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Unit 5: Party Music (Chapter 19 (Instrumental Movements: Medieval and…
Unit 5: Party Music
Chapter 19
Instrumental Movements: Medieval and Renaissance Dance Music
Instrumental Music in the Middle Ages and Renaissance
Groundbreaking embellishments
Social disruption
Instrumental music flourished with dance
Published dance music books
Beginning in the 16th Century
Wide variety of dances:
slow pavane, fast saltarello, group ronde (circle or line dance)
Oral Tradition
Evidence in artwork & historical documents
Professionals & Amateurs
Instrumental Music inspires the dance
Categorized
Bas=soft=indoor
Haut=loud=outdoor
Types of instruments
recorder, lute, rebec=bas instruments
shawm, sakbut, cornetto, tabor, nakers=loud
trumpets=battle and fanfares
Tielman Susato (1510-1571)
Music Printer
Lived in area of the Netherlands
Renaissance Musician & Composer
secular and sacred works
played all brass and woodwind instruments
Antwerp city band
group of 5 instrumentalists
Dance Music
short
repeated sections
embellished by performers
LG 9
Danserye
(Three Dances)
Variety of instrumental dance types
Dances flow from one to another
Published in 1551
Duple meter
Consonant and Modal
Mostly homophonic
Binary Form: AABB
Embellishments
Fast paced with a strong beat and short repetitive phrases
instruments (shawms, sackbut, cornetto,tabor, tambourine)
Chapter 37
Marketing Music: Foster and Early "Popular" Song
The US changes and develops the European art song and opera
19th Century American Music POP Culture
European immigrants brought cultivated repertories to the US: operas, chamber music, symphonies
American Style Developed
Vernacular
American popular identity
Lighter music
Popular=Belongs to the People
POP Music:
Minstel shows
Parlor Songs
Marketing and POP Culture
Marketing
Minstrel-Variety shows
Black face
Plantation life
vastly different from real slave life
White performers
Publishing Companies
Parlor Songs
sweet, sentimental, nostalgic
Jeanie with the Light Brown Hair
Amateurs at home
reception or gathering place
Stephen Foster (1826-1864)
Professional Songwriter
Pittsburgh, PA
First hit
Oh! Susanna
Songs from minstrel shows published later as ballads and love songs
Mostly wrote parlor songs but some for minstrel shows
Sympathetic to abolitionist cause
LG 28
Foster's
Jeanie with the Light Brown Hair
Wrote 1853-54 after separation from wife
Bittersweet tone
Parlor Song
Anglo-Irish folk song tradition
Strophic AA'BA with piano prelude and postlude
Voice (tenor) and piano
Major key
Homophonic
Wavelike melody (moving up and down) with syllabic text setting
Chapter 51
End of an Era: Late 19th Century American Pop Music
Music for Marching Band
The Band Tradition
Music for brass bands
Roots
Revolutionary War regimental bands
18th Century US Marine Band
woodwinds, French horn, percussion
Civil War era bands
Concert & dance ensembles
Patrick S. Gilmore-leader
John Philip Sousa (1854-1932)
Born in Washington, DC
The "March" King
Wrote over 130 marches for band
Semper Fidelis
The Liberty Bell
Stars and Stripes Forever
The Washington Post
Conducted US Marine Band
1892 Formed Civilian group
Toured extensively
Sheet music sold incredibly well
Mass-marketing of recordings
sold recordings
Pre-Jazz: Ragtime Dances
African American style that modified Euro-American traditions
Rhythmic and melodic variation
Pianists accompanying social dancing
1890s
Scott Joplin (1868-1917)
Left home at age 14; played in honky-tonks and piano bars
Notice-performed ragtime at the World's Columbian Exposition in Chicago in 1893
Born in Texas
The "King of Ragtime"
Balanced phrasing and key structures with highly syncopated melodies
Strove to elevate ragtime to a serious art form
LG 42
Maple Leaf Rag
Piano roll performance
Piano plays itself, scroll with holes punched on it
Syncopated melody with steady accompaniment
Published in 1899
4 Sections
A-A-B-B-C-C-D-D
Maple Leaf Rag
sold a million copies
Joplin insisted on royalties rather than a flat payment
4 16-measure sections, called strains in a duple meter with steady beat in bass line
homophonic texture
Major key
Chapter 56
Jazz and Blues Traditions
Jazz Roots
Roots
West African traditions from 18th century slaves
call and response
vocal inflections
Euro-American vernacular traditions
New Orleans
Keeps evolving by incorporating many styles
Jazz traditionally associated with the U.S.
Famous Jazz Artists
Ella Fitzgerald
Billie Holiday
Louis Armstrong
Duke Ellington
Blues Roots
Blues traditionally associated with the U.S.
Roots
Civil War: Mississippi Delta Blues
Voiced difficulties of everyday life
Three-line stanzas
Twelve-measure harmonic patterns (12 bar blues)
Famous Blues Artists:
Charlie Patton
Bessie Smith
B.B. King
Louis Armstrong (1901-1971)
New Orleans Jazz scene
entertainer
Trumpet player
Band leader
Singer
"What a Wonderful World", not a single form
scat-singing
instrumental-like approach to singing
Actor
Billie Holiday (1915-1959)
Moved to NYC-sang at clubs in Brooklyn and Harlem
1933 discovered by a talent scout who arranged to record with Benny Goodman
Born in Philadelphia, PA
1935 recording with best jazz musicians of her day
Most famous song
Strange Fruit (1939)
not metered-her time (rubato)
Later life sad
Addictions and abusive relationships
No formal training
Learned by listening to Bessie Smith and Louis Armstrong
LG 47
Billie's Blues
1936
Mix of Jazz and Blues and Dance
12 bar blues
short introduction
6 choruses
pattern of melody and harmony pattern
voice, trumpet, clarinet, piano, guitar, string bass, drums
syncopated melody with pitch inflections (drop in pitch)
polyphonic texture
improvisation
The Swing or Big-Band Era
1930s-40s
Written, arranged, and composed vs. improvised
Larger group of players
2 trumpets, 1 cornet, 3 trombones, 4 saxophones (double on clarinet), 2 basses, guitar, drums, vibraphone, pinao
Wide audience-both white and black cultures
Dance association
Edward Kennedy "Duke" Ellington (1899-1974)
Studied Piano
1920s played in NYC jazz clubs
Washingtonians
Born in Washington, D.C.
Composer/arranger
Concern for structure resulted in complex forms
Composed music for his band with Billy Strayhorn
Major figure in the Harlem Renaissance
LG 48
Take the A Train
Swing style
Billy Strayhorn composed
32-bar song form- AABA
Intro followed by 3 choruses then coda
Lush, composed-out jazz style
Still some elements of improvisation
Call and response
Syncopation
syncopated themes
Riffs-repeated phrases
Bent notes-in and out of pitch
Shakes-brass extreme vibrato
Glissandos-fast up and down of pitches
jazz big band
quadruple meter