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MUH 2019 Week of February 8th- February 12th daily participation worksheets

by: Heya_Lanayia

MUH 2019 Week of February 8th- February 12th daily participation worksheets MUH 2019

Marketplace > Florida State University > Music > MUH 2019 > MUH 2019 Week of February 8th February 12th daily participation worksheets
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Participation sheets from 2/8/16 - 2/12/16
Modern Popular Music
Chris Orr
Class Notes
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This 5 page Class Notes was uploaded by Heya_Lanayia on Sunday February 14, 2016. The Class Notes belongs to MUH 2019 at Florida State University taught by Chris Orr in Spring 2016. Since its upload, it has received 644 views. For similar materials see Modern Popular Music in Music at Florida State University.


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Date Created: 02/14/16
Attendance Worksheet: Monday, February 8 th Music of the Early 1960s, Early Soul 1. Briefly describe social changes associated most directly with the development of soul music in the mid- to late- 1960s. How does the shift in musical style from Motown to the soul music of Stax records reflect these changes? Social changes most directly associated with the development of soul music in the mid-late 1960s include the assassination of Malcolm X, passage of voting rights, Black power movements, March from Selma to Montgomery, and Same Cooke’s “A Change is Gonna Come.” This shift in musical style from Motown to Soul was reflected in these changes as all of these changes have to do with black expression, which is what Soul music represents 2. Ray Charles’ recording of the Tin Pan Alley standard “Georgia on My Mind” can be seen as an unprecedented juxtaposition of styles within one song. Name one way in which Charles’ recording preserves and even augments the original song’s sentimental ‘schmaltz,’ and one way in which it incorporates other musical styles: Ray Charles’ recording preserves the original song’s sentimental ‘schmaltz’ through the use of background singers, notated/ planned notes, orchestra, jazz piano sound, and his Gospel influenced voice He incorporates other musical styles by combining sacred religious aspects and sexual sounds (moans/ vocalisms) and lyrics. 3. In contrast to Ray Charles, Sam Cooke sang in a ____cool__________ ____smooth_________ vocal style. 4. What was the lasting social significance of Sam Cooke’s song, “A Change is Gonna Come?” The lasting social significance of Sam Cooke’s “A Change is Gonna Come” is that it was adopted as the anthem of the Civil Rights Movement. 5. In contrast to Motown’s highly produced “sound of young America,” Stax Records advocated a ___raw______ , “ ____down______ - ____home______ “ sound that was marketed specifically to ________African Americans___________ . 6. James Brown’s musical style is characterized by ______maximalist_________ emotion and ____minimalist___________ grooves by largely abandoning __harmonic__________ changes and focusing instead _____rhythm_______ and ____timbre_________ , often highlighting repetitions of single words and syncopated syllables. Discussion Questions: Brackett Ch. 33, “The Godfather of Soul and the Beginnings of Funk” 7. Describe some of the influences—musical and otherwise—that James Brown identifies as having informed his own music. In particular, what aspects of his religious upbringing are manifested in his performances and recordings? Influences that James Brown identifies as having informed his own music include church attendance, Louis Jordan, Blues, Gospel, Jazz, and Silas Green’s minstrel shows. Religious aspects that manifested in his performances and recordings include shouting, heavy crowd participation, and Bishop Grace; who inspires the cape, high hair, and fancy suits. 8. Besides the blues and R&B, what additional musical genre does James Brown list as often forgotten when discussing the development of soul? (182) Jazz Participation worksheet: Wednesday February 10 - (Group Discussion Day, Leader #2) Ch. 3a: “Black Music’s on Top; White jazz Stagnant” by Marvin Freedman 1. What is essentialism? How does Freedman complicate issues of racial stereotyping even as he seems to be attempting to counter them? Essentialism is the belief that “Black Music” consist of specific stylistic elements that are transmitted genetically. Freedman complicated this issue of racial stereotyping because by trying to counter them he ends up more clearly defining these stereotypes. 2. How do you think Freedman would define and distinguish between “black” and “white” music? What are the problems with trying to construct concrete categories of aesthetic taste around racial identifiers? According to Freedman white music is colder, cleaner, and more conscious. Black music on the other hand is richer, and more loose and relaxed. Trying to construct concrete categories is problematic as there will always be musicians and sounds that don’t completely fit into these categories 3. What do you think of Freedman’s claim that “the fight between black and white is good” for the development of popular music styles? (16) According to Freedman, in what ways is black music winning the fight at this time? Freedman’s argument seems logical, but probably unlikely. Although there is a racial division in the music industry, and there is competition to be the best, the artists probably don’t fight each other to prove a particular race superior Ch. 65: R&B in the 1980s: To Cross Over or Not to Cross Over? 4. Why does George see the temptation for crossover success as dangerous for Black artists in the 1980s? George saw this temptation as dangerous as it had the potential to ruin careers. Although the crossover was a success for some artists (Prince and Michael Jackson), this was rare, and it was more likely that the artist would ruin their career. Bryson tried to crossover, but he failed as his old audience hated the new sound, and without a hit the white didn’t care for him; leaving him with no audience and therefore no career. 5. Why does George hold up Frankie Beverly and Anita Baker as emblems of Black artists who didn’t sell out? George holds up these particular artists because they become stronger by not selling out, and also helped paved the way for other artists that would come after them by encouraging them to not change who they were for fame. 6. Despite his criticisms, what are the concessions George makes to the careers of Michael Jackson and Prince at the end of the article? How are both of these artists “musical historians?” Despite criticisms, concessions George makes about Michael Jackson’s and Prince’s careers include how they embraced the concept of retronuevo (incorporating old musical techniques into their music), were very talented, influential, and added a lot of new musical elements to black music. Both of these artists also set new standards of levels of independency among black musicians. 62b: “I’m White! What’s Wrong with Michael Jackson” by Greg Tate 7. Why does Tate call Jackson a “casualty of America’s ongoing race war?” Why might this assertion be problematic? (365) Tate called Jackson a “casualty of America’s ongoing race war” because by Jackson selling out his race (via abandoning his black features) he greatly hurt the black side of the race war. This assertion could be problematic because not everyone feels like this, therefore it be seen as offensive. 8. What are the three reasons Tate gives for the “pejorative notions about blacks in this country,” and how do some of these reasons relate to Berry Gordy’s vision of Motown? According to Tate, what is the crucial difference between Gordy’s conception of ‘crossover’ and Jackson’s? (365) Three reasons Tates gives for the “pejorative notions about blacks in this country” are slavery, minstrelsy, and black bourgeoisie aspirations. The crucial difference between Gordy’s cross and that of Michael Jackson is that Gordy’s cross over didn’t preclude the belief that black is beautiful, while Jackson’s crossover did (through abandoning his black features). 9. What is Tate’s opinion of Jackson’s new album Bad? Why does he feel that the album shows Jackson’s “own race hatred?” (367) Do you find Tate’s assessments fair? What about this review do you see as problematic, overly simplified, or even completely mistaken or offensive? Tate had nothing positive to say about Jackson’s album. He says that the only good thing about the album is that it was written by the same person that wrote Thriller. He thinks the album shows self-hated towards his race mainly through his “Bad” music video, where he essentially tells his fellow African American Brothers that they’re not anything. It’s overly simplified and offensive to just say he hated hit race, when in reality he just did what he felt he had to in order to get more sales. Although he did “sell out” his race for more sales, one can’t say that based off this that he hated his race.


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