to represent a more adult singer/musical style (sympathetic chaperone to young audience); from below attempts to represent more directly an adolescent singer/style, often with a band that sounded more like rock ‘n’ roll

91
Q

doo wop

A

forgotten third rail of rock ‘n’ roll, R&B vocal harmony, beat box technique, heterogeneous sounds, call and response, attractive, charismatic lead singer, strong reliance on bluesy singing, 12 bar blues form, ‘boogie intensity’ in rhythm, gospel-strength backbeat, pervasive simplicity in lyrics and musical style

92
Q

great doo wop progression

A

I -vi - IV - V

a simple strong harmonic framework to play around with, build upon

93
Q

high modernism

A

idea of progression, innovation, moving forward aggressively and idealistically to a bright, uncharted future

94
Q

pointillism

A

music made up of little points of sound surrounding by the feeling of space

95
Q

ambient music

A

not listened to consciously; background music for shopping or relaxing at home; term coined by Brian Eno in 1970s; Muzak

96
Q

hi-fi

A

sound reproduction improves with tape recorders publicly after WWII, playback equipment gets stereo, FM radio, analogue (not transistorized)

97
Q

lounge music

A

vague, ‘cheesy music’, anything intended to be heard in a lounge (a room in a bar or restaurant with a relaxed, open-ended atmosphere and open space for live music, drinking and dancing)

98
Q

wall of sound

A

Phil Spector’s heavy application of reverb and extensive multi-tracking, creating massiveness and complexity

99
Q

garage or low-fi

A

draws on rock ‘n’ roll, Chicago blues, rockabilly, rough inspirations; qualities include amateurish, stripped down hot/messy quality
short; simple; loud; messy; incompetent

100
Q

girl groups

A

propped up by professional songwriters, vocal harmony, model of pop-music girlhood, sheet music & Tin Pan Alley & Brill Building, candy element of instantly and easily consumed, industrially made ready for this process, self invention and self-defining teen girlhood

101
Q

surfing music

A

largely male bands, evoke more physically active, socially rebellious edge, drums and guitars are essential, simple, influences include rockabilly, rock ‘n’ roll, R&B, garage, ‘bonding’ music like girl groups, thin twangy clean sounding rock ‘n’ roll

102
Q

psychedelic musical qualities

A

LSD, trippy saturation, hallucinogenic lyrics, tremolo harpsichord, floating intense or weird musical traits, can converge with Eastern spirituality, raw or edgy trends with poppy ‘cuteness’, ‘epic’

103
Q

counterculture

A

social movement (involving politics, lifestyle, fashion, music) that opposes the mainstream, both intuitively and self-consciously

104
Q

the Beats

A

first counterculture; teen element but most famous figures were a bit older with distinctly sophisticated, urban sensibility (San Fran, Greenwich Village NY); hipster, beatnik; Bohemian lifestyle; Jack Kerouac and Allen Ginsberg; sex, drugs, and jazz; debt to literature, learning, liberal arts, not Elvis/doo wop but Franz Kafka, Romantic poets, Modernist art

105
Q

Harry Smith and the Anthology of American Folk Music

A

1952 6 LP set that provided a ‘bible’ for folk revival movement (Folkway Records & Moe Asch0, reflected depth, beauty, and strangeness of American ‘roots’ music

106
Q

folk revival

A

twin sibling of the beat movement in late 50s and early 60s, folk music linked to cultural community roots, idea of protest in 30s, beats also folkies, Leadbelly and Woody Guthrie

107
Q

British invasion

A

1963 beginning, fueled by American invasion of Britain with several musical styles (ragtime, jazz, blues, swing), skiffle and the rockers

108
Q

skiffle

A

guitar-based, mostly acoustic style that fused American blues, jazz, and folk; fleeting, tenuous, humorous, bit counterculture; British skiffle combines 2 beat feel with 4 beat driving rhythm, strong backbeat, and strummed folky acoustic-guitar sound (the intersection of folk and jazz)

109
Q

concept album

A

an entire LP album built around an overarching plan

110
Q

Sgt. Pepper’s Lonely Hearts Club Band

A

1967, concept album around nostalgic, archaic English dance band, the album of the 60s, unprecedented complexity, death of Beatles theme, shift away from public instead of toward them, (LSD, eastern spirituality)

111
Q

‘sweet’ vs. ‘salty’ music

A

inclusive, miniature artworks with attractive hooks and wide variety of influences vs. centered unwaveringly on rock ‘n’ roll

112
Q

2 beat feel

A

one and two and, 2,/4, 2

113
Q

sentimental songs, novelty songs

A

capitalize on appeal to direct or childlike emotions, renewal in pop culture after WWII, inspired by vaudeville

114
Q

heterogeneous sound

A

diversity, even friction, of sounds and sound combinations, often in the African American world

115
Q

solid body vs. hollow body guitar

A

thinner, twangy sound (Les Paul) vs. smooth, warm, consistent bell-like sound (Gibson)

116
Q

Beatles effect

A
  1. grounding in basic rock style
  2. pop sensibility of the moment
  3. broad diversity of other musical trends
  4. suggest essential connection between rock ‘n’ roll and other music
  5. comparatively quiet/implicit rebellion, based on philosophy of acceptance, musical liberals, nice boys
117
Q

bubblegum music

A

pop songs with child-like vapidity, industrially generated; short songs with focus on a catchy tune, no grand message, blissful absence of pretension or any greater meaning; squeaky clean alter ego of garage rock

118
Q

improvisation

A 
do you have a plan?
how many times can it be improv?
Same solo and other changes in band = improv?
call it a solo instead? = no challenge
creative innovation in the moment
119
Q

blues rock

A

rebels with a cause, improvisation, virtuosity of technical skill, intensity of interaction among band members in the moment, electrified, related to 50s skiffle but more emphasis on ‘theater’ of individual suffering and achievement and ‘glory’ of instrumental blues soloing

120
Q

Stones effect

A
  1. basic rock style grounding
  2. resistance to mainstream pop sensibility
  3. resistance to other influences
  4. suggest essential distinction between rock ‘n’ roll and other music
  5. comparatively loud and raucous, based on philosophy of judgment and rejection as well as joy and celebration, musical conservatives, bad boys

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