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the
interrelaAonship
between
music
and
Ame |
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A
spontaneous
musical
performance
that
is
created
by
a
performer
without
being
composed
in
advance |
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a
musical
form
that
uses
three
basic
chords,
usually
in
a
standard
12-?bar
format |
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| a sequence of single notes that is musically satisfying. |
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| the combination of simultaneously sounded musical notes to produce chords and chord progressions having a pleasing effect. |
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| is the way the melodic, rhythmic, and harmonic materials are combined in a composition |
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| is what makes a particular musical sound different from another, |
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| three or more notes that sound simultaneously |
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| a notational device that allows for grouping of beats |
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| closing section of a musical form |
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| is a contrasting section that prepares for the return of the original material section |
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| a repeated chord progression, pattern, or melody, often played by rhythmic instruments |
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| singer in the pop stycle characterized by a rich resonant voice, wide range , and perfect enunciation/ inotation. traditionally male balad singers |
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| a song that originates in traditional popular culture or that is written in such a style. |
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is an American independent record label founded in Memphis, Tennessee, starting operations on March 27, 1952.[1]
Founded by Sam Phillips, Sun Records was notable for discovering and first recording such influential musicians as Elvis Presley, Carl Perkins, Roy Orbison, Jerry Lee Lewis and Johnny Cash. |
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| . The A-side usually featured the recording that the artist or the record producer or the record company intended to receive the initial promotional effort and then receive radio airplay, hopefully, to become a “hit” record. The B-side (or “flip-side”) is a secondary recording that has a history of its own: some artists, notably Elvis Presley, The Beatles and Oasis, released B-sides that were considered as strong as the A-side and became hits in their own right. |
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| strong insistent rhythm, personally expressive lyrics, distinct vocal performance style
based on the blues, rarely nottated, improv allowed freeddom, predominant rhythm |
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yodeling, nasal timbre
steel guitar
deemphasized subdivisions
not notated
simple solos
instrumentation
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from wartime migration to northern industrial sites |
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NYC West 28th st (late 1800’s to 1950s)
puiblishers offered contracts to songwriters that coveraed all of their output
multiple pianos playing at the same time resembled a busy kitchen
strict separtion of songwriter and performer |
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| how was music experience before 1950 |
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| 1920 first radio broadcast so live perfomance mostly, family piano, pop refelccected this lifestyle |
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| resemebed mass distribution of other print material
publishing companies buy sheet music
result: industry favors songwriter and publishing company instaead of perfomer |
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| sentimental and lighthearted, society is settling down and buying homes and starting families |
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| handfulof perfomers that come from a sympahny |
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| Msuical style – roots in r and jazz, blues and gospel influence, active in the 1950s, no major crossovers til 1959
vocals- gritty unrestraine, emotional, puding rock accompaniment
Efect- wide range of talents, blending of styles, pionerring soul artist, influenced many later artists |
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| influence: soul icon, belending of gneres, extremely political (uncommon), managed himslef(uncommon), smooth version of ray charles |
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| folk band in CA, launched the urban folk revival |
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phase 1: inital noterity
phase 2 more sophistication
pahse 3 post 2000 |
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John Lennon – Rhythm Guitar,
Vocals
! Paul McCartney – Bass, Vocals
! George Martin – Producer
! Brian Epstein – Manager
! Neil Aspinall – Roadie
! Mal Evans – Roadie
! George Harrison – Lead Guitar,
Vocals
! Ringo Starr – Drums, Vocals |
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| 1st beatels album, recorded in 1 day |
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| by john lennon for helen shapiro |
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| written by paul, first single, first use of harmonica, “simplicity” |
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| song: within you without you |
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| indian instuments, hindi inspired, writeen by george (only player of indian instruments) |
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| song: lucy in the sky with diamonds |
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| by john, drug reference, unique recording requests |
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| “loose concept album”, cultural revolution bleeds into musical revolution” , recorded over five months |
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| song: a little help from my friends |
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| writeen by paul and john for ringo, rich bass line, recoded after a long session |
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| founder of sun records (found elvis) |
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| tmpahny 5, influence on chuck berry and james brown |
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| st louis, blues and r&B, very influential,
hits
roll over beethoven, johnny b goode |
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| piano! jazz and boogie woogie in new orleans
tunes
aint it a shame, bluberry hill |
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| piano, 1st hit = tutti frutti, flamboyant wild perfomance |
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| boogie woogie stle, flamboyant, rock n roll vs religion
great balls of fire
whole lotta shakin goin on |
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| C&W artist, hybrid, the commets
tunes
rocka around the clock, shake rattle and roll
influence on elvis |
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C&W background
wrote own songs
atypical appearacne and lifestyle
no biracial influences
texas
style “hiccub with varying timbre with guitar solos”
hits
thatll be the day
peffy sue
maybe baby |
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| collaborated with elvis, c&W background, no hits
style
powerful energetic rockabilly style |
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| mainstream, rockabilly, soft rock |
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| connection to r&B, 12 bar blues, not notated, backbeat |
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| white perfomrers with c&w background with r&b style
bill haley, carl perkins, jerry leee lewis, johnny cash |
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| black artists, talented lead singer with backup ensemble, backups sang nonsense syllables to add rhythmic activity |
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post WWII
advent of rock n roll
new youth market
working class |
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folk, set tones for folk music
new frontier, new generation audience
folk subculture
social awareness
music to “think about”
Puff the magic dragon
if i had a hammer |
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