MUSI 1003 Lecture Notes - Lecture 4: Mamie Smith, Crazy Blues, Thirty-Two-Bar Form
Document Summary
Lecture 4: blues and race records 1920s-1930s. How were they marketed: race records were recordings of performances by african american musicians targeted african american listeners. What harmonic element did classic blues introduce to the music business: folk element aaba form, 12-bar blues (new folk element) How did classic blues differ from country blues: classic blues: female vocal jazz ensemble, city, standardized, north, city society, country blues, male vocal, single guitar, south, black folk society rural improvised. Arrangement: new orleans jazzy, heterophony (simultaneous variation of a single melody line) Radio expansion: tin pan alley, vaudeville, minstrelsy, coon" songs . Urban biracial migration from south: promises of reconstruction, sharecropping, unemployment. Catered to new urban populations: folk traditions: gospel, spirituals, blues, sermons, rural origins and reminiscence. Race music ralph peer: racially targeted markets, special brochures, genres, artists. P. 127: james reese europe"s clef club orchestra, marion harris. Louis blues , 1920: aaba form, perfectly controlled orchestration, neat repetitions, p. 131: respectful (studied) genteel, phrasing/performance.
