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Lecture 16

Lecture 16 - June 8.doc

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MUSI 1530
Rebecca Jubis

Final Exam: 100 questions; ONLY material since mid-term 20 true/false from lecture 50 m/c from lecture Listening: 30 (10 music examples x 3 questions each – see pg.3) Will have a healthy portion of the piece – about a minute 5 examples from first half, 5 examples from second half of course Listening questions will be contextual E.g. Lisbon, identify style, why is that style important Cut the possible listening songs down to 30 Endearing young charms, carve that possum Blues Revival/Hard Rock/Power Trios Chapters 12, 17, 18, 19 Folk/ballad/blues revival all ran parallel to each other Blues revival occurred in both England and US with very different results Cover versions continued well into the 70s Very broad Most of the original artist/composers were black (we don’t know the names) and most of the coverers are white (and we recognize their names) Continuation of the predatory practices used by Tin Pan Alley After the 1960s, emergence of guitar as the most popular instruments 1950s: Blues Revival Rural Blues Mississippi John Hurt Sonny Terry and Browning McGhee Son House (Lore of) Robert Johnson (Eric Clapton revived his style) Urban Blues/Gospel Muddy waters Howlin’ Wolf Staples Singers B.B. King Albert King  When Muddy Waters played at the Apollo Theatre and played his Blues, the black audience booed him off the stage cuz the blues reminded them of sharecropping; went back to working in a factory  In 1958, call from England, Alexis Korner (record collector , owned and hosted discos where people listened to music that he ordered, blues aficionado, hosted jam sessions at his Ealing Club) and invited him and his piano player to go and perform in Great Britain  Listened to a recording of a Muddy Waters concert in Manchester in 1958 playing with members of Chris Barber (a well-known British jazz band) o Can hear Muddy’s hesitation when the curtain opens and he finds himself looking out onto a sea of pale faces (white English folks) o Can hear the jazz drummer gets mixed up with the beat, then can hear the audience getting mixed up (start randomly clapping cuz they can’t find the backbeat)  Got lousy reviews and went back to Chicago, and started to be an interest in white college kids; his career was kind of stalled  A few years later, Korner called again and invited him back in a series of concerts; kids had started to teach themselves how to play his music (his song, Rolling Stone, had an ‘s’ added to it and it become the band The Rolling Stones in homage to Muddy Waters)  Documentaries started to be made about the blues culture but amateur British scholars  Watched a performance on YouTube from Sonny Boy Williams performing I’m a Lonely Man  Watched a performance on YouTube from Son House Levee Camp Blues o The performances were excepts from documentaries that used to air on CBC that also contained history lessons of the slave trade and life in southern US  Muddy Water’s record company wanted to make him a folk singer, then a psychedelic record when those were big 1960 Revival Offshoots - Acculturation (anthropological term): bringing other cultures in your own and adapting them to your lifestyle; transformative 1. Revival Blues Rolling Stones Paul Butterfield 2. Hard Rock (Pop/Blues synthesis) Rolling Stones Aerosmith AC/DC 3. Folk Rock (Folk/Blues synthesis) Rolling Stones Biography/Timeline - were essentially a cover band that covered all kinds of music Muddy Water (Chess) 1948 “I Can’t Be Satisfied” – would only be kno
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