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Pop Music > Test 1 > Flashcards

Test 1 Flashcards

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1
Q

The boatman’s dance

A
  • Dan Emmett
  • 1843
  • instruments: bones, banjo, fiddle
  • European, mostly Irish performers
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2
Q

Old Folks at home

A

Stephan foster
1850
banjo

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3
Q

Jeanie with the light brown hair

A
  • Foster’s sentimental “Irish” style, without any obvious references to minstrel images or stereotypes
  • Stephan Foster
  • 1854
  • AABA
  • Flute, guitar, violen, chello
  • Good for home entertainment
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4
Q

Vaudeville

A

Tony pastor’s opera house
1865 in NY
previously know as volks garden
organized traveling minstrel show
1881 moved and established a new format: operettas alternate family oriented variety show
evolved into regional and nation circuits

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5
Q

Tin Pan Alley

A

1880s broadway in NYC
Publishers foced on pop music only
composed, printed, marketed and formulated songs

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6
Q

Charles Harris

A

first to sell sheet music

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7
Q

After the Ball

A 
AABA
triple Meter
Verse (AABA) Chorus (Hook) - 3 long verses and a refrain
Sheet music
peeps realized pop music=money
Charles Harris
Waltz
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8
Q

Irving Berlin

A

Jewish contribution to pop music
1880s immigration wave from Russia
Immigrants find opportunity in entertainment industry
particularities of jewish immigrants: Culture of diaspora

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9
Q

Ragtime

A

“Ragging the Tune”- a rythmic and textual concept
pop dance, derived from cake walk (Plantation slaves making fun of whites)
-ragtime songs, marches and piano songs
1893 chicago worlds fair - exposure for rag

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10
Q

Scott Joplin

A

Published first piano rags in 1898

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11
Q

Maple Leaf Rag

A

-Scott Joplin
1898
-Sectional: AABBACCDDEE
*What elements of AF-AM? Rhythmic Contrast

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12
Q

James Reese Europe

A

Founded Clef Club dance orchestra in 1910
-Carnegie Hall Concerts
Dance bands for irene and vernon castle
Directed bands of AF-AM 395th infantry “Hell fighters”

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13
Q

Castle House Rag

A

Clef Club
brass, percussion, clarinets, chimes, violins, banjo
AABBACC

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14
Q

Early Jazz

A 
New orleans as a culture onto itself
french territory
1763 ceded to spain
1803 lousiana purchase
-French culture, african influence, carribean influence, mexican musicans
brass band traditions
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15
Q

Tiger Rag

A

Original Dixieland jazz band 1918

instuments: Trumpets, trombone, clarinet, drums/percussion, banjo, bass

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16
Q

Dippermouth Blues

A 
King Oliver's creole jazz band
1923
Louis armstrong
different from tiger rag b/c unlike sheet music recordings can convey improvisation, and subtleties of "feel"
12 bar blues
polyphonic w/ clarinet
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17
Q

West end blues

A

Louis armstrong
Jazz
1928
mainstreaming of jazz

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18
Q

My Blue Heaven

A

1927
Paul Whiteman (king of Jazz)
Tin pan alley style

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19
Q

Side By Side

A

1927

paul whiteman

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20
Q

Mammie Smith

A

“Crazy Blues” 1920 for okeh records

New era for black representation in pop music

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21
Q

Mama’s got the blues

A 
Blues
Race Records
Strophic, call and response with piano
-AAB text
12 bar harmonic progression
Tonic (I) Sub Dom (IV)  Dominant (V)
-Women had sexually assertive roles, independent sexually and in terms of travel
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22
Q

St. Louis Blues

A

From movie 1929
Composed by W.C Handy (Father of the Blues)
-Louis Armstrong on Cornet–1st great star of blues
12 bar blues 8 bar/16 bar form
call and response w/ instrument
AAB text

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23
Q

Country Blues

A

Classic Blues commercial success inspires field recordings, search for “the source” in rural South in late 1920s. -men -guitarists (also harmonica) -solo performance
Relation of blues to other black music genres -dance music -field hollers, work songs -worship music (e.g. spirituals, shouts, moans)

24
Q

Sophie Tucker

A

Jewish Vaudeville star, sang “blues

25
Q

Ma Rainey

A

“Queen of the Blues” -b. in Columbus Georgia, 1886

26
Q

Bessie Smith

A

“Empress of the Blues” -b.1888 in Tennessee -flamboyant personality and performing charisma -achieved movie fame, even after classic blues recordings were out

27
Q

“Dark was the night”

A

Blind Willie Johnson
blues
-sorrow, articulation, ornamentation of blues, call and response with guitar

28
Q

“Fixin to Die Blues,”

A 
Bukka White
Blues
 *musical form? Repeated riff, cyclical 
*text form? aab
NO 12 bars
29
Q

Robert Johnson

A

-fr. Mississippi, travelled a lot, died young-few recordings an inspiration for a lot of future blues guitaristsGuitar technique: -multi-voice (bass and chords both) -slide guitar, “bottleneck”

30
Q

Cross Road Blues

A

-1936
*How is it similar and different compared to Classic blues?12-bar blues harmonic progression aab text form voice and instrument answer each other bluesy melody
DIFF:
-irregular meter
-solo performance
-guitar accompaniment

31
Q

“HILLBILLY” MUSIC

A

Appalachian music
-preservation of British Isles repertoire -overlay of evangelical christianity, and sharing w/African Americans

-Dance tunes, ballads and religious songs

32
Q

Soldier’s Joy

A

Gil Tanner and the Skillet Lickers
Instrumentation: fiddle, bass, guitar, banjo
Hillbilly Music
Radio

33
Q

Radio

A

“Wireless communication” patented in 1896 by Guglielmo Marconi1920 first commercial station in Pittsburgh KDKA
“Radio Barn Dance” shows (live performance).-National Barn Dance on WLS in Chicago from 1924-Gran Ole Opry 1925 in Nashville“Border blasters”

34
Q

Records

A

First recordings in Atlanta in 1923, byproduct of Okeh’s search for black talent. Growing radio business as well as race records field searches lead to ‘discovery’ of white country musicians in latter 1920s

35
Q

Carter Family and “Traditional Values

A

A.P. “Doc” and wife, Sara; sister-in-law Maybelle. First recorded on Victor expedition to Bristol, Virginia in 1927. -Songs of home, family, and religious faith–“traditional” values. -Simple instrumentation (guitars), form, and harmony. -Vocal harmonies

36
Q

“Can the Circle be Unbroken”

A

*Form? Verse and chorus
*texture? Homophonic chorus, verse with guitar accompanying
Theme of earthly suffering contrasted with reward in the afterlife

37
Q

Jimmie Rodgers, the “Singing Brakeman”

A

-Recorded on same trip as Carter Family in 1927.-Country’s 1st big star. Born in Mississippi, but traveled a lot as musician.

38
Q

“Waiting for train?”

A

-yodelling
-New Orleans jazz
-Hawaiian steel guitar
Jimmie Rodgers

39
Q

NEW YORK

A

Legacy of James Reese Europe Formal training and professional opportunities (black middle class) Relatively greater role of composer/arranger
Chick Webb
Fletcher Henderson
Dance orchestras played at Savoy ballroom in Harlem, and other venues, for social dancing (charleston, breakaway, lindy hop)

40
Q

“Wrappin’ it up,”

A

Fletcher Henderson (1934)
‘riffs” (repeated melodies)
NY
Brass

41
Q

Duke Ellington

A

Cotton Club from 1927 (whites only) Floor shows and “Jungle Music”
NY

42
Q

“New East St. Louis Toodle-oo”

A

Duke Ellington

  • timbral variety
  • Homophonic
43
Q

Kansas City

A

Benny Moten:

-“Territories” blues/jazz bands

44
Q

“One O’Clock Jump”

A

Count Basie (1937)
• Form and arrangement?
o 12-bar bluesriffs (sometimes with improvised solos)
-tenor saxophone (Lester Young) -walking bass, steady cymbal pattern
Kansas

45
Q

Benny Goodman (1909-1986) “King of Swing”

A

-popularized “hot” jazz in mainstream (as opposed to e.g. Paul Whiteman)-hit big time in 1934 with national Let’s Dance tour sponsored by National Biscuit Company -used Fletcher Henderson’s arrangements-later hired black performers like Charlie Christian, Fletcher Henderson
(mixed race breakthrough)

46
Q

“King Porter Stomp”

A 
Benny Goodman (1935)
Mix of Kansas City (rhythm and riffs), East coast (arrangement and big horn section) and New Orleans (clarinet featured)
 KC: walking bass, changing soloists and riffs NY: highly arranged (some sections more than others) NO: clarinet,  “swing”
47
Q

Ella Fitzgerald

A
  • women in jazz as singers
  • led Webb’s band briefly
  • one of the most respected singers in jazz for her technical command
48
Q

“A Tisket a Tasket”

A

Ella Fitzgerald w/Chick Webb band (1938)
Form: AABA, Call and response
Swing

49
Q

“New San Antonio Rose”

A

Bob Wills & his Texas Playboys “Western Swing”
Swing:
-instrumentations: trumpets, saxophones -swing rhythm
Western:
-polka beat -mariachi-style trumpets -‘grito’ -accent
AABA

50
Q

“Cool Water”

A

Sons of the Pioneers

-cowboy singing group, popularized in movies

51
Q

Bluegrass

A

Revival and innovation

1938 Bill Monroe forms Blue Grass Boys1939 joins Gran Ole Opry cast

52
Q

“It’s Mighty Dark to Travel”

A

Bill Monroe and his bluegrass boys 162CD3:11
Lester Flatt (guitar) and Earl Scruggs (banjo)
*How is this traditional, and how modern?
-string band instrumentation -‘high lonesome voice’ -fast, virtuosic—soloists like jazz
-Modern, sophisticated version of Appalachian tradition (dressed in suits). But … pop culture associates it with hicks

53
Q

Caribbean Latinos in U.S.

A

1898 Spanish American War; business and entertainment connections to Caribbean1917 Puerto Ricans become U.S. citizens1940s massive Puerto Rican migration1959 Cuban revolution
“Rumba” craze in 1930s –popular dance, and ballroom style

54
Q

“Manicero,”

A

Don Aspiazu (1930)

  • How does this song differ from Anglo pop songs? Instruments: maracas, claves, bongos, piano, bass, trumpet, violins, clarinet
  • *Popular version of ‘rumba’ was closer (especially in the music) to the Cuban son montuno.
55
Q

“Mayeya”

A

Septeto Nacional
*instrumentation? Tres, bass, trumpet, bongos, claves, maracas, guitar
*form? Composed verses&raquo_space; call and response improvisation
(sonero—improvising singer)

56
Q

Mambo & Cha cha cha

A

New York as center of Latin music production

Tito Puente, born in NY to Puerto Rican parents (Nuyoricans)

57
Q

“Mambo Gozón,”

A

Tito Puente (1950s)
clavetumbao (on the conga)
guiro, montuno (guajeo),
coro, call and response

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