MUH 271 Jazz History.

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The marks, be that as it may, especially society, craftsmanship, and pop, do truth be told recognize (in any event as ... Society Music. meets the bunch's approbation; attached to social events ...
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MUH 271 Jazz History Some Notes from Chapter 3

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"What Kind of Music is Jazz?" Categories of society, craftsmanship, and "pop" music Division into classes in view of "ethnocentric worth judgments" names exist yet have no hypothetical premise The names, nonetheless, especially people, workmanship, and pop, do in actuality distinguish (at any rate as perfect sorts) genuinely discrete musical capacity and substance. Social monetary and transmission emotionally supportive networks as essential determinants

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Folk, Art, and Pop music Folk Music meets the endorsement of the gathering; attached to social events transmission circuitous or even accidental; oral transmission content is underlined. no "expert" artists. Workmanship music non-subsistence wage to bolster authority artists direct support by people or establishments augmented, formal exhibitions, individual\'s innovative yield preparing self-and class-chose listening Popular Music roundabout support by a mass crowd innovation as a method for transmission; proprietor/suppliers intervene stream monetary performers are pros or experts

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Congressional determination of 1987 Main precepts (disagreements?) craftsmanship yet additionally individuals\' music indigenous American music yet worldwide ethnically bringing together yet African American Distinction amongst "race" and "ethnicity" jazz artists might be dark or white or whatever other ethnicity. African American: not a race but rather an ethnic gathering ethnic elements can be learned and shared African American musical standards incorporate polyrhythm, call and reaction, blue notes, and timbre variety: the standards are not remarkable but rather their mix is

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Folk Traditions Serve to set up a tenacious musical personality Helped make the half and half nature of American society Various Genres Ballads: neighborhood history through long melodies; frequently incorporate braggadocio Work tunes: went with difficult work Berta Work Song (Cannonball Adderley ) Field hollers: unaccompanied, musically free, go with ranch work Spirituals: call and reaction with religious verse. Two sorts: cleaned Fisk Jubilee Singers style; orally transmitted Pentecostal church singing. By 1920s, gospel music had created. Spirituals are exceedingly interactional, which impacted jazz performers.

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Blues (see likewise "Blues" notes) Country blues Solitary vocalist (male), guitar backup Loose and improvisatory structure City (Vaudeville, Classic, Urban) blues Style initially "obtained" by female artists Female artist, joined by piano/organ, different inst. Stricter adherence to shape

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Minstrelsy an extraordinarily American stimulation prompted spoofs of European operatic and showy tunes In the 1830s, minstrel musical acts showed up as intervals between carnival acts or dramatic exhibitions (1843) first full-scale minstrel show played in New York; "Virginia Minstrels" connected dark stopper to their appearances, performed tune and-move/theatrical presentation Blackface normally smoldered, pummeled champagne plugs blended with water or petroleum jam racial marker sort of veil to shield the entertainers from distinguishing proof with the their parts

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"Jim Crow" and "Zip Coon" "Jim Crow" - A build of Thomas Dartmouth "Daddy" Rice, "Jim Crow" was apparently motivated by an elderly African American who Rice had seen moving and singing the words: " Weel about and turn about and do jus\' along these lines, Eb\'ry time I weel about, I hop Jim Crow." The name later refered to the racial standing framework that existed from 1877 to the mid 1960s. "Zip Coon" - Created by George Washington Dixon, "Zip Coon" as far as anyone knows spoke to the "dandy," "sporting life" Northern character who had gained some riches through true blue or illegitimate means.

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Ragtime Performance Practice versus composed documentation Known & obscure varieties in "set up" music Pitch fluctuation (sound). "harsh and differed timbres." "ragging" "African" commitments include: Syncopated cadence. Social centrality. Jazz conceivably slid from the "cakewalk," a " walkaround " in which couples would parade around a square and extemporize high-venturing, fiery developments as they turned the corner. The cakewalk can be seen as a white impersonation of dark slaves ridiculing European moves. European music commitments. Structure, likely got from the walk. Solo piano. Different attributes: Alternating root/harmony in the left hand. Solo piano. Completely recorded.

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