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Week 7 Lecture 1

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Ryerson University
MUS 505
Kim Chow- Morris

MUS505 – Week 7 Lecture 1 Late 50s to Early 60s - Country and pop charts are ranked quite differently at this time - Country started appearing on pop charts in the early 1990s o Billboard began the use of electronic collection of sales and the number of radio plays instead of reports from outlets - Young country starts began to update their sound dubbed “Countrypolitan” Nashville sounds - Patsy Cline’s “I Fall to Pieces” - #1 and #12 on the pop charts o “Crazy” had similar success on both charts - “Twangyness” is shown on the slide guitar, change from a nasally twangy voice to a more subtle, crooners style of singing SOUL - Gospel blues in hybrid form - Intense melismatic vocals and use of call and response - Interlocking electric bass and drums - Popular in the late 60s but it was pioneered in the 50s by…(?) JAMES BROWN - Also known as “Soul Brother #1” or “The Hardest Working Man in Show Business” - “PAPA’S GOTABRAND NEW BAG” 1965 o Brown’s first #1 pop hit o Lyrics speak of “papas” skills in the twist, monkey, mashed potatoes, fly, jerk and the monkey o 12 bar blues form with an 8 bar bridge after the first two o Call and response between Brown and instruments o Stop time is used in bar 10 of 12 bar blues, building excitement o Instrumental riff has a call and response pattern  Riffs reoccurs in every strophe o Form is ruled by presence/absence o the riff and stop time is not harmonic progression or melody o Static harmony doesn’t even change for bridge o Proto “funk” sound - “SAY IT LOUD—I’M BLACKAND I’M PROUD” 1968 o Harmonic progression is static o Riff based accompaniment o Rhythmic speech/song – signs of early rap music o Political message that reflects the black pride movement and social unrest after Martin Luther King’s assassination o His pieces often include polyrhythms – the layering of different rhythms o His performance Live at theApollo in 1962  He performed a medley of songs live in Harlem and did it without a break ARETHAFRANKLIN - Daughter of a Baptist minister and gospel singer - Recorded R&B and TPA for Columbia Records in 1960-66 - It wasn’t until she recorded forAtlantic Records she gained popularity with more powerful songs in
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