33115 1 Post World War II Musical Modernism .docxtamicawaysmith
3/31/15
1
Post World War II
Musical Modernism
The Media Revolution
• Record companies seek out niche markets
• Columbia, Paramount
• Many marketed and sold to a black audience
• “Race records” – became popular with white
audiences also
• “Hillbilly music” marketed to rural white
southerners
• continuation of pre-1920s fiddle tradition
• fiddle contests and medicine shows
• Unregulated Mexican radio stations
• could reach Canada and China
The Media Revolution
• 1946: Television industry begins
• By 1950s, TV common in most households
• Soap operas, sit coms, variety shows, mysteries
• Radio stations begin to play more pre-
recorded music
• Disc Jockeys (DJs) become important
3/31/15
2
Record Formats
• 78 rpm records: 3-4 minutes of music
• Major record companies begin issuing
Long-Playing (LP) 33 rpm records
• Up to 26 min. per side (12”)
• Targeted at adults
• Often classical music, musical theater,
easy-listening
• 45 rpm Singles (7”)
• Marketed to teens
Pop Music
• Strong connection to Swing
• Continued innovations of popular
1930s vocalists
• Armstrong, Holiday, Bing Crosby
• Song Interpreters
• Each singer recognizable by their style
• Personality becomes part of the song
Pop Music
• Nat “King” Cole (1917-1965)
• Formed a popular jazz trio
• First black artist to host a TV show
• Several pop hits:
• “Straighten Up and Fly Right,” “Unforgettable”
• Frank Sinatra (1915-1998)
• Got his start singing with Big Bands
• Became a teen idol in early 1940s
• Formed his own record company
• “You Do Something to Me” (1950)
3/31/15
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Woody Guthrie (1912-’67)
• Lived a wandering life
• Hobo lifestyle, inspired his poetry
• Experiences during the Depression
• Dust bowl drought, New Deal politics, unions
• Political radical
• Lyrics about social justice, inequalities
• 1940: “This Land is Your Land” written in response to
Irving Berlin’s “God Bless America”
Woody Guthrie
• “So Long, It’s Been Good to Know You” 1940
• Story about west Texas during the Dust Bowl
• Ironic jabs at religion and society
• influences folk-revivalists, singer-songwriters, and rock
musicians for years to come
Urban Folk Revival
• Guthrie, Pete Seeger form Almanac Singers
• Starts the urban folk revival
• Younger Americans seeking authenticity and
directness in music
• Qualities that were missing in pop music
• Folk songs let performers comment on current events
• Join political movements, play for rallies
• Songs of protest against social ills
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4
Country & Western
• Folk becomes Country
• Radio broadcasts
• Nashville becomes epicenter
• 1927: The Grand Ole Opry in Nashville, TN
• Other barn-dance radio shows pop up
• Promotes “down home” image
• as opposed to European opera
• overalls, straw hats, etc.
Post-War Country Music
• Hank Williams and Kitty Wells
...
32315 1 Origins of Rock ‘n’ Roll • Three musica.docxtamicawaysmith
3/23/15
1
Origins of Rock ‘n’ Roll
• Three musical ancestors of Rock
– Country & Western
• Grand Ole Opry and image
• Controversial subjects in lyrics
– Rhythm & Blues
• 12-bar Blues, insistent rhythm, shout-style vocals
• Hokum, Boogie-woogie, Electric guitar
– Pop music
• Strong connection to jazz (Big Band Swing)
• Simple, catchy melodies
• 1950: all three coexisted in separate
markets
– Billboard magazine tracks sales of popular
music
– Separate charts for each genre
• By 1954, markets began to merge
• Crossovers: a crossover hit originates in
one market, but also succeeds in another
– “Earth Angel”—R&B song, made the pop
charts
– “Tennessee Waltz,” “Heartbreak Hotel”—
C&W hits, on pop charts
• Covers: an artist’s version of someone
else’s song
– “Earth Angel”—original by The Penguins
(R&B), covered by the Crew Cuts (Pop)
3/23/15
2
Emergence of Youth Culture
• Prior to 1950s, entertainment industry aimed
at adults
• Mid-’50s: identifiable youth culture
– Movies present images of rebellious youths
• Rebel Without a Cause, Blackboard Jungle
• New role models, dress code, slang, hairstyles
• Black leather jacket, upturned shirt collar, slicked
back hair (“ducktail” or “d.a.”)
• Record companies realize teens have
disposable income
Bill Haley and The Comets
• Haley’s band started with C&W, began
covering R&B songs
– “Shake, Rattle, and Roll” orig. by Joe Turner
– “Rock Around the Clock” orig. by Sonny Dae
• Featured on soundtrack to Blackboard Jungle
• Two months at #1 on pop charts (1955)
• Haley, born in 1927, too old to be the new
face of youth culture
• Laid foundation for Rockabilly
– R&B material, with C&W sound
Elvis Presley (1935-’77)
l Raised
in
poor
family
from
Mississippi
– Elvis
absorbed
a
variety
of
musical
influences
l R&B,
gospel,
C&W,
bluegrass,
pop
l Discovered
while
making
a
recording
for
his
mom
– Memphis
Recording
Service
and
Sun
Records
l Right
voice
at
the
right
Cme
l White
singer
with
a
black
sound
3/23/15
3
Sun Records
• Memphis, Tennessee
• Sam Phillips, founder
– Appreciated talents of R&B musicians
– Began recording them even before he started
his own label
• Brings the music to a wider audience
• Sun Records credited with discovering
Elvis
– “Hound Dog” (1957)
Importance of Elvis
l Flexible,
invenCve
vocal
style
– Always
sounds
like
himself
l Wide
popular
appeal,
crossover
success
– Records
on
country,
pop,
and
R&B
charts
l Huge
commercial
success
– Sold
over
500
Million
records
by
the
Cme
of
his
death
Mainstream Rock ‘n’ Roll
l (DJ Alan Freed, coined the term “Rock ‘n’ Roll”)
• Heavily influenced by R&B
– Little Ric ...
Chapter 5: St. Louis Blues”: Race Records and Hillbilly Music, 1920s and 1930s—through The Country Blues, Charley Patton, Popular Music and the Great Depression
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Impact of Ethnobotany in traditional medicine,
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The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
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Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Chapter 34 - Jazz & Popular Music Between the Wars
1. Chapter 34
Lecture Slides
A History of
Western Music
TENTH EDITION
by
J. PETER BURKHOLDER
DONALD JAY GROUT
CLAUDE V. PALISCA
2. Between the World Wars – Musical Theater
American Musical Theater and Popular Song
• 1920s, rich time for American popular
music
• vaudeville troupes toured the continent
• operettas, revues, musicals attracted large
audiences
• 1920 to 1955, “Golden Age” of Tin Pan Alley –
Musical theater
• Revues - complete shows, primarily
musical numbers, many performers
• Ziegfeld Follies, premier series produced by
Florenz Ziegfeld
• variety entertainment, star performers, troupes
of beautiful female dancers
• Musicals – shows with dialogue, solo
songs, chorus, duets, and large dance
numbers
• 1920s musical rapidly replaced operettas
• increasing interest in integrated musicals,
plot-driven, valued for dramatic impact
4. Show Boat (1927), by Jerome Kern (1885–1945), book and lyrics by
Oscar Hammerstein II
• exemplifies new integrated approach; multiple musical styles and
traditions
• operatic in scope, interwoven referential themes and motives
• serious social issues: racism, economic and social oppression of
African Americans
Between the World Wars – Musical Theater
5. Irving Berlin (1888–1989)
• wrote both music and lyrics to his songs
• one of America’s most prolific, best-loved popular
songwriters
• known for sentimental, patriotic tunes; God Bless
America, White Christmas
• mastered all current popular song genres
• involved in every aspect of music business
• many songs written for revues, movies, musicals
Cole Porter (1891–1964)
• wrote both music and lyrics to his songs
• educated in music at Yale, Harvard, Schola Cantorum in
Paris
• remembered for suave, urbane, sophisticated lyrics
• irresistibly catchy, memorable tunes; Let’s Do It, I Get a
Kick Out of You, It’s De-lovely, You’re the Top
• music complements inventive texts
• wrote exclusively for theater and Hollywood musicals
Between the World Wars – Musical Theater
6. George Gershwin (1898–1937)
• composed jazz-influenced classical
music, popular songs, musicals
• best-known songs feature lyrics by
his brother, Ira Gershwin
• started writing for revues, moved
toward integrated musicals, social
satire
• Of Thee I Sing (1931), first musical
to win Pulitzer Prize for Drama
• musicals catapulted several
performers to fame; Fred and Adele
Astaire, Ethel Merman, and Ginger
Rogers
Between the World Wars – Musical Theater
7. I Got Rhythm by George Gershwin
• composed for Girl Crazy (1930)
• sung by Ethel Merman, instant hit
• style and attitude drawn in part from
jazz
Between the World Wars – Musical Theater
8. Chapter 34
Lecture Slides
A History of
Western Music
TENTH EDITION
by
J. PETER BURKHOLDER
DONALD JAY GROUT
CLAUDE V. PALISCA
9. The Jazz Age
• African American music played increasingly influential role in
American musical life
• 1920s, known as the “The Jazz Age,” blues and jazz gained wide currency
• new opportunities for African American musicians
Blues
• one of most influential genres of early twentieth-century America
• origin obscure; likely stemming from rural work songs, other African
American oral traditions
• lyrics: disappointments, mistreatment, other troubles
• words also convey defiance, will to survive
• music expresses feelings implied in the words
Between the World Wars – Jazz Age
10. two distinct blues traditions
• classic blues
• urban style, influenced by popular music
• first to be recorded
• performed by African-American women
• accompanied by piano or small combo
• popularized on black variety circuits, minstrel circuits, clubs, recordings
• records targeted to black audiences, “race records”
• delta blues
• rural traditions, known as country blues
• regarded as older style
• primarily from delta region of Mississippi
• male African American singers, guitarists
• more directly rooted in oral traditions
• greater flexibility of textual, musical form, harmonic choices
• national exposure gained through recordings
• singing style: rough, rich in timbre and nuance, rhythmically flexible
• alternation between voice and guitar, call and response
Between the World Wars – Jazz Age
11. Twelve-bar blues
• W. C. Handy (1873–1958) “father
of the blues”
• publisher, blues songs in sheet music
form, 1912
• solidified standard twelve-bar blues
form
Between the World Wars – Jazz Age
12. Bessie Smith (1894–1937) “Empress of the
Blues”
• Born in Chanttanooga, TN
• Parents died young
• she and her siblings survived by performing
on street corners
• She began touring/performed with a Ma
Rainey group but then went out on her own
• Recording career with Columbia Records
began in 1923,
• car crash killed her at the age of 43
• “St. Louis Blues” (1929), Bessie Smith
• Written by the Father of the Blues – W.C.
Handy
• This song was featured in the only film
appearance Bessie ever did in 1929.
Between the World Wars – Jazz Age
13. Jazz in the 1920s
• distinctive features of 1920s jazz
• syncopated rhythm
• novel vocal and instrumental sounds
• unbridled spirit
• improvisation was important element
• recording industry, radio played key roles in growth and
dissemination
• New Orleans jazz - leading style of jazz after World War I
• named after city of origin
• centers on group variation of given tune - improvised in same
spontaneous style
• leading musicians played in clubs, Storyville
• cornettist Joe “King” Oliver (1885–1938)
• trumpeter Louis Armstrong (1901–1971)
• pianist Jelly Roll Morton (1890–1941)
Between the World Wars – Jazz Age
15. Joe “King” Oliver (1881-1938)
• Jazz cornetist, composer and Band Leader
• Mentor/Teacher of Louis Armstrong
• recognized for his playing style and his pioneering use of
mutes in jazz
• From Louisiana and started his jazz career in New Orleans
1908-1917
• moved to Chicago, 1918 & formed his own band, 1920
• Louis Armstrong joined band, 1922; King Oliver’s Creole Jazz Band
• 1923, recordings
• Died in poverty after losing his money in the Depression, has
to sell his suits and cornet for money
Louis Armstrong (1901-1971)
• Jazz trumpeter, vocalist from New Orleans
• Career spanned 5 decades over different eras of jazz history
• Armstrong formed his own band, Hot Five, or Hot Seven
• New Orleans style jazz example: West End Blues
• Written by Joe “King” Oliver
• Recorded/performed by Louis Armstrong and his Hot Five in
Chicago, 1928
Between the World Wars – Jazz Age
16. Big bands and swing
• 1920s, main function of jazz was to accompany
dancing
• availability of larger performance spaces for jazz
• African American and white musicians organized big bands
• typical dance band by 1930
• brass: three trumpets, two trombones
• reeds: clarinets and saxophones
• rhythm section: piano, guitar, double bass, drums
• piece written down by arranger, solos improvised
• borrowed sounds from modern classical music
• four-note sonorities, chromatic harmonies of Debussy,
Ravel
• typical big band featured a vocalist
• the swing era - name derived from swing rhythm
• swing: combination of stylish arrangements with jazz
rhythms
• ignited dance craze across the country, Lindy Hop
Between the World Wars – Jazz Age
17. Edward Kennedy “Duke” Ellington (1899–1974)
• One of the most influential American composers
• most important composer of jazz to date
• influential innovator, expanded boundaries of jazz
• 13 Grammy awards, 17 honorary degrees, Presidential Medal of
Honor in 1969, named member of the National Institute of Arts
and Letters and of the Swedish Royal Academy of Music
• 1927–1931, house band at Cotton Club Harlem’s preeminent
nightclub
• offered alcohol, entertainment
• black performers, white clientele
• Ellington used band to experiment with new pieces, effects, timbres,
and voicings
• group made about 200 recordings, regular radio broadcasts
• Cotton Tail (1940) East St. Louis Toodle-oo
• major works: East St. Louis Toodle-oo; Black and Tan Fantasy;
Mood Indigo; Creole Rhapsody; Concerto for Cootie; Ko-Ko; Cotton
Tail; Black, Brown and Beige; and more than 1,300 other
compositions, including songs, choral works, tone poems, suites,
musicals, and ballet and film scores
Between the World Wars – Jazz Age
18. Chapter 34
Lecture Slides
A History of
Western Music
TENTH EDITION
by
J. PETER BURKHOLDER
DONALD JAY GROUT
CLAUDE V. PALISCA
19. Film Music
• new technologies transformed film music
• late 1920s, recorded sound synchronized with film
• Jazz Singer (1927), first “talking picture” (talkie)
starring Al Jolson
• two categories of music in film
• diegetic music, or source music: performed by
characters themselves
• nondiegetic music, or underscoring: background
music
• mid-1930s, Hollywood studios employed
composers, orchestrators, arrangers, editors,
orchestras
• dramas and comedies included musical numbers
Between the World Wars – Film Music
20. Movie musicals
• 1930s, “Golden Age” of Hollywood
musical
• Broadway’s best-known composers
wrote for movie musicals
• Gershwin, Berlin, Kern, Porter
• made Bing Crosby, Fred Astaire, Ginger
Rogers international stars
• offered escape from Great Depression
• level of talent was high
• ticket prices were inexpensive
compared to Broadway shows
• parallel development in Germany was
film operetta
• applied language of Wagner, Strauss,
Debussy
Between the World Wars – Film Music
21. Film scores
• fully integrated into dramatic action
• many composers were European immigrants
• Max Steiner (1888–1971), immigrant from Vienna
• worked on Broadway for fifteen years, arranger,
orchestrator, composer
• King Kong (1933), established model for
Hollywood film score
• score organized around leitmotivs
• coordinates music with actions on screen
• often marks particular movements with musical
effects
• orchestral Romanticism: dramatic moments
• modernist techniques: intense dissonance for fright,
extreme emotions
• wrote film scores through 1960s
• Gone with the Wind (1939), Casablanca (1943)
Between the World Wars – Film Music
22. other leading Hollywood film composers
• Erich Wolfgang Korngold (1897–1957)
• Jewish Austrian Composer
• Fled the Nazis and came to America
• The Adventures of Robin Hood (1938)
animated films
• Walt Disney’s pioneering cartoon Steamboat Willie (1928)
• Bugs Bunny cartoons scored by Carl Stalling (1891–1972)
• Disney’s Snow White and the Seven Dwarfs (1937)
• first full-length feature
• score by Frank Churchill (1901–1942)
Between the World Wars – Film Music
