Jazz Pop Rock

Topics: Jazz, Tin Pan Alley, Sheet music Pages: 20 (5429 words) Published: May 29, 2013
I. Popular Music
a. Mass produced and disseminated via the mass media
b. Various times been listened to by large numbers of people c. Typically draws on a variety of preexisting musical traditions II. Theme One: Listening
d. Formal analysis- listening for a musical structure, its basic building blocks and the ways in which they are combined….12 bar blues, AABA melodic structure e. Temporal Process/Lyrics- not just analyzing the song, but comparing it with other song interpretations f. Cultural- How has it shaped or been shaped by tastes and values? g. Riff repeated pattern designed to generate rhythmic momentum h. Hook catchy musical phrase or riff

i. Groove channeled flow of “swinging” or “funky” or “phat” rhythms j. Timbre Characteristic sound of an instrument or voice Sometimes called “tone color” “soundprint” k. the point: expand and sharpen your musical tastes, hear the roots of today’s music in earlier styles, become a more critically aware “consumer” of popular music III. Theme Two: Music and Identity

l. Pop music provides images of gender identity
m. Sterotypes : popular performers have helped to undermine the “commonsense” association of certain styles with certain types of people IV. Theme Three: Music and Technology
n. Sampling: and internet-based radio, technology has shaped popular music and has helped disseminate it, more rapidly to more people o. Older music technologies are regarded as qualitatively superior to the new p. Rejection of electronic technology functions as an emblem of “authenticity” q. DJs: karaoke machines and software, a technology whose effectiveness depends upon the active participation of listeners r. People frequently seek to exert creative control over the role of musical machines in their own lives V. Theme Four: The Music Business

s. 19th C until the 1920s sheet music was the principal means of disseminating popular songs t. A&R Artist and Repertoire man talent scout, songwriter, arranger, producer, artist, backup musicians, mixer, promotion, etc. u. Poser and lyricist : the songs they write are reworked to complement a particular performer’s strengths v. Arranger: decides which instruments to use to accompany them, what key the song should be in, how many times it should be repeated and a host of other details w. A&R personnel of a record company seek out talent

x. Producer: convincing the board of directors of a record company to back a particular project, shaping the “new” talent y. Reverb: “reverberation” a prolongation of a sound by virtue of an ambient acoustical space created by hard, reflective surfaces z. Theodor Adorno a German philosopher who wrote in 1940s and 1950s---capitalism, industrialization on popular music ----suggested an illusion that we are highly independent {. Majors and Indies: Big Fish eat Little Fish four corporations control 75% of commercially recorded music |. 1:8 recordings make profit

VI. Theme Five: Centers and Peripheries
}. Geographical—several distinct centers where power, capital, and control over mass media are concentrated ~. “periphery” is smaller institutions and people historically excluded from the political and economic mainstream . Memphis, Atlanta

. role of the musical “margins” in shaping mainstream popular taste and the workings of the music industry . Centers: Los Angeles, New York, Nashville
. In many ways, we can organize the “story” of popular music as an exchange or dialogue between the center and the margins. VII. Streams of Tradition: The Sources of Popular Music
. Three broad “streams” :
i. European ballad, opera, & folk music
ii. African American Call-and-Response and Polyrhythms iii. Latin American...
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