Hist. Pop Music Test 1

Front 1

Barbara Allen
(british prototype)

Back 1

-Dorian Mode- darker, psychological narrative
-Archaic sound: not major, not minor

Front 2

Barbara Allen
(American Version)

Back 2

-H.J. Beeker (sings)
-Imported Ballad
-Pentatonic melody- major key guitar chords
-strophic form
-ballad meter
-iambic foot

Front 3

strophic form

Back 3

all stanzas sung to the same tune

Front 4

ballad meter

Back 4

4-line stanzas
alternating 8 and 6 syllable lines

Front 5

iambic foot

Back 5

unstressed followed by stressed syllable

Front 6

*BIOGRAPHICAL NOTE*
H.J. Beeker

Back 6

faculty of appalachian state (live performance?)

Front 7

Gypsy Davy

Back 7

-Woody Guthrie (sings)
-naturalized ballad
- Standard Major key melody and guitar chords
-strophic form
-ballad form
-extensions of each stanza

Front 8

Gypsy Davy
(Scottish prototype)

Back 8

-has a different melody
-tragic narrative (gypsies get hanged)

Front 9

Imported Ballad

Back 9

ballads that remain quite faithful to their Anglo-Celtic prototypes, but there is still some "Americanization" or "naturalization" of words and/or melody

Front 10

Naturalized Ballads

Back 10

ballads that show clear differences from their Anglo/Celtic prototypes in words and/or melody, but they are still clearly descended from a known Anglo/Celtic prototype.

Front 11

Native Ballads

Back 11

composed in America, with no Anglo/Celtic prototype; yet they resemble the Anglo-Celtic ballads in words and melody.

Front 12

John Hardy

Back 12

-Sara Carter (sings) Maybelle Carter (guitar)
- Native Ballad
- Standard major key melody & guitar chords
-"Carter" picking (guitar)

Front 13

"Carter Picking"

Back 13

melody played by thumb on bass strings, and rhythmic accents on higher strings.

Front 14

Yoruba Praise Song from W. Africa

Back 14

-Moses Asch (recorded)
-dominance of percussion: 12-beat bell pattern
-steady pulse governing music
-rhythmic complexity/diversity
-call & response: (vocalist- call; chorus- response)

Front 15

Sheep, Sheep, Don't You Know the Road?

Back 15

-Sea Island Singers- led by Bessie Jones
-Ring shout
-Call/Response vocals
-Step-clap back beat rhythm
-steady pulse in foot taps
-offbeat clapping
-syncopation

Front 16

syncopation

Back 16

accents on beats that are normally unaccented in Common Time between beats.

Front 17

Jacob's Ladder

Back 17

-Paul Robeson, vocal
-piano accompaniment
-deep operatic voice
-invitation to join in

Front 18

Quittin' Time Song

Back 18

Samuel Brooks, vocal
intense expression
narrow vocal range
melisma

Front 19

John Henry

Back 19

-Arthur Bell (vocal)
-strophic form
-short meter
-coordinated hammer strike
-combines spiritual form with work song (spike-driving rhythm) and ballad elements (poetic form, narrative).
-call & response

Front 20

Pigeon's Dream Song

Back 20

-Louis Pigeon (singer)
-Recorded by Frances Densmore
-Menominee, Central Wisconsin, ca 1929
-Ex. of a surviving tradition
-tense vocal style
-repetition of short phrases
-descending terraced melody (Plains)
-Song to heal the sick

Front 21

Butterfly Dance

Back 21

-performed by group of 6 musicians
-recorded 1975
- Ex. of renewal
-Agricultural song (butterfly, pollenation)
- Tewa Dancers from N are preserving and renewing this cultural heritage.
-idiophone and membramophone
-low vocal tone, longer phrases, changing drum patterns

Front 22

idiophone

Back 22

whenever solid pieces of something is vibrating (metal, wood, etc.)

Front 23

membranophone

Back 23

stretching hide over frame

Front 24

Sioux Love Song

Back 24

-John Coloff (sings)
-William Rhodes- recorded in 1960's
-ex. of surviving tradition
- Tetratonic scale (4 notes)
- existential quality of songs: "tangible reality", "magical power"
-Indian flute, short phrases, descending terraced melody (voice and flute)

Front 25

Ghost Dance Song

Back 25

-Pawnee Tribe
- Epitomizes destruction (of the movement), survival (of the songs), & renewal (through religious syncretism).
-peyote and Christianity
-vision of 2nd coming of Christ
-short paired phrases
-descending melodic line
-narrow vocal range

Front 26

Las Posadas "The Lodgings"

Back 26

- Traditional group in Cotulla, TX (sings)
- recorded on location, 1934
-Mexican-American religious folk song
-alternating singing groups
-simple harmonization
-steady pulse (triple meter)

Front 27

Las Abajenas "The Lowland Women"

Back 27

-Mariachi Cobre (recorded)
-alternation btwn triple and duple meters
-gritos (shouts)
-stock ending (abrupt halt of music)
- Traditional Mariachi "son"

Front 28

"son"

Back 28

"sound"
characteristic rhythm: W Side story "I Want to be in America"

Front 29

Triple and Duple meters

Back 29

Triple: 3/4

Duble: 6/8

Front 30

Mariachi

Back 30

-folk style originating in W'ern Mex. state of Jalisco
- "official" folk music of Mex.
- 3 guitars: spanish guitar, vihuela (small, 5-string), Guitarron (large bass guitar)
- 2 violins
-2 trumpets

Front 31

El Corrido de Gregorio Cortez

Back 31

-Los Hermonos Banda (recorded)
-Monterey, Mex- 1958
-Mexi. Amer. border corrido (ballad)
-accordion, baja sexta(musica nortena)
-simple harmonization
-lilting waltz-like meter (oom-pah-pah)

Front 32

musica nortena

Back 32

- accordion-driven style of NE Mex.
- Bajo Sexto (12-string bass guitar)
- electric bass
- drum set
-accordion

Front 33

Corrido

Back 33

equivalent of folk ballad: narrative strophic song

Front 34

La Bamba

Back 34

-Ritchie Valens (sings)
-Date: 1959
-US Chart: 22
-reworking of traditional Mexican folk song
-about the dance, "bamba"- expressing the artists feelings about the dance

Front 35

Para Los Rumberos "For the Party Goers"

Back 35

-Tito Puente
-recorded '56
-Classical Salsa
-prominent role of percussion
-virtuosic drumming
-clave: distinctive pattern underlying rhythm (3+2 pattern)
-syncopation: irregular grouping of rhythmic values
-mambo (cuban)

Front 36

cajun

Back 36

inclusive term for ancestors of Acadians

Front 37

creole

Back 37

-derived from sp. "criolla"
-compatriots born in colonies
-connotations of mixed ancestry (sp, n. amer, black)
-then refers directly to unique culture of LA: blending of Af, slave, free black, caribb. fr, and sp.

Front 38

zydeco

Back 38

musical style: blending of cajun dance music with af. amer blues and r&b

Front 39

Midland 2-step

Back 39

-traditional cajun dance song
-Micheal Doucet and BeaSoleil (performs)
-quick duple meter
-accordion and fiddle
-cajun vocal style: lyrical, as if shouted from back of throat.

Front 40

Zydeco sont pas sale

Back 40

"The snap beans aren't salty"
"Zydeco isn't salty"
-Clifton Chenier, 1965
- Zydeco dance song
-pure cajun vocal style
-frottoir (rub board)
- imitation of train sounds