Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
78 Cards in this Set
- Front
- Back
|
FIsherman, Strawberry, Devil Crab
|
Miles Davis
1958 |
|
|
Jazzoetry
|
The Last Poets
1960s |
|
|
Po' Boy Blues
|
John Dudley
1960s |
|
|
Tampering Ties
|
Henry Truvillion
Texas 1940s |
|
|
Black Woman
|
Rich Amerson
South Date unknown |
|
|
Hunter's Dance
|
Malinke Male Vocalist
No Date |
|
|
Blues in G
|
Mance Lipscomb
1956 Newport Folk Festival |
|
|
Talking 'Bout a Good Time
|
Benjamin Bilgen
1960s Mississippi |
|
|
Jim and John
|
Ed and Lonnie Young
1959 |
|
|
That's All Right
|
Laura Rivers
South Carolina 1960s |
|
|
Little Girls Sung Games
|
7 girls from Kanoukro Village
1965 |
|
|
Hammer, Ring
|
Jesse Bradley
1934 |
|
|
Shoo Turkey
|
Mrs. Janie Hunter and Children
South Carolina 1960s |
|
|
On the Subway
|
The Last Poets
1960s |
|
|
Sex Machine
|
James Brown
1971 |
|
|
Big Butter and Egg Man
|
Louis Armstrong
Chicago 1926 |
|
|
Black Bottom Stomp
|
Jelly Roll Morton
1926 |
|
|
Charleston
|
Paul Whiteman
1925 |
|
|
Crazy Blues
|
Mammie Smith and Her Jazz Hounds
1920 |
|
|
Crossroad Blues
|
Robert Johnson
No Date |
|
|
Daddy Goodbye Blues
|
Ma Rainey
Chicago 1928 |
|
|
Dead Man Blues
|
Jelly Roll Morton
1926 |
|
|
Dipper Mouth Blues
|
King Oliver's Creole Jazz Band
Chicago 1923 |
|
|
Felicity Rag
|
Scott Joplin
No Date |
|
|
How Ya Gonna Keep Em Down on the Farm?
|
Lt. Jim Europe 369th US Infantry
1919 |
|
|
Just a Little While to Stay Here
|
Mahalia Jackson
1956 |
|
|
Maple Leaf Rag
|
Jelly Roll Morton
Washington D.C. 1938 and Scott Joplin |
|
|
Nobody Knows You When You're Down and Out
|
Bessie Smith
1929 |
|
|
Potato Head Blues
|
Louis Armstrong
Chicago 1927 |
|
|
Sing On
|
Eureka Brass Band
New Orleans 1951 |
|
|
St. Louis Blues
|
Bessie Smith
No Date |
|
|
Tiger Rag
|
Original Dixieland Jazz Band
1919 |
|
|
Weeping Willow
|
Scott Joplin
|
|
|
Fisk Jubilee Singers
|
-group of AA singers organized in 1871
-early reputation for spirituals -name intended to set them apart from blackface minstrels |
|
|
Cyclical music
|
small, short, repetitive melodies
|
|
|
Playing the dozens
|
an element of AA oral tradition in which two competitors wnet head to head in good natured "trash talking"
|
|
|
Vibrato
|
-musical effects produced in singing and instruments by a regular pulsating change of pitch
-used to add expression and vocal like qualities |
|
|
Temp
|
the speed or pace of a given piece
|
|
|
Important New Orleans musicians
|
Jelly Roll Morton
Louis Armstrong King Oliver Sydney Michay |
|
|
Aesthetic
|
pleasing; system of vale of beauty
|
|
|
A cappella
|
sung with out instrumentalists; only the voice
|
|
|
Tunin' Preacher
|
this tradition/practice suggests the world power concept
|
|
|
Classification of Musical Instruments
|
aerophones: sound from blowing a stream of air
chordophones: sound from vibrating string membranophones: sound from a stretched membrane idiophones: any instrument that makes a sound |
|
|
TOBA
|
Theater Owners Booking Association
-instrumental in the south to early jazz and classic blues performers -"tough on black artist" |
|
|
Two beat style
|
-associated with the tuba/bass instrument
-play on every half note |
|
|
Melody
|
the main tune
|
|
|
Why does the ODJB provide one of the early ironies in jazz?
|
-first to record jazz
-there were white |
|
|
Why are the Sea Islands off the Carolinas and Georgia coast so significant in terms of African retentions?
|
-oral tradition kept in prisons
-African decent -separated for many years |
|
|
Tuba
|
largest and lowest pitched brass instrument
|
|
|
For Jones, why is the Civil War and the end of slavery so essential to the beginning of the blues?
|
-ex slave could discover his own voice and life to sing it
-the blues reflected the new social and cultural complexity of the emancipated negro -emancipation offered the negro the opportunity to truly be alone |
|
|
Routiner
|
someone who has learned an arrangement by practicing over and over again
|
|
|
Who are some of the significant singers associated with Classic Blues?
|
Bessie Smith
Mammie Smith Ma Rainey |
|
|
Work Song
|
-style of functional music
-used by blacks while working to occupy time and provide relief |
|
|
Scale
|
musical notes collected in ascending/descending order
|
|
|
Timbre
|
quality of the sound and voices
|
|
|
Folk Culture
|
-orally passed on
-non commercial -binds people together -do not want everyone to know about it -1800-1850 -little difference between secular/religious |
|
|
Empowerment
|
-music has the capacity to change thing or the quality of an experience
-music is not simply organized sound, but a ling to the divine |
|
|
Race records
|
1920s-1930s
-white Americans gradually began to purchase records -entertainment music, classical blues, jazz |
|
|
Ragtime
|
-music for the piano
-not for dance, parlor music -mass produced (i.e. piano roll) -bridge between African dance rhythms and white popular entertainment -harmonization; intricacy in both hands -syncopated melody in right hand |
|
|
Oral tradition
|
-folk culture
-songs were passed on -not for everyone (family ties) |
|
|
Jim Crow
|
racist laws in the south that were used to segregate and keep blacks apart from whites
|
|
|
Guitar
|
-instrument that eventually replaced the banjo
-used in rural blues |
|
|
Vocable
|
-uses improvised nonsense syllables (bap ba do)
-vocals = lyrics |
|
|
Creole
|
-person of African/Indian decent with European ancestry
-many lived in New Orleans -spoke French -were more white than black |
|
|
Cornet
|
similar to a trumpet but distinguished by its conical bore, compact shape, and mellower tone
|
|
|
Collective improvisation
|
simultaneous solos of several players often seen in New Orleans bands
|
|
|
Rhythm
|
musical action in time
|
|
|
Blues
|
personal expression that emerges out of the folk experience
|
|
|
Stop Time
|
rhythmic illusion where the forward flow of music seems to stop while improvisors or singers continue with the flow of the meter and tempo
|
|
|
Reed
|
vibrates and creates a sound in woodwind instruments
|
|
|
Reconstruction
|
period of time where the US was rebuilt after it was put into ruins following the civil war
|
|
|
Classical Blues
|
-1910-1920s
-mostly women artists -songs focused on men -were geared towards society -produced for entertainment -recorded on race records -not 12 bar blues -TOBA |
|
|
Falsetto
|
upper register of a males voice
|
|
|
For Jones, whats the difference between classic blues and older/rural blues style?
|
Classic:
-not in 12 bar blues -aimed at society -women singers -less obscure to white america -professionalism Rural: -usually only a guitar -12 bar blues -one instrument -male -for self -personal nature |
|
|
Minstrelsy
|
-1st popular live enterainment
-performed in white communities -white people painted their face |
|
|
Improvisation
|
-creating in the moment in response to one's environmental
-African culture |
|
|
Meter
|
grouping of pulses, downbeat
|
|
|
What is the New Orleans uptown/downtown distinction? Which populations are associated with which area?
|
downtown = featured creole musicians and more raw
|
