[3/29 Lecture]

I) FORM     
A.Types of form
Sectional
Strophic
Verse and Chorus
Cyclical (call/response)

B.Units of form
Sections
Phrases
Motives

II) TEXTURE
Unison vs. contrast
Homophony vs. polyphony
polyrhythm

III) HARMONY
      Harmony and “functional” harmony
     
IV) METER
duple vs. triple

V) TIMBRE

VI) MELODY


[3/30 Lecture]

AFRICAN AMERICAN MUSIC

Patterns of retention and syncretism

Specific African retentions

Conceptual Approaches to music-making
1. Rhythmic contrast
(fixed and variable, polyrhythm)
2. Heterogenous sound
3. Speech/song continuum
4. Cyclical forms
(call/response)

[3/31 Lecture]

EUROPEAN INSTITUTIONS

Musical theater and Opera
English ballad opera
      The Beggar's Opera, by John Gay, 1728
Italian opera
      (bel canto)

Public Concerts
Pleasure gardens
Musical variety shows

4/4 THE MINSTREL SHOW

HISTORY
“Ethiopean delineators” perform in early 19th century
T.D. Rice’s “Jim Crow” 1829
Virginia Minstrels (Dan Emmet) 1843—first all-blackface “minstrel show”
Development before and after Civil War
      (after war, black performers—in blackface--begin to displace white minstrels)

PERFORMANCE CONVENTIONS
Part I Semi-circle bounded by comic end-men, interlocutor directing

Part 2 “Olio”-variety format, comical stump speech

Part 3 -- Final skit (Plantation number, or spoof of popular plays, etc.)
                  (origin of cakewalk dance)


CHARACTERS
Sambo, Jim Crow, Old Darky, Zip Coon, Mammy, Mulatress

MEANINGS (for working class white men in North)
-racial stereotypes
-nostalgia (plantation as metaphor for rural home)
-commentaries on class and politics
-romance, humor, etc.


4/5 CHURCH MUSIC

1640 Bay Psalm Book

Lining out, the “old way”

18th c. Singing School movement, the “regular way”
      -promotes uniformity of singing style, through hymnals and musical literacy
      -William Billings (1746-1800), influential composer of hymns

Later hymnals
-Isaac Watts 1719 (England)
-John Wesley fr. 1730s
-Moody and Sankey 1875 Gospel Hymns and Sacred Songs

Legacies of Singing School movement
      -musical literacy
      -moral judgments about proper and improper music



HIGH BROW/LOW BROW SPLIT

Early 18th century concert culture
      -mixture of classical and popular musics
      -mixture of classes in audience

1849 NY Astor Place Riots
      -police called out to enforce respectable behavior at Shakespeare play
      -symbolic precedent for enforcing the distinction between respectable and vulgar entertainment

1889 Chicago Symphony, directed by Theodore Thomas
      -First completely subsidized orchestra
      -financial freedom to exclude popular music repertoire, and cater to narrower audience

John Philip Sousa (1854-1932)
      -one of the last to bridge popular and classical realms, through band music

High Brow attitudes
      -creating symbols of wealth and sophistication
      -embarassment about American’s “rough” culture compared to Europe
      -reaction to “problem” of American culture becoming identified with negro culture, especially through minstrel show
     



4/6 MUSIC PUBLISHING

Broadside ballads

Copyright act of 1790
      -establishes the foundation for profitability of sheet music publishing

Parlor Music
      -increasing number of households with pianos, or at least guitars
      -publishing industry supplies music for home entertainment, popularizes songs through minstrel show

Stephen Foster (1826-1864)
      LISTEN: "Jeanie with the Light Brown Hair" 1854
On-line CD1:1

Tin Pan Alley
      -physical location in New York City
      -business model: exclusive focus on popular music, in-house composers and “pluggers”

Charles Harris (1867-1930)
      LISTEN: “After the Ball” On-line CD1:2
      First five million-seller

Jewish contributions to popular music
-1880s Immigration wave from Russia
-Immigrants find opportunity in entertainment industry


4/7 VAUDEVILLE

Tony Pastor’s Opera House, 1865 in NYC, an early precedent
National circuit of theaters
Variety of performance genres, changing program weekly

RAGTIME
“ragging the tune”

Genres of ragtime: songs, marches, piano music

1893 Chicago Worlds Fair popularizes the style

Scott Joplin (1968-1917 )
LISTEN: Maple Leaf Rag (published in 1898) 162CD1:3

James Reese Europe and his Clef Club, a “syncopated orchestra”
      (predecessor of ‘jazz’ music)
LISTEN: “Castle House Rag” (1914) 162CD1:11


4/8 LARRY STARR lecture

Tin Pan Alley history & legacy, and targeted audience in 1920s

Specialization of roles: lyrics, music, performance each done by separate individuals in this business model

LISTEN: “My Blue Heaven” Starr CD1: 5

Text & instrumentation appeal to 1920s ideals of middle class domesticity

Form: AABA chorus (the ‘verse’ is reduced to the point of sounding like an introduction only)

Strategies of composition vs. strategies of recording
      -many versions of this song recorded
      -this one uses “intimate” voice and instrumentation (cello and piano) to underscore the bliss of domesticity

4/11 EARLY JAZZ

New Orleans jazz
      -instrumentation from marching band: trumpet, clarinet, trombone, tuba
      -polyphonic texture

LISTEN: “Tiger Rag,” Original Dixieland Jazz band 1918 (S&W CD:3) 1917

LISTEN: “Dippermouth Blues” King Oliver’s Creole Jazz Band 1923 162 CD2:1

New Orleans culture
      -history of Spanish and French rule leaves legacy of middle class black “creoles”
      -connection to Caribbean, and infusion of African music


James Reese Europe 1880-1919
Clef Club dance orchestra in 1910
Irene and Vernon Castle

LISTEN: “Castle House Rag” 162CD1:11


Paul Whiteman’s Ambassador Orchestra (s)
      -Known as the “King of Jazz”
      -all-white band
      -smooth timbres and lush harmonies

LISTEN: “Side by Side” On-line CD1:13
     

Louis Armstrong (1901-1971)
      -established the importance of the soloist in jazz
      -strong sense of “swing” influenced jazz musicians everywhere



RECORDING INDUSTRY


1877 Edison's cylinder phonograph

1887 Emile Berliner's gramophone

1901       Victor Talking Machine Co. home gramophone
      -creates new possibilities for marketing
      -commercial strategy still focuses on gramophone sales; records necessary but not seen as main source of industry profit

1925       approximate beginning of electronic recording



4/12 BLUES

Definition?

Classic Blues
      Ma Rainey, “Queen of the Blues”
      Bessie Smith, “Empress of the Blues”
     
      Conventions of classic blues:
            -12-bar blues with AAB text
            -‘answering’ relationship between voice and instrument
            -piano and (sometimes) trumpet accompaniment

      Women singing blues
      -most were professionals who worked in the Vaudeville and TOBA national theater circuits
      -singers projected a strong, independent image
      -sexually suggestive lyrics
     
      LISTEN: “St. Louis Blues” (fr. Movie 1929)
      -composed by W.C. Handy (“Father of the Blues”)
      -complex form that uses 12-bar blues for only part of it

Popularization of blues with white audiences



4/13 MARKETING RECORDED MUSIC

1. Early strategies
      -mainstream genres of opera, band music, vaudeville fare like coon songs
      -records published as an incentive to purchase gramophones

2. 1920s recordings become a more important commodity
      -popularity of classic blues demonstrates market for records even in communities that were thought to be too poor to buy gramophones
      -electronic recording improves sound quality

Okeh Records “race” record category

Black Swan (first black-owned record label)

(The first “Indies”)


COUNTRY BLUES

Late 1920s recordings of musicians in rural South
      -male performers
      -guitar accompaniment
      -more variety of form and style than classic blues
     

Blind Lemon Jefferson
LISTEN: “That Black Snake Moan”

Relation of blues to other black music genres
      -field hollers and work songs
      -dance music
      -spirituals, moans, and other worship singing

Robert Johnson
LISTEN: “I believe I’ll dust My Broom”


4/14 COUNTRY AND WESTERN

I. Appalachian music

Repertoire (strongly influenced by British Isles heritage)
-dance tunes, mainly played on fiddle
-ballads
-hymns

Dissemination in early 1900s
      -medicine shows
      -regional competitions for fiddlers and other instrumentalists
      -radio after 1920

II. “Hillbilly” music and mass media

Radio.
1920 Pittsburgh KDKA
1924, Grand Ole Opry in Nashville

Records not made until late 1920s, except for a few novelty recordings

LISTEN: "Prisoner's Song" (1924)
      -sung by Vernon Dalhart, a trained opera singer
      -Tin Pan Alley version of hillbilly music


III. Early Paradigms for Country Music

Carter Family and “Traditional Values

LISTEN: “Gospel Ship” (late 1920s)

Jimmie Rodgers, the "Singing Brakeman"

LISTEN: “Blue Yodel #11” (late 1920s)

BIG BANDS

Kansas City
Count Basie (1904-1984)
LISTEN: “One O’Clock Jump” (1937) 162 CD3:
      -saxophones (not heard in New Orleans jazz)
      -repeated riffs in horn sections
      -steady 4-beat walking bass

New York
Fletcher Henderson (1898-1952)
      -popular dance orchestra
      -sophisticated arrangements of Don Redman
      -literate musicians

Duke Ellington (1899-1974)
-Cotton Club fr.1927
-exotic “jungle music” for all-white audiences
-innovative orchestration and timbres

LISTEN: “East St. Louis Toodle-oo” (1937) 162 CD3:

SWING ERA

Partner dancing (lindy hop, jitterbug)

Benny Goodman (1909-1986)
      -Jewish clarinetist from Chicago, known as the “King of Swing”
      -radio shows boost popularity in mid-1930s
      -played Fletcher Henderson arrangements
      -later in career integrated some black musicians in band

LISTEN: “King Porter” (1935) 162 CD3:

Glen Miller
LISTEN: “In the Mood”


“LATIN MUSIC”

Southwest Communities precede English speaking settlers
New Orleans—Spanish rule, connections to Cuba and Mexico
1898 Spanish American war establishes U.S. relationship to Puerto Rico and Cuba

Mainstream “Latin music” dance fads
1910s Tango (Argentina)
1920s “Rumba” (often a misnomer for son)
1940s Mambo
19450s Cha cha cha

American media images of Latin music and dance
      -exotic, sexual
      -dominated by Caribbean styles

LISTEN: “Manicero,” Don Aspiazú, 1930
      -cyclical form, polyrhythmic texture
      -missing the call/response improvisation typical of son

Latin music for American audiences
      Xavier Cougat     
      LISTEN: “My Shawl” On-line CD1:15

Copyright enforcement
1909 copyright act (mechanical rights)
1914 ASCAP founded

Radio
1896 Guglielmo Marconi’s patent
1919 Radio Corporation of America (RCA)
1920 first commercial radio stations
1940s regional radio rises

Recording
1930s specialty labels die out
1940s new technologies

THE “WESTERN IN COUNTRY”
Hollywood
Gene Autry

LISTEN: “Cool Water” Sons of the Pioneers 1941 S&W CD1:17

Southwest regional music—especially Texas Mexican conjunto and other accordion/polka traditions

Western Swing
LISTEN: Bob Wills and his Texas Playboys [Ft. Worth, Texas, 1940] “New San Antonio Rose” On-line CD2:16


STAR SINGERS
e.g. Frank Sinatra, Nat King Cole. Singers become headliners rather than bands, as was the case in swing era of late 1930s

RISE OF INDIES IN 1940S
-BMI as alternative songwriters’ organization after ASCAP boycotts radio in early 1940s.
-Regional radio programming promotes diversity
-Wartime migrations to industrial centers generates new music scenes
-Magnetic tape technology makes recording cheaper

RHYTHM AND BLUES

Jump Bands
More economical, blues-based, compared to swing bands

LISTEN: "Choo Choo Ch'Boogie" Louis Jordan

Chicago Blues:
Black immigrants from Mississippi Delta region
Chess records records local scene

LISTEN: Muddy Waters "Hoochie Coochie Man"

R&B recording Stars
Atlantic Records (Ahmet Ertegun) cultivates artists, new sounds (e.g. Ray Charles, Aretha Franklin), as opposed to recording a local scene that has already developed a following.

LISTEN: Ruth Brown "Mama, He Treats Your Daughter Mean"

HONKY TONK
Hank Williams (1923-53)
Icon of country music, in the hard-living, hard-loving mold

LISTEN: “Your Cheatin’ Heart” 1952 CD3:12

Women in country face many constraints but find a voice
LISTEN:
1. Hank Thompson “The Wild Side of Life”
(1951) S&W CD2:1
2. Kitty Wells “It wasn’t god who made honky tonk angels” (1952) S&W CD2:2

ROCK AND ROLL

Bill Haley—country music band from Michigan, integrates R&B sound and creates first #1 rock and roll hit on top 40 radio:

LISTEN: "Rock Around the Clock" Bill Haley 1954 CD4:1

Black dance music popular beyond black audience
1951-Alan Freed’s “Moon Dog House Rock and Roll Party”

Fats Domino
New Orleans-based, boogie piano and smooth singing
LISTEN: “Ain’t That a Shame” (1955) 162 CD4:5





4/29 Francisco Orozco

Chicano Contributions to Jazz

Mexicans/Chicanos participation in American popular music has remained invisible. Some reasons:

1. Chicanos have always been seen as the other/outsiders.
a. Seen as recent immigrants
b. They all speak Spanish
c. Different culturally

2. White Americans were fascinated with black music and more over, black culture.
3. Chicano musicians were invisible
4. Due to the above, when Chicanos played jazz, rock, blues, etc…they were viewed as simply copying the music and not considered to be contributing anything.

Mexican influence in early jazz

1. New Orleans cultural landscape
a. Had connection with the Caribbean and Europe. There were white, black, Cuban, Mexican, Haitian, Spanish, French communities living in N.O.

2. 1884-85 New Orleans hosted the “World’s Industrial and Cotton Centennial Exposition”
a. “The band of the 8th regiment of the Mexican Cavalry” was billed as the main entertainment for this event. They were a huge hit.
i. Repertoire included: waltzes, scottisches, danzas (cuban habanera).

b. Mexican brass bands were known to have played for years on Mississippi river boats in the late 1800s.

3. Some Mexican Musicians in New Orleans. (1877- 1930s)
a. The Tio family
b. Florenzo Ramos
c. Joe Viscara
d. Alcide “yellow” Nunez




Chicanos in Jazz in the 40s – 50s

1. Los Angeles became major musical center
2. Swing, Boogie, and Jump Blues were very popular.
3. The “zoot soot,” a style of dress was adopted by Chicanos.
a. Created new sub-culture which combined the zoot soot, jazz, the tirili, and Mexican music

Chicano musicians:
• Eddie Cano – Pianist who became popular latin jazz figure
• Paul Lopez – trumpeter, arranger
• Rene Bloch – sax, played with Johnny Otis
• Joe Mondragon – bass player
• Ernie Caceres – sax player in the Glen Miller Orchestra
• Dacita – women jazz singer
• Jorge Cordoba – jazz guitar virtuoso, played with Xavier Cugat
• Gil Bernal – played with Lionel Hampton

Big Bands:
• Freddy Rubio, Tilly Lopez, Sal Cervantez, Phil Carreon, Manny Lopez, Merced Gallegos, Luis Alcaraz

Important Chicano Jazz Musicians
1. Don Tosti (Eduardo Martinez Tostado)
• Listen “Pachuco Boogie” 1948
2. Lalo Guerrero
• Listen “Muy Sabroso Blues” 1949 – “Chicas Patas Boogie” 1950

Recommended Readings:
John Storm Roberts: “The Latin Tinge” 1999, and “Latin Jazz” 1999
Raul Fernandez: “Latin Jazz: The Perfect Combination” 2002
Lalo Guerrero: “Lalo: My Life and Music” 2002

The Beatles: A Chronology
Compiled by Laurel Sercombe for Music 162, May 3, 2005


The Beatles - John Lennon (rhythm guitar and vocals), Paul McCartney (bass guitar and vocals), George Harrison (lead guitar), and Ringo Starr (drums)

Three periods of Beatles’ career -
Early (1960-1963)
- extensive touring in Britain; Brian Epstein becomes Beatles’ manager; first recordings; dominant role of producer George Martin; media obsession with Beatlemania begins.

Middle (1964-1966)
- “invasion” of U.S.; extensive international touring; increasingly collaborative relationship with producer George Martin; end of touring and concert performances.

Late (1967-1970) - band in the studio; the LSD years; disintegration and breakup


EARLY PERIOD

1957
- John Lennon forms the Quarrymen in Liverpool (skiffle band)

1960
- Band includes John, Paul, George, Stuart Sutcliffe (on bass guitar), and Pete Best (drums)
First trip to Hamburg; Stuart meets Astrid Kirchherr; after return to England, Stuart leaves band, and Paul becomes the bass player.

1961
- Beatles start performing at Cavern Club in Liverpool (thru Aug. 1963)
Brian Epstein attends Cavern performance and becomes Beatles’ manager.

1962
- Epstein signs record contract with Parlophone (owned by EMI) w/ Pete on drums; George Martin wants Pete out. 1st single - Love Me Do (P) (Parlophone 45-R 4949)

1963
- 2nd single (1st #1 hit) – “Please Please Me” (J) (Parlophone 45-R 4983)
1st album - Please Please Me (Parlophone PMC 1201 (mono))
3rd single (2nd #1 hit) – “From Me to You” (J-P) (Parlophone R 5015)
4th single (3rd #1 hit) – “She Loves You” (J-P) (Parlophone R 5055)
2nd album - With the Beatles (Parlophone PMC 1206 (mono)/PCS 3045 (stereo)); this was Meet the Beatles in U.S.
5th single (4th #1 hit) – “I Want to Hold Your Hand” (J-P) (Parlophone R 5084)


MIDDLE PERIOD

1964
- “I Want to Hold Your Hand” #1 in U.S. (Capitol)
Feb. - Beatles to U.S.; Ed Sullivan Show 2/9/64 (5 songs); 2/16/64; 2/23/64
July - Hard Day’s Night (film & soundtrack) released
Second American tour
“I Feel Fine”/“She’s a Woman”
Dec. - Beatles for Sale (our Beatles 65, sort of)

1965
- “Ticket to Ride”/“Yes It Is”
“Help!”/“I’m Down”
Aug. - Help! (film & soundtrack) released
Third American tour - Shea Stadium concert, New York, 8/15/65 - largest open-air concert to date
Dec. - Rubber Soul (Norwegian Wood - Influence of Bob Dylan on Lennon; use of sitar)
“Day Tripper”/“We Can Work It Out”

1966
- “Paperback Writer”/“Rain”
Fourth American tour - Last live performance by Beatles, Aug. 29, 1966, Candlestick Park, San Francisco
Aug. - Revolver


LATE PERIOD

1967
-“Penny Lane”/“Strawberry Fields Forever”
June 1 - Sgt. Pepper’s Lonely Hearts Club Band - one of first concept albums; cover art (60 figures); lyrics and insert w/ cut-out mustache, etc.
“All You Need Is Love”/“Baby, You’re a Rich Man”
Aug. 27 - Brian Epstein dies
“Hello Goodbye”/“I Am the Walrus”
Magical Mystery Tour

1968
- Beatles to India to study meditation with Maharishi Mahesh Yogi; Paul and John write most of the songs that became The Beatles (“The White Album”) (George too)
Apple Corps Ltd. established
“Lady Madonna”/“The Inner Light” (G)
May 19 - John and Yoko become an item (they met previous Nov.); she starts attending recording sessions, which proves disruptive; tensions among group are growing
July - Yellow Submarine (the movie) released
“Hey Jude”/“Revolution”
Nov. - The Beatles (“The White Album”) (2 records - 30 songs)

1969
-Jan. - Yellow Submarine (the recording) released (new tracks recorded mid-June 1967 & early 1968)
Jan. 30 - performance on roof w/ Billy Preston - 42 min. (half of it used in Let It Be film)
“Get Back”/“Don’t Let Me Down”
“The Ballad of John and Yoko”/“Old Brown Shoe” (G)
Sept. - Abbey Road released - produced by George Martin

1970
- April - Paul announces end of the Beatles
May - Let It Be released (recorded Jan. 1969 and Jan. 1970) - began as tribute to the Beatles’ roots with title Get Back; “produced” by Phil Spector

5/4/05

5/4/05

ROCK AND ROLL STYLISTIC INFLUENCES
      *Jump bands (piano/sax instrumentation, 12-bar blues)                 
*Urban blues (electric guitar, vocal styles)
      *R&B (gospel influence, dance rhythm)
      *Country, rockabilly      (vocal and melodic styles, guitar)

CHUCK BERRY
      country leanings
      1st “guitar hero
LISTEN: “Maybelline” (1955) S&W CD2:6
     
ELVIS PRESLEY
      Sun Studios, Memphis (Rockabilly)
      Extraordinary stardom based on both talent, careful management , and historical moment
      Effective use of movies and TV (Manager Col. Tom Parker) “cross-marketing”

LISTEN: “Mystery Train” 1955 (originally Junior Parker) on-line CD4:10

LISTEN: “Don’t be Cruel” (one of the 1st RCA recordings) 1956 CD4:11
     
LITTLE RICHARD
wild, risquee image
boogie piano
LISTEN: “Tutti Frutti” Little Richard (1955) on-line CD4:6

BUDDY HOLLY
studio innovations
“standard” rock ensemble: 2 guitars, bass and drums.

RITCHIE VALENS
      Ricardo Valenzuela, Chicano from L.A.
LISTEN: “La Bamba” (1958) CD4:16

JERRY LEE LEWIS



5/5/05

DOO WOP
LISTEN: “Sh’Boom” by Crew Cuts (1954) on-line CD4:2
            “Sh’Boom” by Chords (1954) on-line CD4:3
     
Contrasting aesthetics in cover version

COVER VERSIONS

Pat Boone, for Dot records, epitomized the phenomenon
*How does racism factor into the cover version phenomenon in the 1950s?

1948 Lawsuit affirming the patentability of “the composition” rather than the recording (book)

TEEN STARS
Philadelphia Indies like Chancellor, Swan, Cameo/Parkway

American Bandstand (Dick Clark) produced in Philadelphia

Brill building (Aldon Music in 1958)


DOO WOP
LISTEN: “Sh’Boom” by Crew Cuts 162 CD4:2
“Sh’Boom” by Chords 162 CD4:3
     
gospel quartets
[LISTEN: “The Sun Didn’t Shine” Golden Gate Quartet CD2:9]


COVER VERSIONS
Aesthetic preference or racism

Pat Boone, for Dot records

Market forces

Evolving idea of copyright: 1948 Lawsuit

INTERPRETING ROCK AND ROLL



5/6/05

NEW BUSINESS MODELS FOR POP:
1.Singer/songwriter model

2.Importance of producers
Jerry Lieber and Mike Stoller
Sam Philips (Sun Studios)
George Martin (Beatles fr. 1962?)
Barry Gordy (Motown fr. 1960)
Brian Wilson of Beach Boys
Phil Spector’s “girl groups” e.g. Ronettes

      Beach Boys (Brian Wilson, producer)
      LISTEN: “Good Vibrations” S&WCD2: 11

URBAN FOLK
1. music and politics
      Woody Guthrie
      Pete Seeger

2. anti-commercial folk “authenticity”
      Coffee houses (CBGBs) and college campuses
      Commercial popularity of Kingston Trio
      Criteria for folk authenticity

      LISTEN: Peter Paul and Mary “The Answer is Blowing in the Wind” (1963) 162CD5:8
     
      Bob Dylan
      LISTEN: “The Times are a-changing” 1963 162 CD 5:9

3. Folk Rock
      1965-Dylan goes electric at Newport Jazz festival

      LISTEN: The Byrds, “Turn, Turn, Turn” (1966) CD1626:8

Wk.7 Outlines

LATIN MUSIC IN MAINSTREAM
Perez Prado’s mambo
1940s and 1950s Latin dance genres popular in U.S.: cha cha cha and mambo

…VS. PARALLEL CULTURE
Connections to Caribbean and Latin America

PUERTO RICANS IN NY
colonial status
racial identities change in U.S.—choice between “black” and “white”

Palladium ballrom in NY, 1950s
Machito, Tito Puente, Tito Rodriguez

CHA CHA CHA (roots in Cuban charanga ensemble)
LISTEN: “Chevere,” Tito Rodriguez (1962)
timbales
on-beat rhythm
     
BOOGALOO
“cha cha cha” with a back beat; mixed Latino and African American dances
LISTEN: "El Pito," Joe Cuba (early 1960s)

LATIN SOUL
English language R&B style ballads, with bolero-style accompaniment

SALSA
Civil rights and black pride
FANIA record company (late 1960s)
Polyrhythmic texture (clave, piano montuno, congas, bongos, bass)

LISTEN: “Muñeca,” Eddie Palmieri (mid-1970s)

SOUTHWEST AND L.A. CHICANO MUSIC

LISTEN: “Woolly Bully” Sam the Sham and the Pharoahs (early 1960s)
R&B sound, but Chicano musicians and innovators

LISTEN: “La Bamba” (Ritchie Valens, recorded in 1958)
based on traditional son jarocho from Mexico

Bimusicality of Chicano musicians (listening to and performing different styles)
“Eastside sound” (variety of music by East L.A. bands in 1960s, 70s)

LISTEN: “Viva Tirado,” (El Chicano, recorded in 1970)


1960s chronology
1959 Death of Buddy Holly, Cuban revolution
      1960 Motown
      1963 Kennedy assassinated
1964 Beatles arrive in U.S.
      1965 Dylan electric, James Brown crosses over
      1967 “Summer of Love” in SF, Sgt. Pepper
1968 Tet Offfensive, MLK assassination
      1968 Woodstock


Late Beatles
LISTEN: Norwegian Wood
sitar

S.F. Scene, Psychedelic rock

1967 “Summer of Love”

Grateful Dead

Jefferson Airplane
LISTEN: “Somebody to Love” Jefferson Airplane (1967) 162 CD7:1
      Grace Slick, singer

Janis Joplin
LISTEN: “Summertime” (1968)

Pop Music festivals
      -1967 Monterrey pop festival
      -1968 Woodstock

Jimi Hendrix
LISTEN: “Purple Haze” (1967)

Guitar heroes
Power trio format, English stars again

Eric Clapton and Cream
LISTEN: "Crossroads" [1969] (original by Robert Johnson)

Led Zepellin, with guitarist Jimmy Page

MOTOWN
Berry Gordy
Hit-making strategies
Motown sound

LISTEN: “My Girl” Temptations (1965) CD5:15

SOUL
*What is “soul” music?

Ray Charles

Aretha Franklin
LISTEN: “Respect” 1967 Aretha Franklin CD7:7

“Southern Soul”
Stax-Volt studio in Memphis (mixed race studio band)
Fame studios in Muscle Shoals, AL

James Brown
LISTEN: “Papa’s Got a Brand New Bag” ” CD7:5
polyrhythmic texture
speech-song vocal style, improvisation
both 12-bar blues and “bridge” of cyclical call-response


1960s & 70S MUSIC INDUSTRY CHANGES

Recording technology
1940s Magnetic tape
1948 33rpm LP (album concept)
1949 45 rpm single (jukebox concept)

Radio
late 1940s: regional AM replaces national network programming
early 1950s: top 40 format (creating or reflecting taste? payola)
1961 stereo radio
1965 FCC requires different programming on AM and FM—stations look for new sounds, new formats; 3-minute single gives way to albums and experimental music

-FM stations experimental in late 60s, but increasingly bought by national chains as they become profitable

Rock journalism
Billboard –trade magazine since early 1900s
Rolling Stone—criticism, endorsement fr. 1967

Labels
40s and 50s independents
Late 60s and 70s mergers and consolidation
      e.g. Atlantic buys Stax, Warner (Warner Seven-Arts) buys Atlantic

Majors in 1970s: Capitol, Warner, RCA Victor, MCA, Columbia, United Artists-MGM (S&W p.306)

GENRE CATEGORIES by 1970s
Country Western
      Merle Haggard
      LISTEN: “Okie from Muskogie”

AOR (Album oriented rock) Art rock, hard rock
[Recommended listening: Emerson, Lake and Palmer, Yes]
      LISTEN: “Hotel California” (Eagles) CD8:5

Singer/songwriters
      LISTEN: “It’s Too Late,” Carol King (1971) CD8:2

Urban Contemporary (black music)

Boundary crossing
LISTEN: “Living for the City” Stevie Wonder CD 8:4]
LISTEN: “Oye Como Va” Carlos Santana (1970) CD10:11

FUNK
*What is “funk”?
      James Brown’s polyrhythmic groove
      Rock and psychedelic imagery, craziness

Bass sound (Larry Graham)

Sly and the Family Stone
LISTEN: "Thank You (Falettinme Be Mice Elf Again)" Sly and the Family Stone (1970) CD9:6

George Clinton and Parliament/Funkadelic/P-Funk
LISTEN: “Give up the Funk,” Parliament (1976) 9:7

Earth Wind and Fire
Tower of Power

Reggae and World music
*How did music from a small island impact the world so?

1. Stylistic history of reggae
- influence of U.S. R&B
-nationalist activism and radio promote
Jamaican artists
Ska ca.1960, Rock Steady, then reggae

2. Jamaican music industry
*How did such a small market sustain a recording industry?

Sound systems
Producers (Leslie Kong, Clement “Sir Coxsone” Dodd, Lee “Scratch” Perry)

3. Bob Marley
1962 first recorded
1972 signed w/Island records (Chris Blackwell) , records “Catch a Fire”

LISTEN: “Get up Stand up” CD 9:9

4. Popularity of reggae in U.S. and abroad
Movie, “The Harder they Come” (1973), Jimmy Cliff

LISTEN: Jimmy Cliff (Kingston, 1972): "The Harder They Come" CD9:8

Bob Marley
Rastafarianism

5. pop covers, imitations

LISTEN: “I Shot the Sheriff” Eric Clapton



5/24 PUNK (Jabali Stewart)

Punk aesthetic of anger, rebellion

DiY (do-it-yourself) ethic

SONICS, from Seattle, a 1960s precedent for dirty raw garage rock


RAMONES
      CBGBs in New York
      “bubble gum” rock that made fun of itself
      blue collar, leather image
      Influence in England

LISTEN: CD9:2. The Ramones [1978]: "I Wanna Be Sedated"


SEX PISTOLS (England)
      Manager Malcolm McClaren creates a marketable image
      Shock value generated both sales and censorship
      violence and anger without musical skill

LISTEN: CD9:4 The Sex Pistols [1976]: "Anarchy in the UK"


THE CLASH
      More musical craft, focused politics
      Influence of Jamaican ska

LISTEN: CD9:5. The Clash [1977]: "I'm So Bored with the U.S.A."

African Americans in Punk
      roots in rock, blues
      plenty of reasons for rebellion

BAD BRAINS (Washington D.C.)
      both reggae and punk


5/26 Heavy Metal (Lou Winant)

1.Origins
Guitar heroes
Art rock/p;rogressive rock
Rebellious impulse

LED ZEPELLIN
Jimmy Page, guitar; Robert Plant’s screaming vocals
“Heavy” sound of guitars, drums

DEEP PURPLE

LISTEN: Deep Purple [1972]: "Smoke on the Water" CD10:6.
      Heavy timbres, guitar distortion
      organ (keyboard role in progressive rock)
     
2. Metal Blooms
     
BLACK SABBATH (est.1967)
      Ozzy Osborne

KISS (est.1972)
      Theatrical make up and sets in late 1970s

Heavy metal audience primarily adolescent males
Glam rock aesthetic (e.g. David Bowie), flirts with femininity

RUSH
AEROSMITH

3. Early 80s Metal

European bands: Def Leppard, Iron Maiden, etec.

JUDAS PRIEST

LISTEN: Judas Priest [1982]: "You've Got Another Thing Comin'" CD10:7
      Rebellious “Anthem”
      Virtuosic guitar solo


VAN HALEN
      David Lee Roth, lead singer—sex symbol sells on MTV

MTV repackages heavy metal rebellion for mass audience

Reaction fo commercialization spurs speed-, thrash-, death metal
e.g. SLAYER, MEGADETH

PMRC (Parents’ Music Resource Center) campaigns against heavy metal

Commercial dominance of heavy metal, as such, wanes by about 1990



(MTV notes yet to come)

5/28 MTV

“I Want My MTV”

Impact of MTV
•      Cultural revolution

•      Power of MTV
--MTV seems to be a driving force in pop culture.
--The network also inflated formerly cultish musicians into stars on par with the biggest movie icons.
--MTV always changing – never growing older – constantly reorients itself

•      Change to Visual aesthetic
--MTV's accent on image also encouraged artists to expose their personalities – example Madonna
--Different meanings in the video – Do you really want to hurt me? Boy George – romantic loss – video = gender bending boy George pleading to a courtroom judge to address homophobic attitudes and the persecution of gays
--The use of image – Prince – often used one-person multi-tracking process used performers to mime the parts they did not play in order to create the impression of a group performance
--Importance of pop singles – which takes away from album – which gives way to file sharing

•      Most researched channel in history

Before MTV

•      First Film – Jazz Singer – 1st audio and musical soundtrack

•      Soundies - 1940s and the 1950s - looped film that included eight to ten soundies on each reel – played at clubs before, deposit a dime- people like Duke Ellington and Louis Armstrong and singer Nat King Cole – lip synching the songs – usually the audio and visual didn’t match up – strictly white/black format

•      Other Films and TV Shows
--TV shows like American Bandstand, Saturday Night Live, band specifically for TV – Monkees – manufactured rock group molded after the Beatles – sold 8 million copies and none were musicians initially
--Films - Goodman Hollywood Hotel – Elvis Presley – Jailhouse Rock
--Michael Nesmith - he changed the passively recording format of a music video and told a story or concept and included visual effects – prototype

•      Videos in Europe - 1975 – Queen’s Bohemian Rhapsody rose from No. 30 into Britain’s Top 5 after the video clip was played once on Top of the Pops

•      Cable Space – Cheap and experimentation with all news, all movie, and all kids channels were taking place

Early Beginnings of MTV

•      MTV premiered on August 1, 1981 – with Video Killed the Radio Star by the Buggles

•      Growth of MTV – development of videos, increase in sales
--Music companies favor video over live tours – cheaper, easier and reaches millions
--more videos being produced = tripled from 1981 – 1984 and production costs were expanded
--MTV encouraged videos to evolve into a genuine art form, at least during the network's most musical years. From the mid-'80s to mid-'90s, music clips birthed directorial auteurs Michele Gondry, Spike Jonze, Jean-Baptiste Mondino, David Fincher, Matt Mahurin and Robert Longo


Growth of Video Music Program Services

•      Cable Music Channel (CMC)

•      Discovery Music Network

•      Hit Video USA

•      BET

•      CMT

•      VH-1

More on VH-1

•      used as a barrier to prevent direct competition

•      aimed to attract older audience - easy and cheap to develop – work with video infrastructure which provided VH1 with established sales, research, programming, and marketing departments

•      Changes in the programming of VH-1
--in 1987 changed format – dropped country and easy listening and started to appeal to baby boom generation with 1960s rock, nostalgic video clips, lifestyle information, and comedy programs
--1990 – Greatest Hits of Music Video – playing current hit videos by top artists like Madonna and Bruce Springsteen – curtailed obscure and less known artist
Racism in MTV

•      MTV claimed that African-American artists simply did not fit its format

•      In the first 18 months, MTV played less than 20 videos (some say less then 12) considering that MTV showed more than 750 videos per week

•      Columbia Records threaten to ban videos to get Jackson’s Thriller played

Format of MTV
•      MTV was first structured like radio and less like TV

•      Started to change to traditional Television format due to advertising demands

•      like Unplugged (concerts by acoustic musicians), The Real World (first of reality shows) more news, rocumentaries, - more advertising with blue chip companies – didn’t want their corporate image to be associated with the sexually explicit vides MTV usually shows

MTV Monopoly

•      Anti-competitive policies
--Encouraged cable operators to carry only MTV and negotiating contracts with record companies giving MTV exclusive rights to the most popular music videos denying these to MTV competitors
--The cooperation between MTV and major record labels encouraged a top-down popular culture where companies controlling the production, distribution, and exhibition of music clips collaborated to shape and direct popular tastes in music in a manner that promoted their own respective economic interests

•      Blacklisting video and artist’s appearances if they appeared on other music television shows first
--The Rolling Stones and Billy Joel were punished because they premiered their clips on another show – either drop it after a few rotations or not play it for a month
MTV Around the Globe

•      MTV Channels around the world - Saturated the US market – expand to the International market – cheap because most of the programming was already in place

•      Some countries afraid to get overload of Western music- wish to preserve their own culture – Australia is one example where 50% of their programming features artist from Australia




5/31 and 6/1

HIP HOP ELEMENTS

ROOTS
Rapping (James Brown, Last Poets, African American folk traditions)

DJ-ing
-Disco Djs
-Jamaican toasting
      (dub versions, DJs and selectors)

Caribbean connections in Bronx NY
      DJ Cool Herc
      Grandmaster Flash

EARLY HIP HOP
Rap as commercial genre
Sugar Hill Gang, “Rapper’s Delight” (1979)

Sugar Hill Records, and independent label
Recordings put focus on MC more than DJ

Bronx Street culture
Break beats
Scratching
DJ and MC

CHANGING TECHNOLOGIES
European disco production techniques
Africa Bambaata, “Planet Rock” 1982

Jamaican dub

Digital sampling in 1980s
Digging in the crates
Flipping samples

Turntablism
Qbert, Invisibl Scratch Picklz (San Francisco)
“Return of the DJ” albums, first one in 1996

LYRICS AND POLITICS
Rap as social/political commentary
LISTEN: “The Message” Grandmaster Flash and the Furious Five (1982)

LISTEN: “Night of the Living Baseheads” Public Enemy (1988)

CONTROVERSIES OVER LYRICS
Gangsta rap
NWA
     
      -Dangerous glorification of violence?
      -Important social commentary?
      -Great beats, so who cares about lyrics?     

Explicit sexuality

Criticism and racism
Hip hop as cultural representation or commercial distortion?

RAP GOES INTERNATIONAL
Bhangra
Reggaeton
etc.



ELECTRONIC MUSIC

EX: Underworld – Juanita/ Kiteless – 2000


House: technological testings
1.      Earliest form of electronic music - created out of the ashes of disco.
2.      Chicago - late 1970s/ early 1980s.
3.      DJ Frankie Knuckles at The Warehouse.
4.      Electronic tools: drum machine, reel-to-reel edits, synthesizer.

EX: Farley Jackmaster Funk – “Love Can’t Turn Around” - 1986


Techno: sci-fi soundscape
1.      Detroit – mid-late 1980s.
2.      Belleville Three.
3.      Techno sound- created all their sounds electronically, futuristic sound, harder pulse, funky, no vocals.

EX – Derrick May – “Strings of Life” - 1988?


UK: rave culture
1.      Dance music revolution: rave culture.
2.      Rebellion- rejecting the rules of everyday life.
3.      Early 1990s – rave’s decline.



Jungle/ Drum and Bass:
1.      Uniquely British electronic music.
2.      Quest for rhythmic and temporal intensity- drums more percussive and the bass more physical.
3.      Extending breaks - sampling from funk etc.
4.      MC performing over the beats.

EX: Roni Size – “Brown Paper Bag”


US Electronic Scene:
1.      US rave culture: San Francisco, New York, Miami.
2.      Electronic groups: Underworld, The Prodigy,

EX: The Prodigy – Firestarter – 1997


The Electronic Now:
1) Underground.



6/3 Wrap up

“ALTERNATIVE” MUSIC

Seattle scene in late 1980s and 90s
Sub Pop records

Nirvana, Curt Cobain
LISTEN: “Smells like Teen Spirit” Nirvana CD 11:3
*How would you relate this music, stylistically, to other genres we’ve studied?

*Alternative to what?

Industry strategies for turning profit,
vs. musical community-building


NEW COUNTRY

*What is country’s identity today?