Musc 1236 Final Notecards Flashcards

1
Q

Define composition

A

Before the advent of records, formal composition was something committed to a written score; A composition is a musical work that may be played by any number of musicians and bands while remaning basically unchanged

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2
Q

Define improvisation

A

An improvisation, though it may prove as durable and adaptable as a composition, exists first and foremost as a particular performance.

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3
Q

How has composition played a roll in jazz?

A

In the wake of bebop, the nature of jazz composition changed. In addition to bottowing from classical music, popular music, and their contemporaries in jazz, composers began reinvestigating the jazz past

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4
Q

Who composed Round Midnight?

A

Thelonius Monk

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5
Q

Review the use of AABA form

A

The most common 32-bar popular song form, referring to melody and harmonic progression (but not text). Each portion is eight bars long, with B, the bridge, serving as the point of contrast. A=statement, A=repetition, B=bridge, A=return

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6
Q

What form did Monk most often use for his compositions?

A

AABA form

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7
Q

How was Mingus associated to the Jazz Composers’ Workshop?

A

It is an album featuring jazz bassist Charles Mingus. It combines the earlier album Moods of Mingus and a Wally Cirillo session released earlier on the album Wally Cirillo & Bobby Scott.

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8
Q

How did Mingus feel about the older jazz players like Ellington and Parker?

A

hero, they were uncontested models for the jazz bandleader as composer

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9
Q

Where did Miles Davis grow up?

A

Born in Alton, Illinois, moved to St. Louis when he was 1 years old.

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10
Q

Where did Miles Davis study?

A

studied trumpet at school, studied at Julliard, and finally with Carlie Parker

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11
Q

Who first hired Miles Davis?

A

Charlie Parker

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12
Q

What were Miles Davis influences?

A

Gillespie and Parker

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13
Q

How is the Harmon mute different from other mutes in the 1920s?

A

Unlike other metal mutes, it is help in place by a cork ring, forcing the musician’s entire air column into the appliance to produce a thin, vulnerable humming sound. The mute only augmented the brooding intnsity of Davis’s music.

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14
Q

What was Miles association with Gil Evans?

A

Had a deep and long lasting partnership, Gil was a composer for miles, Miles Ahead album where Gil crafted a series of trumpet concertos that emphasized the power and expressiveness of Davis’s playing

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15
Q

How did Miles Davis use modal jazz?

A

It allowed him to play scales that overrode harmonies and freed his improvisations to be more expressive. It allowed him to play scales that overrode harmonies and freed his improvisations to be more expressive. (reaction to the busyness of bop harmony), it offered a solution to the problem of revitalizing the relationship between improvised melodies and the foundations on which those improvisations are based. ; the modal arragnements and moderate tempos underscored Davis’s strengths and not his weaknesses, encouraging his predilection for the middle range, his measured lyricism, his reserved disposition. It also provided an ideal middle ground between his laid-back “waling on eggshells” style and the exuberance of the saxophonists, expecially Coltrane, who even in the absence of chord changes filled every scale and spacw tih an almost garrulous intensity.

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16
Q

Who was Bill Evans?

A

Miles Davis pianist;

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17
Q

What are quartal harmonies?

A

harmonies/chords built on fourths rather than thirds

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18
Q

What does a fourth refer to?

A

A fourth refers to the interval of four notes apart.

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19
Q

What was John Coltranes association with Miles Davis?

A

John Coltrane was in Miles Davis original quintet, fired for drugs, but he eventually joined his sextet later

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20
Q

How did Coltrane feel about modal jazz?

A

Incorporated it extensively. Coltrane, even in the absence of chord changes, filled every scale and space with almost garrulous intensity.

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21
Q

How did drugs influence both Miles Davis and John Coltrane?

A

Miles Davis was addicited for a few years, had to quit, but fours years later he got back together. Coltrane, same thing, only he got fired from Miles Davis for drugs.

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22
Q

What are multi-phonics?

A

complicated sounds created on a wind instrument (through intense blowing) that contain more than one pitch at the same time; used often in avant-garde jazz.

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23
Q

What was Coltrane most known for?

A

Tenor saxophone player, became the most intrepid explorer of modal jazz. He embraded the expressionisit chaos of the avant-garde.; took large steps beyond the rudiments of conventional jazz, challenging the validty of everything he had mastered, and taking another unexpected detour with a series of romantic recordings (including ballads).

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24
Q

Were Coltranes improvisations short or long?

A

extremely long

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25
Q

Who was in the Coltrane’s quartet?

A

John Coltrane (saxophone), McCoy Tyner (pianist), Elvin Jones (drummer), Jimmy Garrison (bass)

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26
Q

What is interesting about the song Acknowledgmentt?

A

(With respect to climaxes) sung on the tenor saxophone, culmination of Coltrane’s music thus far, involving scales, pedal points, multiphonics, free improvisation, and shifting rhythms. Toward the ends of the movement, a vocal chant signals a harmonic change from one key to another.

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27
Q

What is interesting about the song E.S.P.?

A

With respect to the rhythm section: rhythmic freedom, audacious, fast, free, the bass playing is startlingly autonomous, and the drummer’s use of cymbals has its own narrative logic.

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28
Q

Who played in Miles Davis’ Quintet when they recorded ESP?

A

Miles Davis (trumpet), Wayne Shorter (tenor saxophone), Herbie Hancock (piano), Ron Carter (bass), Tony Williams (drums)

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29
Q

What does “fusion” mean?

A

The joining of two types of music, especially the maxing of jazz and rock in the 1970s.; all music situated on the boundary line between jazz and pop.

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30
Q

What is another word for fusion?

A

jazz-rock

31
Q

During the 1940’s swing had an offshoot called what? What did this eventually become known as?

A

Jump Music (popularized by Louis Jordan). This kind of race music, which countered the experimental trends of modern jazz, eventaully became known as R&B

32
Q

What intstrument did Louis Jordan play?

A

saxophone

33
Q

Who was very influential in the 1940s?

A

Louis Jordan

34
Q

What strides did Louis Jordan make in his career and in American culture as a whole (pg. 371)?

A

Proved that a small group could achieve great commerical success. Widely imitated in the 1940s, he set the direction that the music industry followed after the war, as small bands took over in jazz and pop.

35
Q

How did R&B influence jazz?

A

Small band of Earl Bostic became training group for such future jazz luminaries as John Coltrane and Jake Byard; template for commerical success changed; organ; influenced rock

36
Q

How did Ray Charles grow up?

A

Greenville, Florida

37
Q

What style did Ray Charles perfect?

A

He perfected an original style that combined the blues, progressive bebop harmonies, and the testifying shourts and backbeat rhythms of gospel. (possibly soul jazz?)

38
Q

What style did Jimmy Smith emulate?

A

bass line (?)

39
Q

What do the initials O.G.D. stand for?

A

Organ, guitar, drums

40
Q

How did Sarah Vaughan’s style differ from others?

A

approached jazz-pop fusing from the opposite vantage point. She was a dedicated jazz singer who applied bop harmonies, rhythms, and improvisational ideas to popular music.

41
Q

Who were the influential figures in Latin Jazz?

A

Xavier Cugat (Latin bandleader); Carmen Miranda (brazil), known for performing her songs in outrageous costumes that involved huge fruit salad hats)

42
Q

What country influenced the latin movement in jazz?

A

Cuba

43
Q

How are Mario Bauza and Machito associated with Dizzy Gillesie?

A

The breakthrough for the Afro-Cuban jazz movement was triggered by Dizzy Gillespie. Once again, the seeds had been planted by Mario Bauza. During the two years he spent with the Cab Calloway Orchestra, Bauza persuaded Calloway to hire the young, untesteed Gillespie, whom he then privately instructed in the essentials of Cuban music, including clave. Gillespie organized a big band and started working toward a fusion of jazz and Cuban music. First public presentation of a serious jazz-Latin fusion.

44
Q

What is a Samba?

A

A traditional Latino music with African roots;, laid particular emphaiss on the second beat of the measure, or more specifically the eighth note leading from beat 1 to beat 2.; does not use clave as an organizing rhythmic principle: the overall feeling is more relaxed than that of Cuban music.

45
Q

What is the bossa nova?

A

“new flair”; Brazilian form of samba music; seemed to sway rather than swing, favoring seventh and ninth chords; perferential to brazil and jazz touring musicians brought it to US

46
Q

Tite Puente stated “I’m a musician, not a cook” What style was he talking about?

A

Salsa

47
Q

How did rock and roll affect jazz?

A

Rock overwhelmed popular music and jazz musicians found themselves struggling for survival in a world not of their making. The eventual result was a new jazz-rock fusion, which many assumed was simply the next phase of jazz.

48
Q

What was the “Challenge to Jazz”? List all five things and be able to answer questions about them.

A

Jazz musicians who coveted commerical success now faced serval obstacles: Youth, Electronics and Recordings, Rhythm, Groups, Virtuosity

49
Q

How did Youth challenge jazz?

A

The phrase “don’t trust anyone over thirty” made it difficult for older jazz musicians, who had spent their lives mastering their idiom, to believe they could ever again be accepted by that audience.

50
Q

How did Electronics and recordings challenge jazz?

A

Electric guitar, amps, pedals, phasers, eedbak, electric keyboards, synthesizers, new timbres. Technology allowed the stuido much more flexibility. Jazz musicians had made efforts to master editing, but remained trapped in the belife that recordings should transparently demonstrate what a band sounds like in person.

51
Q

How did Rhythm challenge jazz?

A

Jazz musicians who had grown up on the more flexible patterns of uneven eighth notes found it hard to adjust. Many refused to do so for aesthetic reasons (adjust to 4/4)

52
Q

How did groups challenge jazz?

A

Rock groups were bands that submerged individual musicians into a collective sound, something jazz had not seen since swing. It would take a revolution in thought to come up with a new collective aesthetic, one that replaced the improvised solow tih a group-oriented creative process.

53
Q

How did virtuosity challenge jazz?

A

Less focus on technique more on the band, song, and singer.

54
Q

What is funk?

A

A type of groove with a highly syncopated bass line and mutiple contasting rhythmic layers, favored by jazz musicians after about 1970.

55
Q

How did rock and roll affect Miles Davis?

A

He had become dissatified with the direction taken by his postpob quintet and by his steadily decreasing record sales. Rock put simplicity back into the spotlight. He began changing the instrumentation of his group, pusing his rhythm section to go electric.

56
Q

What is Mahavishno?

A

Orchestra created by John McLaughlin, it played loud, fast, intensely distorted music, better suited to concert dates with ZZ Top and Emerson. McLauglin played electric guitar; played slash chords

57
Q

Who were the members of Weather Report?

A

Weather Report was the most artistically and commercially successful fusion group of the 1970s, roots in the Miles Davis experience. Its founders Joe Zawinual and Wayne Shorter

58
Q

Who was Chick Corea?

A

pianist, looking for a band that would prove artistically satisfying and commercially successful; among the most influential musicians to adopt the Mahavishnu Orchestra’s appraoch as a prototype to enter fusion. He studied jazz by transcribing the harmonic voicing of Horace Silver and learning to play Bud Powell’s solos. Joined with an avant-grade gruoup, formed Reutn to Forver

59
Q

Who was Herbie Hancock’s early mentor?

A

Coleman Hawkins to Eric Dolphy

60
Q

Who were members of the Headhunters?

A

Herbie Hancock, Harvey Mason (drummer), Paul Jackson (bass), Bill Summers (percussion),

61
Q

What is Smooth Jazz?

A

A highly popular form of contemporary jazz, featuring inoffesnive soloing and digitally processed rhythm tracks, favored on some radio stations.

62
Q

What is Acid Jazz?

A

A form of contemporary music created by DJs in the 1990s, relying heavily on samples taken from jazz recordings from the 1950s and 1960s.

63
Q

What is “Historicism”?

A

The theory that artistic works do not rise independently of history but must be understood in relation to the past.; historical evolution over individual genius

64
Q

What is “New Historicism”?

A

A work of art must be viewed within the context of the place and time of its creation.

65
Q

How did Marin Williams participate in this idiom (New Historicism)?

A

He created the smithsonian collection of classic jazz, but included jelly roll mortons dead man blues, but cut the comic introduction, which he considered irrelevant, dated, and embarrassing. A historicist, on the other hand, finds value in that bit of tomfollery: it tells us something of Morton’s times and of his background, intentions, and attitudes.

66
Q

What is “Jazzmen”? What does it state?

A

Written by Frederick Ramsey Jr. and Charles Edward Smith. It argued that true jazz was an essentially New Orleans derived, African American, blues based music, hardly a controversial position, but in romanticizing jazzs traditonal roots while ignoring modern swing stylists, it created a nostalig longing for early jazz.

67
Q

What is the Lenox School for Jazz?

A

The first dedicated jazz curriculum was launched in 1957 as the Lenox School of Jazz, in the Berkshires near the classical music festival at Tanglewood. Under the direction of John Lewis, offered a star-studded roster of musicians and composers to a small, international selection of students who had submitted audition tapes through the mail. The staff inlcuded Dizzy Gillespie, Oscar Peterson, Ray Brown, Jimmy Giuffre, George Russel, Max Roach, etc.; Lonox’s goal was to combine chronological history wih musical technique and to rid jazz of semi-mystical notions of racial or “natural” talent.

68
Q

Why is the Newport Jazz festival significant?

A

Founded by George Wein; Helped jazz find acceptance as a symbol of postward social enlightenment and good times.; His selection of musicians reflected both the historicist idea of placing jazz in the wider context of contemporary music and the fusion idea of showing how jazz and other music interact.

69
Q

What is Neoclassicism?

A

Antithesis to avant garde in the early 1980s; This more conservative approach was predicated on fidelity to a specific canon of masterpieices. Instead of looking at marches or swing or bop as generic styles that could be interpreted and reinterpreted, it paid homage to particular musicians and works, infusing them with a contemporary luster at best. Argued that jazz must swing in a certain way, (more structure).

70
Q

What is Avante-garde historicism?

A

It was the Avante-garde that first located the “jazz tradition” as a new realm for creativity.

71
Q

What decades do both Neoclassicism and Avante-garde philosophies dominate?

A

1980s for neo 1970s for avant garde

72
Q

Repertory vs. Nostalgia (wrt Harry Conick Jr and Diana Krall)

A

Both singer-pianist who demonstrated popular appeal by resurrecting performance styles of the 1940s and 50s.

73
Q

Who is park of the new mainstream?

A

Dexter Gordon and Benny Carter

74
Q

How did Jason Moran change “You’ve got to be Modernistic”?

A

several variations, he works with the original material, but adds his own variations (including new C and D strains) and frequently alters or stops the tempo. He adds incremental dissoances and extends its final melodic figure. Here and in the subsequent strains, Moran halts the flow in unexpected places, as if to look around and tweak this chord or twist that rhythm before returning to the grid.