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Unformatted text preview: Changes i n the Musi c Industry; the emergi ng bi g ba nds Dippermouth Blues:King Oliver with Louis Armstrong, 1923 Chick Webb: Stompin’ At the Savoy, 1934 Benny Goodman: Stompin’ At The Savoy, 1936 Duke Ellington: In a Mellotone, 1940 Ne w Or leans s tyle Developed from: ad hoc parade bands String “society” bands Songs: Marches & rags Blues Hymns Tin Pan Alley tunes Louis Ar mst rong Moves fr. New Orleans to Chicago, 1922 Moves to New York, 1924, joins Fletcher Henderson’s orchestra Moves back to Chicago, 1926 Style – the unexpected: Surprising rhythms phrase beginnings and endings Variety of vibratos, shakes, rasps, growls, etc. Dramatic leaps Potato Head Blues, 1926 Fle tcher He nderso n 1920 to New York 1924 est. his own band Arrangement style (both in his own arrangements and in his band generally): opposing sections, w/space for soloing The Stampede, 1926 Th e urban music in dust ry (esp . i n NYC) Musical theater Large Dance halls Radio (soon, networks) Film (soundies after 1927) Sa vo y Ba llro om Stompin’ At the Savoy – Chick Webb, 1934 Big Ba nd o rchestr atio n Front line: sections of instruments in opposing sections: trumpets, trombones, alto saxophones, tenor & baritone saxophones (clarinets sometimes) Rhythm section: guitar (strummed), piano, upright bass (ca. 1925), drums Wrappin ‘ It Up, 1934 Du ke Elli ngton Cotton Club 1927Black & Tan 1931 Fantasy, 1927 Broadway musicals Large, elegant dance halls Art – entertainment continuum Th e Co tt on Clu b Rockin’ in Rhythm, 1931 Big Ba nds & De pre ssio n-era ic onogra phy Imp orta nce o f Radio Radio networks - Let’s Dance Ro le o f the Sin ger Featured performer – but often less wellpaid “Non-musician” Personality in song delivery – reinforced through publicity and films Ca. 1945, role shifts from band + singer to singer + band Ro le o f the Sin ger Frank Sinatra Night & Day, 1956 (recorded also 1942, 1947 Te chnolo gic al change Improved microphone fidelity Magnetic tape as cheap, good recording medium Shift to vinylite plastic Advent of microgroove and stereo records Indust ry and st yle Larger scale live venues Publicity through radio and film Response by Musicians Union leads to new production and distribution Technological changes Re cord ing ban o f 19411943 “Talkies” and radio ASCAP and Radio AFofM ban and the Major labels Rise of the indies, BMI ...
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This note was uploaded on 09/12/2008 for the course AM ST 105 taught by Professor Stevenpond during the Spring '08 term at Cornell University (Engineering School).

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