Ethnomusicology 50A - History of Jazz
Ethnomusicology 50A - History of Jazz Ethnomu 50A
Popular in Jazz in American Culture
Popular in Department
This 4 page Class Notes was uploaded by Franca Park on Saturday October 1, 2016. The Class Notes belongs to Ethnomu 50A at University of California - Los Angeles taught by Harrison, Charley in Fall 2016. Since its upload, it has received 55 views.
Reviews for Ethnomusicology 50A - History of Jazz
Report this Material
What is Karma?
Karma is the currency of StudySoup.
You can buy or earn more Karma at anytime and redeem it for class notes, study guides, flashcards, and more!
Date Created: 10/01/16
JAZZ 50A Week 0 09/22/16 Midterm and final Multiple choice, 100 questions Textbook, readings, listenings Listening section; recognize song, title, genre, performer; associate diff elements of song; 20 questions; 10/16 songs on the test Final is on 12/01/16 Digital Audio Reserve Password: swing Week 1 – 09/27/16 What is jazz? Rhythm, improvisation, jazz scales, twelve bar blues Trumpet, bass, piano, guitar, saxophone, trombone, drums, flute, violin, marching band, symphony orchestra Syncopation – notes getting more emphasis/accent, syncopation off the beat Used to have negative connotations; bars, dark smokey night clubs; “don’t introduce youth to jazz,” acceptable way was to call jazz “stage” Jazz 50A definition: 1. Improvisation – compose and preform simultaneously; spontaneous composition, creating/coming up with melodic material on the spot o When a musician improvises, the musician creates a new melody on the spot o “Essence of jazz,” element that draws musicians in, expression of personal creativity, happens in the moment o How do I choose which notes to play? Melody chords w/o melody create new melody that is compatible with those chords Challenge is to come up with a melody with not so much dissonance, sound good to the ear 2. Jazz swing feeling – anything with a rhythmic bounce that makes you want to move/groove, has an energy to it, incorporates syncopation o Foundation, provides something for musicians to build on o If tempo is slow enough (EX: ballad), not necessarily going to feel the groove Most jazz is instrumental Songs Almost all songs have two components: 1. Melody 2. Harmony Chord – collection of three or more notes Most songs have multiple chords, one chord my lead to another and another, etc. Chord progression/harmonic progression/chord changes/the changes – sequence of chords Dissonance – may have “odd rub” to the ear Jazz phrasing – “speech patterns” Arrangement – Recomposition of a song, change the key, change the feel, change the instruments Week 1 – 09/29/16 Instrument roles and roles of the musician 1. Leader o Everyone has equal share o Leader is the organizer of the gig, goes to club owner to arrange to play a certain date, their name is on the recording or the marquee outside the venue, “most recognizable out front” o Two leaders = coleaders o The leader doesn’t necessarily play the melody all the time, depends on who else is in the band o Picks song or “calling the tune,” how fast or slow, how loud or soft to play song 2. Sidemen o Sideman/sidemen are everyone else in the band o Leader selects sidemen, pick musicians w/ similar interpersonal and musical personality affects the way you improvise Leaders don’t always have to be leaders, sidemen don’t always have to be sidemen Performance role; one person in melody/solo (improvising) role, everybody else accompany role; can move in and out of roles, take turns Song form (70% of jazz songs) 1. AABA – usually each of the letters last 8 bars/measures o The letters describe melodic/harmonic content o After AABA, go back to the top and play again, but don’t play melody, instead let someone improvise o Most common popular song form into the 1960s o Minimum of 32 bars/measures long o Musicians refer to the “B” section as the “bridge” One chorus = full song form Ensemble art – everyone contributes to the overall product 2. Twelve bar blues o Implies a certain chord progression o Only has 3 different chords, might interject other chords into it Skills that a good improviser needs Greater command of your instrument better improviser you are More practice and performing experience Without changing function or purpose of chord, leader add a little depth or make richer sounding, make it more interesting; improviser should react to that; accompanier can also react to that Highly developed listening Express personal creativity, flows naturally Don’t have to be able to read music to be able to improvise Belief that being able to read music, hurt musical skill Discussion 1 – 09/30/16 Improvisation Instruments playing behind, after, in between beats Collective improvisation – everyone does a little improvising Instruments Banjo, cornet, cymbals/woodblock, clarinet, trombone Twelve bar blues Time is divided into measures/bars Meter – # of beats each bar has; most popular is 4:4 Major/minor scales Tonic – 1 chord Standard twelve bar blue progession/changes o 1 1 1 1 4 4 1 1 5 4 1 1/5 o Chorus – each repetition of chord progression
Are you sure you want to buy this material for
You're already Subscribed!
Looks like you've already subscribed to StudySoup, you won't need to purchase another subscription to get this material. To access this material simply click 'View Full Document'