MUSIC IN AMERICA [C2VPA]
MUSIC IN AMERICA [C2VPA] GMUS 203
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This 7 page Class Notes was uploaded by Dewayne Kunde on Saturday September 26, 2015. The Class Notes belongs to GMUS 203 at James Madison University taught by Andrew Connell in Fall. Since its upload, it has received 38 views. For similar materials see /class/214157/gmus-203-james-madison-university in Music at James Madison University.
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Date Created: 09/26/15
GMUS 203 Music in America 0 Fall 2013 EXAM 3 STUDY GUIDE JAZZ Benny Goodman Teddy Wilson Lionel Hampton Bebop Revolution or evolution WWII recording ban Musical characteristics Charlie Parker Dizzy Gillespie Miles Davis Pioneer of cool modal amp fusion jazz styles AvantGarde free jazz Freedom from musical conventions Ornette Coleman J azzRock Fusion Electric instruments Weather Rport Neoclassicism m Wynton Marsalis Lincoln Center Jazz Orchestra LATIN AMERICAN INFLUENCES Mexico Mestizo culture Mexican son Spanish amp African in uences Poetic forms Copla Decima Sesquialtera Son J arocho AIPa harp J arana Requinto La Bamba Mariachi Son jalisciense Violin Vihuela Guitarron Traj es de charro Norte o Ranchera Jose Alfredo Jimenez Cuba YorubaLucumi Cabildos Santeria Orisha Bata drums Rumba Cuban son Clave 32 23 Instrumentation Verseimontuno form Cubop Latin jazz Mario Bauza Machito Dizzy Gillespie Chano Pozo Manteca The Palladium ballroom Mambo Latin Boogaloo 1959 Cuban revolution USCuba trade embargo Salsa Fania records Celia Cruz Brazil Samba Hollywood depictions of Latin America Carmen Miranda US Good Neighbor Policy WWII Bossa Nova Musical characteristics Joao Gilberto Antonio Carlos J obim The Chicano Wave Latin Music USA lm l950s60s Mexican American culture Richie Valens 1960s Latino rockers In uence of counterculture Cesar Chavez amp farm workers movement Little Joe y la Familia Freddie Fender Conjunto music Accordion bajo sexto Narcisco Martinez Flaco Jimenez Los Lobos Linda Ronstadt Tejano music Selena Los Tigres del Norte 20TH CENTURY CLASSICAL MUSIC Philosophical ideals Charles Ives Use of indigenous material Pastiche dissonance Dual careers Support of new music Henry Cowell World music Extended instrumental techniques New Music Quarterly GMUS 203 Music in America 0 Fall 2013 Lou Harrison Relationship to Ives Pacific rim in uences Nadia Boulanger Aaron Copland Roy Harris Symphony 3 Eliott Carter metric modulation Crossing the popular classical music divide George Gershwin WWII in uences European composers in the US Modernity Academic support for new music Dominant Rationales Maximum control f l 1mum contr 4 dimensional music Tape music Pae m Electranique Milton Babbit The composer as researcher of sound Ele tronic music D John Cage Conceptual art 4 33 Prepared piano Indeterminacy Harry Partch Musical system Microtone s Instrum ents SOUL GosEel soul crossover Sam Cooke Motown records Detroit Berry Gordy Motown sound Motown artists amp Producers Smokey Robinson HollandDozierHolland The Funk Brothers Artistic Grooming Maxine Powell s finishing school Choreography EXAM 3 STUDY GUIDE Stax records emphis tax sound Booker T and the MGs Wilson Picket Otis Redding Muscle Shoals studio Alabama Aretha Franklin James Brown Famous Flames Funk musical aesthetics POPULAR MUSIC 19701990 Jimi Hendrix Rock festivals Monterey Woodstock Social changes in 1970s Vietnam oil crisis Watergate Consolidation of music business AOR Album Oriented Rock AM amp FM radio Punk CBGB The Ramones Reggae Rastafarianism Bob Marley and the Wailers Talking Heads MTV Blockbuster records Michael Jackson riller Bruce Springsteen CONTEMPORARY BLACK M39USIC Stevie Wonder Prince Social amp political In uences on rap culture Origins in the Bronx Afrika Bambaataa Planet Rock Grandmaster Flash Role of the DJ Scratching The Message KRSOne Hip hopls relationship to jazz amp poetry Gil Scott Heron Public Enemy Chuck D Gansta Rap NWA Ice Cube GMUS 203 Music in America Dr Andrew Cannell Fall Semester 2011 EXAM 1 STUDY GUIDE INTRODUCTION Culturea system of belifes that unifies a group of people Enculturation way babies learn above Acculturationcultural changers happend when two groups meet think columbis Appropriationtake and make something your own Intracultural exchange exchanged of idea in a culture Intercultural exchange above but two seperate cultures Eurocentric EU view Organology study of musical insterments Aerophonesvibraing culum of air Chordophonesvibrating string Membranophonesvibraing drum Idiophones bell wood block Electronophones electricity needed Sound amp perception Frequency pitch speed of vibrations Amplitude volume the stringthe of the vibration Spectrum timbre Rhythm time relationship Meter orginized rhythm rubato lack of meter Melody what we hear built on scales singing Scale seriies of notes ornamentation decorated made more interesting Syllabic one sylibale one note mellismatic one sylibale multiple note Harmony usially played by piano Interval chord Texture how it is arranged Monophonysingle voice Heterophonytwo or m ore interm ents Polyphony two or more things going on Formhow is the music arranged AMERICAN INDIAN MUSIC Arrival of Indians in America land bridge 8000 bc European Contact Colubious Difficulties of studying Indian Music not written down oral culture and death Role of music in native culture Link to ritual music only use in rituals only Ownership of songs people own songs Vision quest songs come to people through this Spiritual power songs are powerful create things Efficacy does it accomplish the task that it was meant to do Musical characteristics voclables Song Form vocables Scales Musical instruments Drums rattles utes NO gutter GMUS 203 Music in America Dr Andrew Connell Fall Semester 2011 EXAM 1 STUDY GUIDE Regional differences Plains style tribal meetings pow wow ussially have a drum Southwest style uses a smaller double headed drum Northwest Pacific wooden drums things in shapes of animals PanIndian movements trail of tears moves indians together Trail of tears Ghost dance the idea that all would come back to normal white man would go away Peyote Cult Native American Church Pow wow intercultural gathering meeting of tribes BALLADS amp FOLK MUSIC Ballads narative songs romance life stugles Ballad form built in stanzas short and repetitive Stanz Strophic text Emotional core basic story stays the same but rest changes some Oral tradition passed down from one person to one person Ballad types Imported come from Britian naturalized take brit ballads and rework them native made in the new wor Broadside ballads test printed on sheets of paper short bits of news Murder ballads deal with death and crime Colonial dance music all types ballroom to county dances religion didn t like it Folk Song collecting amp research starts in the 19 centur Francis James Child Goes to get balades from British iles Child Ballads a collection of balads from britan The English and Scottish PopularBallads In uence of English Ballads in America Cecil Sharp Appalation mountsin worked to collect them from there Olive Campbell above Folk Songs ofthe Southern Appalachians book by the above Archive of AmericanF olk Song est by congress John and Alan Lomax directors of the above UrbanFolk song movement speaking for people who were marjinilized Social advocacy Woody Guthrie importain in the above folk singer Pete Seeger same as above 1960s Folk Revival civil rights movement and the Vietman war Protest Song above Bob Dylan most important musician from 60 s Folk Rock a mix of the two COLONIAL SACRED MUSIC Plainsong simple arrangements no instruments no trained singers Psalm books Bay Psalm Book just text small pocket size Psalm meter about of sylible per son Common 868 Long888 and short meters 6686 GMUS 203 Music in America Dr Andrew Cannell Fall Semester 2011 EXAM 1 STUDY GUIDE Divergent them es Praise more direct relationship with god pray directly to him Edification rutuals helped lift people upmore elaberate Lining out leader start others finish Shape Notes different notes had a differnt shape way to learn music Sacred Harp a book of the above Singing schools teach people to sing Regular singing William Billings created the below New England PsalmSinger rsl amen39can music book 0 Subscription sales how the above was sold Lowell Mason founder of music education in the public schools in the US AFRICAN AMERICAN ROOTS Slave trade world wide most from west africa Interlocking parts polyruthms put together Call and response heterogeneous sound ideal thick multy layer textures vocal style thick rought text Dance music in daily life Regional differences in slavery northsouth north was different African holiday festivals times allowed to celibrate and get together Christmas election pinkster Work Songs Field hollers Cries blues groups call and response Evangelism among AfricanAmericans make them love jesus Controversy over conversion might make them want to revolt The Great Awakenings serious of coming to jesus meetings Spirituals Richard Allen first black preacher at a church a Methodist one then leaves and creates the bellow African Methodist Episcopal Church AME Wandering refrains call and response vocal text Ring Shout gather with everyday objects and dance with feet staying on the ground Georgia Sea Islands most isolated least amaicanise Cloaked meanings in spiritual texts code to say secret things MIN STRELSY amp POPULAR SONG Folk Culture working class and High Culture rich folk Popular culture ideas from both above put together 19 h century audiences could do what ever the f they wanted to yell shout Minstrelsy black face Thomas Daddy Rice an actor who blacked up and did minstrelsy Blackface blacking up Ethiopian melodies plantation songs Jim Crow lazy comic igure Zip Coon urban version of the above Virginia Mnstrels group of minsterels from NY Irish people Dan Emmett Minstrel ensemble fiddle banjo tambourine bones Sources of minstrel material GMUS 203 Music in America Dr Andrew Connell Fall Semester 2011 EXAM 1 STUDY GUIDE In uence on public image of African Americans thought that the profermers were real life reps of blacks Minstrel show TV of 19th century Minstrel Line preform ers come out and talk joke around Interlocuter person in white face inerviews others Olio speciaty numers Walk around Finale Cakewalk Black minstrel performers they did it to Master Juba William Henry Lane he was a preformer who did minstrel shows Georgia Minstrels first all black minstrel trop James Bland most famous preformer and composer Carry me Back to Old Virginny VA state song Legacy of lIinstrelsy am erican coming to grips with its multicultural self Stephen Foster composer of popular songs most successful of the day Parlor songs romantic ballads Christy Minstrels preform ed Mr Foster s songs Hutchinson Family singing group 3 brothers and a sister Musical advocates for social causes 19 I CENTURY CLASSICAL MUSIC Nation and nationalism the idea that we are some how connected Nativists looking for somethings truly American expatriates Clasical music is universal taking EU ideas is okay Influence of German music composers from germany were prefered New York Philharmonic oldest continues orcistra Theodore Thom as first conductor of the above Louis Moreau Gottschalk French heratige from New orleans Pianest orginized orcastrus The Boston Group composers living in bostion George W Chadwick ideas from latiin music teacher film scoring Amy Beach Woman who did a lot of self teaching famous teacher women of firsts only trained in the US first female composer Edward MacDowell famous composer studied in germany liked american music but not concerts know for the art colony Antonin Dvorak proponent of EU nationalism dislikedby the above Music in America article created by the above Symphony no 9 From the New World MILITARY BANDS TIN PAN ALLEY VAUDEVILLE Revolutionary war bands Fife and Drum Function of military bands regulate military life Civil War bands brass band fife and drum 19 h century bands bands are everywhere repertoire Patrick Gilm ore John Philip Sousa conductor US Marine Band Sousa Band The Washington Post created by the above The Stars and Stripes Forever same as above March form Strain Trio Early recording industry Edison phonograph Gramophone 20 11 century bands GMUS 203 Music in America Dr Andrew Cannell Fall Semester 2011 EXAM 1 STUDY GUIDE college marching bands Wind ensemb e African Am erican Band traditions Francis Johnson Military bands New Orleans brass bands Vaudeville Theater booking syndicates TOBA Vaudeville form at Tin Pan Alley Origins of name Publishing houses Focus on popular music Roster of songwriters Song pluggers Charles K Harris 7 After the Ball Music marketing RAGTIME amp 20 I CENTURY POPULAR MUSIC Ragtim e Ragged time to rag Scott Joplin Ragtim e form Ragtime as popular music Reactions to ragtime Irving Berlin Stride piano Harlem renaissance Rent parties Jam es P Johnson Fats Waller Social dancing Vernon amp Irene Castle Jam es Reese Europe Clef club Hellfighters Band The Charleston Lindy Hop Golden Age of Tin Pan Alley song Standards song subjects verserefrain form rhythm changes
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