The Blues
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The document summarizes the origins and characteristics of blues music that developed after the emancipation of slaves in the American South. It notes that blues flourished in the post-emancipation period, featuring a solo guitarist and singer. The blues utilized a simple portable instrumental setup of guitar and harmonica to allow transient artists to perform. The standard blues form that developed involved a 12-bar structure consisting of 3 lines over 4 bars each, using dominant 7th chords and a repetitive I-IV-V chord progression. Blues lyrics reflected the new social conditions of hardship, relationships, and sexuality in a standardized English language.
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The document summarizes the major musical and cultural trends in America during the 1950s. It describes the post-war economic boom and rise of American global power. Musically, it discusses the popularity of swing and big band jazz as well as solo singers. It also outlines the development of blues music in Chicago and the growing ethnic divide in the South. Rock and roll emerged from the blending of rhythm and blues, country, and other genres, with Elvis Presley popularizing the new style among white audiences in the latter half of the decade.
Introduction To Jazz
Jazz represents the merging of many musical traditions. It originated from the blending of African music brought by slaves and European music in the southern US. Dixieland jazz then developed in New Orleans in the early 1900s by combining blues, ragtime, brass bands, and other influences. Dixieland spread and gained popularity while different jazz styles like big band later emerged.
Music genres
The document summarizes different music genres including rock, pop, jazz, hip hop, blues, and country. It provides origins and characteristics for each genre. Key points include that rock originated in the 1950s and features amplified electric guitar, while pop originated in the 1950s UK and US and borrows from other styles. Jazz originated in New Orleans in the late 19th century and has evolved styles like free jazz and fusion. Hip hop developed in the Bronx in the 1970s and is characterized by rapping, DJing, beatboxing and breaking. Blues originated from African American spirituals and work songs in the late 19th century Deep South US. Country originated in the 1920s southern US and takes from folk, blues and
Jazz in the big band era
The Big Band Era of the 1930s and 1940s saw the rise of large jazz ensembles known as big bands. These bands featured around 12-18 musicians divided into brass, reed, and rhythm sections. They performed complex arrangements written by composers like Duke Ellington that incorporated elements of classical music. Big bands played at dance halls and clubs, accompanying vocalists and fueling new dance crazes like swing. However, the music world remained segregated, with prominent black bandleaders like Ellington experiencing more success with white audiences. The Cotton Club in Harlem featured some of the most famous big bands of the era like Ellington's orchestra.
2014 north american folk traditions music
This document provides an overview of American folk traditions from the early 20th century to present day. It discusses the origins and evolution of various regional styles such as Appalachian folk music, cowboy songs, marching bands, blues, and bluegrass. It also outlines the folk revivals of the 1930s-40s led by figures like Woody Guthrie and Pete Seeger and the emergence of popular national styles like country and honky tonk. The document concludes by noting the significant influence of American folk on the British folk music scene and genre in the 1960s.
Jazz history 03 - Early Jazz
This document discusses the musical roots and influences that came together to create jazz music in New Orleans in the early 20th century. It explores the five main influences: blues/folk music, classical music, ragtime/popular music, gospel music, and march music. Each of these musical traditions originated in New Orleans and blended together, incorporating elements like syncopation, improvisation, and call-and-response vocals to form the foundation of early jazz. Key figures that helped spread these styles and blend them together include Bessie Smith, Scott Joplin, James Reese Europe, and others.
1930s-1940s Big Band/Blues Music
Count Basie, Duke Ellington, and Glenn Miller were influential big band leaders in the 1930s-40s swing era. [1] Basie's band was closely associated with the blues tradition out of Kansas City. [2] Duke Ellington was a renowned composer who developed a unique style at the Cotton Club in Harlem, though he had less commercial success than others. [3] Glenn Miller led a very popular dance band known for the hit song "In the Mood," before joining the army air corps in WWII and dying when his plane went down.
a brief History of music
Jazz originated in the southern US in the late 19th century as a combination of European and African musical elements. It later incorporated elements of American pop music and has evolved through various styles over the decades, including Dixieland, swing, bebop, cool jazz, free jazz, and fusion. Blues also originated as an African-American music form and influenced the development of rock music in the 1950s and 1960s through artists like Led Zeppelin and Jimi Hendrix covering blues songs. Rock spread globally in the 1960s during the British Invasion led by bands like the Beatles and Rolling Stones. By the 1970s, rock had diversified into subgenres like soft rock, hard rock, and heavy metal
Chapter 5
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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The document traces the origins and evolution of the blues from its beginnings in the Mississippi Delta region in the late 19th century to modern blues. It discusses key characteristics of the blues including its 12 bar format, call and response structure, use of the flatted 3rd and 7th notes, and AAB lyrical form. Significant early blues artists mentioned include Robert Johnson, Mamie Smith, and Bessie Smith. The document also references blues styles like the entertainment blues and big band blues, and provides examples from modern blues performer Jonny Lang.
Week 2 Lecture
This document provides an overview of the history and development of blues music in three parts. It discusses the origins of blues in the 1920s in America, following the emancipation of slavery and Great Migration. Key early blues artists included Charley Patton and Robert Johnson. The second era saw the emergence of rhythm and blues in the 1940s-50s with electrified blues and artists like Howlin' Wolf and Muddy Waters influencing rock and roll. The document notes that blues turned pain into beauty while speaking to universal human experiences. It previews that week 4 will cover the blues invasion of the 1960s that exposed blues to wider audiences.
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This document provides an overview of the origins and development of rock and roll music from its African roots to its emergence in the United States in the 1950s. It discusses genres like spirituals, blues, country, and rhythm and blues that influenced rock and introduces important early artists such as Bessie Smith, Robert Johnson, Hank Williams, and Elvis Presley. The document also touches on the social context of 1950s America and the role of major record labels and independent labels in the development of the rock genre.
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- 2. the Blues is a tradition that developed in the Deep South at the end of the nineteenth century. flourished in Post-Emancipation. classic Blues features a soloist and guitarist. freedom of mobility was created at the micro-level as Negroes were permitted to travel with some degree of freedom for the first time.
- 3. Addition of instruments capable of being played by one or two persons.- guitar, harmonica. Instruments portable as blues artists were very transient. Call and response between instrument and person as no group context in Blues.
- 4. All dominant chords utilised in accordance with melodic construction. Most important movement – I7 for four bars followed by IV7 in the 5th Bar. Blues standardised in to twelve bar form.
- 5. Blues had secular text with personal accounts: 1. Lyrics reflected new social conditions of individual hardship. 2. Problems in Inter-personal relationships. 3. Double-entendre sexual messages. Standardised American English much more pronounced as opposed to WS or NS.
- 6. The twelve-bar blues -- the more or less final form of blues -- is constructed so that each verse is of three lines, each line about four bars long. The words of the song usually occupy about one-half of each line, leaving a space of two bars for either a sung answer or an instrumental response (Baraka). The first line on I7 is repeated on IV7 with the V7 providing a new lyric.
- 7. Blues – post-emancipation genre. Secular lyric. Solo or two member performance. Unique harmonic structure. 12 Bar Standard form. Significantly influential genre.
- 8. It is important to note that the Classic or Delta Blues did not only remain in its purest form Chicago Blues, uses electric guitars and rhythm section (bass, drums) and came about much later. It still however, mostly uses the same 12 bar structure.
- 9. Robert Johnson – Delta Blues, W.C Handy (Transcribed Blues), John-Lee Hooker (Delta Blues and Detroit Blues), Muddy Waters (Chicago Blues), B.B King
- 10. Robert Johnson Dsc1 and Dsc2. The Essential Muddy Waters – (e.g. of Modern Blues)
- 11. Baraka, Amiri. Blues People: Negro Music in White America. New York: W. Morrow, 1963. Print.