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| includes piano, guitar/banjo, drums, string bass/ tuba |
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| 12 bar form used as the basis for many jazz compositions with a specific set of chord changes |
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| texture of two or more melodies proceeding simultaneously |
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| pattern played by rhythm section, usually cymbals. Quarter, two eighths, quarter, two eighths. |
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| texture of two or more rhythms proceeding simultaneously |
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| negro sacred song emphasizing biblical themes of divine comfort and liberation |
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| technique used as part of the satire of African Americans in early Vaudeville and minstrel shows in which performers would burn the end of a cork and apply the resulting ash to the face |
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| featured white entertainers satirically impersonating African Americans joking, dancing, singing, and playing banjo, fiddle, and percussion instruments |
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| featured songs, dances jokes, juggling, magic tricks, acrobatic stunts, bathing beauties, and trained animals |
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| scale commonly used in jazz improvization that feature the lowered 3rd, 5th, and 7th degree of a major scale |
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| blues performed by black female singers in northern cities during the 1920s with piano accompaniment |
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| type of solo accompaniment in which the band plays a simple, repeating rhythmic pattern while leaving gaps for the soloist to fill alone |
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| an alternating dialogue btwn. individuals or groups common in much African American music, including jazz |
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| an African American piano style of lively melodies & syncopated rhythms; popular in the early 20th century |
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| early jazz style emphasizing bluesy effects, rhythmic intensity and extroverted self-expression (improv) |
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| blues as originally performed by black males singing to self-accompaniment on guitar |
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| bars where blacks would gather to gamble, dance, drink and listen to country blues |
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| New Orleans trombone style featuring careening glissandos, explosive accents, and other boisterous effects |
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| ensemble whose instrumentation influenced early jazz groups; performed in funerals and other parades |
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accentuation of rhythms that ordinarily go unaccented
ex: rhythmic emphasis placed on upbeats rather than downbeats |
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procession btwn. the church & cemetary
early Dixieland groups were based on this instrumentation and style of playing |
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| early jazz style of lilting melodies, rich harmonies, and orchestration, and serene rhythms; less improv and favored by whites |
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| sounds produced by brass players waving hemispherical objects back and forth at the end of the bell of their instrument |
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| technique used by jazz piano and guitar players; chords are played in an improvised rhythm that interacts with the soloist and other members of the rhythm section |
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| group of tunes, many of which originated on Broadway, that are considered the standard repertoire of jazz musicians |
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| 1920s fusion of jazz and classical music, intended for listening in the concert hall |
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| musical lilne featuring a note on every beat, played by the bass player |
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| area of New orleans where slave descendants lived who relied on memorization and improvization |
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| home to most of the theaters that staged musical theater productions; where many jazz standards originated |
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| last decade of the 19th century, description of the carefree world of the white middle and upper classes; era of baseball, bicycles, barbershop quartets, and afternoon tea parties |
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| blossoming of black art, culture, and literature in the early 1900s |
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| banning of alcohol in the 20s that contributed to the reputation of jazz being unsavory |
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| mass movement of blacks to the north to avoid discrimination |
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| area known for high conc. of songwriters and the unique sound that was produced as a result |
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| notorious red-light district of New Orleans where uptown and downtown musicians played together |
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| area of New Orleans where French-speaking Creoles lived who had access to European musical training |
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| book of essays by black individuals based on the idea that blacks could be equal to whites in intellectual and cultural matters |
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| group established to raise money for the University that sang spirtiuals and slave songs |
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| successor to Buddy Bolden, became the most famous musician in New Orleans after Bolden went to the mental institution |
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| black cornetist. considered the “first jazz musician” lived a hard life and died in a mental institution |
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Original Dixieland Jazz Band
first jazz band to record, Feb 1917 |
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| father of country blues; was among the first to record it |
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| groups with which Louis Armstrong made his first recordings as a leader |
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| father of ragtime music from Missouri |
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| composer who wrote many of the Broadway songs that would become the mainstay of the jazz repertoire |
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| trumpeter and one of the first great soloists |
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| one of the primary artists of the classic blues |
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| sweet jazz bandleader who invented symphonic jazz |
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| What choice best describes the characteristics of jazz? |
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| features a large degree of improvisation and a steady beat |
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| What are the standard instruments in a modern jazz rhythm section? |
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| piano, guitar, bass, drum set |
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| How did America’s love of novelty acts influence the early development of jazz? |
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| gave jazz a reputation as a non-serious form of music |
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| What was the name of the group who made the first jazz recording? |
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| What are the characteristics of minstrel shows? |
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| white performers who played stereotyped black characters, low pay, musical acts |
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| What are the characteristics of Vaudeville Shows? |
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| higher pay and featured musical acts along with juggling, acrobatics and magic |
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| Why were Broadway and Tin Pan Alley influential in the development of jazz? |
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| songs written there became standards of the jazz repertoire |
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| What was the standard instrumentation of a Dixieland group? |
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| clarinet, trumpet, trombone, piano, banjo, tuba, drums |
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| What choice below best describes the negative influences on jazz in its early history? |
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| associations with blacks, poorly trained musicians, alcohol, novelty acts and sex |
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| What were the names of the two ethnic groups important to the development of jazz in New Orleans? |
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| Creoles of Color and Quadroons/Octoroons |
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| What was the line of succession of New Orleans Cornetists? |
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| Buddy Bolden, Freddie Keppard, Joe Oliver, Louis Armstrong |
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| Why was New Orleans significant in the development of jazz? |
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| It was a mixture of cultures that helped spread early jazz to both blacks and whites |
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| What was the significance of Congo Square to early jazz? |
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| It was a gathering place where former slaves could meet and perform music of their home countries |
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| How did jazz impact society in the period we’ve been discussing? |
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| It caused controversy due to its roots in African music and association with bars and prostitution |
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| What are the characteristics of West African music? |
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| improvised, taught by ear, part of everyday life, layers of rhythm |
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| What are the characteristics of European music? |
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| trained musicians, used written music, for entertainment, sophisticated forms and harmony |
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| How did Louis Armstrong influence Jazz? |
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| was one of the first great soloists who changed the focus from group to individual improvisation |
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| What are three early predecessors to jazz? |
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| spirituals, ragtime, & marches |
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| What choice describes what the form of a piece of music is? |
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| The organization of sections is a piece of music |
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| How were country blues different from slave songs and spirituals? |
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| country blues were about negative events in one’s life, slave songs and spirituals were about going to a better life in the promised land after death |
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| What were three elements that contributed to the nationwide spread of Dixieland and jazz? |
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| The Great Migration, the Harlem Renaissance, and the Blues craze |
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