music APPRECIATION - week 16
EBOOK: Chapters 50, (56, 58) NB: FINAL EXAM LISTENING EXAMPLES WILL NOT INCLUDE JAZZ COMPOSITIONS!
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20th_century_modernism_studyguide.pdf | |
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review_listening_study_guide.pdf | |
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MUSICAL EXAMPLES | ||
John Philip Sousa (1854 - 1932), Stars and Stripes Forever (1896) Known as the "march king"; an American composer who paved the way for marching bands and military ensembles in the 1900's. Music starts at about 0:58. |
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Scott Joplin (1868 - 1917), Maple Leaf Rag (1899)
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An example of authentic early African music. Note the chant-like quality, with repetitive, highly rhythmic phrases (call and response strophic form). | ||
Nearer My God To Thee (traditional American Christian Hymn). Harmonically, the use of "Plagal" chord progressions (Tonic - Subdominant) as frequently used in hymns such as this became the background for standard "blues" progressions which are still used today. |
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Bessie Jones (1902 - 1984), performing Yonder Come Day (traditional spiritual). Note the African influence. |
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Louis "Pops" Armstrong (1901 - 1971), West end Blues (1928). Fantastic phrasing and rhythmic latitude, as well as virtuoso playing for the time, especially in his early years. After a lip injury, Armstrong relied more on his unconventional singing rather than trumpet playing. |
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Billy Holiday (1915 - 1959), God Bless The Child (1941) An unfortunate heroin addict, her soulful phrasing was captivating and unique. She is considered the premiere jazz vocalist that set the tone for those who followed her. |
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Billy Holiday, Strange Fruit (1939) This anti-racism song captures the pain and inner-turmoil of her tragic life. |
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CLICK HERE | Duke Ellington (1899 - 1974), Mood Indigo (1927). His lack of formal training caused him to write more of what he felt rather than adhering to over-used, cliched, conventional formulas; no wonder he was called the "duke". |
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Duke Ellington, Take the A Train (actually written by his understudy - Billy Strayhorn). Originally composed in 1941. Duke's approach to "big band" music was unique, stretching the limits of what could be done in this genre of jazz. |
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Glenn Miller (1904 - 1944), In The Mood (1939) The famous band-leader of the swing era, featuring a scaled-down, high-society "semi-jazz" style. |
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Charlie Parker and Dizzy Gillespie, Hot House (1952) As a reaction to the more conventional swing bands of the 1940's, "bebop" and the modern jazz era was born at the tail-end of WWII, featuring higher extensions of traditional harmonies and crazy, nonsensical but highly complex melodic lines, testing the musical abilities of only the best performers. |
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Miles Davis & John Coltrane, So What (1959) A bopper himself who toured with Charlie Parker when he was only 17, Davis later developed a reactionary, laid-back style compared to the hard bop, frantic tunes of the late 1940s and 1950s, soon dubbed "birth of the cool" by critics; definitely music with "attitude". Harmonies were often simpler, with modal references rather than the more conventional major/minor scale system. |
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Miles Davis, Bitches Brew (1970) Always searching forward and never looking back, Miles Davis explored the possibilities of merging the expression and free-wheeling harmonies of Jazz with Rock sounds and electronic media. Notice the conscious placement of space between the notes played -- a sharp contrast to the hard-bop styles of his predecessors. |