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MUS111H1 (14)


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Joshua Pilzer

1. “Camptown Races” by Stephen Foster, 1850 -classic from blackface minstrelsy tradition -demonstrates parody of rural blacks through: -pastoral scene -“folk” instruments -imitations of African-American dialect -began in mass-mediated world of minstrel tradition -now assumed to be a folk song, its blackface roots are practically forgotten 2. “She‟ll Be Coming „Round the Mountain” -originally an African-American spiritual -spread throughout the US which inspired current form -spread throughout the US by folk (not mass mediated) -also spread through parodies and version such as this one on the radio -example of what we take to be “folk music” in N.A. is in fact the result of processes of mass- mediation -has been “laundered” through mass media and made part of a “white” culture (along with the banjo) 3. “I Ain‟t a Bit Drunk” by George Roark -blackface minstrelsy influence -references to boogeyman -recast as a parody of white South -banjo, speech and body language of Southern whites sound drunk -stress of 2 and 4 (upbeats), another legacy of African-American music 4. “I am a Man of Constant Sorrow” by Emry Arthur, 1928 -AAA form (no verse/refrain) -meter is constantly changing, length of phrases adjusted to length of each line -this irregularity becomes rare over 20th century folk music -ballad form plays minimal role in evolution of popular music -genres characterized by verse/refrain provide foundations for modern pop song -living through experience himself, first person -strength in hard times, “stiff upper lip” 5. “I am a Man of Constant Sorrow” by Soggy Bottom Boys -has undergone rhythmic standardization (4/4) -quasi-chorus -slower and more melancholy -form has collapsed into content -this version is retrospective 6. “Roll Over Beethoven” by The Beatles, 1963 -Beatles began as a cover band -the idea of “bands” didn‟t exist until 50s/60s 7. “The Train Kept-a-Rollin” by Yardbirds, 1968 -use of harmonica -associated with African-American country blues -belongs to blues even though it is presented as rockabilly -fetishization of African-American culture, especially in the UK 8. “Love in Vain” by The Rolling Stones, 1969 -Jagger doing his minstrelsy voice -imitation of “black” culture -use of slide guitar -Hawaiian imitation of Af. Am music -just like banjo, became a white instrument 9. “All Day and All of the Night” by The Kinks, 1964 -sounds heavy -distortion becomes more popular -power chords -brutal rhythmically, don‟t have that displacement of the beat -groove is based on emphasizing beats one through four in a heavy way -riff is very important 10. “Tell Laura I Love Her” by Ray Peterson, 1960 -character Tommy crashes is bike in a race and dying words are “Tell Laura I love her” -“death ballad” -percentage of songs about love are growing 11. “Leader of the Pack” by The Shangri-Las, 1964 -four women sisters from NY -mechanical sound (motorcycles) -illicit love affair as an act for rebellion
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