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Unit 5: Party Music (LG (9: Susato's Danserye (variety of instrumental…
Unit 5: Party Music
LG
9: Susato's Danserye
variety of instrumental dance types
dances flow from one to another
published 1551
duple meter
consonant and modal
mostly homophonic
binary form: AABB
embellishments
28: Foster's Jeanie with the Light Brown Hair
parlor song
wrote 1853-54 after separation from wife
bittersweet tone
anglo-irish folk song tradition
strophic AA'BA
voice and piano
major key
homophonic
42: Joplin's Maple Leaf Rag
published 1899
piano roll performance
syncopated melody with steady accompaniment
4 sections
AABBCCDD
maple leaf rag sold 1 mil copies
Joplin insisted on royalties rather than a flat payment
47: Holliday, Billies Blues
1936
intersections between jazz and blues and also jazz and dance
12 bar blues
short intro
6 choruses
melody and harmony pattern
48: Take the A Train
swing style
composed by Billy Strayhorn
32 bar song form- AABA
intro, followed by 3 choruses, coda
lush, composed out jazz style
some elements of improvision
call and response
syncopation
riffs:repeated phrases
bent notes: in and out of pitch
shakes: brass extreme vibrato
glissandos: fast up and down of pitch
Ch. 19
Medieval & Renaissance
groundbreaking embellishments
social disruption
instrumental music flourished with dance
oral tradition
evidence in artwork and history documents
professionals and amateurs
published dance music books
beginning in the 16th century
instrumental music
bas: soft/indoor
recorder, lute, rebec
haut: loud/outdoor
shawm, sackbut, cornetto
Tielman Susato (1510-1517)
renaissance musician & composer
music printer
lived in the Netherlands
Ch. 37
Early 19th Century American pop music
european immigrants brought cultivated repertories to the US
American style developed
lighter music
vernacular
american popular identity
popular=belongs to the people
pop music
minstel shows
parlor songs
marketing and pop culture
minstrel- variety shows
white performers
black face
plantation life
publishing companies
parlor songs
amateurs at home
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
Ch. 51
Late 19th century American pop music
music for marching bands
roots
revolutionary war regimental bands
18th century US marine band
Civil war era bands
concert and dance assemblies
Patrick S Gilmore- leader
John Philip Sousa (1854-1932)
born in DC
the "march king"
wrote over 130 marches for band
"stars and stripes forever"
"semper fidelis"
"the liberty bell"
conducted US marine band
1892- formed civilian group
toured extensively
sheet music sold incredibly well
mass marketing of recordings
Pre-Jazz: ragtime
1890s
african american style that modified Euro american traditions
rhythmic and melodic variation
pianists accompanying social traditions
Scott Joplin (1868-1917)
born in Texas
left home at 14; played in honky tonks and piano bars
notice- performed ragtime at the worlds columbian exposition in chicago in 1893
the "king of ragtime"
balanced phrasing and key structures with highly
syncopated melodies
strove to elevate ragtime to a serious art form
Ch. 56
jazz and blues traditions
jazz: roots in African traditions, Western popular art music, and African American ceremonial and work songs
blues was an essential factor in the development of New Orleans jazz traditions
drums, gourds, mouth harp, banjo
strong underlying pulse with syncopations and polyrhythm
Louis "Satchmo" Armstrong
trumpet player
transformed jazz into a solo art that presented improvised fantasias on chord changes
scat-singing: instrumental like approach to singing
his style was highly influential due to his improvision and distinct inflections
Billie Holiday
intersection between jazz and blues
born in Philly, PA
sang at clubs in Brookyln, Harlem NY
Strange Fruit (1939)- most famous song
later life: abused/addictions to alcohol and drugs
no formal training
bebop, cool, Latin jazz
blues: a genre based on three-line stanzas set to a repeating harmonic pattern, essential in the rise of jazz
voiced the difficulties of everyday life
blue notes: pitch bending
Charlie Patton, Bessie Smith, B.B. King
derived from the work songs of southern blacks, may owe some elements to the folk songs of poor Euro-Americans in the southern Apps
chorus: single statement of a melodic harmonic pattern
Duke Ellington/swing era
1930s/40s
Duke Ellington began on the road in 1932
unique, big band style jazz won over a wide audience both black and white
1920s played in NYC jazz clubs
major harlem renaissance figure
composer/arranger
swing/big band era
bands needed arranged and composed music rather than improvised work
larger group of players
2 trumpets, 1 cornet, 3 trombones, 4 sax, 2 bases, 1 guitar, drums, vibraphone, piano