Please enable JavaScript.
Coggle requires JavaScript to display documents.
Unit 5 (Early 19th Century American Pop (Ch 37) (Stephen Foster (Foster’s…
Unit 5
Early 19th Century American Pop (Ch 37)
European immigrants brought cultivated repertories to the US
American Style Developed
Lighter music
Vernacular
American popular identity
Popular = Belongs to the people
POP music
Minstrel Shows
Parlor Songs
Marketing and POP Culture
Marketing
Minstrel - variety shows
White performers
Black face
Plantation Life
Publishing Companies
Parlor Songs
Amateurs at home
Stephen Foster
Professional Songwriter
Pittsburgh, PA
First hit
Oh Susanna
Mostly wrote for parlor songs but some for minstrel shows
Foster’s Jeanie with the Light Brown Hair
Parlor song
Wrote 1853-54 after separated from wife
Bittersweet tone
Anglo-Irish folk song tradition
Strophic AA’ BA
Voice and piano
Major Key
Homophonic
Ch 19
Dance music: Super Old School- Medieval & Renaissance
Groundbreaking embellishments
Social disruption
Instrumental music flourished with dance
Oral Tradition
Evidence in artwork and historical documents
Professionals and Amateurs
Published dance music books
Beginning in the sixteenth century
Wide variety of dances:
Slow pavance
Instrumental Music inspires the dance
Categorized
Bas = soft indoor
Haut = loud = out
Types of instruments
Recorder, lute, rebec= bas instruments
Shawm, sakbut, cornetto, tabor, nakers= loud
Tielman Susato
Renaissance musician and composer
Music printer
Lived area of the Netherlands
Dance music
Short
Repeated sections
Embellishments
Susato’s Danserye
Variety of Instrumental dances types
Dances flow from one to another
Published 1551
Duple meter
Consonant and modal
Mostly homophonic
Binary form: AA BB
Embellishments
Jazz & Blue Tradition (Ch 56)
Pre-Jazz: Ragtime Dance
1890s
African American style that modified Euro American traditions
Rhythmic and melodic variation
Pianists accompanying
Scott Joplin
Born in Texas
Left home at 14, played in honky-tonks and piano bars
Notice-Performed ragtime at the World’s 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
Joplin”s Maple Leaf Rag
Published 1899
Piano roll performance
Syncopated melody with steady accompaniment
4 sections
A-A-B-B-C-C-D-D
Maple Leaf Rag sold a million copies
Joplin insisted on royalties rather than flat payment
Repetition
Jazz Roots
Jazz traditionally associated with the US
Root
West African traditions from 18th century slaves
Call and response
Vocal inflection
Euro-American vernacular traditions
New Orleans
Keeps evolving by incorporating many styles
Famous Jazz Artists
Louis Armstrong
New Orleans Jazz Scene
Trumpet Player
Band leader
Singer
Actor
Ella Fitzgerald
Billie Holiday
Born in Philadelphia, PA
Moved NYC - sang at clubs in Brooklyn and Harlem
1933 discovered by a talent scout who arranged to record with Benny Goodman
1935 recording with best jazz musicians of her day
Sad later life
Abusive relationships and substance abuse problems
No formal training
Billie’s Blues
1936
Intersection between jazz and blues, also jazz and dance
Mix of Jazz and Blues and Dance
12 bar blues
Short intro
Six choruses
Pattern of melody and harmony pattern
Duke Ellington
Edward Kennedy “Duke” Ellington
Born in Washington, DC
Studied piano
1920s played in NYC jazz clubs
Washingtonians
Composer/arranger
Concern for structure resulted in complex forms
Take the A Train
Swing style
Billy Strayhorn composed
32 bar song form _ AABA
Intro followed by three choruses then coda
Lush, composed out jazz style
Still some elements of improvisation
Call and response
Syncopation
Riffs - repeated phrases
Bent Notes - in and out pitch
Glissandos > slide upward or downward between two notes.
Blues Roots
Blues traditionally associated with the US
Roots
Civil : Mississippi delta blues
Voiced difficulties of everyday life
The swing or Big band era
1930s -1940s
Written arranged and composed vs improvised
Larger groups of player
Wide audiences - white and black
Dance association
LG 9
Susato: Three Dances
Melody
Prominent tunes; short phrases
Rhythm/Meter
Lively Duple Meter
Harmony > Full Chords, consonant; ronde 2 is modal
Texture > Mostly homophonic
Form > Three binary form dance (each A-A-B-B)
Expression > Occasional embellishments
Performing Forces > Four-part instrumental group: loud wind band( shawn, cornetto, sackbut,tabor, tambourine)
LG 28
Foster: Jeanie with the Light Brown Hair
Melody > Wavelike (descending, then ascending); syllabic setting
Rhythm/meter > Moderate tempo in broad quadruple meter
Harmony > Major key, simple block - and broken chord accompaniment
Texture > Homophonic
Form > Strophic, in A-A'-B-A song form
Performing forces > Tenor and pianoforte
Text > Strophic poem by Foster (verse 1 only)
LG 42
Joplin: Maple Leaf Rag
Melody > Catchy syncopated, disjunct melodies
Rhythm/meter > Marchlike duple mete: syncopated in right hand, steady beat in bass
Harmony > Major key; shifts to a new key in C section (the trio); decorative rolled chords.
Texture > Homophonic: chordal accompaniment to the melody
Form > Dance made up of four sections(strains), each 16 measures and repeated: A-A-B-B-A-C-C-D-D
Performing forces > Joplin plays on a 1910 Steinway piano roll
LG 47
Holiday: Billie's Blues
Melody > Syncopated melodies with pitch inflections; free improvisations
Rhythm/meter > Slow tempo, 4/4 meter; steady rhythmic accompaniment under more complex, flexible solo lines
Harmony > Repeated harmonic progressions for each chorus (I-IV-I-V-I)
Texture > Polyphonic, with countermelodies against a solo voice or instrument
Form > 12-bar blues (introduction and six choruses; choruses 2,3,6 are vocal)
Expression > Laid back feeling, different moods in the solos
Performing forces > Holiday, vocal, with trumpet, clarinet, piano, guitar, string bass, and drums
Text > Chorus 2 is a typical blues text; the others are more free.
LG 48
Strayhorn: Take the A Train, by the Duke Ellington Orchestra
Melody > Disjunct, syncopated themes with call and response exchanges between instruments
Rhythm/meter > Broad quadruple meter, at a moderate tempo; syncopated rhythms, short riffs (repeated phrases)
Harmony > Complex, advanced harmonies; chromatic; modulates to another key.
Form > 32 bar song form (A-A-B-A) for each of three choruses, with introduction and coda
Expression > Animated movement with special jazz effects (bent notes, shakes, glissandos)
Timbre > Big-band sounds, with reed, brass, and percussion section
Performing forces > Jazz big band (trumpets, trombones, saxophones, piano, guitar, bass, drums); soloists: Duke Ellington (piano), Ray Nance (trumpet)
Music for Marching band (Ch 51)
The band tradition
Music for brass bands
Roots
Revolutionary War regimental bands
18th century US Marine Band
Civil War era bands
Concert & dance assemblies
Patrick S. Gilmore- leader
John Philip Sousa
Born in Washington, DC
The “March” King
Wrote over 130 marches for Band
Conducted US Marine Band
1892 Formed civilian group
Toured extensively
Sheet music sold incredibly well
Mass marketed recording