Music 3500: American Music This Final Exam Is Comprehensive —It Covers the Entire Course (Monday December Starting at 5PM In
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PTSVNWU JS-5 Jam Station Style Listing
PTSVNWU JS-5 Jam Station Style Listing ROCK 1 POP BLUES JAZZ 01 JS-5HardRock 11 ElectricRock 01 Shuffle 1 01 ChicagoBlues 01 DublTimeFeel 02 BritHardRck1 12 Grunge 02 Shuffle 2 02 OrganBlues 02 Organ Jazz 03 BritHardRck2 13 Speedy Rock 03 Mid Shuffle 03 ShuffleBlues 03 5/4 Jazz 04 80'sHardRock 14 Funk Rock 04 Simple8btPop 04 Boogie 04 Latin Jazz 05 Fast Boogie 15 Glam Rock 05 70's Pop 05 Rockin'Blues 05 Soul Jazz 06 Heavy & Loud 16 Funk Groove 06 Early80'sPop 06 RckBeatBlues 06 Swing Jazz 1 07 Slow Rock 1 17 Spacy Rock 07 Dance Pop 07 Medium Blues 07 Swing Jazz 2 08 Slow Rock 2 18 Progressive 08 Synth Pop 08 Funky Blues 08 Swing 6/8 09 Slow & Heavy 09 Honky Piano 09 Jump Blues 09 BigBandJazz 10 Hyper Metal ROCK 3 10 Slow Pop 10 BluesInMinor 10 Combo Jazz 11 Old HvyMetal 11 Reggae Pop 11 Blues Brass 11 Modern Jazz 12 Speed Metal 01 AcousticRck1 12 Rockabilly 12 AcGtr Boogie 12 Jazz 6/8 13 HvySlowShffl 02 AcousticRck2 13 Surf Rock 13 Gospel Shout 13 Jazz Waltz 14 MidFastHR 1 03 Gtr Arpeggio 14 8thNoteFeel1 14 Jazz Ballad 15 MidFastHR 2 04 CntmpraryRck 15 8thNoteFeel2 R&B 16 80sHeavyMetl 05 8bt Rock 1 16 16thNoteFeel FUSION 17 ShffleHrdRck 06 8bt Rock 2 01 RhythmGtrFnk 18 FastHardRock 07 8bt Rock 3 BALLAD 02 Brass Funk 01 Power Fusion 19 HvyFunkRock 08 16bt Rock 03 Psyche-Funk 02 Smooth Jazz 09 5/4 Rock 01 NewAgeBallad 04 Cajun Funk 03 Wave Shuffle ROCK 2 10 Shuffle Rock 02 PianoBallad1 05 Funky Soul 1 04 Super Funk 11 Fusion Rock 03 PianoBallad2 06 Funky Soul 2 05 Crossover 01 90sGrooveRck 12 Sweet Sound 04 E.PianoBalad 07 60's Soul 06 -
Rise and Fall of Tin Pan Alley (Subotnik, Spr
Music 133: Rise and Fall of Tin Pan Alley (Subotnik, Spr. 2003)—p. 1 MUSIC 133: SEMINAR IN AMERICAN MUSIC: THE RISE AND FALL OF TIN PAN ALLEY Spring Semester, 2003 Rose Rosengard Subotnik COURSE DESCRIPTION: Focusing on the decades between the 1880s and the 1950s, this course examines social, musical and commercial forces behind the emergence and decline of Tin Pan Alley as well as changes in the substance, treatment, and significance of its songs during their years of popularity. Topics addressed include national identity and race relations as well as the difficulties of analyzing popular music. GOALS OF COURSE: The goal of this course is to give you a sound musical, historical, and critical sense of the Tin Pan Alley type of song, of the changes in style and role that characterized such songs over several generations, and of the various kinds of responses they have generated. Questions we will consider include 1) musical ones (e.g. What repertories does the term “Tin Pan Alley song” designate? In what ways is it useful to discuss the musical characteristics of such songs [their history? their structure? the various styles and mediums that made use of such songs? the identity of the artists who presented them?]] How might we assign musical value to this general category of song, and how might we evaluate individual songs within this category? Why is the Tin Pan Alley song typically denigrated in contrast to jazz, blues, and rock music? What happened to this type of song in the late 1940s and the 1950s, both before and during the transition to rock and roll?); and 2) cultural ones (e.g. -
The Tin Pan Alley Pop Era (1885-Mid 1950'S)
OVERVIEW: The Foundation of Rock And Roll During the Great Migration more than 100,000 African-American laborers moved from the agricultural South to the urban North bringing with them their music and memories. Also, during the 1920’s the phonograph and the rise of commercial radio began to spread Hillbilly music and the Blues. This gave rise to an appreciating of American vernacular music, both white and black. Ultimately, the homogenizing effect of blending several regional musical styles and cultural practices gave birth to 1950’s rock and roll. The Tin Pan Alley Po ra 15-mid 1950’s) “The Great American Songbook” 1940’s Big Bands 1950’s Polar sic New York: “Tin Pan Alley” 14th St. and 2nd Ave. 1 Tin Pan Alley - New York 15-thogh 1940’s) The msic was distribted throgh sheet msic Proessional songwriters dominated the eriod George Gershwin and ole Porter omosers wrote or o msic Broadway and ilm ventally Tin Pan Alley tradition was relaced by the ock and oll tradition Tin Pan Alle – Ke oints 1. Written b a proessional oten non-peroring song-riters 2. ophisticated arrangeent 3. ncopated rhth accents on unepected, eak beats) 4. lever, ell-crated lrics 5. triving or upper-class sensibilities 6. Priar audience Adults 2 “Roots Music” - K oits 1. Riona ou o music 2. tu usicis 3. ot o tut 4. tou o titio 5. o maistream ican ists 6. o t i co cois “Roots Music” = he Blues D Country music he Blues Country Music 1920’s: Mississippi Delta Blues 1920’s: Cowboy Songs 1930’s: rban Blues 1930’s: Hillbilly Music 1940’s: ump Blues 1940’s: Country Swing -
“Rapper's Delight”
1 “Rapper’s Delight” From Genre-less to New Genre I was approached in ’77. A gentleman walked up to me and said, “We can put what you’re doing on a record.” I would have to admit that I was blind. I didn’t think that somebody else would want to hear a record re-recorded onto another record with talking on it. I didn’t think it would reach the masses like that. I didn’t see it. I knew of all the crews that had any sort of juice and power, or that was drawing crowds. So here it is two years later and I hear, “To the hip-hop, to the bang to the boogie,” and it’s not Bam, Herc, Breakout, AJ. Who is this?1 DJ Grandmaster Flash I did not think it was conceivable that there would be such thing as a hip-hop record. I could not see it. I’m like, record? Fuck, how you gon’ put hip-hop onto a record? ’Cause it was a whole gig, you know? How you gon’ put three hours on a record? Bam! They made “Rapper’s Delight.” And the ironic twist is not how long that record was, but how short it was. I’m thinking, “Man, they cut that shit down to fifteen minutes?” It was a miracle.2 MC Chuck D [“Rapper’s Delight”] is a disco record with rapping on it. So we could do that. We were trying to make a buck.3 Richard Taninbaum (percussion) As early as May of 1979, Billboard magazine noted the growing popularity of “rapping DJs” performing live for clubgoers at New York City’s black discos.4 But it was not until September of the same year that the trend gar- nered widespread attention, with the release of the Sugarhill Gang’s “Rapper’s Delight,” a fifteen-minute track powered by humorous party rhymes and a relentlessly funky bass line that took the country by storm and introduced a national audience to rap. -
Popular Music, Stars and Stardom
POPULAR MUSIC, STARS AND STARDOM POPULAR MUSIC, STARS AND STARDOM EDITED BY STEPHEN LOY, JULIE RICKWOOD AND SAMANTHA BENNETT Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] Available to download for free at press.anu.edu.au A catalogue record for this book is available from the National Library of Australia ISBN (print): 9781760462123 ISBN (online): 9781760462130 WorldCat (print): 1039732304 WorldCat (online): 1039731982 DOI: 10.22459/PMSS.06.2018 This title is published under a Creative Commons Attribution-NonCommercial- NoDerivatives 4.0 International (CC BY-NC-ND 4.0). The full licence terms are available at creativecommons.org/licenses/by-nc-nd/4.0/legalcode Cover design by Fiona Edge and layout by ANU Press This edition © 2018 ANU Press All chapters in this collection have been subjected to a double-blind peer-review process, as well as further reviewing at manuscript stage. Contents Acknowledgements . vii Contributors . ix 1 . Popular Music, Stars and Stardom: Definitions, Discourses, Interpretations . 1 Stephen Loy, Julie Rickwood and Samantha Bennett 2 . Interstellar Songwriting: What Propels a Song Beyond Escape Velocity? . 21 Clive Harrison 3 . A Good Black Music Story? Black American Stars in Australian Musical Entertainment Before ‘Jazz’ . 37 John Whiteoak 4 . ‘You’re Messin’ Up My Mind’: Why Judy Jacques Avoided the Path of the Pop Diva . 55 Robin Ryan 5 . Wendy Saddington: Beyond an ‘Underground Icon’ . 73 Julie Rickwood 6 . Unsung Heroes: Recreating the Ensemble Dynamic of Motown’s Funk Brothers . 95 Vincent Perry 7 . When Divas and Rock Stars Collide: Interpreting Freddie Mercury and Montserrat Caballé’s Barcelona . -
Appreciation of Popular Music 1/2
FREEHOLD REGIONAL HIGH SCHOOL DISTRICT OFFICE OF CURRICULUM AND INSTRUCTION MUSIC DEPARTMENT APPRECIATION OF POPULAR MUSIC 1/2 Grade Level: 10-12 Credits: 2.5 each section BOARD OF EDUCATION ADOPTION DATE: AUGUST 30, 2010 SUPPORTING RESOURCES AVAILABLE IN DISTRICT RESOURCE SHARING APPENDIX A: ACCOMMODATIONS AND MODIFICATIONS APPENDIX B: ASSESSMENT EVIDENCE APPENDIX C: INTERDISCIPLINARY CONNECTIONS Course Philosophy “Musical training is a more potent instrument than any other, because rhythm, harmony, and melody find their way into the inward place of our soul, on which they mightily fasten, imparting grace, and making the soul of him who is educated graceful.” - Plato We believe our music curriculum should provide quality experiences that are musically meaningful to the education of all our students. It should help them discover, understand and enjoy music as an art form, an intellectual endeavor, a medium of self-expression, and a means of social growth. Music is considered basic to the total educational program. To each new generation this portion of our heritage is a source of inspiration, enjoyment, and knowledge which helps to shape a way of life. Our music curriculum enriches and maintains this life and draws on our nation and the world for its ever- expanding course content, taking the student beyond the realm of the ordinary, everyday experience. Music is an art that expresses emotion, indicates mood, and helps students to respond to their environment. It develops the student’s character through its emphasis on responsibility, self-discipline, leadership, concentration, and respect for and awareness of the contributions of others. Music contains technical, psychological, artistic, and academic concepts. -
2011 – Cincinnati, OH
Society for American Music Thirty-Seventh Annual Conference International Association for the Study of Popular Music, U.S. Branch Time Keeps On Slipping: Popular Music Histories Hosted by the College-Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza 9–13 March 2011 Cincinnati, Ohio Mission of the Society for American Music he mission of the Society for American Music Tis to stimulate the appreciation, performance, creation, and study of American musics of all eras and in all their diversity, including the full range of activities and institutions associated with these musics throughout the world. ounded and first named in honor of Oscar Sonneck (1873–1928), early Chief of the Library of Congress Music Division and the F pioneer scholar of American music, the Society for American Music is a constituent member of the American Council of Learned Societies. It is designated as a tax-exempt organization, 501(c)(3), by the Internal Revenue Service. Conferences held each year in the early spring give members the opportunity to share information and ideas, to hear performances, and to enjoy the company of others with similar interests. The Society publishes three periodicals. The Journal of the Society for American Music, a quarterly journal, is published for the Society by Cambridge University Press. Contents are chosen through review by a distinguished editorial advisory board representing the many subjects and professions within the field of American music.The Society for American Music Bulletin is published three times yearly and provides a timely and informal means by which members communicate with each other. The annual Directory provides a list of members, their postal and email addresses, and telephone and fax numbers. -
CONSTRUCTING TIN PAN ALLEY 17 M01 GARO3788 05 SE C01.Qxd 5/26/10 4:35 PM Page 18
M01_GARO3788_05_SE_C01.qxd 5/26/10 4:35 PM Page 15 Constructing Tin Pan 1 Alley: From Minstrelsy to Mass Culture The institution of slavery has been such a defining feature of U.S. history that it is hardly surprising to find the roots of our popular music embedded in this tortured legacy. Indeed, the first indige- nous U.S. popular music to capture the imagination of a broad public, at home and abroad, was blackface minstrelsy, a cultural form involving mostly Northern whites in blackened faces, parodying their perceptions of African American culture. Minstrelsy appeared at a time when songwriting and music publishing were dispersed throughout the country and sound record- The institution of slavery has been ing had not yet been invented. During this period, there was an such a defining feature of U.S. history that it is hardly surprising to find the important geographical pattern in the way music circulated. Concert roots of our popular music embedded music by foreign composers intended for elite U.S. audiences gener- in this tortured legacy. ally played in New York City first and then in other major cities. In contrast, domestic popular music, including minstrel music, was first tested in smaller towns, then went to larger urban areas, and entered New York only after success elsewhere. Songwriting and music publishing were similarly dispersed. New York did not become the nerve center for indigenous popular music until later in the nineteenth century, when the pre- viously scattered conglomeration of songwriters and publishers began to converge on the Broadway and 28th Street section of the city, in an area that came to be called Tin Pan Alley after the tinny output of its upright pianos. -
The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
Cross-Dressing to Backbeats: The Status of the Electroclash Producer and the Politics of Electronic Music Feature Article David Madden Concordia University (Canada) Abstract Addressing the international emergence of electroclash at the turn of the millenium, this article investigates the distinct character of the genre and its related production practices, both in and out of the studio. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. Electroclash also emphasizes, rather than hides, the European, trashy elements of electronic dance music. The coming together of rock and electro is examined vis-à-vis the ongoing changing sociality of music production/ distribution and the changing role of the producer. Numerous women, whether as solo producers, or in the context of collaborative groups, significantly contributed to shaping the aesthetics and production practices of electroclash, an anomaly in the history of popular music and electronic music, where the role of the producer has typically been associated with men. These changes are discussed in relation to the way electroclash producers Peaches, Le Tigre, Chicks on Speed, and Miss Kittin and the Hacker often used a hybrid approach to production that involves the integration of new(er) technologies, such as laptops containing various audio production softwares with older, inexpensive keyboards, microphones, samplers and drum machines to achieve the ironic backbeat laden hybrid electro-rock sound. Keywords: electroclash; music producers; studio production; gender; electro; electronic dance music Dancecult: Journal of Electronic Dance Music Culture 4(2): 27–47 ISSN 1947-5403 ©2011 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2012.04.02.02 28 Dancecult 4(2) David Madden is a PhD Candidate (A.B.D.) in Communications at Concordia University (Montreal, QC). -
Tin Pan Alley
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Salford Institutional Repository Tin Pan Alley Continuum Encyclopedia of Popular Music of the World , Vol. 8, Genres: North America The term ‘Tin Pan Alley’ began as a playful nickname for West 28 th Street in New York City where a number of new style music publishers had begun establishing offices in the 1890s and has since taken on a variety of meanings. Monroe H. Rosenfeld is credited with the coinage, suggested to him by the clangorous sound of pianos pouring out of the open windows where songwriters were plying their trade. Eventually the term was used to refer collectively to the songs that were the product of these publishers as well as to this very large group of publishers themselves as a whole. In a third and far wider meaning Tin Pan Alley refers generally to the professional song writing tradition that developed in the United States. The Commercial Background The publishers of Tin Pan Alley were characterized by their sole concentration upon popular music. Earlier in the nineteenth century music publishing in the United States was not centralized. A number of large firms had established themselves in cities such as Boston, Chicago, St Louis, and Cincinnati; these concerns published and distributed throughout the country all types of music ranging from the classics to hymnals and instruction manuals: in short, all forms of printed music. The new style music publishers who set up operations in New York City in the late nineteenth century dropped the publication all other types of music in order to concentrate exclusively upon popular 1 songs, a move founded on the recognition of new markets for these songs, and the possibility of greater profits. -
MUSIC, Dvds, PROGRAMS, PE CLASSES & SOUND SYSTEMS
MUSIC, DVDs, PROGRAMS, PE CLASSES & SOUND SYSTEMS ® and “Hi! I’m Christy Lane, creator of Dare to Dance owner of Christy Lane Enterprises. How can we help you? As you browse through this catalog, you will notice we expanded our line of products and services. When our company was established 20 years ago our philosophy was simple. To educate children that dance can benefit them physically, mentally, That's me on my first video shoot. socially, and emotionally. We did this by producing quality educational products for the physical Catalog Listings: education teachers and dance studio instructors. LINE DANCING Our customer base has expanded tremendously over PARTY DANCING the years and so has the popularity of dance. Now, DECADE DANCING moms, dads, single adults, seniors, and kids who HIP HOP have never danced before are dancing! So join the PARTNER/BALLROOM fun!” LATIN DANCING SQUARE DANCING AMERICA SPORTS & NOVELTY MULTICULTURAL FOLK Christy Lane is one of America’s most well-known and respected dance instructors. Her DANCING extensive dance training has led her to become an acknowledged dance educator, producer, choreographer, and writer. Her work has been recognized by U.S. News and World Report, AFRICAN-CARIBBEAN American Fitness, USA Today and Shape Magazine. Her credits include Disney, Pepsi and DANCING Capezio to name a few. A former private dance studio owner, she tours nationally and her PHYSICAL FITNESS conventions and workshops have delighted thousands of all ages. MUSIC EDITING JAZZ DANCING TAP DANCING DANCE CONVENTIONS HOLIDAY DANCE SHIRTS DANCE FLOORS SOUND SYSTEMS & MICROPHONES TEACHER WORKSHOPS “Christy Lane has the magic to motivate the non-dancer and insight to move DANCE SCHOOL ASSEMBLIES accomplished dancers to the next level.”-Bud Turner, P.E. -
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in His Early Songs
“To Be an American”: How Irving Berlin Assimilated Jewishness and Blackness in his Early Songs A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College-Conservatory of Music 2011 by Kimberly Gelbwasser B.M., Northwestern University, 2004 M.M., University of Cincinnati, 2006 Committee Chair: Steven Cahn, Ph.D. Abstract During the late nineteenth and early twentieth centuries, millions of immigrants from Central and Eastern Europe as well as the Mediterranean countries arrived in the United States. New York City, in particular, became a hub where various nationalities coexisted and intermingled. Adding to the immigrant population were massive waves of former slaves migrating from the South. In this radically multicultural environment, Irving Berlin, a Jewish- Russian immigrant, became a songwriter. The cultural interaction that had the most profound effect upon Berlin’s early songwriting from 1907 to 1914 was that between his own Jewish population and the African-American population in New York City. In his early songs, Berlin highlights both Jewish and African- American stereotypical identities. Examining stereotypical ethnic markers in Berlin’s early songs reveals how he first revised and then traded his old Jewish identity for a new American identity as the “King of Ragtime.” This document presents two case studies that explore how Berlin not only incorporated stereotypical musical and textual markers of “blackness” within two of his individual Jewish novelty songs, but also converted them later to genres termed “coon” and “ragtime,” which were associated with African Americans.