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Music 2II3 – Popular Music 4.docx

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Simon Wood

Music 2II3 – Popular Music: Post World War 2 Lecture 4 7/8/2013 4:00:00 PM We were in total American prosperity after WW11  Europe, north Africa and western rim of pacific ocean for the WW2  1939 to 1945  1942 onwards states was involved  december 1941 -- pearl harbour attack o no warfare on soil only for that one exception o states became the factory, becomes the engine that drove allie forces against Italy and Germany o when war was over, the states had the most remarkable infrastructure –covered with state of the art factories, transportation systems o europe was in complete ruins and same for the pacific rim  lots of factories with jobs waiting for people  mid 40s to 50s o unemployment is not a problem in the states with good pay – reason why we have the teenagers in the 1950s o one job supports the whole family o tons of consumer goods as well -- remarkable in material prosperity  radio revolution are allowed to get independent licenses  TV revolution starts to take off  opportunities available for the non white because of boom  teenagers – a small amount of them (but a number that is growing steadily) enjoy BA (black appeal)  mid 1950s – 3 national charts (not including small charts such as territorial, state …) o rhythm n blues o country and western o and in the middle pop  people become exposed to culture that is not specifically aimed to them  example: the white kids listening to black music  rnb begins to appear on the pop charts not just the rhythm n blues chart – middle class whites are going out and buying their records  called CROSSOVERS – people get very nervous when this happens because of the way things are changing o the balance of power for just whites is starting to shift – blacks are starting to obtain power  we see:  cover versions: 1954 to 1956 o artists performs or records a song that was originally done by someone else o why would you do a cover version?  You really like the song  artist you really respect  good business reasons especially if you are a new artist  connect to established artists o follow a specific pattern o black artists records a song, most likely on independent record company, the song becomes a hit, suddenly then crossovers o then a week later white artist does a cover version of a black person with a major record label – at the same time o cover and original version go head to head o boil down copyright law o example: you can take any song and record it and sell it for money o in 3 things you need to do  cannot claim ownership  send percentage of money you get to the composers  cannot change the song to change the copyright (cant make a mock version) – cant deem it  you can but put it on YouTube without making any money from it – but YouTube would be in trouble o example: weird al yankovich – has to ask a bunch of people within the song in order to copy it o prince and Eminem said no  went ahead and no one complain because of the 1950s  white versions always featured some changes in the way the song was structure or what not, they really highlighted the value of sounds Little Richard (Richard Wayne Penniman)  born 1932, Georgia  first big hit was "tutti Frutti”  family disowned him because they were really religious (also really poor) accused him of doing the devils work  original was tutti frutti, good booty  released late 1955 on specialty record (lyrics revised by Dorothy LaBostrie) –lyrics needed to be fixed  the acajuns – all went to new Orleans (French covered New Orleans), also in nova scotia named Cajun – actually canadian  listening -- original recording of tutti frutti o lots of energy, get a distorted sound, get a distortion voice o did very well, big hit  crossover hit: #2 RnB and crossed over on #17 pop cover version appeared a few weeks later from: Pat Boone:  born 1934  was just breaking as a pop star in 1955  fraud upon and racist  early 1956, releases a cover of "tutti frutti”  no R&R, #10 on pop  largely dismissed as the bad guy  what has been changed?  shes a tough cookie – was not in the original  the quality of the voice  listening of his version Cover versions: “Sh-Boom”  original by black group – the chords –african American on independent record label  then covered by the crew cuts – major record label and by white – actually from Toronto (St. Mikes) The Chords: June 1954/Cat Records talking about melodies – because of the capatilized letters Intro A Intrlude A B A Intrlude Solo – A A out sax (A) 4 8 4 8 8 8 8 16 8 8 what is the formal structure of this song?  An AABA style  You got an A and then a 4 bar interlude –however it only happens once listening -- sh boom –original  largely disappeared in history then reappeared in the movie Cars  much more likely to hear the cover version The Crew cuts: july 1954/ Mercury Records intro A A B A Sh-bm Sh- B A intrld (A) boom (A) 4 8 8 8 8 8 8 8 8 7 A tag 8 6  interludes and solos disappear – sh boom comes in and replaces the solo  then odd number because bigger range section for the interlude  tag – conclusion of the song spot what has changed from the two songs  repeat the pattern AABA with no interlude fogging it up  much more obvious – deliberately made it much more obvious  knew middle class white audience who always used to listen to TPA because the TPA always used AABA –which would be more of their likely –internalize the ideas, have expectations listening to the crew cuts version The chords: The Crew Cuts Form 1 time through AABA, 2 times through AABA – with interludes clearly stated deliberative and effective and subtle differences Voice Distortion – use of lower Clean no use of lower octave in B (like the octave African retentions) -no edge Theres an edge, you can -control and clarity
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