Clare's Dragoons

The piece I chose this week is titled "Clare's Dragoons" and is performed by Na Casaidigh (also known as The Cassidys) using voice and various instruments.  This piece is a vocal Irish ballad originally composed by Thomas Davis in the early 1800s.  It describes "Clare's Dragoons" (originally known as Clare's Regiment) who fought for King James II of Englad during the Williamite War in Ireland.  According to Lew and Campbell, children "learn of their world through the playful songs they sing, and they learn music through opportunities to explore and discover just what music is" (Lew and Campbell pg. 58).  Students learn about their world through play.  Students will sing songs during play time and these songs are rich in history.  Take for instance the play song, "Ring around the Rosey" that actually describes what happened during the Bubonic Plague.  Songs are rich in history and students socialize and learn with these songs even when they don't realize it.  This song is a slower song and wouldn't be used much in play.  However, with it being a ballad, children might hear this slow song as a lullaby.  They will learn history from this song!  Music plays an important part in learning.  Music aids in building language development, reasoning skills, and socialization.  Children learn these skills through lullabies sung to them as children as well as playground songs and games they play.

References:

Campbell, P., Shehan, L., Chooi-Then, J. (2005). Children’s natural and necessary musical play: Global contexts, local applications.  Music Educators Journal, 91(5), 57.

Dawn Light by Maddji

The piece I have chosen for this week is titled "Dawn Light" by  the Sami Folk Singer, "Maddji."  Sami musicians are from the Scandinavian area and use a variety of instruments from fiddle, flute, concertina, lur (trumpet), sami drum, and the accordion.

This is a modern day Lur from Norway.

This is a Sami Drum (also known as a rune drum):

The Sami people live in areas of Norway, Sweden, Finland, and Russia.  Their major means of livelihood is Reindeer Herding.  

Campbell states that it is important for students to be able to recreate music.  But they should also be able to create their own music as well.  Campbell specifically states that "the creation of new music allows the dual aims of listening and the intellectual internalization of sonic structures to be achieved and demonstrated" (Campbell pg. 191).  Campbell then goes on to say that the creation of "world music" is a great way to understand how people make music meaningful in their individual lives.  Two stances exist when dealing with the performance of "world music:" those who believe in authenticity (where we must keep the music as authentic as possible) and those who believe in the "value [and] potential for new musical expressions that can emerge as an outgrowth of experience and training in a wide variety of music traditions" (Campbell pg 192).  In order to create "world music" you can use a number of strategies.  Students can extend what has already been  created, meaning, they can add to a song that already exists.  In the case of this piece, I could have my students create a dance to the already existing music or create their own drum part to play with the song.  Another creating strategy one can take with "world music" is to completely compose or improvise their own piece of music.  In order to do that I can show my students a variety of Sami music and ask them to compose or improvise on the Orff instruments a piece of music that sounds like it could belong to the group of music to which they have studied and listened.  

References: 

Campbell, P. S. (2004). Teaching music globally: experiencing music, expressing culture. New York: Oxford University Press.

Sami music. (2014, May 7). Wikipedia. Retrieved July 24, 2014, from http://en.wikipedia.org/wiki/Sami_music

Sami people. (2014, July 22). Wikipedia. Retrieved July 24, 2014, from http://en.wikipedia.org/wiki/Sami_people

All the Pretty Little Horses

These week I chose to discuss an American Folk Song.  The title of this piece is "All the Pretty Little Horses."  This piece is performed by Becky Jean Williams.  This is an American Lullaby which is evident in the soft sound and the lyrics that mention the "poor little baby."  It is thought to be of African American origin but no one knows for sure.  When reading Koops document titled, "Can't We Just Change the Words?" the issue of authenticity was raised.  Koops mentioned that, at a workshop, someone was having difficulty with the words to a Gambian song.  Someone else mentioned that the teacher should "just change the words."  Koops wondered if all teachers treated foreign music in this way.  Koops then gives strategies for ensuring the authenticity of music.  Koops states we should look at authenticity as a continuum and that at one end of the continuum is a piece of music in its authentic setting and that as you go further away, it becomes less authentic.  Koops warns teachers to give careful consideration to how far a piece of music should be taken on that continuum.  Koops also states that the piece should remain historically accurate.  Listening to this piece, "All the Pretty Little Horses" performed by Becky Jean Williams, I have determined that the performer did what she could to keep the piece accurate.  The words are not changed to a completely different story, the tempo is slow like a lullaby should be, and the tone of her voice is hushed because she doesn't want to wake the baby.  If the performer had changed this things, it would have made the piece less authentic.  In addition, other things could have changed to make it less authentic as well such as using an electric guitar, singing it in a different language, and increasing the tempo.  The performer did what she could to keep the piece authentic.

Koops, L.H. (2010). “Can’t we just change the words?”: the role of authenticity in culturally informed music education.  Music Educators Journal 97, 23-28.

Sakura

My listening selection this week is a traditional Japanese Folk Song titled, "Sakura."  It is performed by The New Kyoto Ensemble and is featured on their CD, "The Music of Japan."  This is a very famous piece that I have heard many times.  This particular selection uses a koto to play the song which can be seen here:

The koto itself is a traditional Japanese instrument.  It is the national instrument of Japan.  There are 13 strings that are strung over movable bridges.  Koto performers adjust the pitch by moving the bridges.  In addition, they use three fingers to pluck the strings.  During this piece, there are places where the melody is featured and is the only thing being played in octaves.  In addition, there are places where the performer can show off their technique on the koto.  During the piece, the tempo changes, going between slow and fast.  There are sections where the speed stretches creating a sense of rubato.  Regarding the structure of the piece, there is an introduction that begin a tremelo/drone effect on one or two notes.  It channels the stropic form t hat is used to tell stories.  In addition, strophic form is usually when there is the same melody played but with different text.  Each time the melody is played during this piece, "Sakura....," the player changes it a bit giving it almost a strophic feeling.  

Kesh Jig

You will create a blog via Blogger to record world music listening that you have selected to share with our class (not contained in our textbooks).  Embed a video example or audio recording of the musical example and write an entry that states the following:

1. Title of piece
2. Performer(s)
3. Culture or Origin
4. Orchestration
5. a one paragraph reaction to the piece that makes connections to course readings/discussion (see a specific weekly focus for this paragraph in the Assignments section)

Your blog entry must be posted on the Friday of each week. In addition to maintaining your own blog, respond to a classmates' blog entry by Sunday of each week.  A list of classmate blog posts is listed under Announcements.  Click on the assignments tab on the menu to the left to submit your blog assignment.

Specifically for week two, discuss in what ways classification systems are useful (use an example of time or instruments in your response).

The piece I chose to listen to and blog about this week is titled "Kesh Jig."  It is a traditional Irish Jig and performed here by a group called The Ghillies.  Included in this performance is a harp, and acoustic guitar, a violin/fiddle, flute, and a drum called a Bodhran: 

This is a lively and upbeat piece of music that is very easy to dance for.  An Irish Jig is a folk dance usually performed in compound meter.  They were adopted into Ireland and Scotland in the 17th century.  This particular piece, because it is a folk piece, has many renditions.  You can see one rendition in this piece of music here:

It is written in 6/8 time or compound meter.  

Bonnie C. Wade, author of "Thinking Musically" described many ways of classifying instruments.  She stated that "Belgian curator Victor Mahillon turned to the ancient Indian system with its one consistent criterion - the primary sound-producing medium of the instrument - and named the four types of instrument as idiophone, membranophone, chordophone, and aerophone" (Wade pg. 38).  Idiophones are instruments where the sound is produced by the instruments vibrating body.  Membranophones are instruments where the sound is produced by a vibrating membrane.  Chordophones are instruments where the sound is produced by a vibrating string.  Aerophones are instruments where the sound is produced by vibrating column of air.  In this piece, we can classify the harp, guitar, and violin as chordophones.  We can classify the bodhran as a membranophone and we can classify the flute as an aerophone.

References:

Bodhran. (n.d.). . Retrieved July 3, 2014, from http://en.wikipedia.org/wiki/Bodhr%C3%A1n

deLombarde, T., & Randall, B. (n.d.). Kesh Jig. . Retrieved July 3, 2014, from http://www.blackflute.com/music/tunes/jigs/kesh.html

Wade, B. C. (2013). Thinking About Music. Thinking Musically (). New York: Oxford University Press.

Alla Gossar

You will create a blog via Blogger to record world music listening that you have selected to share with our class (not contained in our textbooks).  Blogger Getting Started Guide explains how to set up a blog.  Once you have created your blog, submit your blog address on this Google Form.  Your instructor will collect blog addresses and post a complete list on the announcements page of the Sakai site.  Embed a video example or audio recording of the musical example and write an entry that states the following:

1. Title of piece
2. Performer(s)
3. Culture or Origin
4. Orchestration
5. a one paragraph reaction to the piece that makes connections to course readings/discussion (see a specific weekly focus for this paragraph in the Assignments section)

Your blog entry must be posted on the Friday of each week. In addition to maintaining your own blog, respond to a classmates' blog entry by Sunday of each week.  A list of classmate blog posts is listed under Announcements.  Click on the assignments tab on the menu to the left to submit your blog assignment.  Refer to Due Dates.

Title:  Alla Gossar

Performers: Triakel (Swedish Folk Band)

Culture or Origin: Sweden

Orchestration: Triakel performs using only a vocalist, a fiddle, and a harmonium for their music.

Reaction:  Alla Gossar is a traditional Swedish Folk Song.  It was performed in this recording by a Swedish Folk Band called Triakel who use only a fiddle, harmonium, and a vocalist in their music.  This piece is evidence of what Bonnie C. Wade would call "glocalization" (also known as global localization).  Wade stated that "globally shared music is constantly recontextualized by those who listen to it, given new meanings, and made to perform new as well as the same old functions" (Wade pp. 19).  The piece itself is sung by a woman who does not understand why other girls want to get married so badly because all men turn out to be rubbish.  You can read the translation here: Translation of Alla Gossar  When I first listened to the piece, I did not get that meaning.  To me, this is a beautiful song with an upbeat feel.  It is light and can easily be danced to.  However, learning the words has turned it into a different song entirely.  Those who sing it in traditional Swedish culture probably have a different connection with the song entirely!  Wade is correct when she says "we can no longer assume that ethnic musical materials will serve as markers of particular ethnic identities" (Wade pp. 19).  This song was recorded by a traditional Swedish Folk Band and sent to places all over the world.  We do not get the same ethnic meaning that a person from Sweden might get from the piece.

References:

Translation - Swedish-English - Alla gossar äro klara som en dag huru skall man.... (2009, June 16). . Retrieved , from http://www.cucumis.org/translation_1_t/view-the-translation_v_225537.html

Wade, B. C. (2013). Thinking About Music. Thinking Musically (). New York: Oxford University Press.

Week 8

Radiohead performed a song titled "Bodysnatchers" in 2007.  The song climbed to number 8 on the rock chart in 2008.  According to Starr and Waterman, the sing "is in a sense [...] about the music industry and also serves as an example of Radiohead's creative extension of the basic formula of alternative rock" (Starr and Waterman pg. 558).  Alternative rock combines punk rock with the sound of heavy metal guitars. Traditional rock bands utilize two guitars, but this piece uses three!

The piece draws influence from the Beatles "Within You Without You."  It is a philosophical song that uses instruments from Indian culture such as the tambura.  The piece is about how the music industry controls you as though you were only a puppet!

Smells Like Teen Spirit

The 1980s initially experienced a decline in music sales at the beginning of the decade.  According to Starr and Waterman, "it has been clear that the recovery was due more to the spectacular success of a few recordings by superstar musicians - Michael Jackson, Madonna, Prince, Bruce Springsteen, Whitney Houston, Phil Collins, Janet Jackson, and others" (Starr and Waterman pg. 450).

In 1980, Lionel Richie wrote a piece of music titled "Lady" for the musician and performer Kenny Rogers.  "Lady" managed to makes it's way onto a myriad charts at the time including the pop, adult contemporary, country, and rhythm and blues charts.  The appeal of the piece comes from "Roger's husky voice" (Starr and Waterman pg 458) delicately accompanied by a solo piano and additional orchestral layers.  The song is sentimental, a throw back to pre-rock.  If "Lady" is considered a throw-back to pre-rock, "Sweet Dream (Are Made of This)" "exemplifies one of the directions dance music took in the postdisco era" (Starr and Waterman pg. 458).  The piece was performed by a group called "Eurythmics" that included singer Annie Lennox and keyboardist Dave Stewart.  This piece is an example of new wave music which grew from the new wave and punk rock sounds of the 1970s.  It uses digital loops, utilizing music technologies in a way that Lionel Richie and Kenny Rogers was hoping to avoid.

Tina Turner had a successful career as part of the duo, the "Ike and Tina Turner Revue" in the 1960s and 1970s.  Tina Turner left her husband due to his abusive behavior in 1976 and began her own career.  Her solo career started out rocky but was offered a recording contract in 1983.  She released her first solo album titled "Private Dancer" in 1984.  This album reached number three on the album charts, staying in the Top 40 for seventy-one weeks!  She released a song titled "What's Love Got to Do with It" which reached number one on the pop charts and number two on the R&B charts.  The song utilizes "an eight-bar instrumental introduction, an unusual thirteen-bar verse [...] comprising seven- and six-bar sections (A), an eight-bar chorus (B), another verse (A), [...] and finally another chorus" (Starr and Waterman pg. 460).  Like Eurythmics' "Sweet Dreams," this piece utilizes a synthesizer.

Advances in music technology began to infiltrate all genres. Even Heavy Metal bands were beginning to utilize the "techno" sounds of the 1980s.  Van Halen released a song titled, "Jump" in 1984.  the piece "was in some ways a remarkable departure from standard heavy metal practice" (Starr and Waterman pg. 460).  The main instrument is played by synthesizer rather than the standard electric guitar of Heavy Metal music.

At the same time, Madonna released "Like a Virgin" in 1984.  The piece reached number one on the pop charts and number nine on the R&B charts.  The song was not written by Madonna, but by Billy Steinberg and Tom Kelly.  The message is similar to Tina Turner's in "What's Love Got to Do with It."  However, unlike Turner's song, the form of "Like a Virigin" is much more straightforward.  According to Starr and Waterman, "after a four-bar instrumental introduction that establishes the dance groove, there is an eight-bar verse, which we call A1, [...] a ten bar version of the verse with somewhat different harmonies, which we call A2, [....] and a chorus featuring the hook of the song, which we call B" (Starr and Waterman pg. 480).  Synthesizers are an important part of this piece.  Prince released "When Doves Cry" in the same year.  It was a last-minute addition to his album, "Purple Rain."  The song is almost 6 minutes long.  While many pop songs like Madonna's "Like a Virgin" were the product of a team of people, Prince wrote, performed, and produced this entire piece himself.  Despite the difference in creating the piece, both were popular pieces that brought fame and attention to their performers.

In the late 1980s and early 1990s, hip hop became a popular genre of music.  Run-D.M.C. pioneered a rock and hip-hop song titled "Walk This Way" which reached number four on the pop charts and number eight on the R&B charts.  This song was a collaboration between Run-D.M.C. and Aerosmith and was a cover version of a song previously recorded by Aerosmith.  After listening to a sample of the original song, we hear the turntable scratching and it quickly turns into a hip-hop song.  This was the first rap song to be heavily rotated on MTV.  In 1988, Public Enemy performed a song titled, "Night of the Living Baseheads."  The lyrics tell a grim tale.  The piece included "digital samples from no fewer than thirteen different recorded sources, among them an early twelve-inch rap single, several soul music records, a gospel music group, a glam rock record, and the sound of drums and air-raid sirens" (Starr and Waterman pg. 500).  Music was beginning to include multiple sounds to create one song.  Yet another song to combine sounds and genres is titled "Smells Like Teen Spirit" by Nirvana in 1991.  The song "is [a] combination of heavy metal instrumental textures and pop songwriting techniques" (Starr and Waterman pg. 518).  This was the first alternative rock song to ever reach the Top 10 on the charts due to this influence of pop and other  techniques that we are seeing in music from the 1990s.

Week 6

Rock n' Roll began to morph into just "rock" by the time the 1970s rolled around.  Carole King cowrote and recorded "It's Too Late" at the beginning of the decade in 1971.  She was a prominent example of the importance of the singer-songwriter.  With her popularity, the idea that a performer should want to perform their own music and that singer-songwriters should want to be the ones to perform their songs began to emerge.

Stevie Wonder was a pioneer of having control of his music.  He renegotiated his contract with Motown records so that he could have complete artistic control over his music.  He not only wrote his music, but he would use overdubbing to record most or all of the parts of his pieces for the records.  In addition, he would produce his music.  This can clearly be heard with his hit, "Superstition" that was written and performed by Wonder in 1972.  Wonder was very progressive in his use of music technologies.  He not only utilized overdubbing but used synthesizers in his music as well.  Elton John was another pioneer of having control over his music.  He wrote his music to merge the sounds of rock with his own style.  In 1972, Elton John wrote and released, "Crocodile Rock" which was a nostalgic throwback to the style of the 1950s and 1960s rock.  He took that style and merged it with his own sound. Another pioneer of the time was John Denver.  Live recorded albums were commonplace.  Live recorded singles were rare.  It was so easy to record in a studio with the new technology of the time.  "Thank God I'm a Country Boy" which was released in 1975 was recorded live.

Music of the 1970s was beginning to be longer than the standard 3 minute songs from the previous decades.  Barry White recorded "Love's Theme" in 1973 that is just over 4 minutes long.  Elton John's "Crocodile Rock" is about the same length as well as Wonder's "Superstition."  "The Eagles" took it even further, released "Hotel California" in 1976.  This piece is over 6 minutes long!  "The Eagles" helped to revitalize America's interest in "California" that had begun with "The Beach Boys."  However, "Hotel California" "is pure 1970s.  The sense of loss and disillusionment that is treated so casually in "Crocodile Rock" here assumes a desperate, almost apocalyptic character" (Starr and Waterman pg. 378).

To further push the time limit boundaries that had been around for decades, "Led Zeppelin" released "Stairway to Heaven" in 1971.  "Led Zeppelin" had a unique idea.  They knew this song would be a hit.  But they did not want it to be released as a single.  This pushed the music listener of the time to go out and actually buy the album in order to listen to this song.  This song "was the most frequently requested song on FM radio during the 1970s" (Starr and Waterman pg 389).  Carlos Santanna is another example of a musician who thought outside the box.  Santana was a Mexican guitarist who merged the sounds of his country with rock.  This can be evidenced in his hit, "Oye Como Va."  This utilized the traditional rock band instruments such as the guitar, bass, drums, and keyboard with traditional Mexican instruments such as the guiro.

With the 70s, other genres began to emerge as well.  One of the most popular genres of the mid to late 1970s is disco.  Donna Summer released "Love to Love You Baby" in 1975.  This song is 17 minutes long!!  This is an example of early popular disco.  It was recorded in Germany and released in the United States and became a hit!  This was a testament to the popularity of dancing which put the band in an unimportant spot in nightclubs.  The dance was the most important element!  In addition, there was a "progressive country" music movement by artists who were not happy with the Nashville sound of the time.  This included "Townes Van Zandt" who released "Poncho and Lefty" in 1972.  This piece can be described as using "a spare, unpolished vocal style with guitar accompaniment that often uses more complex harmonies than are typical in country music" (Starr and Waterman pg. 412).  Punk Rock began to emerge as an important genre as well.  The "Talking Heads" recorded "Psycho Killer" in 1977.  "The center of attention on most of Talking Heads recording is David Bryne's trembling, high-pitched voice and eclectic songwriting" (Starr and Waterman pg 432).  This song was inspired by Alfred Hitchcok's film, "Psycho."  "Punk rock" is the rock equivalent of the "progressive country music."  It demanded that rock stay true to it's roots.  Fans of "punk rock" did not want to listen to the "pop" rock that was emerging.  We can see that many genres are emerging as well as many trains of thought as to which direction music should be heading!

Music is Changing!

“You Can’t Hurry Love” was performed by the “Supremes” in 1966.  Originally written by the team of Holland-Dozier-Holand, the piece is an example of just how much sophistication and intricacy that Motown Records could produce in their music.  The opening A section is about half the length of the B and C sections that follow.  It is unclear as to whether it is supposed to act as introduction or not.  But after the A section, the B section starts with the same underlying chords that came in the A section.  The C section changes to a completely different melody and instead of going to A with the conclusion of the C section, it goes back to B and C again.  We are beginning to see the drift away from the Tin Pan Alley AABA and ABAC forms from the previous years.  Composers are beginning to experiment with forms in innovative and new ways.

An example of a group that continuously pushed the boundaries in order to think outside of the box in new, innovative ways is “The Beatles.”  The Beatles recorded a piece titled “Please Please Me” in 1962. This was their first top ten hit in Britain but was unsuccessful when it was originally released in the United States in 1963.  However, once the group journeyed to America and “Beatlemania” began, the song was, once again, played on American radios and it gained popularity!  This is an example of early Beatles songwriting.  It following the typical AABA in under two minutes time.  They change words that don’t rhyme together so that they will rhyme. 

Another example of a Beatles song that came after “Please Please Me” is called “A Hard Day’s Night.”  It his number one in 1964.  Once again, the overall form is AABA but they are beginning to work with more subtle touches with the piece.  It plays with a twelve-bar blues form in the A section but are not exactly twelve-bar blues.  They change the structure of the words from the typical a-a-b form.  We can see The Beatles continue to evolve when they released “Yesterday” in 1965.  This piece reached number one on the pop charts that year and has remained one of their most popular pieces of all time.  It, once again, uses the typical Tin Pan Alley AABA form.  The lyrics talk of broken romance and moving on.  For this piece, they chose to have a solo voice (Paul McCartney) accompanied by acoustic guitar and orchestral string instruments rather than the electric guitar that had become so typical of rock n’ roll.  In this sense, it pays homage more to Tin Pan Alley style rather than modern rock (which really fits with the words of “Yesterday” – “why she had to go, she wouldn’t say.”  In a sense, we could be talking about the Tin Pan Alley style rather than a broken romance!). 

In 1966, The Beatles released “Eleanor Rigby” which was not as popular as some of their other song, reaching number eleven on the pop charts.  There is no introduction or preparation of the voice.  It enters at the onset of the piece.  The instruments are playing chords on a regular, steady beat with brief rhythmic interludes between vocal parts.  At around the same time as “Beatlemania,”  “The Beach Boys” were also taking America by storm.  From Southern California, Brian Wilson wrote most of their music about the sun and the sand.  Brian Wilson, the leader of “The Beach Boys,” began to play with forms that were not traditional.  We begin with an A section followed by B and then A and B again.  After the second B section, we dive into a C section followed by a brief instrumental transition.  Instead of going back to A  to close out the song, they head into a D section followed by another transition and then end it on variations of B instead of A.  Brian Wilson was heavily influenced by “The Beatles” and “The Beatles” were heavily influenced by the songs of “The Beach Boys.”  The two groups pushed each other to be better musicians and to think outside the box.

At the same time, “soul music” was coming into play.  Sam Cooke, in 1964 recorded a piece titled, “A Change is Gonna Come” which was a politically charged statement.  He used his gospel roots to serenade his audience while his talked about a “change” coming.  At the same time, James Brown and Aretha Franklin were doing the exact same thing.  James Brown recorded a piece called “Papa’s Got a Brand New Bag” in 1965.  This piece uses the twelve-bar blues stanza and an instrumental riff throughout.  “Respect” by Aretha Franklin is all about respect for people.  In her version, it is about respect for women.  Starr and Waterman state, “none of Franklin’s play with the gender issues implicit in “Respect” would have any effect if it weren’t for the overwhelming power and assurance with which she delivers the song and makes it her own” (Starr and Waterman pg. 337).  Music was really beginning to take on social and political issues.  Bob Dylan recorded “Like a Rolling Stone” in 1965.  This was a huge influence on the music industry as it “effectively put an end to existing restrictions on length, subject matter, and poetic diction that had exercised a controlling influence on the creation of pop records” (Starr and Waterman pg. 345). Music, during this era, was really changing.  Composers and musicians were pushing the boundaries of the typical structures, time lengths, and lyrics that had become standard since the early 1900s.  

Rock n' Roll

This week we explored music following World War 2 and leading into the Rock n' Roll Era.  We begin by discussing Frank Sinatra and Nat "King" Cole. Frank Sinatra recorded a song titled, "Nancy (With the Laughing Face" in 1945.  Originally written by Jimmy Van Heusen and Phil Silvers, the piece "peaked at number ten on the Billboard charts" (Starr and Waterman pg. 209).  In the song, string instruments are used as the instrumental accompaniment to the singing by Sinatra.  Previously, this would not have occurred, and it sets Swing Era music apart from what came before.  The piece uses a thirty-two bar AABA form which is borrowed from previous Tin Pan Alley music.  "Sinatra's voice is relaxed and unforced" (Starr and Waterman pg. 209) in the style of the crooners.  Nat "King" Cole's "Nature Boy," similarly, uses a full orchestral accompaniment.  "Nature Boy" was composed by Eden Ahbez and was number one on the Billboard pop charts for a total of eight weeks!  In contrast to Sinatra's "Nancy," the piece is written in an ABAB form.  Cole's voice is also smooth as it enters and is foreshadowed by the French Horn.  Sinatra's style was smooth and connected with long phrases.  However, Cole's phrases are short and he "treats each note as a somewhat distinct entity" (Starr and Waterman pg. 209).

As we move from Swing Era to Rhythm and Blues, we see a style called jump blues emerge as the "first successful category of rhythm and blues" (Starr and Waterman pg. 221).  It emerged just after World War II.  There was a rhythm section made up of bass, piano, drums, and the occasional guitar accompanied by one or more horns.  The jump bands played boogie-woogie style music that relied on "wild" stage performances.  Louis Jordan's Tympany Five recorded a piece titled, "Choo Choo Ch' Boogie" in 1946 with Decca Records.  The piece uses a twelve-bar blues form and "combines elements of African American music with Tin Pan Alley song" (Starr and Waterman pg. 222).  We can see the Swing Style and the Rhythm and Blues styles are connected through their influence of Tin Pan Alley Form.

The 1950s ushered in the era of "Rock n' Roll."  Rock n' Roll was a term originally used by a disc-jockey named Alan Freed.  Freed noticed that many white teenagers were requesting the Rhythm and Blues songs he played on his nighttime radio show in Clevland.  He coined the term Rock n' Roll, using words taken from lyrics of the songs he played on his show, in order to market his show.  With Rock n' Roll came "cover versions" of songs, meaning a performer releases their own version of a song already recorded.  A prime example of this is the song, "Shake, Rattle, and Roll" which was originally recorded by Big Joe Turner in 1954.  The original version is full of sexual innuendo and it hit number one on the R&B charts and number twenty-two on the pop charts.  Bill Haley and the Comets, a country and western group, heard the song and wanted to release a cover version.  They changed the style of the piece to fit their country and western feel and they changed some the lyrics, making it a "cleaner" version of the song for released on AM radio.  Haley's version reached number seven on the pop charts but did not cross over to the R&B charts signaling that African Americans preferred the original version better while White American preferred this country version.

In 1955, Chuck Berry released a song titled, "Maybellene."  The piece "introduced listeneres to an already full form style of songwriting, singing, and guitar playing that would exercise a primal influence on virtually all the rock n' roll to follow" (Starr and Waterman pg. 255).  "Maybellene" was an uptempo song which was unheard of for vocal music at the time.  The explosive tempo did not allow for much time for breathing by the singer, but Berry performed it well.  The piece is based on the twelve-bar blues form connecting it to the previous songs.  Despite the changing styles, we still see the influences of the past.  Little Richard's "Long Tall Sally"  is also built on the twelve-bar blues form.  Berry and Richard both adapted the twelve-bar blues form to fit their needs.  They wanted their songs to reach the pop audiences and so they adapted the form in order to do so. In addition, the Coasters recorded a song titled "Charlie Brown" in 1958.  Charlie Brown is similar to "Long Tall Sally" in it's influence and use of the twelve-bar blues form.

In 1956, Elvis Presley released his biggest his, "Don't Be Cruel."  This too is based on the twelve-bar blues form.  Presley's style is influenced by blues and country.  "The strong backbeat throughout evokes rhythm and blues, while the repeated electric guitar figure at the opening is reminiscent of rhythmic ideas favored by western swing bands" (Starr and Waterman pg. 264).  We are beginning to see a mix of many styles that are shaping the Rock n' Roll genre.  This is evidenced further in Ritchie Valen's "La Bamba" which reached number twenty-two on the pop charts.  Valen took a folk song from Mexico and adapted it for the pop culture of the United States.  We are seeing a melting pot of cultures from English Ballads, African American song cultures, White American song cultures, and Hispanic American song cultures.  They have combined to form "Rock n' Roll."

Week 3

This week we began by listening to the Blues.  Bessie Smith performed a song that was written by W.C.Handy.  Her accompanist was Louis Armstrong on the Cornet!  The title of this piece is called "St. Louis Blues."  This piece is not like "rural blues" that comes out of rural areas in the south.  Instead, this is more "regular and predictable in its use of blues materials" (Starr and Waterman pg. 132).  It uses elements borrowed from the Tin Pan Alley song tradition in its use of form and structure because it is based on the AABA model commonly seen in that genre.  This piece is really an AABC form and utilizes the "12-bar blues" form within the sections.

"Tom Rushen Blues" written and performed by Charley Patton, recorded in 1929, also utilizes the 12-bar blues form.  This is a very popular form to use in blues music.  The 12 bar blues can be broken into 3 sections of four measures.  The first two sections usually have repeated lyrics.  In addition, each section usually uses about 3 chords in the accompaniment.  "Tom Rushen Blues" keeps to all these Blues traditions.  "That Black Snake Moan" by Blind Lemon Jefferson is a little longer than three sections of four measures.  "That Black Snake Moan" has six three-line stanzas making it twice as long.  "Cross Road Blues" written and performed by Robert Johnson is similar to Charley Patton's music in that it "is representative of Mississippi Delta blues, a much heavier, more emphatic style than the Texas blues of Blind Lemon Jefferson" (Starr and Waterman pg 143).

Moving from blues to "country" or "hillbilly" music, we can see the tastes of the different areas of Americans during this time period.  Jimmie Rodgers recorded a series of "Blue Yodel" songs including "Blue Yodel No. 2" as well as other music such as "Waiting for a Train" and "Dreaming with Tears in My Eyes."  He was influenced greatly by African American song traditions.  In addition, he adhered to many of the "blues" song traditions such as the twelve-bar blues and the AAB lyric structure despite his "hillbilly" genre.  "Hillbilly" music wasn't the only popular genre in the south at this time.  Gospel was beginning to become popular as well.  Other "hillbilly musicians" such as the Carter Family who recorded "Gospel Ship" in 1935 and "The Sun Didn't Shine" recorded by the Golden Gate Quartet in 1943 "exemplify the general importance of sacred music in the southern culture and the popularity of commercial recordings of this music" (Starr and Waterman pg. 150).

After the Great Depression ended in 1935, Swing music became popular and ushered in the "Swing Era" from 1935 to 1945.  Fletcher Henderson and His Orchestra recorded "Wrappin' it Up (The Lindy Glide)" in 1934.  Before the Swing Era, big bands usually consisted of 8 instruments but Henderson's band had 13 instruments in order to create smoother and more full sound.  "Wrappin it Up" utilizes a typical Swing "call-and-response."  In addition, Henderson arranged "Taking a Chance on Love" that was originally composed by Vernon Duke.  This version was not performed by Henderson's band, but by Benny Goodman and His Orchestra in 1940.  The piece was originally a Tin Pan Alley song and connecst Swing to the Tin Pan Alley song traditionby using the third-two bar AABA song structure of that tradition.  "Caravan" composed by Juan Tizol and Duke Ellington and performed by Duke Ellignton and His Orchestra in 1937 was recorded by a fifteen-piece band.  It also uses the AABA song structure that we saw with most Tin Pan Alley songs.  "One O'Clock Jump" recorded by Count Basie and His Orchestra in 1937 keeps the blues tradition by using the twelve-bar blues song structure.  Up to now, we see two distinct styles and approaches musicians can take: Tin Pan Alley approach or the Blues approach.  However, we begin to see a mix of the Tin Pan Alley song traditions that we are seeing in Swing with the Blues tradition when we listen to "In the Mood" recorded by Glenn Miller and His Orchestra in 1939.  It "alternates the twelve-bar blues form with an eight-bar bridge phrase reminiscent of Tin Pan Alley Songs" (Starr and Waterman pg. 173).  

Swing was the not the only popular music in this period.  In 1942, the Mills Brothers recorded a song titled "Paper Doll."  They used their voices to create their music.  The success of the piece "is party attributable to a recording ban, which barred instrumental musicians from making records for a period during the war and thereby  cleared the field for vocal groups" (Starr and Waterman pg. 176).  In addition to vocal harmony groups like the Mills Brothers, country music was still popular and mixed with Swing to create Western Swing.  Roy Acuff's "Great Speckled Bird" was "widely regarded as the national anthem of country and western music" (Starr and Waterman pg. 179).  "Cool Water" recorded by Sons of the Pioneers in 1941 was another bestseller in the country music genre.  It was Bob Wills and His Texas Playboys in 1940 that began to connect "country music" to the thirty-two bar AABA form that was used in Tin Pan Alley songs.  In addition, he began to mix the "Swing music" song traditions as well by using a sixteen piece orchestra for his country music.  This connected Swing, Country, Blues, and Tin Pan Alley together and shows that the genres grow with each other and begin to mix together to keep up with the times.  While these song traditions were growing more and more popular, Xavier Cugat and his Waldorf-Astoria Orchestra recorded "Brazil" in 1943.  This brought the Brazilian song tradition to popularity.  It was originally used by Walt Disney in his "Saludos Amigos."  In addition Machito and His Afro-Cubans recorded "Nague" in 1941.  There was a growing popularity of Cuban music mixed with African American song traditions.  With the addition of these genres, we have many song traditions that are beginning to blend together which will pave the way for the music to come.

Jazz and Tin Pan Alley

This week we listened to and read about Jazz and Tin Pan Alley Music.  Before both Jazz and Tin Pan Alley music gained popularity, traditional English Ballads were popular.  Traditional English Ballads followed a simple form of AABA.  Around the turn of the century, African Americans influenced the traditional ballads and from them, we got Jazz and Tin Pan Alley music.

Tin Pan Alley music such as "April Showers," recorded many times by Al Jolson, "My Blue Heaven" recorded by Gene Austin, "How Deep is the Ocean" recorded by Bing Crosby, and "I Got Rhythm" recorded by Ethel Merman follow the same patterns at the traditional ballads.  The two most commons forms of Tin Pan Alley songs both begin with a verse that usually sets the tone and hooks the audience.  The verse is followed then by the refrain.  The refrain follows one of the two patterns: the traditional AABA of the ballads that came before or ABAC.  "April Showers" and "How Deep is the Ocean" both utitlize the ABAC form.  "April Showers" repeats the refrain 3 times in a row and "How Deep is the Ocean" only repeats the refrain twice.

Tin Pan Alley composers created what we can "standards" that have stood the test of time and are still popular even today.  "I Got Rhythm" was first recorded by Ethel Meman in 1930 when she was only 21 years old and follows the AABA form.  It was recorded again in 1947 and it was just as popular during the second recording as it was during the first recording.  Most songs gained popularity for a small amount of time and were then forgotten.  "I Got Rhythm" has remained a "classic" or a "standard" since the first recording in 1930.

In addition to Tin Pan Alley music, Jazz music began to rise during the early 1900s.  Jazz music stemmed from African American music traditions.  Very few African Americans were allowed to "record" music.  In 1913, the first black group to sign a contract with the recording company was James Reese Europe's "Society Orchestra" and they recorded "Castle House Rag" in 1914.  Rag music led to jazz music and included "violins, cellos, banjos, brass and wind instruments, and percussion (snare drum, cymbals, and orchestral bells) (Starr and Waterman pg. 84).

However, the first "jazz" recording was actually recorded by Nick LaRocca's "Original Dixieland Jazz Band" (ODJB) and was an all-white group.  Their most popular piece, "Tiger Rag" was recorded in 1918 and was a very "watered down" version of traditional New Orleans Jazz.  In 1923, King Joe Oliver's "Creole Jazz Band" was the first all-black jazz band to record a piece of music.  They recorded "Dipper Mouth Blues" and the difference in style from their "jazz" music to the ODJB's "jazz" music is vast.  "Dipper Mouth Blues" utilizes much more syncopation and allows for improvisation throughout the piece whereas "Tiger Rag" was very rehearsed and had only some syncopation stuck in the piece.  Duke Ellington and Bubber Miley wrote a piece titled, "East St. Louis Toodle-oo" and it was recorded by Duke Ellington and his Washintonians in 1927, just four years after the first "all-black" jazz band recorded a piece of music.  Duke Ellington took jazz even further and experimented with the different sounds of the instruments in his band in order to gain new and exciting effects that would hook his audiences which shows that jazz music kept evolving over time.

Week 1 - Barbary Allen and Soldier's Joy.

This week we listened to many songs from the early years of the United States.  We listened to "Coo Coo" performed by Dink Roberts in 1974, "Long John" performed by Lightning Washington and fellow convicts in 1934, "Stagolee" performed by Mississippi John Hurt in 1965, two versions of La Cumparsita performed by Carlos Gardel in 1928 and Francisco Canaro y Quinteto Pirincho in 1951, an Afro-Cuban Rumba titled, "Enique Nigue" by AfroCub de Matanzas in 1998, a Mexican Mariachi song titled, "La Negra" performed by Mariachi Vargas de Tecalitlan in 1959, "Jeanie with the Light Brown Hair" by Stephen Fost and performed by Thomas Hampson in 1992, and "After the Ball" by Charles K. Harris performed by Joan Mirris and William Bolcom in 1990.

We started out with a song titled "Barbary Allen" performed by Jean Ritchie.  This piece of music is known by many names such as "Barbara Allen" and "Barbary Allen."  The song has been passed down from generation to generation and varies with each time that it is performed.

The song is in the traditional "British Ballad Tradition" that Starr and Waterman describe as "one of the main roots of American music and is the predecessor of such diverse genres as urban folk music, country music, and rock 'n' roll" (Starr and Waterman pg. 21).

The song is about a young man named William who is deathly ill and calls for "Barbary Allen."  She comes and says he forgot to mention her during a speech he made for all the young woman at a local bar or tavern.  He says that's because no one can compare to her.  After he dies, she goes home and dies as well.  They are buried next to each other.  From his grave grows a red rose and from her grave a brier.  Eventually they intertwine and become one, even in death.

This particular performance of the piece by Jean Ritchie is reflective of her youth spent in Kentucky.  She changes the words from "Barbara Allen" to "Barbary Allen" because that is characteristic of the dialect of the Kentucky people of that time.

This song is still performed today.  While my students wouldn't listen to it on their own, they might hear it at school or at a folk festival.

In addition to "Barbary Allen," I listened to two different versions of a piece titled, "Soldier's Joy."  The first recording included words.  The performers, Gid Tanner and the Skillet Lickers" performed the piece in 1929.  The piece did not originally include lyrics.  But they added them between fiddler verses.  The second recording was simply a fiddle performed by Tommy Jarrell in the 1980s.  This was performed in a lower key than the first recording.

This piece of music is known was one of the most popular fiddle tunes.  Thought to have originated in Scotland, it made it's way over to the United States.  The piece has changed with each performance as each performer uses their own style.

Both "Barbary Allen" and "Soldiers Joy" indicate a great tradition of music over the past few centuries.  Both pieces were major influences of music that came after and continue to influence composers and performers today.  This shows the great impact of the American vernacular music.



Starr, L., & Waterman, C. (2014). American Popular Music(4th ed.). New York Oxford: Oxford University Press.