AAMT Midterm 1

- Identify two instruments associated with dancing among enslaved Africans during the eighteenth century

Banjar (early banjo), tambola (drums) or other percussion, fiddle

Describe how timbre is different in African and African American music

Heterogeneous sound, all instruments welcome in most settings, timbre is inclusive- this is reflective of the culture

Over time, how did changes in instrumentation and performance impact the evolution of the blues?

One particularly noteworthy change in instrumentation is the electric guitar that uses metal strings. It allowed for music to be performed much more loudly to be heard in noisy environments (saloons, house parties, street corners).

What are the two most common musical structures found in African and African American music. How do they reflect a communal approach to music making?

Call and Response Shout Songs - (gospel, blues umbrella term, ring shouts) *Line Hymn (form of shout song) - Leader sings each line, which is then echoed by the congregation Simplistic phrases are easy to mimic and copy. Gets everyone in the audience to be involved.

Compare and contrast the repertoire, performers, and performance contexts for folk and arranged spirituals. What factors contributed to the distinctions you identify? (Give 2)

Folk spirituals- call and response, community oriented, all welcome, hand clapping, stomping to accompany Arranged- to appeal to white people, no foot stomping, often notated

Describe the key stylistic characteristics of ragtime performance and composition. When and where did the earliest musical notions of ragtime develop?

Ragtime came into existence long before the music was given a name. By the end of the 1890s, the term defined a performance style and practices applied to composing and playing syncopated versions of popular song, dance, and instrumental music.

Define the form and structure of the blues. Consider both musical and textual characteristics.

Textural form is more important. AAB structure (often 12 bars, codified by WC Handy)

New Orleans was one of the major centers of early jazz. What made this city and its musicians and ideal breeding ground for the new music?

he presence in New Orleans of French, Spanish, Creole, and African American (free and slave) populations, as well as the influx of immigrants from Cuba and the Caribbean, created an unusually diverse mixture of cultural influences.

What socio-cultural and political events shaped the development of free jazz? How did the jazz community react to this new musical style? What prompted these reactions?

Civil Rights movement and the pressure to not play for segregated audiences It was claimed by some as the Shape of Jazz to Come; by others it was decried as the destruction of jazz, and by still others it was championed as a music of social critique because it abandoned the practice of utilizing fixed harmonic and rhythmic patterns as the basis for improvisation. More on pg. 249

Define "classic ragtime," and assess the usefulness of the term in discussing the history of ragtime styles.

Classic ragtime: notated or written compositions for piano, in four sections. Associated with Scott Joplin. Its called classic ragtime because rag wasn't really acknowledged as a form of music until Joplin created the standard for it through printed music.

Identify three performers who pioneered the development of the big band style and discuss their major contributions

Duke Ellington changed the timbre of trumpet by used a pixie mute (a small straight mute) over which he fanned an ordinary rubber bathroom plunger; the growling effect could be additionally enhanced by gargling with the throat and/or simultaneously humming a pitch into the horn, which would later be applied to trombones by Sam Nanton. Fletcher Henderson and Don Redman developed a big band sound by incorporating jazz soloists into a dance band of larger instrumentation than the typical New Orleans jazz ensemble. Henderson's band featured three trumpets, a trombone, three reeds, and a rhythm section. Henderson and Redman worked as a team, developing an arranging style that featured call-response between the brass and reed sections and the use of one instrumental choir as a background accompaniment for the other. Redman also wrote ensemble sections in the style of improvised jazz solos.

How important is the blues (culturally and as a musical expression) to the development and evolution of Black Art Music?

Everything is a through line to blues??? give examples of how

Given what the word "jazz" represents, how does that reflect the way in which America values the art form or not? Why? How does this compare with Western musical genres?

c===3 Jazz represents seminal fluid(****). This shows that america at the time did not value the art forms as compared to most music of the time, because it was created by black people. This compares to the western music genre in that western genre is described with respectful diction.

What was Scott Joplin's vision for ragtime music, and what role did he play in its development? What social barriers did Joplin navigate in order to pursue his goals?

classic ragtime- he formulated guidelines for the performance of ragtime. In his time, rag was performed in places like brothels and saloons. Joplin turned it into something a bit classier and preformed rag in concerts on piano specifically, which is why rag is mostly associated with the piano today. "Maple Leaf Rag" was the most popular and best-selling rag of all time. However, standard royalties and copyright did not apply to African Americans at this time. Unlike "Maple Leaf Rag", which was an acception, John Stark (a publisher) informed Joplin that he would not pay him royalties on any new compositions. Because of this, Joplin changed publishers. Most of the time, African American composers had to accept low rates, if granted any at all.

Give examples of ways in which ragtime performances impacted ragtime sheet music, and vice versa. How was the spread of ragtime impacted by its performance and availability on sheet music? (pg. 103)

Again, Scott Joplin created the standard of "classic ragtime" through printed sheet music. Even though rag has always existed, it wasn't acknowledged as a genre until sheet music. As songs such as the ever popular "Maple Leaf Rag" gained popularity (and sold a record number of copies), it paved the way for other rag music to enter the industry. The first major African American composer was Tom Turpin, who was a famous pianist and an excellent performer. His saloons allowed many popular pianist performers to rise up because they could read the sheet music and develop skills, and then later develop their own individual styles.

Identify at least three myths about African American music and culture that circulated widely during the antebellum period. To what extent were these myths perpetuated? What has been the long term impact of these myths?

Blacks entered US without cultural background, Banjo was invented by white guy, African Americans didn't have secular music, Slaves sang because they were happy Led to stereotyping by the whites. for example, the text book starts at slavery when africa has a wealth of musical tradition and history

Identify new jazz styles that evolved following WWII. What changing conditions led to their development? Name key musicians associated with the development of these new styles.

Cool Jazz (Stan Getz, Lee Konitz, Paul Desmond), Hard bop (Art Blakey and the Jazz Messengers), modal jazz(Miles Davis, Bill Evans, john coltrane), free jazz (Ornette Coleman Cecil Taylor, Albert Ayler, Archie Shepp, Sun Ra, John Coltrane) Civil rights movement

Describe the role of music in African and African American communities. Give examples

Functional in society, not just audience/ entertainment. Accompany work, religion, celebration, funeral, marriage, or birth. Music is communal and invites listeners to participate

How did the university jubilee quartet influence minstrel show performances? In what ways was the minstrel quartet different from the jubilee quartet?

Groups such as the Fisk Jubilee Singers provided the impetus for new religious material in minstrel shows. In response to public interest and in recognition of the acclaim associated with sacred folk songs presented by jubilee groups, enterprising African American minstrels introduced the spiritual repertoire to their shows. Minstrel shows expanded to include popular songs such as comedy songs and secular songs. University groups provided the model for the use of close four-part harmony, the a cappella singing style, and sacred repertoire. The model for showmanship, humor, and entertainment is attributed to the minstrel tradition.

How was the blues first popularized? Identify the earliest documented performers of the blues and the contexts in which they performed.

It was always commercial music, expecting some form of pay. Thus, most african american communities supported vaudeville theaters for performers to play what would become blues. Traveling tent shows, minstrel shows, medicine shows, and circuses also brought entertainment to these communities as well as to many of the smaller towns that could not sustain a full-time theater. Gertrude "Ma" Rainey, Butler "String Beans" May, and Bessie Smith.

- What is the timeline and how does it function?

Repeated rhythmic phrase that helps all the syncopation line up. A two bar line known as agogic rhythm. Or, the three different facets of African American music history: Sacred traditions, secular traditions, and jazz. The timeline shows the history from the 1600's through the 2000's. Although all the music is connected by ancestry, each facet has its own history. It would be wrong to group all African American music into one big category.

When, where, and how did the folk spiritual develop? What are its key characteristics? In what context did the arranged spiritual emerge and what were its distinguishing characteristics? In what ways are these two forms alike? How do they differ?

Spirituals developed anywhere there were black people in the south. It began through the acculturation of field hollers and work songs in the context of oppressive conditions. Spirituals are not hymns. The defining structure is call - response. Hand clapping, body movement, and displays of religious ecstasy are also commonplace. Arranged spirituals came about simply to resonate with white audiences. The scholarly, musical community did not care about the 1867 publication of Slave Songs. The first performance of an arranged spiritual on a concert stage was in 1871. The repertoire between arranged and folk spirituals are the same, yet the function was different. They were now performing in front of paying audiences. Gone was the hand clapping and foot stomping. The performance of the music was much more formal.

As the blues evolved historically, how did it shape other musical traditions? Provide examples from within the United States and beyond.

This role can include the use of the twelve-bar three-line blues form, blue notes and blues scales, typical blues imagery and thematic material, typical blues instrumentation and instrumental techniques (e.g., slide guitar), and the general improvisational quality and tonal experimentation of the blues. Blues tunes form a major part of the repertoire of early jazz, and one can hardly imagine jazz music at all without blue notes, improvisation, and many other qualities doubtless introduced mainly through the blues. The blues has continued to anchor a number of new jazz styles, most notably bebop. Coutnry music adopted blues characteristics, blues yodel, honkytonk and swing styles, Many early rock and roll performers of the 1950s, such as Elvis Presley, Carl Perkins, and Jerry Lee Lewis, had a background in country music, which they fused with newly acquired skills in the blues inspired by contemporary Black artists. Many Black performers of this time, in fact, made important contributions to rock and roll, such as Little Richard, Chuck Berry, Fats Domino, and Bo Diddley, performing music that was largely blues-based. Many rock styles of the 1970s, such as surf music, British rock, and psychedelic rock, made considerable use of blues repertoire and style, and the blues experienced a resurgence within rock in the 1990s. The blues also influenced gospel music through the increased use of blue notes and instrumentation, particularly the guitar. Rap artists also have continued to sample blues riffs from earlier recordings.

- Give at least four examples of antebellum secular genres. What role did these genres play in early African American culture?

Work song: singing accompanied group work. It "coordinated their movements, lifted their spirits, enabled the slower workers to keep up, and warded off fatigue". Protest song: Improvisatory satire that would make fun of slave owners. Improved morale. Satiric versus could easily be added to work songs. Other songs gave specific secret instructions on how to get freedom such as "Follow the Drinking Gourd", which gave instructions on how to use the stars to run North. Game song - children's songs describing folk tales and children's experiences Creole song- Louisiana (blend of French, African, Native) Creoles of color were much more accepted. They enjoyed street parades, dancing, and French opera. Their folk music was influenced by French music with added African elements such as rhythm and call and response forms.

What does the author mean when she states that the performance style of community-based quartets was "culturally defined"? Provide examples to support your argument.

The organization of these community quartets depended on family, religious, occupational, and social group affiliations. Both teachers and students at African American educational institutions trained many of the community quartets, therefore culture is passed down.

Describe the character of worship services among Blacks in autonomous settings in the rural South during slavery? What aspects of the service were valued? How did these cultural values translate into song performances

Had to worship in evenings when not working, and also in secret The character of worship among Blacks in the invisible church was closely related to that of contemporary African American worship. There was prayer, communal singing, testifying, and sometimes, but not always, preaching. The most striking aspects of the worship were evident in the manner in which these elements were expressed. Prayer was extemporaneous, typically moving from speech to song. Congregational participation, in the form of verbal affirmations, was not only accepted but expected, and highly valued. Singing involved everyone present and was accompanied by hand clapping, body movement, and—if the spirit was particularly high—shouting and religious dance, both peak forms of expressive behavior."

- What is a ring shout? What are its key elements? Explain how the ring shout is an expression of both religious and cultural identity

A form of folk spiritual characterized by leader-chorus antiphonal singing, hand clapping, and other percussion, which incorporates highly stylized religious dance as participants move in a counterclockwise circle. Functioning most often as an expression of praise during worship, but they could also serve as a form of "amusement" having no "well defined intention of praise."

- What is the relationship between jubilee quartets and mixed ensembles at universities? What were some of the challenges facing universities and how did quartets help fulfill some of those obligations? What were some of the benefits of the jubilee quartet to both the university and the quartet members?

Both jubilee quartets and mixed ensembles used their voices to help bring fame, recognition, and money to their schools. Fisk Jubilee Singers- sang to raise money for school that formally educated escaped and freed slaves Some challenges universities faced included racism, not getting funding, and no exposure. While singing and traveling many schools were able to raise funds while raising awareness for their school, at the same time possibly changing the way white people thought of them.

Identify three African musical practices preserved by enslaved Africans in the West Indies and the Americas. What circumstances allowed enslaved Africans to continue these practices in the New World? What circumstances fostered changes in African musical and cultural identities?

Drumming -- Caribbean & South America (less oversight than in America), hand clapping, stompng used when drums weren't allowed, shouting Circumstances: These practices did not require materials other than their bodies. Slave owners noticed that these practices contributed to the slaves' morale. Changes: slaves came from a multitude of cultures and languages. The blend of these cultures, languages, and practices fostered a melting pot of African cultural identity.

What historic changes marked the transitional period from jubilee songs to gospel? What musical characteristics emerged during this period? How did audience and performance context play a role in repertoire modification?

The beginning of World War II came the end of the Depression. This led to an increase in Black purchasing power. Record sales spiked after this. During this era of gospel music, lead singers began to perform extended solo passages, incorporating vibrato, falsetto, shouting vocals, and timbre changes such as growls. Following the model of gospel soloists and preachers, lead singers in gospel quartets added improvised personal testimonies.

What is the difference between cakewalk and ragtime? How did the general responses of European audiences to each style compare to those of audiences in the United States?

The boundaries between are blurred. Some European musicians and music lovers were able to appreciate and recognize the distinctive characteristics of African American music, identifying the products as uniquely American, those who rejected American influences felt ragtime would possibly have a destructive effect on Western art music. Ragtime was not produced on piano rolls in Europe because European White middle- and upper-class audiences would not accept African American popular music in their traditional bourgeois living rooms, where culture was strictly defined as European heritage. - musical features of cakewalk (simple syncopation) - rather than those of ragtime (more complicated, intricate syncopation).

How did "race labels," radio broadcasting, and touring contribute to the commodification of gospel music? What was the relationship between popular music and gospel quartets? What led to the decline of gospel quartets? How has the gospel quartet tradition begun to reappear in the United States and abroad?

The launching of the race series, which targeted the Black community, and the increased number of live radio broadcasts, which often featured African American performers, further exposed quartet singers to an audience beyond local communities. Race series were a special series of recordings performed exclusively by African Americans and directed to an African American market. During WWII, touring was affected because of the decreased production of cars, gasoline rationing, and a shortage of rubber tires. A shortage of shellac (an essential product of vinyl discs) basically closed the industry. So, many groups sought out radio jobs and broadcasting. What touring that was possible was done so through "touring circuits". This was a chain of quartets and individuals that formed a channel of communication in a particular territory. The network of communication assisted in arranging multiple city performance sites. As quartets gained popularity, versatility became imperative. Groups began to compete with each other as well.

Where and when did the blues develop? What African and European musical elements are evident in the blues? (Pg. 199-121)

Turn of the century. European elements: form, harmony, and instrumentation. I-IV-V-I is a traditional Western harmony. The major solo and ensemble instruments are also all primarily Western (sax, clarinet, etc) but also include secondary instruments that are reinterpretations of originally African instruments like washboards, jugs, kazoos, and homemade one-stringed zithers. African elements: style, rhythms, tonal and timbral flexibility.