mus122_studyguide_midterm1.pdf

MUS 122 Midterm Review Chapters 1-3 Bessie Smith: classic/vaudeville blues singer Ma’ Rainey: classic/vaudeville blues singer, known as the ‘mother of the blues’ Robert Johnson: country blues singer and guita...

MUS 122 Midterm Review Chapters 1-3 Bessie Smith: classic/vaudeville blues singer Ma’ Rainey: classic/vaudeville blues singer, known as the ‘mother of the blues’ Robert Johnson: country blues singer and guitarist Frank and Irene Castle: white couple who tamed down some of the popular and risque dances to make them more acceptable to white audiences...helped spread ragtime into mainstream culture James Reese Europe: Black bandleader and composer who worked with Frank and Irene Castle Buddy Bolden: known as the first great jazz musician, cornetist, no recordings Scott Joplin: pianist and the most famous ragtime composer Joe ‘King’ Oliver: Highly infuencial cornetist and bandleader, taught Louis Armstrong and also had him in his band, known for his use of mutes Freddie Keppard: cornet player, turned down the chance to make the first jazz record as he was worried his ideas would be stolen Nick LaRocca: cornetist for Original Dixieland Jazz Band, claimed they had invented jazz Jelly Roll Morton: early ragtime and jazz pianist, one of the first arrangers in jazz – writing down and notating parts which were played as written (not improvised) Paul Whiteman: Composer of symphonic jazz, helped bring jazz into the concert hall and to white audiences, hired Fletcher Henderson as an arranger Bing Crosby: singer for Paul Whiteman Orchestra, first full time vocalist with a jazz orchestra Original Dixieland Jazz Band: all white band that recorded the first jazz record in 1917 James P. Johnson: father of stride piano, composed ‘Carolina Shout,’ ‘You’ve Got to Be Modernistic’ and ‘Charleston’ as well as classical pieces Sidney Bechet: soprano saxophonist and clarinetist, New Orleans style W.C. Handy: trumpet/cornet player first heard the blues in a Mississippi railroad station, called himself the father of the blues composed ‘St Louis Blues,’ Bix Beiderbecke: cornet soloist with the Paul Whiteman Orchestra Coleman Hawkins: one of the first major TENOR saxophone soloists in jazz, featured soloist with the Fletcher Henderson Orchestra. Duke Ellington: pianist, bandleader, one of the most significant American composers, often composed programmatic music (music which describes specific people, places, or events) Country Blues: early genre of blues from the American South, most often solo male performer on vocals and guitar, loose form, lyrics consists of three-line stanzas with the first line repeated, the lyrics present a chronological account in first person Classic/Vaudeville Blues: developed from country blues, most often female vocalist accompanied by a small band, strict 12-bar form, was primarily performed in theaters frequented by Black patrons scat singing: vocal technique where the singer improvises melodies using nonsense words improvisation: creating and playing new melodies in the moment meter: how the beats are arranged in a measure syncopation: rhythms which accent the upbeats, or rhythms which seem to go against the meter pitch: refers to the frequency of a note (how low or high it is) vibrato: a shake in the pitch of an instrument or voice dynamics: refers to the volume of the music form: The structure or organization of a piece of music chorus: one full cycle through a song form break: a brief moment where the rhythm section stops and a single player improvises call and response: musical style where melodic statements by a soloist or group are followed by an answering melodic statement by another group or soloist field holler: solo vocalist, blues inflections, loose time work songs: musical style which incorporated call and response ballad: folk music which retells a lengthy story from local history timbre: tone quality minstrel shows: most popular form of entertainment in 19 th century America, performed initially by white performers in black face but also later by Black performers, incorporated aspects of Black musical culture but invented and reinforced negative racial stereotypes Jim Crow: minstrel character who’s name would become synonymous with racial segregation Original Dixieland Jazz Band: New Orleans band comprised only white musicians that recorded the first jazz album in 1917 Storyville: Red-light district of New Orleans where musicians (such as Jelly Roll Morton) would perform in clubs and brothels Congo Square: where slaves were permitted to gather to dance and play music one day a week in New Orleans polyrhythm: two or more rhythms which when played together create a hybrid rhythm polyphony: multiple melodies happening simultaneously ragtime: term comes from ‘ragged time,’ dance music, compositions follow march forms, characterized by steady rhythm in the accompaniment (left hand) and syncopated melody (right hand)...often played on the piano collective improvisation: multiple players improvising simultaneously New Orleans Style: first genre of jazz which originated in early 1900s New Orleans, in part thanks to the city’s status as a major port with a diverse population...characterized by polyphony and collective improvisation front line: horn section of a New Orleans Style band – the trumpet/cornet plays the main melody, the clarinet plays a higher, faster-moving melody, and the trombone plays a decorated bass line rhythm section: piano, banjo, bass/tuba, drums, guitar Great Migration: refers to the movement of Blacks from the American south northward to try and escape racism and the oppression of the Jim Crow laws in the south – helped popularize jazz throughout the country Prohibition: the period of time (1920-1933) in the US when alcohol was outlawed, resulted in an increased demand for music in speakeasies stride piano: style of piano which came from ragtime – left hand plays steady rhythm alternating bass notes on beats 1 and 3 and chords on beats 2 and 4, right hand playing syncopated melodies, improvised Tin Pan Alley: collection of composers and publishers active in NYC in the early 1900s, composers of the pop music of the day symphonic jazz: term coined by Paul Whiteman for his style – combining European musical elements with the New Orleans/Dixieland style blues: three part AAB form, originated in American south, popular to this day Cotton Club: all-white club in NYC where Duke Ellington and his band had a residency 1927-1931  MUS 122 Midterm Review Chapters 4,5 Louis Armstrong: - vocals, cornet, bandleader - Worked on Mississippi riverboats - soloist with Fletcher Henderson Orchestra, eventually left the group because Henderson wouldn’t allow Armstrong to sing in the group - replaced his mentor Joe ‘King’ Oliver in Kid Ory’s band, later traveled to Chicago to join Oliver’s band - innovative rhythmic conception - leader of the Hot Five and Hot Seven - established the blues as the harmonic foundation for jazz - first artist to record a scat singing solo, Armstrong was the only figure in Western music to influence his era equally as a vocalist and instrumentalist - shifted the emphasis to individual solos as opposed to collective improvisation - outspoken Civil Rights activist, but was criticized by some for being too eager to please white audiences Hot Five and Hot Seven - led by Louis Armstrong, several influential recording sessions - shift to full choruses of individual soloists instead of collective improvisation with individual solo breaks - single-theme choruses of popular songs replaced ragtime forms - helped jazz evolve from a group concept based on polyphony into a showcase for individual expression by soloists arpeggio: when the notes of a chord are played one a time in succession instead of all at once Earl Hines: - pianist known for extensive collaborations with Louis Armstrong, unique rhythmic style, use of tremelos and octaves, percussive right-hand technique tremelo: playing alternating quickly between notes on a piano, simulates the shakes/vibrato of horn players cadenza: usually occurs at the beginning or end of a performance, a soloist plays completely unaccompanied for an undetermined amount of time, can be in or out of time (pulse can be present or disregarded) Bix Beiderbecke: influential cornet soloist with the Paul Whiteman orchestra Swing Era: 1935-1945, swing was the MOST popular form of music in the US swing (genre): - performed primarily by big bands - features a balance of improvisation and composition - high energy dance music defined by a steady 4-beat groove - constant ¼ note pulse played by bass drum, string bass (walking bass line), and guitar - skip beat played by the ride cymbal Lindy Hop: - style of dancing developed by Black Americans in the swing era, associated with swing music and the Savoy Ballroom - couples dance, featured opportunities for individuals to improvise steps Chick Webb: - drummer, bandleader, led the Chick Webb Orchestra which was the house band at the Savoy Ballroom Savoy Ballroom: - popular dance hall in Harlem, NYC which allowed patrons of all races - where swing music and the Lindy Hop developed alongside each other - Chick Webb Orchestra was the house band head arrangement: - big band arrangement which was learned by ear (not written down) - simple, riff-based melodies, backgrounds (behind soloists) are improvised on the spot - easily extendable (to accommodate the energy of the crowd/dancers soli: melodic lines in the style of a solo harmonized for an entire instrument section shout chorus: the final, climactic section of a swing composition Benny Goodman: - clarinetist, swing-era bandleader (Benny Goodman Orchestra), led the first integrated jazz band to tour (Benny Goodman Trio) Teddy Wilson: pianist in Benny Goodman Trio, first Black musician to tour with an integrated group (although he was always billed as a ‘special guest’ John Hammond: NOT a musician, wealthy activist and patron of jazz, helped the career development of many prominent musicians/ensembles including the Benny Goodman Trio, Fletcher Henderson Orchestra, Count Basie, Bessie Smith Other influential swing-era bandleaders: Artie Shaw, Count Basie, Duke Ellington, Jimmie Lunceford, Glenn Miller, Cab Calloway