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| basis of music during the Middle Ages and the Renaissance |
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| at the American Conservatory |
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| experimentalism (Charles Ives) |
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Artistic and musical movements focusing on extreme emotions, such as fear or anguish.
Charles Ives- degree from yale. Composed in isolation: dissonance polytonality and polyrythms |
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| nationalism (Aaron Copeland) |
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| 19th century movement that stressed national identity. Aaron copland |
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| Tin Pan Alley composer, NYC, incorporates jazz elements |
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| type of music seeking the greatest effect from the least amount of musical material. Glass is a mucial composer |
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| all elements of music can be organized into a sequence…pitch, rythym,dynamics,timbre, articulation |
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Chance music-
Prepared piano-
Electronic music- |
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| allows preformers to make choices in performance. |
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| music manipulation of tape or recorded sounds |
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| unclassified French composer that was interested in Gregorian chant. |
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One of most influential postwar musical figures in Europe
French and composer
Made series for pianist’s: pitch, duration, attack (the way the pianist strikes the note) and dynamics |
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Poland
wrote St. Luke’s Passion |
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born in Los Angeles
son of an inventor
studied with Schoenberg
“Everything we do is music”
left musical talents to chance |
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“Sometimes”
African American composer in St. Louis
Has degrees from: Washington university in St. Louis, Univ. of Iowa, and Univ. of Illinois
Chairman of music at Univ. of California at Berkley
Elected to American Academy of Arts and Letters
Specialized in electronic music |
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born in Houston in 1932
1992 won a fellowship for National Endowment of the Arts
Served as composer-in-residence at several colleges |
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born in Florida in 1939
studied at Julliard
composed a Pulitzer Prize winning symphony
first composer-in-residence at Carnegie Hall |
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Most popular jazz of the 1930’s and 1940’s
Usually played larger bands
larger number of performers than Dixielamd |
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| Jazz technique- (dab dab dut dud dat) |
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| popular songs late 19th and 20th century, syncopated, Brass bands- John Philip Souza. Black Gospel music. The blues. Ragtime. New Orleans important place |
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fast paced piano, originated from blues
early jazz with highly syncopated music |
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| jazz piano style evolving from ragtime |
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| Little Richard, Good Golly Miss Molly |
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| upbeat syncopated rhythms using brass instruments and such |
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| Style of jazz w/ fast tempo, improvisation, fast notes |
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| white musicians influenced by black bebop musicians, has “smooth” feel |
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| jazz with no limits or rules, primitive sounding |
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| combines jazz and rock music |
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born in 1868
got job as pianist in Maple Leaf saloon and became Maple Leaf Rag
died in 1917 completely unrecognized during lifetime |
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grew up in TN
helped support families by singing on street concerts
devoted life to singing blues
died as result of car crash in 1937
started recording in 1923 |
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most important 1920’s jazz figure
very talented trumpet player
career spanned over 50 years
made living in Chicago with New Orleans style |
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responsible for around 1,000 jazz compositions
very good pianist, composer, bandleader, songwriter
first to make full use of jazz orchestra |
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Thelonius Monk
played independently
bebop player |
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Dizzy Gillespie
played independently
bebop player |
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Charlie Parker
bebop player
played independently
self-destructive saxophonist
died of alcoholism and drug addiction |
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Miles Davis
formed small highly creative bebop ensembles |
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composer of songs and a jazz pianist
attracted to the concert hall |
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part of jazz revival
extreme virtuoso trumpet player
awarded Pulitzer Prize in 1997 |
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| Characteristics of American Popular Music |
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MASS APPEAL: crosses cultural lines, transcends regional, ethnic, ecnomic, political, educational bondaries
EASY TO LISTEN TO – melody and lyrics most important
SINGABLE MELODY – diatonic and repetitive
MUSIC AS A COMMODITY
SHIFT FROM SHEET MUSIC TO RECORDINGS |
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most important composer of the period
trained musician
Old Kentucky Home, O Susannah, Camptown Races, Jeannie with the Light Brown Hair, Old Folks at Home
His success led to the start of the commercialization of popular music |
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Lively, syncopated, often humorous, (combined with dances, skits, acrobats to make the show)
Written by whites for whites
Daddy Rice and Dan Emmett (Dixie and Old Dan Tucker) |
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| successor to minstrel shows |
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1890’s-1930’s
street in NYC where pop music publishers were located
Part of music industry devoted to pop music |
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| African-American influences |
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Performed by black musicians for black audiences
Ethnic Music that has risen to mainstream of American popular music (Gospel, Rhythm and Blues, Motown, Soul, Rap, Rock, New Age) |
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blues singing with boogie-woogie and electric guitar
Memphis and Chicago were important centers
Important Composers: Lightnin Hopkins, Muddy Waters, BB King, Fats Domino, Little Richard, Chuck Berry |
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Music flourished in Detroit in early 1960s
Black gospel, R&B, and Jazz influences
Berry Gordy
Gladys Knight and the Pips
Diana Ross and the Supremes
Stevie Wonder |
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Grew from inner-city New York
Part of hip-hop culture
Also includes street poetry
Graffiti
Break Dancing
Describes harsh reality of urban life for blacks |
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Arose in 1950’s
Elvis Presley
Bill Haley & the Comets
Little Richard |
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social upheavals, Beatles and “british invasion”, Dylan, Hendrix, folk musicians
Beatles
Rolling Stones
The Who
Pink Floyd |
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| acid rock, heavy metal, fusion, disco, punk, MTV, Michael Jackson, Madonn |
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| country, bluegrass, western swing |
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| absolute music/program music |
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music just for itself
has no meaning outside of the meaning of the music itself, and the feelings it produces in its listeners |
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| produces soud by vibrating air columns |
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| flattened or bent note played or sung in jazz |
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type of music streaming from African folk sounds
began as type of vocal music that crystallized in the 1890’s from many elements including African American folk songs, work songs, street cries |
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opposite extreme from controlled music
allows improvisation |
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| short programatic piece, usually for solo piano |
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instrumental work
usually 3 movements
highlights contrast: usually written fast, slow, fast |
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| constantly repeated musical phrase |
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| instrumental introduction in 3 short movements: fast, slow, fasth |
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| different meters sounding simultaneously |
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| multiple tones sounding simultaneously |
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| music with more than one line sounding at the same time |
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Regional music gone national
Hillbilly Music (folk music of the South)
Western Swing (larger ensemble with saxes brass, jazz rhythm sections)
Nashville |
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originally songs and dances of Appalachian Mts., continues of old-time sings
Bill Monroe, Lester Flatt & Earl Scruggs, Alison Krause |
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larger ensemble with saxes, brass, jazz rhythm sections (piano, bass drums)
Roy Rogers
Gene Autrey |
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| Schubert – “Die Forelle” (The Trout) – art song |
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Title: Duh
Composer: Franz Schubert
Style: Romantic
Instruments Used: Voice and Piano
Date/Musical Period: Romantic (1817)
Outstanding Musical Elements: charming in the way it sets the atmosphere
Performers: |
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| Schubert – 4th Movement from Quintet in A (“The Trout”) |
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Title: The Trout
Composer: Franz Schubert
Instruments: Violin, Viola, Cello, Double Bass, Piano |
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Title: Song Without Words
Composer: Fanny Mendelssohn Hensel
Style: Romantic Period
Date: 1840 |
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Title: Prelude in E Minor
Composer: Fryderyk Chopin
Date/Musical Period: Romantic (1836-39) |
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| Traumerei from Kinderscenen |
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The word that starts with a T means “Dreaming”
Composer: Robert Schumann
Date/Period: Romantic (1838) |
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Title: Transcendental Etude
Composer: Franz Liszt
Date/Period: Romantic (1839) |
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Title: The Moldau
Composer: Bedrich Smetana
Date/Musical Period: Romantic (1874)
Instruments: flutes, oboes, bassoons, french horns, trumpets, trombones, tuba, timpani, bass drum, triangle, cymbals, harp, strings |
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| Symphony No. 4 – 4th Movement |
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Title: 4th Movement from Symphony No. 4
Composer: Johannes Brahms
Date/Period: Romantic (1885)
Instruments: flutes, oboes, clarinets, bassoons, trombones, timpani, full string section |
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Title: aka Dumbarton Oaks
Composer: Igor Stravinsky
Date/Period: Neo-Classical (1938)
Instrument: flute, clarinet, bassoon, horns, violins, violas, cellos, basses |
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Title: Madonna from Pierrot Lunaire
Composer: Arnold Schoenberg
Date/Period: Expressionist (1912) |
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| 3rd Movement from 5 Movements for String Quartet Op. 5 |
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Composer: Anton Webern
Instrument: 2 violins, viola, cello
Date/Period: Classical Scene (1909) |
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| 2nd Movement from “Putnam’s Camp” from Three Places in New England |
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Composer: Charles Ives
Date/Period: aural collage; from classical scene (1903-11)
Instruments: flute/piccolo, oboe, clarinet, bassoon, horns, trumpets, trombones, tuba, piano, timpani, drums, cymbals, strings |
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| Fanfare for the Common Man |
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Title: Fanfare for the Common Man
Composer: Aaron Copland
Instruments: trumpets, horns, trombones, tuba, timpani, bass drum, tam-tam
Date/Period: Classical scene (1942) |
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Title: Sonata III from Sonatas & Interludes for Prepared Piano
Composer: John Cage
Instruments: Prepared piano
Date/Period: 1946-1948; idk the period |
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Title: Sometimes
Composer: Olly Wilson
Date: 1976
Instruments: Tenor and taped electronic sounds |
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Title: 3rd Movement from Symphony No. 1
Composer: Ellen Taaffe Zwilich
Date: 1983
Instruments: lots of them |
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Singer: Bessie Smith
Pianist: Clarence Williams
12-Bar Blues with AAB pattern
Date: 1925 |
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Title: It Don’t Mean a Thing
Composer: Duke Ellington
Date: 1932
Voice, 3 trumpets, trombones, saxophones, piano, banjo, bass, drums |
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Title: Hotter Than That
Composer: Louis Armstrong
32 measures
trumpet, clarinet, trombone, piano, banjo, guitar |
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Charlie Parker: alto sax
Al Haig: piano
Percy Heath: bass
Max Roach: drums
1953
Charlie Parker Quartet
AABA form
Bebop era |
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Scott Joplin
syncopated melody
1899
first instrumental sheet music to sell over 1 million copies |
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