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Musical Contexts - Coggle Diagram

- - - - Slendro (Chord Tones: 1, 2, 3, 5, 6)
      - Pelog (Chord Tones: 1, 2, 3, 4, 5, 6, 7)
    - - Gamelan Salendro (C#, D#, F#, G#, A#)
        
        The first popular scale people played. It has equidistant intervals tuning
      - Gamelan Degung (C, D, Eb, G, Ab)
        
        Introduced later with its own tuning consisting of intervals similar to those of Western music (This makes it special to Sudanese people)
- - - - An Instrumental Approach to the Voice
    - - Also known as New Orleans Jazz
      - Began in the early 1910s and was popular until the end of 1920s
      - 12 Bar Chord Structure in A Series of Improvisations
    - - Popular in the 1930s
    - - Rose in Prominence after World War II
    - - Popular in mid-1950s
      - Inspired by R&B, Gospel and Blues
    - - Popular in 1950s
      - Was a reaction against the cold technicality of Bebop
    - - Usage of Modes as the Basis for Improvisation
  - - - Types of Blues
        
        Chicago Blues
        
        More Solo Playing
        
        More Sophisticated
        
        Memphis Blues
        
        Delta Blue
        
        Country Blues
        
        Boogie Woogie
    - - Most Popular between 1895-1919
      - Invented by Ernest Hogan in the late 19th Century
      - Was the music for Cakewalks
        
        Dance Parody
        
        Black Slaves would mimic the fancy mannerisms of their owners and the best dance with the most elaborate steps would be awarded with a cakes
      - Notable Composers
        
        Scott Joplin
        
        Famous Piece: The Entertainer
        
        James Scott
      - Influenced Debussy
        
        Came across it sometime in 1900
        
        Was the first Classical composer to incorporate it in his music
        
        The Golliwog's Cakewalk
        
        Straightforward representation of a golliwog doll doing an exaggerated dance routine
        
        Parodies the theme from the Prelude to Wagner's opera, Trista and Isolde
    - - Led by Eva Gauthier
        
        Acquainted North Americans with Native traditional music
        
        Gave up singing high opera after being replaced last-minute for a 1910 Covent Garden production of the Delibes opera Lakme
        
        Left for Java to join her fiance
        
        Was inspired by natives playing traditional music; fascinated by the peculiar use of harmony
        
        Her pianist, Seelig, collected Malay songs from the repertoires of kroncong and stambul, a form of trans-ethic Indonesian folk theatre, adapting them for voice and piano in a music style influenced by Debussy and provided Gauthier with a number of these song arrangements and she liked them enough to commission some more
        
        She focused on her Javanese songs, which she combined with her knowledge and skill in modernist Western singing
        
        Important figures who watched the performance included Paul Whiteman, who then commissioned Gershwin to write a composition for his orchestra, resulting in the composition of Rhapsody in Blue
- - - - Driven by a Desire to Compose a Different Style of Music
        
        Composers (such as Debussy) got bored of the music from previous centuries and created their own style
        
        Used music and sounds to paint images and fantasies to tell a story instead of relying heavily on a melody
      - Inspired by Other Art Forms
        
        Impressionist art was conceived by Monet; a visual artist
        
        Many composers were inspired by his art and tried to incorporate the elements of ambiguity and imagery in the music.
    - - Gamelan Influence on Debussy
        
        The 1889 Paris World Exhibition brought the world to Paris and allowed Debussy to experience Gamelan music
        
        Debussy was exploring alternatives to the goal-driven European classical tradition and thus Javanese Gamelan came as a revelation for him
        
        He believed that Gamelan is able to "express every shade of meaning, even unmentionable shades", unlike traditional European harmony conventions which "confin[e] themselves in a traditional form"
        
        E.g. Pagodes