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Music Midterm
American Popular Music course (ARTS 256) Midterm flashcards
| Term | Definition |
|---|---|
| "Oh! Susannah" by Al Jolson | Minstrel Tune/pre-Tin Pan Alley, pre-1920s |
| "You're the Top" by Ella Fitzgerald | Pop/Jazz, 1940s |
| "Smokestack Lightnin'" by Howling Wolf | Chicago Blues, 1940s-60s |
| "Dipper Mouth Blues" by King Oliver's Creole Jazz Band | Jazz, 1920s-ish |
| "Ko-Ko" by Duke Ellington | Swing, 1930s |
| "Whole Lotta Shakin' Goin' On" by Jerry Lee Lewis | Rockabilly, 1960s |
| "Don't Fence Me In" by Gene Autry | Country (cowboy songs), 1940's |
| "Hound Dog" by Big Mama Thornton | Rhythm and Blues, 1950s |
| "Shake, Rattle, and Roll" by Joe Turner | Rock 'N' Roll, 1950s |
| "Sh-Boom" by The Chords | Doo-Wop, 1950s |
| "Maybellene" by Chuck Berry | Rock 'N' Roll, 1950s |
| "Jailhouse Rock" by Elvis Presley | Rock 'N' Roll, 1950s |
| "The Twist" by Chubby Checker | Pop, Early 1960s |
| "Will You Love Me Tomorrow" by The Shirelles | Pop (girl group), 1960s |
| "Surfin' USA" by The Beach Boys | Surf Rock, 1960s |
| "A Hard Day's Night" by The Beatles | British Invasion, 1960s |
| "You Really Got Me" by The Kinks | British Invasion (influenced punk rock), 1960s |
| "A Change is Gonna Come" by Sam Cooke | Soul, 1960s |
| "You Can't Hurry Love" by The Supremes | Motown Soul, 1960s |
| "Say It Loud - I'm Black and I'm Proud" by James Brown | Soul, 1960s |
| "Like a Rolling Stone" by Bob Dylan | Folk Rock, 1960s |
| "Just Between You and Me" by Charley Pride | Nashville Folk, 1960s |
| "White Rabbit" by Jefferson Airplane | San Francisco Acid Rock, 1960s |
| What is popular music? | Music that had longevity (either through the band or through the music itself), or that inspired other artists/musical and political movements |
| Major Record Labels | Labels like Chess Records, Atlantic, etc. Had more money to spend on the newest equipment and techniques |
| Independent/Indie Labels | Stax Records, Motown, less money for techniques so got creative in order to survive |
| Recording Technology | Originally wax cylinders, which were inconvenient for music sales, which turned into flat disks for storage capacity and easier sale. |
| Issues with the Music Canon | Depends on individuals, often doesn't include certain music types (popular music wasn't considered until the 1960s) |
| "THE" Canon vs Smaller Canons | "THE" canon is music across all genres that is considered 'great', smaller canons are limited to one specific genre of music |
| How is success measured in Pop? | Music sales, longevity (either artist or music), or inspiration value (of other artists or of genres) |
| Sheet Music | The initial pop music from Tin Pan Alley was primarily sheet music (as Tin Pan Alley was a sheet music printing industry) |
| The Minstrel Show | AKA "blackface minstrel", the racist industry for which the first popular music was made for |
| Stephen Foster | The first US composer to make their living entirely off of composing music |
| Minstrel Songs | Songs made for minstrel shows. Primarily known for racist & stereotypical accents and being performed in blackface, they were an essential part of early pop. |
| Parlor Songs | Songs made to be played "in the parlor", made for the average American to play to impress/entertain guests. |
| Ragtime | Grew out of African American dance and music, one of the early and big precursors to jazz |
| Scott Joplin | Wrote ragtime songs that are still prevalent today (ie "Maple Leaf Rag") |
| Tin Pan Alley | Popular songwriting and sheet music publishing industry in NY from 1890s to 1950s, wrote lots of musical songs in that time |
| Pop Song Form | AABA, each letter is 8 cycles, 4 beats (32 total cycles) |
| Irving Berlin | One of the most famous songwriters in American history, the first "superstar" of Tin Pan Alley |
| Cole Porter | 1920's composer, had an experimental music style with lots of sophistication, with witty lyrics referencing sex |
| "Race Records" & Other Umbrella Terms | All terms, like "race records" or "rhythm and blues" are just catch-all terms to refer to music written by and for African Americans |
| Blues Form | "12-Bar Blues" with a 3-line poetic structure and simple chord progressions, tended to have AABA lyrical style, served to provide structure |
| Classic Blues | The more recent version of the Blues, but the first to be recorded. Professional, often female, popular singers (ie Ma Rainey) |
| Country Blues | Rural; from the Mississippi Delta. The older version of the Blues, but recorded later. Usually a male singer with a guitar/harmonica (ie Robert Johnson) |
| Chicago/Electric Blues | Blues popularized in the clubs of Chicago, recorded by Chess Records. Artists such as Muddy Waters and Howlin' Wolf popularized the use of characters in pop. |
| Chess Records | One of the big record studios in Chicago. After the Blues craze, expanded into soul, gospel, and rock 'n' roll. |
| Jazz | Originally a style of playing established in New Orleans, dance music that was learned by ear |
| Jazz Age/Jazz Craze | The explosion of jazz in the so-called "Roaring 20's" post WWI, mentioned by F. Scott Fitzgerald in his book. |
| Dance Clubs | Clubs where performers would play jazz, influenced by Harlem |
| Cotton Club | A Harlem dance club that was unique for its lack of segregation, where black performers were playing for white audiences |
| Louis Armstrong | The single BIGGEST name in jazz today, started the rise of soloists in jazz after leaving King Oliver's Creole Jazz Band |
| Swing | Started in the New Deal era, government sponsored performances/competitions. Coincided with the repeal of Prohibition, aimed towards college-aged adults and teenagers |
| Duke Ellington | Started at the Cotton Club from '27-'31, had a stable band of the same musicians. Experimented with music (ie "Ko-Ko") |
| Glenn Miller | Led one of the most popular dancing bands, with a group known for precise playing & careful arranging (ie "In The Mood") |
| Country and Western | Country is a style that originated in the Grand Ole Opry, with themes of rural idealism, working class, and the South (kept their accents, had string band w/ steel guitar, nasal singing, told a story) |
| Bluegrass | Commercially successful country, focused primarily on virtuosity with a modernized string band |
| Honky Tonk | Amplified guitar solos made for dancehalls and bars, successful artist named Hank Williams ("I'm So Lonesome I Could Cry") |
| Rockabilly | Earliest rock 'n' roll for white performers, 4 main stars (Carl Perkins, Elvis Presley, Johnny Cash, and Jerry Lee Lewis) |
| Musical Characteristics of Rockabilly | Twangy electric guitar, R&B Rhythms and 12-bar blues, unpredictable vocal inflections |
| Sun Records | Record label based in Memphis, where rock 'n' roll was born |
| Bebop | Jazz style started by younger generation of swing players, musical features include smaller ensembles, faster tempo, more complex harmonies, and intense improvised solos |
| Contrafacts | Begins jazz's departure from popular style, the music of the early counter-culture (beat generation) |
| Charlie "Bird" Parker | Born in Kansas City, started in big band and started bebop, issues with addiction |
| Cowboy Songs | Popular starting in the 1930s, portrayed an idyllic West with cowboys being heroes |
| Gene Autry | Most popular "singing cowboy", influential in the spread of country music to mainstream audiences (ie "Don't Fence Me In" |
| Pop Singers | WWII's impact on swing music, combined with the American Federation of Music strike, led to a rise in solo singers in pop. Radio, films, TV shows, etc all contributed to the popularity of pop singers |
| Frank Sinatra | Started in Big Band, but continued recording as a solo artist during the instrumentalist strike. Innovator in microphone usage, and hugely popular with young women, declined in popularity and went into film, then re-surged in the mid-1950s |
| Nat King Cole | Known as a jazz pianist and singer, the most successful African American recording artist of the Post-War era (14 top 10 hits). Used the sentimental ballad style |
| Rhythm and Blues | Large category of music marketed towards African Americans, made new & exciting sounds and innovations |
| Jump Blues | Smaller group blues that grew out of big-band swing, incorporated elements of pop music |
| Honking and Screaming | Interesting sounds made by a saxophone in order to give blues a more exciting feeling |
| Blues Shouting | R&B singing style, a specific type of singing used in order to be heard over the loud band without amp. |
| Doo-Wop | R&B singing style, focusing on ensemble singing with nonsense singing and a simple beat |
| Women in R&B | Ruth Brown & Big Mama Thornton |
| 1950s Youth Culture | Economic stability, combined with nuclear family dynamics, mean that there are lots of teenagers with spending money who want to rebel (juvenile delinquency) |
| Characteristics of Early Rock 'n' Roll | Focus on electric guitar, backbeat, harmonic and melodic simplicity, direct emotion, basis on 12 bar blues |
| Covers | Very popular with early rock 'n' roll artists, ie Bill Haley and His Comets, The Crew Cuts, Elvis, etc |
| Chuck Berry | Had a very distinct style (high energy/fast tempo, precise diction, accomplished guitar playing), struggled with racism, charismatic performer (ex. "Maybellene") |
| Elvis Presley | Unique style (combination of styles and individuality, distinctive vocal style, sex appeal), started at Sun Records then moved to RCA, switched to TV and film after flopping slightly |
| Women of Rock 'n' Roll | Wanda Jackson was the main woman in rock, with "Fujiyama Mama" becoming a big hit in Japan |
| Mainstreaming in Rock 'n' Roll | Focusing on teenage audiences after the explosion of Rock 'n' Roll, combined with Elvis becoming popular enough to switch to RCA (a major record company) showed how rock was becoming mainstream |
| Teen Idols | Pop vocalists that were marketed towards teenage girls, usually males with a "squeaky clean" image (ex Ricky Nelson, Pat Boone) |
| Dance Crazes | Songs made especially for specific dances exploded with the creation of "American Bandstand", allowing artists to show off their dances live on TV |
| Girl Groups | Focused on teen girls and "Girl Culture", influenced later male groups, gave a model for young girls and provided models for racial integration |
| Surf Music | Developed in Southern California, based in beach and surfer culture |
| The Beach Boys | started by imitating their inspirations, then emulated but added their own flair, then finally created original songs (all artists can go through) |
| British Invasion | statement for the popularity of British bands in the US from 1963-1969ish, groups like The Beatles, The Dave Clark 5, The Rolling Stones, and The Kinks. TV shows like The Ed Sullivan Show contributed to the explosion of popularity |
| Beatlemania | The explosion of popularity for the Beatles in the 1960s, primarily with teenage girls |
| Soul | Umbrella term for African American music in the 1960s, with roots in gospel. |
| Ray Charles and Sam Cooke | very similar, had crossover success, were both businessmen, influenced by sacred music. Ray Charles was "The Genius of Soul", Sam Cooke was "The King of Soul" |
| Southern Soul | Style of soul associated with Southern recording studios (like Atlantic and Stax). Used characteristic "house bands" |
| Motown | Had a mainstream sound and massive commercial success, preferred vocal groups, distinctive sound with multiple hooks and grooves |
| Soul and Social Engagement | Soul music was very connected with the Civil Rights Movement, musicians like James Brown ("Say it Loud - I'm Black and I'm Proud") and Aretha Franklin ("Think") |
| Urban Folk | Begins in the 40's and 50's, but exploded in the 1960's with songs about social injustice, bands like "Peter, Paul, and Mary" or Bob Dylan |
| Folk to Folk Rock | Combines folk repertoire and singing style with rock instrumentation, Bob Dylan "going electric" ("Like a Rolling Stone") |
| Simon and Garfunkel | Moved from folk to folk rock in 1965, against their will, made 2 versions of "The Sound of Silence" (the folk rock one BLEW UP) |
| The Nashville Sound | Stylistic blend of country and pop elements, a mainstream version of country, "Countrypolitan" is country but city-oriented |
| Bakersfield Sound | Directly opposed Nashville Sound, style hearkens back to Honky Tonk |
| Johnny Cash | Musically eclectic, country music icon, rockabilly origins |
| Counterculture | Associated mainly with the hippie movement in the 1960's, counterculture came with some characteristic slang and fashion, drug culture, and a fascination with 'exotic' cultures. |
| Acid Rock | Acid rock, also known as psychedelic rock, was a subset of rock made by/for the hippie movement. It was characterized by long improvisation, surrealism, lots of reverb, interesting and experimental instruments, and a very loud sound |
| LA Psychedelic Rock | The LA psychedelic rock scene, while smaller and less influential than the San Francisco scene, spawned bands such as The Doors. The Doors were less happy-go-lucky, and talked more about the dark side of drug use. |
| San Francisco Psychedelic Rock | San Francisco was the hub of the psychedelic rock scene, spawning bands such as The Grateful Dead and Jefferson Airplane. These bands generally discussed using psychedelics to expand minds and have religious experiences. |
| Jimi Hendrix | Unique sound and unusual techniques made him the most influential psychedelic rock artist, and he was also extremely popular in England with "The Jimi Hendrix Experience" |
| Woodstock | Music Festival held at a farm near Woodstock, NY in 1969, organizers expected 200K people but got over 400K, bands such as The Grateful Dead, Santana, The Who, and Jimi Hendrix performed |
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lilyowens125
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