Class Notes (839,194)
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MUSC 171 (113)
Kip Pegley (78)

Lecture 4

4 Pages

Course Code
MUSC 171
Kip Pegley

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th Sept 30 Jump bands • smaller versions of big band (there was a decline in big band) • comprised of trumpet, sax, piano, drums, bass guitar (increase in underlined sections due to smaller brass sections) • between big band and rock band Louis Jordan & the Tympani Five (rhythm & blues and jazz dance band) • Independent radio stations • Focused on local DJ’s (with regional accents) • There was a resistance to playing race music (∴ African American musicians) o Cleveland’s Alan Freed (later realized that it was the future of music) o Eventually more variety on local stations o Radio became a de-segregated place Rhythm and Blues – Pre 1949 “Race Music” (1945-1960) • Before 1949, referred to as “race music” • Increase in tempo • Shared traits of class/country blues (ie. a-a-b structure), but overall rhythm and blues was more about expression of joy • Dancing music “Choo Choo Ch’Boogie” by Louis Jordan ***see journal*** • Train imagery (brushes on drums) • Shuffle feel • Improvised sax solos and arranged solos (mix of improve and arrangement) • Call and response with riff as response to vocal call • More clearly enunciated texts • Stop time Rock and Roll (birth = 1950’s) • Elvis Presley Convergence of working-class archetypes  women musicians were pushed to the back; female • Buddy Holly participation significantly declined. Only mentioned in • Jerry Lee Lewis the song (sung to as objects of sexual desire), but not the actual singers. • Chuck Berry Record Labels • Independent labels  less organized (didn’t have control over the entire production process) • Advent of the 45 rpm vinyl record • Independent radio stations • Todd Storz- independent radio station owner and
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