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86 Cards in this Set
- Front
- Back
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Alan Freed |
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Rock N Roll in the 1950s |
primarily marketed to baby boomers, represented a shift in musical styles Relative economic prosperity, television, Cold War, McCarthyism, Civil Rights MVT, teenagers as consumers Influences of rhythm and blues and country music on early rock Also based on R&B and 12-bar blues (Maybellene, Chuck Berry, Long Tall Sally, Little Richard |
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Dick Clark |
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Cover Versions of Rhythm and Blues Songs |
Shake Rattle and Roll Sh'Boom |
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Ritchie Valens and La Bamba |
Mixing latin music with rock n roll Prototype for the Los Angeles Rock N Roll sound |
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Bop |
1. Expected to be virtuosic improvisers 2. Melodies and harmonies much more complex 3. Combos of rhythm sections and 1 or more melody instruments 4. One solo, 2-3 person, rhythm section 5. Harmonic plans could be borrowed from popular songs, or variations on the 12 bar blues 6. Tempo was really fast 7. Accompanying voices could play around rhythms (comping) 8. Solos could include thematic material from anywhere and included tricky harmonies |
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Charlie Parker |
1. Notable saxophonist 2. Could improvise at incredible pace 3. Played around with syncopation and added notes that created extra harmonies 4. Often borrowed phrased and harmonies from other pieces |
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Dizzy Gillespie |
1. Excellent jazz trumpeter, especially for uses of harmony and quotations 2. Roy Eldridge big influence 3. Composer of original tunes, often with Afro-Cuban influences "Shaw Nuff" |
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Improvisation |
Gillespie- incorporated brief excursions into distant keys and altering notes during solos Parker- solos used heavy accents and mixture of legato and detached notes to construct phrases in with the beat was "turned around,"-emphasizing beats 2 and 4; also double and quadrupled time temporarily |
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Hard Bop |
Reaction to the intensity of bop Influences of R & B and gospel More repetitive, propulsive and danceable Still has bop instrumentation and focus on improv |
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Miles Davis |
1. Most innovative jazz musician 2. original and lyrical soloist and group leader 3. Solos were relaxed, tuneful and in the middle register 4. Created solos from a small group of melodic ideas 5. Not harmonically daring |
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Later Miles Davis |
1. Group began to discard standard tunes and record improvisations in chordless and tonally ambigious style 2. Helped lead way to "free jazz" 3. Blended acoustic and electronic instruments, melodic jazz improv and typical rock accompaniment |
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Cool Jazz |
1. Depends more on arrangements and is softer and more melodic than bop 2. Larger bands with french horns and oboes 3. Miles Davis with cool jazz: -softer timbres, relaxed pace, composer-arranger front and center |
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Modal Jazz |
1. Pioneered by Miles Davis 2. Slower paced melodies unfolding over static modal harmonies 3. Mellow and relaxed |
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Free Jazz |
1. Headed by saxophonist Ornette Coleman 2. Experimental concept moving away from standards and towards free forms, atonality and group improv |
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John Coltrane |
1. Avant-Garde jazz 2. Started to look for new timbres by using "fake fingerings" and to extend the upper range of the instruments 3. Style of playing meditative, slow and with vibrato 4. Based on black gospel preaching 5. "Sheets of Sound" 6. Later he was experimental in the area of free jazz |
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Swing Music |
1. Larger ensemble of various brasses, saxes and rhythm section 2. Could have guitar and clarinet 3. Harmony centers around 12-bar blues 4. Tempo fairly steady so rhythms could be swung 5. Not as much improv |
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Bebop |
Outgrowth of swing "cutting contests"- to weed out weak players 1. Harmonic ingenuity 2. Unusual dissonances 3. Chromaticism 4. Complicated rhythms 5. Focus on solos, improv Rhythm section: piano, drums, bass |
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Dance Crazes in 1960s |
1. "The Twist"-based on 12 bar blues, Chubby Checker Number of dance crazes followed, some lasting meer weeks |
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Fragmentation in American Musical market? |
Emergence of new styles of rock make it a very crowded decade just within that group of styles |
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Phil Spector |
1. Music producer 2. Philles Records 3. "Wall of Sound" recording style- dense and clear at same time 4.Use of strings had critics call his work "teenage symphonies" 5. The Ronettes 6. Huge influence on later producers |
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Berry Gordy and Motown |
1. Most important African-American producer 2. Control of all aspects of productions and marketing 3. The Supremes, Temptations |
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The Beach Boys |
1. Founded by Brian Wilson 2. Important innovator in rock 3. "Good Vibrations" |
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The Beatles |
1. Most important of the "British Invasion" bands 2. Moved from material largely modeled on Buddy Holly to finally very unusual material only recorded (and possible) in a studio 3. Most significant in rock bands |
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Latin Stream in 1960s Rock |
Fusion of rumba and mambo with African American popular music 1. Santamaria 2. "soul jazz" 3. Charanga |
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Countrypolitan |
Mixture of country music and cosmopolitan music- like Elvis Presley Derived from Nashville |
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Patsy Cline |
1. Crossover artist 2. Vocals closer to pop but instrumentation closer to country sounds 3. Crooning background, rich tone, emotionally expressive=pop High register piano like honky tonk |
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Soul Music |
combo of gospel and rhythm and blues Ray Charles James Brown Aretha Franklin Sam Cooke |
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Ray Charles |
1. Blind 2. Country and pop music combo sometimes 3. R&B sound as well 4. Mix of secular and sacred idioms 5. Mainly soul artist 6. Distinctive vocal timbre |
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Sam Cooke |
1. Began as gospel, went into more secular music later 2. Struggle between gospel and secular 3. Died young "A Change is Gonna Come" |
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Aretha Franklin |
1. "Lady Soul" 2. Sang gospel 3. Co-wrote a lot of her songs and seen as symbol of female empowerment |
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James Brown |
"Soul Brother Number One" 1. Gospel singer first 2. Highly rhythmic and harmonically static style 3. Flashy and dancy 4. Paved the way for rap "Say it Loud, I'm Black and I'm Proud." |
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Urban Folk |
1. simpler musically 2. acoustic instruments 3. Later included electronics 4. Highly political 5. Bob Dylan |
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Bob Dylan |
1. Began as song writer 2. Known for clear, poetic imagery 3. Rough vocal delivery 4. Lots of protest songs |
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Counterculture/Psychedelic Rock |
1. Highly political-especially in supporting civil rights and the war in Vietnam 2. Dressed and behaved a certain way-against traditional family values 3. Free love and DRUGS 4. Birth control 5. Beatles (Later) Rolling Stones, Janis Joplin, Hendrix, etc. |
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Rock on Broadway |
1. Rock had a slower start on Broadway 2. Bye Bye Birdie- Elvis, parody of teen culture 3. Hair- psychedelic rock, variety of popular styles, political controversy, drugs, nudity, etc. 4. Several shows had hit singles on pop charts |
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Tech Advancements of 80s |
1. CDS 2. Music technology available at home 3. Walkmans 4. MTV-music videos 5. Digital recording |
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Michael Jackson |
1."Vocal hiccup"- implements in all songs, like gulping for air, helps promote certain motion 2. Pop, r&b, rock, post-disco, funk, etc. 3. Thriller-best selling album of all time 4. Thriller broke down racial barriers in pop music 5. Wider audience 6. Music videos |
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Bruce Springsteen |
1. "Born in the USA" 2. album had signs of hope in the American dream 3. Most of his songs had very socially conscious message, focus on hardships |
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Paul Simon |
1. Album of "Gracleand"-influence of South Africa 2. Was duo, then he split off and became very popular singer-songwriter and guitar player 3. Very interested in exploring music from other cultures |
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Madonna |
1. Often auto-biographical songwriting, dealing with various themes from love and relationships to self-respect and female power 2. Cultivated image through behaviors, explicit lyrics and videos, controversial subjects, etc. |
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Prince |
1. He was everything, singer, writer, arranger, dancer, producer, etc. 2. Flamboyant stage presence, wide vocal range 3. Pioneer of Minneapolis sound-combines rock, R&B, soul, funk, hip hop, disci, jazz, pop, psychedelia 4. Very quick at producing albums 5. Explicit lyrics |
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Recording Formats |
78s-1920s to 1940s 33s-1940s-1980s 45s-importatnt single format 1950s-1980s reel-to-reel tape-crucial element in musical production with limited home market Cassette- miniature tape format 8 tracks-another miniature tape format CD-emerged about 1980 |
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Progressive Country Music |
Songwriter based country music Waylon Jennings, Willie Nelson |
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Reggae |
Mixture of Caribbean folk music and American rhythm and blues Bob Marley |
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Salsa |
blend of continuing experimentation with Latin ballroom music, Afro-cuban drumming and modern jazz Eddie Palmieri Willie Colon |
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Punk and New Wave |
reaction to the institutionalization of rock in the center of American culture Goes back to rock's rebellious values in punk (The Ramones)and a more artistic reaction in new wave(Talking Heads) |
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Funk |
African American reaction to dominance of soft soul in the whiter R&B/pop crossover market Influenced by James Brown Strong dance orientation Catchy melodies Call and response forms between voice and instruments Sly and the Family Stone |
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Hip Hop/ Rap |
emerged in 1970s in some of most devestated urban neighborhoods Musically reflected in DJs working with turntables Improvised, rhymed poetry over various types of beats Grandmaster Flash |
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Musical Theatre |
Sondheim and Webber made work more serious and artistic, drawing on multiple musical styles and traditions, serious plots, great spectacle and continuous music Phantom, Sweeney Todd, Wicked, etc. |
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Mixed Media |
Continuing developments in ballet, opera, and other genres Music videos, performance art, spectacle events, film scores |
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New Approaches by Classical composers after WWII: |
tonality, chance, indeterminacy, extensions of serialism, new virtuosity, new musical resources, use of Non-western elements, electronic music, texture and process, quotation and collage |
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Olivier Messiaen |
1. organist 2. Composition teacher at Paris Conservatoy 3. Roman Catholic with mystical leanings, "a stance of static contemplation" on a limited set of materials that he juxtaposes 4. birdsong 5. modes of limited transposition 6. static harmonies 7. rhythmic organization by duration of meter 8. additive and non-retrogradable rhythms 9. Emphasis on distinctive sounds and colors "Quartet for the End of Time" |
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Benjamin Britten |
1. English composer 2. developed direct, dramatic style based on central pitches and other neo-classical ideas 3. Peter Grimes |
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Samuel Barber |
1. American composer who emphasized lyricism and tonality in his music 2. neo-romantic |
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Neo-romanticism |
return to the expressionism and emotion of romantic music |
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Avant-Garde |
new and unusual ideas Followed Ives, Crawford Seeger, Cowell, etc |
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John Cage |
1. studied with Cowell and Schoenberg 2. Most influential of the AMerican experimentalists 3. Early works for percussion ensemble 4. prepared piano 5. chance 6. indeterminacy of composition 7. indeterminacy of performance 8. graphic notation 9. "Happenings"- |
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Morton Feldman |
indeterminacy influenced by New York abstract expressionist painters like Pollack de-emphasis on precise pitches while specifying rhythm and timbre in graphic notation |
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Graphic notation |
representation of music through use of visual symbols outside the realm of traditional music symbols |
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Indeterminacy of Performance |
Ability of a piece to be performed a number of different ways, depending on how things go either composition or performance |
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Prepared piano |
various materials placed between the strings that alters the pianos timbre |
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Total Serialism |
procedures of serialism being applied to other elements of music, like durations, register, timbre Manipulating rows using methods, attach numbers to dynamic, rhythms, etc. |
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Milton Babbitt |
Used combinatorial pitch rows- (2 rows whose hexachords contain the same notes) and broke rows into smaller units Dealt with numbers Used 12 as point of reference for considering other elements of music Also like electronic music |
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Karlheinz Stockhausen |
1. Studied with Messiaen 2. Altered his 12 pitches by rotating, or shifting notes from the ends of a given row to the middle of the next row 3. Groundbreaking work in electronic music, aleatory, spatialization 4. Pioneer of electronic music |
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Boulez
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1. French composer and conductor 2. Helped develop integral serialism, electronic and controlled chance music 3. After 1960s, began to move back to electronic works and large extended works 4. IRCAM- french institue for science about music and sound and avant garde art music |
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Combinatorial pitch row |
2 rows whose hexachords contain the same notes |
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Kreuzspiel |
Work by Stockhausen Translates to "cross-play"-as serialized patterns cross in middle Rotates original row to achieve pitch Duration-specified lengths of time linked to particular pitches Piano, oboe, bass clarinet and percussion |
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Harry Partch |
1. exploration for new sounds 2. new musical system based on chinese, Native American, Jewish, Christian, African and rural AMerican models with new instruments and 43 notes to the octave |
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George Crumb |
Used traditional instruments for new sounds in programmatic works "Black Angels" |
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Musique Concrete |
Electronic music explored by French composers like Pierre Schaeffer in 40s Manipulates chosed sounds through mechanical and electronic means, assisted by invention of tape recorder |
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Penderecki |
Polish Avant-Garde composer, incorporated many extended techniques in works Threnody for the Victims of Hiroshima |
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synthesizer |
electronic music instrument, typically operated by keyboard, that can produce a wide variety of sounds by generating and combining signals of different frequencies |
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Minimalism |
1.term based on paintings by such artists as Mondrian 2. For music its a reaction to the most experimental avant-garde music that was hard for audiences to understand 3. Started in 1960s with composers like La Monte Young and Terry Riley 4. extreme repetition of ostinatos, diatonicism, dramatic changes over a long period, emphasis on rapid notes |
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Steve Reich |
phasing postminimalist works like Tehillim |
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Philip Glass |
student of Nadia Boulanger Influenced by Ravi Shankar and Hindu music additive rhythmic procedures Composer of operas and instrumental music |
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John Adams |
Career began in minimalism, but later moved beyond that to embrace other trends like neo-romanticism "Short Ride in a Fast Machine" |
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self-reflexivity |
demonstrates how the genre has developed an effort to find and comment on its own history |
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"The New Accessibility" |
Minimalism simplifying materials and procedures extra-musical associations referencing past musical styles returning to aspects of 19th century romanticism, using elements of popular music |
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Elliott Carter |
Not easily accessible Wrote in an unapologetic, dissonant and highly sophisticated idiom throughout his life Music could not be understood on one hearing |
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Accessible modernism: Ligeti |
"Vertige", combines elements of 19th century virtuosity in solo piano etudes with a fascinating study in descending chromaticism |
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Accessible Modernism: Ellen Taaffe Zwilich |
studied composition at Julliard with Elliott Carter and others composed in harsh, austere style that she softened somewhat in 1980s Tends to build compositions out of opening motives, like Schoenberg |
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Accessible Modernism: Arvo Part |
Estonian composer who first explosed serialism and neo-classicism, but then studied Gregorian chant and early polyphony Forged distinctive style tintinnabuli-comment on bell-like sonorities Uses one primarily stepwise, diatonic melody with other voices that are note against note counterpoing and mostly include pitches in the tonic triad |
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Sofia Gubaidulina |
Large musical output Has shown influence of many 20th century techniques and deep belief in mystical power of music |
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Polystylism |
multiple techniques used in music Like in Rochberg's String Quartet No. 6 |
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Alfred Schnittke |
Soviet composer who worked in multiple styles before settling on polystylism with many quotations and stylistic allusions |
