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64 Cards in this Set
- Front
- Back
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back phrasing |
in jazz, intentionally lagging behind the accompaniment for expressive effect |
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big band |
a large jazz ensemble, typically of thirteen or more players, divided into reed, brass and rhythm sections |
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blue note |
a lowered or 'bent' version of the third, seventh, and sometimes fifth scale degrees in the major scale |
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bridge |
1. the b section of an aaba song chorus. |
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Carter style guitar playing |
guitar performance style associated with Maybelle Carter, featuring "thumb-and-brush" picking and the use of hammer-ons |
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classic American popular song |
a popular song written between 1920 and 1955, especially on that has become a standard |
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collective improvisation |
simultaneous improvisation, especially by the front-line players in a New Orleans jazz ensemble |
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country blues |
a style of blues associated with rural southern musicians |
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crooner |
a performer who sings softly into the microphone with an effect of intimacy |
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Delta blues |
a type of country blues associated with musicians from the Mississippi River Delta |
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half chorus |
a musical unit consisting of half of a popular song's thirty-two-bar aaba chorus, either aa or ba |
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head |
in jazz performance, a statement of the tune's composed melody |
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hillbilly record |
a phonograph record marketed primarily to rural southern white buyers |
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integrated musical |
a musical comedy in which the songs grow out of and further the dramatic situation, working with other elements such as dance, acting, costumes, set design, and lighting to create a unified artistic effect |
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jukebox |
a coin-operated phonograph, typically found in a public place |
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leitmotif |
in opera of film music, a recurring theme associated with a specific character, object, or situation |
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modernism |
twentieth century aesthetic movement that, in music, emphasizes fragmented melodies, dissonant harmonies, and irregular rhythms |
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plunger-and-growl technique |
brass technique using plunger and pixie mutes and humming or gargling while playing |
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race record |
a phonograph record marketed primarily to African American buyers |
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rhythm changes |
the harmonies of George Gershwin's "I Got Rhythm" used as a standard chord progression for improvisation |
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rhythm section |
in jazz and popular music, a group of instruments, such as piano, drums, guitar, and bass, that provides the harmonic and rhythmic underpinning for melody instruments or voices |
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riff |
a short musical figure that is repeated to build up a larger section, whether as foregrounded melodic material or as background for solo improv |
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scat singing |
jazz singing on vocables instead of words |
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serialism |
compositional technique in which all twelve notes available within the octave are arranged into a fixed pattern or row, which is then manipulated to generate a stream of constantly changing pitches unified by their derivation from the original row |
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slide/bottleneck guitar |
a technique for playing the guitar with a glass or metal slide on the fretboard |
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source music/diegetic music |
in film, music that is part of the action onscreen and thus audible to the characters; also called 'source music' |
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standard (song) |
a classic american popular song that remains in the repertories of singers and instrumentalists |
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steel guitar |
a guitar modified so the strings are well above the fingerboard, held in the lap and played with a slide; may also be called a Hawaiian guitar |
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tone cluster |
a chord consisting of several closely spaced pitches, such as those created by pressing adjacent piano keys |
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trading fours |
a device in which two jazz soloists, or a soloist and the full band, alternate four-bar phrases |
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twelve-bar blues |
a common chorus structure in the blues, consisting of three four-bar phrases and following a standard blue progression |
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ultramodernism |
a twentieth-century aesthetic movement that called for a radical break with traditional musical styles |
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underscoring/nondiegetic music |
in film, music that heightens the mood or clarifies plot or character and is inaudible to the characters |
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vaudeville blues / classic blues |
a style of 1920s blues performance with female vocal soloists accompanied by either piano or small jazz-style ensemble |
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walking bass |
in jazz and popular music, a bass line with a note played firmly on each beat of the bar in four-beat duple meter |
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western swing |
a type of music originating in the Southwest combining country, jazz, and other styles |
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W. C. Handy |
first blues song in sheet music form: "Memphis Blues" followed by greatest hit "St. Louis Blues"; OWN PUBLISHER, "Father of the blues", tin pan alley scene |
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Bessie Smith |
greatest of the classic blues singers, "Empress of the Blues", dancer in vaudeville with Ma Rainey, then singer, "Downhearted Blues", "St. Louis Blues" |
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Ralph Peer |
smith's label hired him to be a talent scout in the south - an A&R (artists and repertoire) man; used improvised recording studios |
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Maybelle Carter |
member of Carter family with own distinctive style of guitar playing; hammer-on occasionally, best instrumentalist |
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Jimmie Rodgers |
first undisputed solo star of country music; blue yodels |
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Jerome Kern |
American composer of SHOW BOAT, start in British musical comedies, wrote musicals for Broadway, Viennese lyricism with rhythm of Castle-style dance music |
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Oscar Hammerstein II |
author of Show Boat's book and lyrics, major operetta hits |
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Henry Cowell |
biggest ultramodernist with crazy ways of playing the piano, but music still based in traditional structure (sort of); the Banshee |
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Jelly Roll Morton |
jazz composer; New Orleans style jazz; Black Botton Stomp, walking bass and backbeat; spanish tinge, caribbean rhythm, etc |
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Louis Armstrong |
jazz soloist; New Orleans to Chicago to NY; "West End Blues", scat singing; trumpet playing and singing kept him in spotlight during song |
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Duke Ellington |
jazz bandleader; plunger-and-growl; "Black and Tan Fantasy"; merging jazz and concert music; Diminuendo and Crescendo in Blue |
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Aaron Copland |
shift from ultramodernism to populism, went to Mexico and made a piece about that; merged modernist interests with conservative tastes |
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Ruth Crawford Seeger |
Chinaman, Laundryman; woman; people's musician (political), ultramodernist; serialism; then went into folk |
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George Gershwin |
song plugger (pianist who demonstrated new songs); Rhapsody in Blue; popular song; solo writing for piano |
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William Grant Still |
most versatile black composer, Afro-American Symphony
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Marian Anderson |
African American singer of opera, art songs, and spirituals; woman; not allowed to play somewhere and Eleanor withdrew from DAR and then she played at national mall |
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James P. Johnson |
creator of stride; jazz piano descended from ragtime, cutting contests |
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Mary Lou Williams |
pianist and arranger for big bands - showed could win the kind of highbrow respect of classical musicians without leaving jazz/popular sphere; woman |
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Robert Johnson |
most legendary Delta bluesman; mystery about death; myth about life, traded soul to devil for musical talent, "Walking Blues"; slide/bottleneck guitar |
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Thomas A. Dorsey |
gospel music; modern black gospel music; "Talk about Jesus"; |
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Gene Autry |
most successful Jimmie Rodger imitator, then appeared in western films |
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John and Alan Lomax |
cowboy songs collector and of ballads; search for African American musicians from white traditions; field recordings; "John Henry" |
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Woody Guthrie |
writer, singer, guitar, focus on Great Depression, dust bowl, political songs, "This Land is Your Land"; folksy; Carter-style guitar |
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Pete Seeger |
folk music through inclination; banjo; urban born folk singer; member of Almanac singers; approached folk as living music |
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Richard Rodgers |
worked on Broadway shows with Hart and films, then went on to work with Hammerstein II, to make more shows etc and then oklahoma, integrated musical |
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Count Basie |
blues in band, soloists play key role, BAND, collaboration and head arrangements |
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Lester Young |
biggest soloist in Basie's band; sax; ligt and intense, swing didn't need high volume; Lester Leaps |
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Billie Holiday |
greatest interpreter of classic American popular song; melody improv; back phrasing, "What is this thing called love?" |
