Chapter22.5+Extra+_4_8_ - Coming events… Coming s s s...

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Unformatted text preview: Coming events… Coming s s s Don’t forget to keep up with the Quizzes on the Don’t Norton Study Space Norton Monday: We’ll start on Chapter 23 Tuesday: Next-to-last Due Date for Concert Tuesday: Reviews. Reviews. Further Developments in American Popular Music American Again, not in the textbook American Popular Music just before WWI before s Development in three areas, sometimes Development separate, sometimes coming together separate, s Popular music—the new “music of the Popular people” to some extent displacing the folk song of individual cultures song s Jazz—a new American art form s Musical Theater—a synthesis of European Musical & uniquely American forms. uniquely Popular Music Popular s Ragtime became a craze in the 1910s, replacing Ragtime the sentimental ballad as people’s favorite music the s Copyright law revision of 1909 entitled Copyright composers and publishers to performance royalties and extended maximum period of coverage from 28 years to 56: made songwriting potentially profitable potentially s “Tin Pan Alley” in NYC a publishing center s Outside the mainstream, both Black & White Outside gospel music developing. gospel Tin Pan Alley: W 28th St between Broadway & 6th Ave between Jazz Jazz s s s s s s The “Blues” inherited from Black culture “Ragtime,” a written piano style influenced by Minstrel Ragtime,” Show rhythms, became basis for an improvised jazz style style Funeral bands in New Orleans established small-band Funeral “Dixieland” jazz “Dixieland” Established an early association with entertainment in Established taverns & brothels; therefore not “nice” taverns As late as after WWII schools couldn’t have “jazz” As bands, so the silly term “stage band” was invented bands, For decades there were White Bands & Black Bands, For but seldom mixed-race bands. but Eubie Blake Eubie Musical Theater Musical s “Book shows” produced in NYC (George Book M. Cohan) M. s American operettas written by Europeantrained composers like Victor Herbert s Vaudeville & melodrama especially popular Vaudeville in the “sticks” in s Burlesque became “Revues,” “Follies,” Burlesque “Blackouts” (Florenz Ziegfield, Billy Rose). “Blackouts” George M. Cohan George Victor Herbert Victor The Ziegfield Follies The Jerome Kern, Ziegfield, Oscar Hammerstein: “Showboat” Hammerstein: Billy Rose Billy Billy Auditioning Billy Billy’s Showgirls Billy’s One of his many hit songs One World War I (1914-1918) World s Some European composers aware of Some developments in America, tried to imitate them them s European public discovered and fell in love European with this new American music with s European classical composers began using European jazz as source material, but they were not jazz musicians jazz s American musical shows & songwriters American very popular in Europe. very Between the wars (1918-1941) Between Popular Music Popular s ASCAP founded by Victor Herbert, Irving Berlin ASCAP & others to protect their rights & collect performance royalties performance s The “golden age” of Tin Pan Alley between wars s Radio new, very important in plugging new songs Radio very s Juke Boxes new, became very important to music Juke industry industry s Popular music, musical theater, jazz began to Popular merge and became almost one in the ‘30s. merge Jazz Jazz s Small band Dixieland grew into Big Bands, Small which were popular music in the 30s & 40s were s Jass associated with Speakeasies (illegal Jass bars) during Prohibition, later with high class dance halls as well class s Achieved respectability in concert halls – Paul Whiteman, Benny Goodman s “Symphonic Jazz” started by Duke Symphonic Ellington, later Stan Kenton. Ellington, Benny Goodman Benny Duke Ellington Duke Jazz Jazz s Many Black musicians moved to Canada or Many France because of racial prejudice in America America s During WWII big band jazz was American During was Popular Music, and many of the songs had been written for Broadway been s Some musicians, dissatisfied with Big Band Some “sweet” jazz, started the “Be-Bop” movement in the 1940s: small combo jazz, all improvised rather then arranged. all Musical Theater Musical s Revues, combining elements of Burlesque Revues, & Vaudeville Vaudeville – The Ziegfield Follies – Billy Rose’s Diamond Horseshoe s Musical Comedy evolved in 20s & 30s – Boy-meets-girl plots with interchangeable Boy-meets-girl songs songs – For New Yorkers, by New Yorkers, about New For Yorkers Yorkers – Standard in 20s-30s, and continued into 50s60s. Musical Theater Musical s Music of Broadway became America’s Music popular music & was exported to Europe popular – Rodgers & Hart, Cole Porter, Irving Berlin, Rodgers George & Ira Gershwin George s Movie musicals developed into a new art Movie form form – Al Jolson, Fred Astaire, Bing Crosby, Gene Al Kelly. Kelly. The Development of Electronic Musical Instruments Musical Electronic amplification of acoustic sounds acoustic s c1924: microphones, amplifiers, speakers s Microphones built into acoustic instruments s Magnetic pickups for instruments with Magnetic metal strings metal s Self-contained instrument amplifiers s New instruments with acoustic sound New sources but only electronic amplification sources – – Solid-body guitar & bass guitar Wurlitzer & Rhodes pianos with tuning forks. Original, Industry-Standard Gibson Acoustic-Electric Gibson Les Paul and the original Les Paul Acoustic-Electric Guitar Paul Original Fender Broadcaster & Statocaster Solid-Body Guitars Statocaster The Wurlitzer Acoustic-Electric Piano c. 1955 Piano The Classic Fender-Rhodes Acoustic-Electric Piano Acoustic-Electric The first electronic instruments The s 1920s oscillator tone production: the Theremin, 1920s the Ondes Martenot the s 1934 the Hammond Organ s 1950s the first true synthesizers (huge, used 1950s vacuum tubes) vacuum s 1960s the first portable synthesizers (Bob Moog) s Mid-1970s: polyphonic synthesizers s Early 1980s: digital synthesizers s Late 1980s: sampling keyboards. Theremin, played by Leon Theremin c. 1920 Theremin Theremin Advertising Collage Theremin The RCA Theremin The Ondes Martenot with Speakers c. 1928 1928 Early Ondes Martenot Early The Legendary Hammond B-3 Organ c. 1934 Organ The Legendary Leslie Speaker System The The RCA Mark II Synthesizer: a Whole Roomful in the late 1950s Whole Milton Babbitt and the RCA Mark II Mark The Robert Moog Synthesizers: 1964 and beyond 1964 The (trans-)Portable Moogs The The Mini-Moog c. 1972 The Electronic tone production since the 1970s the s s s s Polyphonic synthesizers could play more than one Polyphonic note at a time note 1966: first sequencers; mass marketed in the 1980s MIDI standard Samplers – 1960s: used electronic organ technology – 1970s: tape-based – Late 1980s: computer-based. ...
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