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Musicology Apr Exam
| Question | Answer |
|---|---|
| Response Raps | Diss tracks between rappers |
| Aaron Copland (1900-1990) | Born in Brooklynn to Russian Jewish immigrants, earliest compositions in 1920s, studies with Nadia Boulanger, early style influenced by modernism, collecting musical themes is an important part of his work, work influenced by the Great Depression |
| Lana "MC Lyte" Moorer | First female rapper to release full solo album, from Brooklynn |
| Jukeboxes | Jukeboxes are partially automated, coin-operated machines, typically found in public venues like bars and diners, that play user-selected music from a self-contained library. |
| Soundies | Soundies were short, 3-minute musical films—precursors to modern music videos—produced between 1939 and 1947 that were designed to be viewed on a specific video-enabled jukebox called a Panoram |
| Willie Mae "Big Mama" Thorton | She (1926-1984) leaves home at 14 and performs w/traveling groups, releases "Hound Dog" (1953)-live performance 1965 |
| Chuck Berry | He (1926-2017) had significant crossover success, recording on chess records (1950), Leonard and Phil Chess, "Maybellene" and "Johnny B. Goode" (1959) |
| Alan Freed | Radio host, changes terminology to "Rock and Roll", removing racial identifications of Rhythm and Blues |
| Elvis Presley | (1935-1977), grows up in Memphis, begins playing guitar in youth, fan of WDIA radio in youth, connects with Sun Records 1953, Sam Phillips, owner, Elvis paid $3.98 |
| Berry Gordy | (born 1929) born in Detroit, Michigan, Black Middle class identity, family with business interests (migration from South), 3D Record Mart owner, turns to songwriting, collaborations with his sister Gwen, found publishing company first |
| Gangsta Rap | Response to conditions of life in the 1980s, relationship to gangs, Black life on East and West coasts, stronger imagery language than (conscious rap) |
| Charity | Funding from grants, government and individuals |
| Foundation | Funding from small groups of rich people |
| John Cage | Born in Los Angeles, studies with Richard Buhling, Henry Cowell (chromatic counterpoint), Adolph Weiss, worked as dance accompanist (wrote imaginary landscape no. 1 and 5) |
| Cage's Chance Operations | 1 Ching-Chinese text with 64 images, cage throwing coin for composition, music of changes (1951) |
| Milton Babbit | Born in Jackson, Mississippi, studied music at NYU, joined Princeton music faculty at 22, composition for string orchestra (1940 12-tone work) |
| Terry Riley | (b. 1935) Born in California, raised in Redding (piano in youth) |
| Steve Reich | (b. 1936) Born in New York, drummer in youth, studies philosophy + composition in college, lessons with Luciano Berio, part of In C (1964), returns to New York 1965-6, Come Out premiered (1966), features phasing |
| Pauline Oliveros (1932-2016) | Born Houston, Texas, played piano, violin and accordion in youth, attends University of Houston then San Francisco State college, establishes group sonics for electroacoustic improvisation |
| American Minimalism | Use of limited melodic, harmonic or rhythmic material (repetition + phase-shifting), in contrast to serialism, intentional distance from academic institutions in some cases, influences from jazz |
| Philip Glass (b. 1937) | Focuses minimalism, studied violin in youth, composition at University of Chicago, graduate studies at Julliard (working odd jobs), studies with Nadia Boulanger, 1968 concerts-20 concerts per year gets musicians unemployed insurance |
| Fannie Lou Hamer | Vocalist and voting rights advocate, wrote "This Little Light of Mine" |
| Race Records in 1948 to Rhythm and Blues in 1949 | Ignited by Mamie Smith's "Crazy Blues" (1920), Race Records Industry-"Blues Queens"=most common |
| Founding of ASCAP in 1914 | American society of composers, authors and publishers. |
| Founding of BMI in 1939 | Broadcast Music Incorporated founded in response to programs that ASCAP didn't license |
| Billboard Music Charts | Begin in 1940 (race records 1948, rhythm and blues 1949) |
| Civil Rights Act of 1964 and Voting Rights Act of 1965 | Passed by Lyndon B. Johnson |
| Freedom Songs | Songs conveying key values and tactics of the movement in verses that progressed from freedom in its most abstract form to more specific assertions about measures that would be used to achieve it |
| Sam Cooke (1931-64) | Starts as gospel singer, joins soul stirrers gospel group, becomes soul singer/songwriter + uses hope |
| Aretha Franklin (1942-2018) | Grows up in Detroit, father is famous reverend in Michigan, singing + playing in father's church in youth, first records in Columbia |
| Musical theatre | Types of genres influencing it include: commercial entertainment like blackface minstrelsy, extravaganza, pantomime, burlesque (parodies of serious entertainment), and vaudeville (variety) |
| The Black Crook (1866) | Accidental show (Tin Pan Alley moved upwards + became Broadway) |
| Of Thee I Sing | Music by George Gershwin, lyrics by Ira Gerswhin (first musical to win pullizter prize for drama) |
| American Mythologizing | Post-WWII, 1940s-1950s: U.S emerging as a global superpower. Musicals reassure audiences about the "wholesomeness" of being an American |
| Marriage model | Represents unification of opposing social groups or ideologies, marriage as the American "melting pot" |
| Oklahoma (1943) | 1st musical to have songs + dance-you need the music and dance to tell the story (appropriation of play by Lynn Riggs called "Green Grows the Lilacs") |
| Myth of Frontier Brinkmanship | From wilderness to tamed state (rewriting history to paint the U.S as the good guys) |
| South Bronx as Hip Hop Origin | Home for people of color (people of color used this as a sort of rebellion) |
| Break | Moment when band drops out to feature percussion or rhythm instruments |
| DJ Kool Herc | Born West Kingston, Jamaica, familiarity with Jamaican sound system culture |
| Great Depression | Why does it matter to musicians?-less money=more unemployed musicians |
| Louis Armstrong | Born and raised in New Orleans. Coming to prominence in the 1920s as an inventive trumpet and cornet player, he was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. |
| "West End Blues" | A multi-strain twelve-bar blues composition by Joe "King" Oliver. It is most commonly performed as an instrumental, although it has lyrics added by Clarence Williams |
| Tin Pan Alley | The nickname for the collection of New York City music publishers and songwriters who dominated popular music in the late 19th and early 20th centuries |
| The League of Composers | Created in 1923, is the nation's oldest organization devoted to contemporary music. |
| George Gershwin | An American composer and pianist whose compositions spanned jazz, popular and classical music. Among his best-known works are the songs "Swanee" (1919) and "Fascinating Rhythm" (1924) |
| "Rhapsody In Blue" | A 1924 musical composition for solo piano and jazz band by George Gershwin. Commissioned by bandleader Paul Whiteman. |
| Crossover Hit | A term applied to musical works or performers who appeal to different types of audience. |
| Crossover Hit in Rock and Roll | In the early 1950s, many blues and R&B artists gained mainstream popularity. A significant, often criticized, trend was white artists re-recording these hits in a "toned-down" style (e.g., Pat Boone) to gain wider pop radio play. |
| W. McNeil Lowry | An American businessman. He served as the vice president of the Ford Foundation. |
| 12-tone serialism | 20th-century compositional technique developed by Arnold Schoenberg that organizes all 12 chromatic pitches into a fixed "tone row". |
| Deep Listening | Coined by Pauline Oliveros: The art of listening with total attention—to oneself, others, and the environment—to foster deep connection, empathy, and understanding. |
| “Vicious Rap” (1979) | A pioneering 1979/1980 old-school hip-hop track by Tanya "Sweet Tee" Winley, featuring the Harlem Underground Band and released on Paul Winley Records |
| "The Message" (1982) | An early prominent hip-hop song describing the stress of inner-city poverty. In the final verses, a child born in the ghetto without prospects in life is lured away into a life of crime, for which he is jailed until he commits suicide in his cell. |
| Institutional Perspective on Non-profits | Allows us to observe the methods in action of nonprofits subsidizing music making and the cultivation of financial + social means that allow certain music to exist outside of the marketplace |
| Ford Foundation Grant Program 1965 | Created as a tax dodge by Henry Ford. Led to internal competition with W. McNeil Lowry (director of newly created Arts and Humanities" |
| Inequitable distribution of Funds | A small percentage of artists and industry stakeholders (labels, publishers) capture the vast majority of revenue, leaving the majority of creators struggling to earn a living wage. |
| Minimalism distance from Institutions | A critical distance from institutions by rejecting the excess, complexity, and consumerist pressures often embedded in organizational structures (e.g., schools, corporations, governments). |
| Sampling | Taking a portion of an existing audio recording—a melody, drum beat, or vocal—and repurposing it into a new composition, common in genres like hip-hop, rap, and house |
| Flow | The rhythmic and melodic delivery of lyrics over a beat, acting as the vocalist's "flow" of words, cadence, and rhyme scheme. |
| Layering | The technique of stacking multiple audio signals, samples, or instruments to create a richer, thicker, and more complex sound. |
| Rupture | a sudden break, collapse, or interruption in rhythm, often associated with experimental drum and bass, hip-hop, or harsh noise |