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Lecture Notes January 6th

by: Chloe Smithson

Lecture Notes January 6th MUS 281

Marketplace > University of Oregon > Music > MUS 281 > Lecture Notes January 6th
Chloe Smithson
GPA 3.84
Music of the Woodstock Generation
Larry Wayte

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About this Document

These notes are from the January 6th lecture on pre 1950's popular culture and music within the United States of America. They discuss the readings for the course as well as black face minstrelsy, ...
Music of the Woodstock Generation
Larry Wayte
One Day of Notes
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This 2 page One Day of Notes was uploaded by Chloe Smithson on Wednesday January 7, 2015. The One Day of Notes belongs to MUS 281 at University of Oregon taught by Larry Wayte in Winter2015. Since its upload, it has received 146 views. For similar materials see Music of the Woodstock Generation in Music at University of Oregon.


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Date Created: 01/07/15
Mus 281 Music of the Woodstock Generation January 6 2015 Lecture 1 Notes The Electric Koolaid Acid Test 0 Written by Tom Wolfe and published in 1968 0 Tom Wolfe developed new journalism in which the reporter gathered information from a distance he immersed himself in the lives of his subjects Theodore Roszak Q wrote Making of a Counter Culture which was published in 1969 0 stated that the 1960s were a time of great upheaval set against time of great affluence American Popular Music 0 Black Face minstrelry to rhythm and blues 0 How African American and European American music and dance styles combined to form hybrid styles that would later dominate popular music Major Paradigm Shifts in American Popular Music 0 Black face minstrelsy 1830 Q Tin Pan AlleyVaudeville 1890 Q Ragtime and Blues 1910 Q The Jazz Age 1920s Blackface Minstrelsy 1830s 1930s Q In the 1850s the majority of African Americans were in the South East thus the white communities in the North East found interest in Black culture due to their lack of exposure This resulted in Blackface Minstrelsy where white people put on black make up for skits and routines imitating Black culture Tours began around the country especially in New England The songs use the stereotypical dialect of Southern African Americans and often depict the desire for life on the plantation 0 Stephen Foster was considered the Father of American Music composing over 200 songs One of his most famous songs was Old Folks at Home which was commissioned and published by the Christy company in 1851 This was a plantation song that Florida adopted as their state song 0 There were several archetypal characters within Blackface minstrelry such as Jim Crow Zip Coon and Mammy Jim Crow was a clownish always happy character Zip Coon was a character trying to establish social standing with sophistication while making a fool of himself Mammy was a female character who was a kitchen worker and the inspiration for Aunt Jemima 0 After the emancipation of slaves black entertainers created their own minstrelsy groups modeled after white Light skinned black people would darken their faces to make sure they had the expected look of minstrelsy Eventually combined race minstrelsy came about Mus 281 Music of the Woodstock Generation January 6 2015 0 Despite the attempted forgettance of minstrelsy it affected and is reflected in American pop culture throughout the 20th century Tin Pan AlleyVaudeville 0 18901950 0 The term Tin Pan Alley originates from 28th Street in New York City where many sheet music publishers had their offices They would put pianos on the street to play the new songs from the great composers Q Vaudeville is similar to minstrelsy in the fact that it was a song dance comedy show that often travelled Both Vaudeville and Tin Pan Alley were considered pop music especially for the North Eastern big cities 0 George Gershwin was a great composer of the early 20th century whose biggest hit was Swanee which was made famous by Al Jolson who was one of the most famous Blackface performers Ragtime and Blues 0 In the late 19th century the marching band music style was very popular Scott Joplin and composers like him in the early 20th century took this music and added syncopation creating ragtime This music was African American music performed by African American performers and this began to radically change American culture 0 Blues began as a singing style added to ragtime African American performers found enormous success in the 1920s without having to succumb to blackface Women such as Bessie Smith found great success in this genre despite facing racial double standards 0 As black people left the south white people began to adopt their musical culture However the separation between whites and blacks was also shown throughout the music industry where black recording artists were only put on Race Records which were marketed primarily to black people The Jazz Age 0 The white youth begin to enjoy jazz and blues somewhat challenging racial and cultural separation This white interest in jazz began to expand the jazz culture resulting in dances like the Charleston and the black bottom dance The era of prohibition made drinking more risky and therefore more fun which led to a greater party type era 0 Paul Whiteman 18901967 was titled the King of Jazz and helped to make jazz more palatable for white audiences He enjoyed enormous success in the 1920s by creating a sort of minstrelsy without blackface


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