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Unit Five (Chapter 56 (American Intersections: Jazz and Blues Tradition…

- - - - American classical music
        
        part of U.S.A. for more than a century
        
        originated from West African musical traditions
        
        developed by slaves
        
        continuity with a lost homeland
        
        creative distraction from hard labor
        
        with heavy Euro-American vernacular traditions
        
        partly through a tradition of minstrelsy
        
        work songs
        
        communal songs that synchronize the rhythm of work
        
        ring shouts
        
        religious rituals that involved moving counterclockwise in a circle while praying, singing and clapping hands
        
        spirituals
        
        brought call and response
        
        distinctive vocal inflections
      - jazz bands
        
        played for popular dances
        
        popular from 1890's-1940's
      - has taken many forms
      - the two are not the same thing
        
        jazz
        
        New Orleans jazz
        
        New Orleans
        
        facilitated interactions across races and cultures
        
        where jazz gained momentum
        
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        depended on improvisation
        
        Louis "Satchmo" Armstrong
        
        transformed jazz into a solo art
        
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        scat-singing
        
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        Billy Holiday (1915-1959)
        
        natural singer
        
        never received formal training
        
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        "You never heard singing so slow, so lazy, with such a drawl"
        
        remarkable sense of pitch
        
        flawless delivery
        
        i.e. Lady Day
        
        born in Philadelphia, PA
        
        grew up in Baltimore, MD
        
        had barely any formal education
        
        moved to New York (1928)
        
        probably worked as a prostitute
        
        began singing in bars in 1930
        
        Brooklyn
        
        Harlem
        
        discovered in 1933 by a talent scout
        
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        1935
        
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        1940's
        
        drugs
        
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        alcohol
        
        abusive relationships
        
        died of cirrhosis of the liver
        
        age 44
        
        swing/big-band era
        
        1930's and 1940's
        
        bands needed arranged and composed music
        
        i.e. not improvised
        
        Edward Kennedy "Duke" Ellington (1899-1974)
        
        collaborated with Billy Strayhorn (1915-1967)
        
        in 1939
        
        classically trained pianist
        
        arranger and composer for the band
        
        together they wrote
        
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        difficult to distinguish their work
        
        first group went on the road in 1932
        
        remained popular until his death
        
        born in Washington D.C.
        
        began studying piano at age 7
        
        by the 1920's
        
        playing New York jazz clubs
        
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        highly talented pianist
        
        but rarely played extended solos for his group
        
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        mostly self taught
        
        considered structure
        
        lead to complex forms not usually associated with jazz
        
        his most famous compositions
        
        Black and Tan Fantasy (1927)
        
        Mood Indigo (1930)
        
        Sophisticated Lady (1933)
        
        Ko-Ko (1940)
        
        Black Brown and Beige (1943)
        
        scored Anatomy of a Murder (1959)
        
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        bebop, cool, Latin jazz
        
        end of 1940's
        
        musicians were rebelling against the big band
        
        developing new styles
        
        bebop
        
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        Latin influence
        
        dance rhythms
        
        percussion instruments
        
        conga drum
        
        bongos
        
        cowbells
        
        brought into mainstream by Xavier Cugat
        
        especially for the rumba
        
        1930's
        
        Latin numbers by Duke Ellington
        
        Caravan ()1940
        
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        Conga Brava (1940)
        
        blues
        
        developed after civil war
        
        in south
        
        Mississippi Delta
        
        as country or rural blues
        
        male singer
        
        accompanied by steel string guitar
        
        by the turn of the century
        
        text
        
        usually three-line stanza
        
        first two lines are identical
        
        vocal lines feature melodic "pitch bending"
        
        i.e. blue notes
        
        sung over standard harmonic progressions
        
        i.e. chord changes
        
        almost always twelve bars
        
        sometimes sixteen bars
        
        influence
        
        work songs
        
        folk songs
        
        of poor Euro-Americans in the southern Appalachians
        
        famous singers
        
        Charlie Patton (c.1891-1934)
        
        Bessie Smith (1894-1937)
        
        B.B. King ("King of the Blues") (1925-2015)
  - - - form
        
        thirty-two bar song form
        
        four phrases
        
        A-A-B-A
        
        makes a chorus
        
        of eight measures
      - medium
        
        2 trumpets
        
        1 cornet
        
        3 trombones
        
        4 saxophones
        
        some doubling as clarinet
        
        2 string basses
        
        guitar
        
        drums
        
        vibraphone
        
        piano
      - introduction
        
        features piano
        
        Duke Ellington
        
        followed by 3 choruses
        
        first chorus
        
        saxophones present memorable tune
        
        followed by by muted trumpets and trombones
        
        call and response
        
        second chorus
        
        stars band member Ray Nance
        
        muted trumpet
        
        underlying conversation in the reeds
        
        masterful improvisation
        
        bent notes
        
        shakes
        
        shaking the lips to fluctuate between pitches
        
        glissandos
        
        energetic four measure interlude between 2nd and 3rd chorus
        
        third chorus
        
        another trumpet solo
        
        open
        
        i.e. unmuted
        
        coda
        
        big band signature
        
        repeats the opening eight bars of the piece twice
        
        each time more softly
      - Strayhorn
      - 1941
      - quadruple meter
      - disjunct contour
  - - - Holiday
      - melody
        
        syncopated
        
        pitch inflections
        
        i.e. blues notes
        
        i.e. bent notes
        
        rhythm section provides steady accompaniment
        
        guitar
        
        bass
        
        piano
        
        drums
      - medium
        
        voice
        
        Billie Holiday
        
        small group of instruments
        
        guitar
        
        bass
        
        piano
        
        drums
        
        clarinet
        
        trumpet
      - form
        
        12 bar blues
        
        short intro
        
        6 12 bar choruses
      - ployphonic
      - performers
        
        Billie Holiday
        
        vocals
        
        Bunny Berigan
        
        trumpet
        
        Artie Shaw
        
        clarinet
        
        Joe Bushkin
        
        piano
        
        Dick McDonough
        
        guitar
        
        Pete Peterson
        
        string bass
        
        Cozy Cole
        
        drums
      - improvisation
        
        voice
        
        rubato
        
        clarinet
        
        trumpet
- - - - how instrumental music first flourished
      - old dance music
        
        just as energizing to them as current day is to us
        
        largely an oral tradition
        
        relied on improvisation skills
        
        current knowledge stems from artworks and historical documents
        
        same families of instruments as today
        
        strings
        
        woodwinds
        
        brass
        
        trumpet
        
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        percussion
        
        keyboard
        
        classified by volume
        
        bas (soft, indoor)
        
        recorder
        
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        lute
        
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        various string instruments
        
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        haut (loud, outdoor)
        
        played mainly for outdoor tournaments or processions
        
        made up the civic wind band
        
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        shawm
        
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        sackbut
        
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        cornetto
        
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        music notations
        
        first occurrences from a handful of dances in the late medieval manuscripts
        
        invention of the printing press
        
        books of dance music became widely available
        
        professionals
        
        amateurs
        
        included a wide variety of dance types
        
        pavane
        
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        saltarello
        
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        ronde
        
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        lots of embellishments
        
        melodic embellishments
      - Tielman Susato (c. 1515-c. 1571)
        
        printer
        
        musician
        
        jack of all trades
        
        composed/arranged different styles of music
        
        secular
        
        sacred
        
        played virtually all brass and woodwind instruments
        
        member of Antwerp city band
        
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  - - - Susato
      - features a variety of popular dance types
        
        3 rondes
        
        features loud civic style wind band
        
        shawms
        
        sackbut
        
        cornetto
        
        tabor
        
        tambourine
        
        Binary repeated
        
        AABB
        
        includes transition between second and third dance
        
        mostly homophonic
        
        harmony
        
        consonant
        
        full triads
        
        strong beat
        
        catchy tune
        
        short repeated phrases
        
        first dance is about 30 seconds long
        
        dances flow from one to another
        
        final chord and bow
      - lots of embellishments
      - 1551
- - - - meaning
        
        belongs to the people
        
        successful
        
        makes lots of money
      - Foster's music
        
        Stephen Foster (1826-1864)
        
        built the foundation for commercializing music
        
        made very little profit himself
        
        died a penniless alchoholic
        
        age 37
        
        most of his income came from minstrelsy
        
        although he was an abolitionist
        
        hoped his songs would develop compassion for the slaves
        
        especially much of his early music
        
        later turned to ballads and love songs
        
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        evoke themes of youth and happiness
        
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        from 1847 on, under contract with the Christy Minstrels
        
        specialized in performing black face
        
        for them he wrote
        
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        grew outside of Pittsburgh
        
        attended Washington and Jefferson College
        
        then just Jefferson College
        
        did not complete his degree
        
        moved to Cincinnati
        
        wrote his first song
        
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        one of the first composers
        
        not a performer
        
        parlor songs
        
        combination of
        
        operas
        
        popular among the upper class
        
        folk songs
        
        great financial success
        
        nostalgic
        
        helped 2nd and 3rd generation immigrants fantasize about the old counry
        
        mostly meant for amateurs
        
        in the parlor
        
        a reception or gathering place
        
        some became popular through the minstrel show
        
        i.e. minstrelsy
        
        black face
        
        acting out idealized "scenes from the plantation"
        
        shaped black stereotypes
        
        Camptown Races
        
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        Old Folks at Home
        
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  - - - Foster
        
        written just after he separated with his wife
      - originally it was Jennie
        
        for Jane Denny McDowell
      - bittersweet tone
      - draws from popular Anglo-Irish folk song
      - strophic form
        
        A-A'-B-A
        
        for each verse
      - set for solo voice and piano
        
        appropriate for amateurs
        
        tenor and pianoforte in this case
      - not a huge success during Foster's life time
        
        brought to millions in 1941 due to a licensing dispute over the popular music of the day. Leading to radio broadcasters airing older songs
      - Ballad
      - mostly homophonic
      - two-verse poem
        
        by Stephen Foster
      - melody
        
        fairly simple piano accmpaniemt
        
        block chords
        
        broken chords
        
        wavelike melody
        
        by tenor
        
        going up and down
        
        syllabic text setting
      - major key
      - begins with piano prelude
        
        ends with a piano postlude
- - - - makes us want to move to it
        
        marching or dancing
        
        marching
        
        brass bands
        
        American vernacular tradition of the 1800s
        
        outgrowth of British military bands
        
        wind groups thrived in the U.S.
        
        regimental bands that played during the revolutionary wart
        
        U.S. Marine Band
        
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        Civil War
        
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        John Philip Sousa (1854-1932)
        
        the "March King"
        
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        conducted the U.S. Marine Band (1880-1892)
        
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        wrote over 130 marches
        
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        warned against recordings
        
        dancing
        
        bands were popular
        
        but solo pianists were dependable
        
        ragtime
        
        style developed primarily by black Americans
        
        took Euro-American traditions and modified them through rhythmic and melodic variation
        
        vital precursor of jazz
        
        Scott Joplin (1868)
        
        "King of Ragtime"
        
        best remembered for his piano rags
        
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        born in Texarkana, Texas
        
        had a musical family
        
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        started learning guitar and bugle early
        
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        left home at 14
        
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        gained public notice when he and a small band playing at the 1893 World Exposition in Chicago
        
        received formal training at the George R. Smith College in Sedalia
        
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        eventually moved to New York
        
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        attempted to elevate ragtime
        
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  - - - Jospin
      - best known rag
      - regular, sectional form
        
        fourteen sections (strains)
        
        repeated before the next one begins
        
        moderate duple meter
        
        A-A-B-B-A-C-C-D-D
      - actual recording performed by Jospin
        
        recorded y a piano roll
        
        long strip of paper with holes punched in it
        
        input variable for player piano
      - piano rag
      - 1899
      - ragtime
      - four distinct catchy melodies
        
        syncopated
      - major key