Week 3 Notes - MUS 360
Week 3 Notes - MUS 360 MUS 360
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This 7 page Class Notes was uploaded by Alex Tucker on Friday October 16, 2015. The Class Notes belongs to MUS 360 at University of Oregon taught by Kajikawa L in Summer 2015. Since its upload, it has received 49 views. For similar materials see Hip-Hop: Hst, Cul, Aes >1 >AC in Music at University of Oregon.
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Date Created: 10/16/15
From The Disco To The Street 101215 Day 5 1st Recorded song w rap Fatback Band quotKing Tim lllquot July 25 1979 Love DeLuxe quotHere Comes That Sound Againquot 1979 lntro of Rapper s Delight comes from HCTSA Grandmaster Caz Cassanova Fly Loaned book of rhymes to Big Bank Hank Sugarhill Gang Member of Cold Crush Brothers In Macklemore s Downtown Big Bank Hank uses his name in Rapper s Delight DJ Eddie Cheeba quotI heard Rapper s Delight on the radio l was mad when rst heard it These people came from out of nowhere We were making so much money from DJing that making records just wasn t our thing We couldn t see itquot DJ Hollywood quotHollywood and Starski you would always hear them say 39hiphop dahippitdahippittodahiphipahop ya don t stop and shit like that they started itquot Eddie Cheeba Bobby Robinson b 1917 Not related to Sylvia Robinson Enjoy Records From Bronx Grandmaster Flash amp the Furious Five 1979 quotSuperrappinquot released on Enjoy Records based on breakbeat from Whole Darn Family s quotSeven Minutes of Funkquot quotThe Breaksquot 1980 Kurtis Blow How is this recording both similar to amp different from live hip hop performances What is the double meaning of quotthe breaksquot in this song Comments Call amp response party beat breaks hard times of life no DJ not bragging Charlie Ahern talking about the in uence of early commercial rap Filmmaker of Widstye From The Disco To The Street 101215 Day 5 quotNobody was dancing Period Rap became the focal point MCs were onstage and people were looking at them This is 1980 In other words hip hop is dead by 1980 It s truequot Uptown Downtown Connection In the early 805 a of meetings amp collaborations between Uptown Bronx DJs MCs amp Downtown dancers club owners artists amp lmmakers helped spread hip hop culture across New York US amp eventually the world Wildstyle 1982 Charlie Ahern Blondie Rapture 1981 Debbie Harry amp Chris Stein Afrika Bambaataa amp the Soulsonic Force quotPlanet Rockquot 1982 Afrika Bambaataa Planet Rock 1982 quotNo work or play our world is free Be what you be Just be covered in many music styles uses drum machine rst sample in rap Fairlight CMI quotORCH 5 Orchestral sample that was shipped w every Fairlight CMI as a quotstockquot sound Sampled from the loud chord opening quotInfernal Dance ofAl the Subjects ofKatchei in lgor Stravinsky s ballet The Firebird Roland TR808 Drum machine Released 1980 Still used today Trans Europe Express United States front cover 1977 Kraftwerk Sampled in Planet Rock quotThe Messagequot 1982 quotDon t push me cause I m close to the edge I m trying not to lose my head Uh Huh huh huh huhquot Ed quotDuje Booteequot Fletcher Melle Mel Sylvia Robinson Black America c 1983 30 mil Searching for work black employment rate 22 Kid Creole Mel s younger brother From The Disco To The Street 101215 Day 5 quotWhen it came to 39The Message we were like 39What in the hell is this What are we doin with this It s slow it s plodding the hook what is it We was used to all of the break records but Sylvia had a concept of us doing that song and she felt that we would be perfect for it because we came from the inner city We was afraid of the song because we didn t think that it would work We were surprised like hell it worked like a charm Matter of fact it worked so good that the next 50 millions songs that we did after that all tried to be like that because the formula workedquot quotNew York New Yorkquot 1983 talking about how tough NYC life is racial pro ling Golden Age of Sampling 101415 Day 6 Thes One of PUTS UO 2011 Came to WOW Hall spoke to class Everything that is hiphop was not originally intended Appropriation Thes One quotWhat Makes Hip Hop Hip Hopquot Hip Hop reappropriation destruction Musical borrowing fundamental element of hiphop culture amp aesthetics Hip Hop is distinct for its overt borrowing of preexisting materials to new ends Arthur Baker b 1955 Producer for Planet Patrol Brooklyn Funk Essentials North End amp Goon Squad Worked w Holland notes Found by Tommy Boy Records Fairlight CMI Computer Musical Instrument 50000 1979 16 KB no space Drum Machine Era Oberheim DMX 1981 Roland TR808 1980 Both have preloaded sounds DJs used this a lot 1983 Pro le Records Columbia quotIt s Like That bw quotSucker MC squot Run DMC breakbeat like quotThe Breaksquot beat is slower in quotlLTquot drum synth like quotPlanet Rockquot Run DMC quotSucker MC squot 1983 Just drums in beat More aggressive No open space Sharp amp has rhythmic jabs No chorus Backlash against Disco quotRap music 39born on the margins of the margins of the music industry quot shallow trendy repetitious vs complexity of art rock quotpoetry of singersongwriters judgments also tied up w race amp gender Golden Age of Sampling 101415 Day 6 Disco Riot 1979 July 12 Detroit Tigers amp Chicago Red Sox DJ gave discounts to people who brought records to burn Blew hole in center eld Cancelled game Called in riot police to stop problems Rick Rubin b 1963 amp Russell Simmons b 1957 DefJam Records 1983 Started in dorm room NYU Rubin s dorm quotWalk This Wayquot 1986 Aerosmith created Run DMC covered Incorporated extra sounds drum machine Rebranding Rap as the New Rock Rick R quotRap records are really black rock and roll records the antithesis of discoquot Bill A quotRappers make rock and roll My notion of rock and roll isn t pegged to a big noisy guitar I think rock and roll has always been about attitude and rhythm its about aggression rebellion sex and a big beatquot JD C quotRun DMC s music is proof that rap can be as 39loud and aggressive Iquot as any heavy metal act Run DMC quotPeter Piperquot 1986 BobJames quotTake Me To The Mardi Grasquot Added drum machine Beastie Boys 1986 Started as punkrock became rap act Jewish MCA Mike D King Ad Rock License to l 1986 Sold over 1 million copies quotFight For Your Right To Partyquot 1986 guitar by Kerry King Slayer intended as parody of quotsome members of our audiencequot according to Mike D fratboys originally recorded w an Oberheim DMX beat but Rick Rubin added live drums Golden Age of Sampling 101415 Day 6 Marley Marl b 1962 Birth of samplebased era in hip hop production Realization that drum sounds can come from breakbeat records themselves not just drum machines Emu Emulator II 1984 10000 20 MB 512 K RAM 8 bit sampling very rough like video game music Emu SP1200 1987 12 bit 10 secs of memory could store 100 patterns loops amp 100 songs diff arrangements Terms for samples repeating a sample in regularized pattern cutting a sample into smaller units that can be manipulated amp rearranged in any desired order Sampling amp Hip Hop Culture Growing popularity of rap music gives rise to criticism of it as quotnot really musicquot based on misunderstanding amp prejudice quotIt s not musicquot based on assumptions about what music is quotit s not originalquot quotit s not melodiousquot quotit doesn t require musical skillquot quotit s not originalquot music is seen as parasitic or quotstealingquot but all music based on something based before rap music doesn t try to hide it quotit s not melodiousquot all rhythm amp repetition no melody just noise but producers devote serious attention towards rhythm amp making the repetition compelling quot ow layering amp rupturequot Tricia Rose Sometimes being NOISY is the point quotit doesn t require skillquot rap musicians don t play instruments but Golden Age of Sampling 101415 Day 6 manipulating samples amp managing different layers in a beat requires skill amp sensitivity Hank Shocklee quotWe believe that music is nothing but organized noise You can take anything street sounds us talking whatever you want and make it music by organizing itquot quotGolden Age of Samplingquot relatively brief period 1986 1991 when producers could make beats w relatively little concern for the implications of copyright law amp sample clearance costs Depended on fusion of musical concepts 1st developed by Bronx DJ s in 1970 s amp new digital technologies that allowed for capture amp manipulation of breakbeats
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