Hist. Pop Music Test 2

Front 1

Amazing Grace

Back 1

17th- 18th Cent.
The Old Way of Singing

Front 2

Wondrous Love

Back 2

18th-19th Cent.
Shape-Note Singing

Front 3

In the Sweet By-and-By

Back 3

1868
composed gospel music

Front 4

Brighten the Corner Where You Are

Back 4

1915
Revival-Style Gospel Recording

Front 5

He Got Better Things For You

Back 5

1929
Holiness Church Gospel Recording

Front 6

Muleskinner Blues

Back 6

1930
Jimmie Rodgers

Front 7

Cotton-Eyed Joe

Back 7

1946
Bob Wills and His Texas Playboys

Front 8

Muleskinner Blues (cover)

Back 8

1946
Bill Monroe & His Bluegrass Boys

Front 9

I'm So Lonesome I Could Cry

Back 9

1949
Hank Williams

Front 10

John Henry

Back 10

1957
The Lilly Brothers

Front 11

I'm Blue Again

Back 11

1959
Patsy Cline

Front 12

Blue Eyes Crying in the Rain (cover)

Back 12

1975
Willy Nelson

Front 13

Countin the Blues

Back 13

1924
Ma Rainey & Her GA Jazz Band

Front 14

Prison Cell Blues

Back 14

1928
Blind Lemon Jefferson

Front 15

Preachin the Blues

Back 15

1936
Robert Johnson

Front 16

Mr. Freddie Blues

Back 16

1936
Lux Lewis

Front 17

Good Rockin Tonight

Back 17

1947
Wynonie Harris

Front 18

Rock Around the Clock

Back 18

1954
Bill Haley and His Comets

Front 19

That's All Right

Back 19

1957
Elvis Presley

Front 20

Jimmie Rodgers
Muleskinner Blues

Back 20

First Country Music Superstar
ability to use guitar as solo instr.
Blue Yodel
Persuasive depression-era ethos: earthy; real; poor; sometimes sexual
Eclectic repertoire: 12-bar blues

Front 21

Cotton-Eyed Joe

Back 21

Updated square dance/play-party tune: adapted for swing dancing
Country & Swing dance Syncretism: instrumentation-
fiddle & steel guitar (country), jazzy piano (swing), bass (holds it together)

Front 22

I'm So Lonesome I could Cry

Back 22

inspired by relationship w wife
Hank Williams pioneered Honky-Tonk style: bar music.

Front 23

I'm Blue Again

Back 23

Patsy: superb musician- perfect pitch, "country" or "pop" voice
this song: pop back-up singers & instrumentation, honky-tonk vocal timbre

Front 24

Blue Eyes Cryin in the Rain

Back 24

Outlaw Country: lifestyle and breaking Nashiville commercial country "laws"
cover of Roy Acuff- 1947

Front 25

Blue Grass

Back 25

Bill Monroe: pioneered bluegrass
folk ethos: acoustic instruments
fiddle, mandolin, banjo, guitar, upright bass.
fast tempos

Front 26

Muleskinner Blues (cover)

Back 26

instrumental breaks
fast tempos
banjo: not heard.
fiddle: featured solo instrument

Front 27

John Henry

Back 27

Everett Lilly: Mandolin
Don Stover: banjo (contrasting timbres of 2 very clear)
Beau Lilly: guitar
represents incorporation of Af-Amer folklore (John Henry) into bluegrass repertoire.

Front 28

Lilly Brothers, John Henry

Back 28

Southern App. credentials- popular in Boston and NE- reason bluegrass is perceived as folk and not country.

Front 29

Blues form

Back 29

12-bar blues
can be found in jazz, country, rock, blues, and pop.
Ethos: isolation/community, despair/hope

Front 30

Blues History

Back 30

2 theories:
field hollers/arwhoolies are direct ancestor of blues
field hollers/arwhoolies are an influence, but genealogy is more complex

Front 31

Blues Genre

Back 31

Country Blues: (aka: folk, rural, delta, texas): Blind Lemon Jefferson (Prison Cell Blues), Robert Johnson (Preachin the Blues)
Classic Blues (aka City): Ma Rainey

Front 32

Prison Cell Blues

Back 32

Jefferson: intricate and fast guitar style, high pitched voice. Founder of TX blues sound. Recorded 100 songs btwn 26 & 29 (chicago)
Song: unconventional: 8-bar blues- first line of poetry isn't repeated.
Country Blues

Front 33

Preachin the Blues: Robert Johnson

Back 33

Recorded in TX- Johnson is a Delta Blues artist
bottleneck/slide style: invented either in E TX, or in Miss Delta Country
Johnson learned to sing and play the blues in Memphis- epicenter of Delta Blues
J: "Grandfather of Rock and Roll"
Country Blues

Front 34

Texas v. Delta style Blues

Back 34

Texas: adhere generally to the standard harmonic and poetic forms
Delta: more slides and free impovisations

Front 35

Classic Blues

Back 35

Ma Rainey (most senior)
Bessie Smith (most influential)
performed live in more urban locales
sounds jazzy- singers are accompanied by pioneering Jazz musicians

Front 36

Country Blues

Back 36

sound more folky because singers accompany themselves on guitar

Front 37

Countin the Blues

Back 37

Ma Rainey
rec. 1924
12-bar blues
Fletcher Henderson Louis Armstron on cornet
phrases- call
Cornet, clarinet, trombone provide the fills (in this order)
Armstrong's cornet is heard as first fill on each stanza

Front 38

Boogie-Woogie

Back 38

origins in rowdy S'ern and SW'ern bars
essence of music: Arppegiated Ostinato
ex: Mr. Freddie Blues (Lux Lewis) rec. 1936

Front 39

Arppegiated Ostinato

Back 39

Arpeggio: producing notes of a chord in succession rather than simultaneously
Ostinato: repeated pattern
R hand: syncopated/polyrythmic, highly varied, improvisatory- takes over function of voice

Front 40

Rhythm and Blues

Back 40

rhythm section: Drums, bass, piano
rhythm features heavy accents on backbeats 2 and 4 (ring shout)
sax: important melody and fill provider
ex: Good Rockin Tonight Wynonie "Blues" Harris. rec. 1947

Front 41

R&B : blacks ::

Back 41

:: rock n roll : whites

Front 42

Good Rockin Tonight
Wynonie "Blues" Harris

Back 42

rec. 1947
vairies poetic blues form (v.1: A---B/ B'--- A)
references Sweet Lorraine, Sioux City Sue, Sweet GA Brown, Caledonia

Front 43

Rock Around the Clock
Bill Haley and His Comets

Back 43

1954
remains faithful th R&B aesthetic: piano and sax, jazzy virtuosic electric guitar solo
poetic form: a a'/ b b'/ b''

Front 44

Rockabilly

Back 44

Memphis country rock- S'ern white version of 12-bar blues (developed in memphis)
or. called "country rock"
rockabilly- combination of rock n roll and country and w'ern or "hillbilly" music
ex: "Thats Alright" Elvis 1954

Front 45

Thats Alright
Elvis Presley

Back 45

rec. by Arthur Big Boy Crudup (delta blues artist)
variations in blues form heard- based on Crudup's style.
country elements: Presley's rhythm guitar style, Scotty Moore's twangy lead guitar style.

Front 46

John Calvin

Back 46

Institutes of Christian Religion 1536
all elements of worship are to be directly taken from the Bible
limited role of music to singing of Psalms

Front 47

Bay Psalm Book

Back 47

"The Whole Book of Psalms Faithfully Translated into English Meter"
published in Boston, 1640
1st printed book in colonies

Front 48

Common Meter

Back 48

most common meter used in hymns
8, 6, 8, 6 (# syllables/line)
identical to ballad meter: strictly interpreted: no extra syllables allowed.

Front 49

Amazing Grace
Baptist congregation in KY

Back 49

records the persistence of the "Usual Way" (aka "Old Way")
lining out
Common meter- 8, 6, 8, 6

Front 50

"New Way" aka "regular singing

Back 50

produce more musical result w/o in any way diminishing necessity of 100% participation.

Front 51

Wondrous Love
Singers at the Alabama Sacred Harp Convention

Back 51

recorded on location in Birmingham, AL
1942

Front 52

In the Sweet By-and-By

Back 52

pub. 1895
performed by contemporary group spec. in pres. of hist. styles.
style of harmony & singing reflects the spread of music literacy (res. of shape note trad.)
lyrics: Sanford Bennett
music: Joseph Webster
composed 1868

Front 53

Gospel Hymns Nos. 1 to 6 Complete

Back 53

published: Ira Sankey
appeared frequently w/Evangelist Dwight Moody
In the Sweet By-and-By

Front 54

Brighten the Corner Where You are
Homer Rodheaver (rec.)

Back 54

early 20th cent. popular gospel hymn
small brass band accompanies Rodheaver- provides harmonic support (well suited for Gramophone Recording Technology)

Front 55

He Got Better Things for You
Memphis Sanctified Singers

Back 55

Rec. Bessie Johnson and Melinda Taylor
Church of God in Christ: Memphis: TN
close to Blues tradition
effectively harmonized w standard blues chords.
1928