Please enable JavaScript.
Coggle requires JavaScript to display documents.
unit 5 party music (chapter 56 (Edward Kennedy “Duke” Ellington…
unit 5 party music
chapter 56
Scott Joplin (1868–1917)
Left home at age fourteen; played in
honky-tonks and piano bars
• Notice- Performed ragtime at the
World’s Columbian Exposition in
Chicago in 1893
• The “King of Ragtime”
prejazz- ragtime dances
1890s
• African American style that modified EuroAmerican
traditions
• Rhythmic and melodic variation
• Pianists accompanying social dancing
the swing or big band era
• 1930s-40s
• Written, arranged, and composed vs. improvised
• Larger group of players
• 2 Trumpets, one cornet, 3 trombones, 4 saxophones (double on clarinet), 2
basses, guitar, drums, vibraphone, and piano.
• Wide audience- both white and black cultures
Edward Kennedy “Duke”
Ellington (1899–1974)
Studied piano
• 1920s played in NYC jazz clubs
• Washingtonians
• Composer/arranger
• Concern for structure resulted in
complex forms
• Composed music for his band with
Billy Strayhorn
• Major figure in the Harlem Renaissance
Billie Hoilday (1915-1959)
Born in Philadephia, 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
• Most famous song
• Strange Fruit (1939)
Louis Armstrong (1901-1971)
New Orleans Jazz scene
• Trumpet player
• Band Leader
• Singer
• Actor
Jazz roots
Jazz traditionally associated with the U.S.
• 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
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)
chapter 37
19th century american music pop culture
European immigrants brought cultivated repertories to the US
• Opera, chamber music, symphonies
• American Style Developed
• Lighter music
• Vernacular
• American popular identity
• Popular = Belongs to the People
• POP Music:
• Minstel Shows
• Parlor Songs
Marketing an dpop culture
• Marketing
• 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
Listen guides 28, 42, 47, 48
28-Foster’s Jeanie with the Light Brown Hair
42-Joplin’s Maple Leaf Rag
• 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 a flat
piano performance
published in1899
47-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
48- Take the A train
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 of pitch
• Shakes- brass extreme vibrato
• Glissandos- fast up and down of pitches
swing style
• Parlor Song
• Wrote 1853-54 after separate from wife
• Bittersweet tone
• Anglo-Irish folk song tradition
• Strophic A A’ B A
• Voice and piano
• Major key
• Homophonic
Chapter 51
music for marching band
John Philip Sousa (1854-1932)
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-marketing of recordings
band tradition
Music for brass bands in Britain
• Roots
• Revolutionary War regimental bands
• 18th century US Marine Band
• Civil War era bands
• Concert & dance assemblies
• Patrick S. Gilmore- leader