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Lecture 3

MUSC171 Week 3.docx

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MUSC 171

MUSC171 Week 3 Topics today - AfricanAmerican Work songs - Gospel music - Honky Tonk blues / Boogie Woogie - Big bands - ASCAP Pattern of Blues - 3 line stanzas - 12 bars - style includes a lot of flattening of pitches - blues was called race music up until 1949 (changed then) - country blues, classic blues, rural blues, city/urban blues - leads up to rock and roll - 1940s, evolved into rhythm and blues, which is the direct precursor to rock and roll Country blues - important to note that it is highly personal - is improvised - improvised by (often) single male voice, with only a banjo or guitar to accompany him - produced by working class men - doesn’t have to be in line musically with another singer, drummer or guitarist, can be unpredictable - end of civil war, 1965, when Abraham Lincoln signed the emancipation of declaration, freeing slaves in American, specifically in the South - after emancipation, the cotton plantation system broke up, became a system of agriculture that maintained BlackAmericans, still extreme poverty - ^ this area is important because the farm land was still very fertile, rural blackAmericans still was living in this area therefore slave work songs persisted and still a cultural practice - where country blues came out of (work songs ofAfrican Americans) Blind Lemon Jefferson - born blind and an amazing guitarist, great country blues singer - Guitar acts as an extension of Jefferson’s voice, a call and response technique - Single string technique, act as an answer to his calls, obscures his chord progressions of his songs - Rhythm and phrasing are unpredictable - Sexual lyrics - Sexual lyrics were associated with the “devil” - Lyrics are non-linear - More about a feeling than coherent lyrics - AAB structure - Single guitar - Beats are difficult to count Classic Blues - classification of rural blues during time of large migration from the south (crop farms) to more urban areas (Detroit), there was promse of jobs - when blues artists popped up in cities they could be accompanied by other instrumentalists (trumpet, base players) - Due to collaboration blues became more recognized because of 12 bar blues withAAB (call and response) and clearer lyrics - Most of the lead singers were female - Chord progression, 1,4,5 chords used - Hey Hey, Big Bill Broonzy - Sad lyrical - Tracy Chapman Have you ever been down – Sippie Wallace on vocals, Louis Armstrong - Intro, 4 - Verse, 12, trumpet - Verse 12, clarinet - Trumpet solo (improvised) - Verse, 12, trumpet response - Verse, 12 bars, clarinet response - Not radio friendly yet ASCAP - composers of music (TPAmusicians) vs. the broadcasters (rep by National Association of Broadcasters) - 1940, NAB refused the increase in licensing fees fromASCAP - NAB raises 1.5 million, BMI solicited membership from everything except for Tin Pan Alley - BMI was a good home for everyone who was not involved with TPA - ASCAP strike in 1941, for 10 months, noASCAP artists were heard on the radio - ASCAP thought that the public would be outraged that their favourite ar
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