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Survey of American Music > Section 1 > Flashcards

Section 1 Flashcards

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1
Q

Meter (Time)

A
  • Organizes the rhythmic “feel”
  • Helps musicians stay in sync with each other
  • Helps listeners by adding predictability to music
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2
Q

Melody

A

A rhythmic of single tones organized as an aesthetic whole; sequence of notes; can stand on its own

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3
Q

Motif

A

Small building block of a melody

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4
Q

Rythm

A

The systematic arrangement of musical sounds, principally according to duration and periodic stress

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5
Q

Harmony

A

Harmony is the combination of separate but related parts in a way that uses their similarities to bring unity; combining two or more notes (chords)

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6
Q

Form

A

The constructive or organizing element in music

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7
Q

Song form

A

A musical form with two contrasting themes (sections are typically notated by letter)

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8
Q

Blues form

A

Usually 12 bars (there are not contrasting themes)

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9
Q

Back-beat

A

Beats 2 and 4 in 4/4 time, particularly when they are strongly accented

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10
Q

Chord

A

The harmony at a given moment (loosely a group of 3 or more notes played together)

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11
Q

Chorus

A

One complete cycle of a tune, one time through from top to bottom

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12
Q

Improvisation

A

The process of spontaneously creating fresh melodies over continuously repeating cycle chord changes of a tune (improviser may depend on the contours of the original tune, or solely on the possibilities of the chords’ harmonies)

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13
Q

Head

A

The first (and last) chorus of a tune, in which the song or melody is stated without improvisation or with minimal improvisation

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14
Q

Horn

A

A wind instrument; or any instrument

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15
Q

Interlude

A

An additional section in tune, especially one between one person’s solo and another’s

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16
Q

Introduction

A

A composed section at the beginning of a tune, heard only once

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17
Q

Modes

A

Major and minor (feeling that it sounds like)

18
Q

Texture

A

The combination of instruments that are in the music and the way they’re being performed (instruments, volume, tempo)

19
Q

Polyphony

A

Music with two or more melodies blended together

20
Q

Rhythm section

A

Any combination of piano, guitar, bass, and drums (provide rhythmic and harmonic accompaniment for a melody); stand alone or in an ensemble

21
Q

Joseph “King” Oliver

A
  • Born in New Orleans
  • Started playing in New Orleans Clubs by 1907
  • Mentored Louis Armstrong
  • Moved to Chicago in 1918
  • 1922: King Oliver’s Creole Jazz band secures a residency at Lincoln Gardens
  • 1922: Louis Armstrong joins Oliver’s band in Chicago
  • First recording for Gennett Records in 1923
    “Snake Rag”
22
Q

Joseph “King” Oliver continued

A
  • 1935: could no longer play he had ill health
  • Moved to Savannah, GA and worked as a janitor
  • Highly influential to young players
    “Livery Stable Blues”
23
Q

Louis Armstrong (1901-1971)

A
  • Born in New Orleans
  • Working by age seven for a rag and bone business, delivering coal to brothels, and blowing a tin horn to announce the cart’s arrival
  • Sang on street corners
  • Sent to the New Orleans Colored Waif’s Home for boys at age 12
  • Given musical instruments by the bandmaster of the home
  • Apprenticed with king Oliver (errands in exchange for lessons)
24
Q

Mississippi Riverboats (Streckfus Steamboat Line)

A
  • Pivotal gig
  • Got his reading chops together
    Learned new material, outside of the N.O. repertoire
  • Traveling was eye-opening
  • Experienced exclusively white audiences
25
Q

S.S. Capitol Orchestra (Fate Marable, Director)

A
  • Sought-after gig
  • Replacement gig for Storyville musicians
  • $35 per week room and board, $45 without
  • Strictly medium tempo dance music
  • All arranged… no improvised solos
  • Wanted to expand his role but was refused
    “Frankie and Johnny”
26
Q

Armstrong Relocates

A
  • Armstrong moved to Chicago to play second cornet in King Oliver’s band
  • His playing was an instant hit
  • Met his second wife (Lil Hardin – pianist of the group)
  • Convinced him to leave the band and broaden his horizons
    “Sweet Lovin’ Man”
27
Q

Armstrong RE-relocates

A
  • Joined Fletcher Henderson’s band in New York in 1924
  • The level of the band was raised
  • They embraced the blues and played longer solos
  • Henderson didn’t want him to sing either
    “Everybody Loves My Baby”
28
Q

Louis Armstrong Hot Five and Hot Seven

A
  • Armstrong went back to Chicago in 1925
  • Made a living playing in a pit orchestra for silent movies
  • About a year after being back in Chicago was able to get a record deal
  • He got his old band mates Kid Ory, Johnny Dodds, along with his wife, Lil and formed the Hot Five
  • Existed only to record
    “West End Blues”
29
Q

Armstrong’s Influence

A
  • Earl (Fatha’) Hines (1903-1983)
  • He had a style similar to Armstrong
  • Earned the nickname “Fatha” due to the new and distinct style of his playing
  • Played and recorded with Armstrong for a few years
  • Went on to lead his own groups for the next twenty years
  • Welcomed young upstarts into his band like Charlie Parker and Dizzy Gillespie
    “There Will Never Be Another You”
30
Q

New Orleans

A
  • Port that was easily accessible for trade
  • Cultural melting pot
  • Incredibly diverse city (melting pot)
31
Q

Spanish Rule

A
  • Freed many slaves
  • Interracial marriage was accepted (Creoles)
  • Mixture of French and African or French and Spanish
32
Q

Timeline

A
  • Louisiana was given back to France, then sold to the U.S. in 1803
  • 1861-1865: Civil War and Reconstruction Period
  • 1917: United States involved in WW1
  • New Orleans musicians developed Dixieland Jazz
33
Q

Polyphonic

A

Different melodies at the same time

34
Q

Cyclic

A

The overall structure of the song is repetitive

35
Q

New Orleans Style Jazz

A
  • Polyphonic & cyclic
  • Has a steady beat
  • Collective improvisation (improvising at the same time)
  • Texture changes (varying section of sound within the song)
  • Front line (melodic instruments – cornet, trumpet, trombone, and clarinet)
  • Second line (parade followers)
36
Q

Buddy Bolden (1877-1931)

A
  • First important jazz musician
  • Cornet
  • Large black and creole following
  • Able to play many styles
  • 6 person configuration band (“2 cornet” inspired King Oliver)
  • Alcohol induced psychosis (diagnosed with schizophrenia)
37
Q

Freddie Keppard (1890-1933)

A
  • “King of the Cornet”
  • First major jazz figure to travel extensively
  • Took a New Orleans band to Chicago and Los Angeles
  • 1914-1918: Keppard tourned the Vaudeville circuit (introduced northern jazz to N.O. jazz)
  • Wasn’t eager to share his musical ideas
  • Missed opportunity to record with the Victor Talking Machine Company
38
Q

Original Dixieland Jazz Band

A
  • Led by cornetist Nick Larocca
  • Originally from N.O.
  • Group moved to New York in 1916
  • Gained popularity and caught the attention of Victor Records
  • Recorded “Livery Stable Blues” (1917)
39
Q

“Livery Stable Blues” (1917)

A
  • Record sold about a million copies
  • Off the strength of the record sales the band toured all around the U.S. and Europe
  • The band took a break when dance and jazz fell out of fashion
  • Re-emerged in 1936 (short-lived)
  • LaRocca received criticism for claiming he invented jazz
    “Tiger Rag”
40
Q

Ferdinand Joseph Lamonthe (Jelly Roll Morton)

A
  • One of many self-proclaimed inventor of jazz
  • As a teenager, he worked in the “Storyville” district of New Orleans
  • Brothel accompanist
  • Pool hustler, pimp, dealer, etc.
  • Kicked out of the house
  • N.O. was his base, but he moved between Chicago, Texas, Memphis and New York
    “Big Foot Ham” (1926)
41
Q

Jelly Roll Morton & his Red Hot Peppers (1926)

A
  • Chicago based
  • Developed as the Victor Talking Machine Co. went from acoustic to electrical recording
  • All members well-versed in New Orleans jazz & were familiar with Morton’s music
    “Dead man’s blues” (12 bar cycle)
42
Q

Tough Times

A
  • Constant struggles with royalties
  • Drifted into obscurities in 1930s
  • Moved to Washington DC & managed jazz club
  • Alan Lomax interviews

Survey of American Music (2 decks)

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