黑潮血統：福音、靈魂、放客及其變種

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shihfang Ma

Negro Spiritual “Race Music” Blues
1900’s
Christian Hymns

Jazz
Rhythm & Blues
Gospel Music 1948-1949

Soul Music
Early 1960’s

Negro Spiritual Singers from North Carolina, 1939

James Jamerson (1936-1983)
with his “Funk Machine”

Thumpin’ and Pluckin’

“Slap” bass style

“Slapping”

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Chapter 24 Music in America: Musical Theater Pop Music Forms OperettaSpoken dialogueLight musical numbersMany dance numbersAmusing, far-fetched plotsPopular on Broadway in 1800s, early 1900s * Popular OperettasGilbert & Sullivan- The Mikado, HMS Pinafore, The Pirates of PenzanceVictor Herbert- The Serenade, Babes in Toyland, Sweethearts Musical ComediesPopular theater picked up jazz accentsDemand for up-to-date, American stories and lyricsClosely tied to popular songs of the 1920s and 1930sThose written in Tin Pan Alley: N.Y. based collection of publishing/song writing offices. * Gershwin’s “Who Cares?” from Of Thee I Sing can be found on the Listen Companion DVD. George Gershwin (1898 to 1937)Born in New YorkQuit school at 16 to become a song writerBegan writing his own hit songs with brother IraWrote concert works fusing jazz and ClassicalRhapsody in Blue, An American in Paris, Catfish Row (from Porgy and Bess)Musicals- Strike Up the Band, Girl Crazy, Funny Face, Nice Work If You Can Get It * * The Musical after 1940Plots worked out with more careMusical numbers tied in logicallyRichard Rodgers and Oscar HammersteinOklahoma! (1943); The King and I (1951) * Leonard Bernstein (1918–1990)One of America’s most brilliant and versatile musiciansWrote classical symphonies, musicals, and film musicAcclaimed conductor, pianist, and authorWon Grammys, Emmys, and a Tony * Bernstein, West Side StoryUpdate of Romeo and JulietThe classical reaching out to the popular stylesStephen Sondheim, Jerome RobbinsCombines classical forms and techniques with 1950s jazz styles * Bernstein’s Thematic TransformationThree-note motive first appears as a cha-chaThen as a slow, questioning motive in the Meeting SceneNext as the motive for “Maria”Finally turns into the intro to “Cool” * Bernstein’s Thematic Transformation * West Side Story, “Cool”Big production number of Act IHighly charged, syncopated introRiff sings first two stanzas1950s street dialectDance sequence begins with fugueMusic gets more angry as Jets lose their coolStanza 2 of Riff’s song returns * Later MusicalsInfluence of rock revolutionHair, Grease, RentConnection to filmShowboat, Rent, West Side Story, Disney’s musicals for filmContinual reinventionInfluence of hip-hop: Hamilton * Key TermsOperettaMusical comedyMusicals Chapter 24 Music in America: Jazz and Beyond Secular Popular MusicStephen Collins FosterSongs popularized by Christie’s Minstrels“Camptown Races”, “Oh Susanna”Minstrel show: 19thc. variety show in the U.S. performed in blackface John Philip SousaMarine Corps bandmaster, known for marches: “The Stars and Stripes Forever” * African American MusicBoth parodied and acknowledged by minstrel showsNo one wrote down slaves’ musicCall-and-response procedures: -Descended from African traditionsSpirituals: religious folk songsEx. Wade in the Water * RagtimeA precursor of jazzA style of piano playing developed by ...

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Genre of Analysis Rhythm and Blues (vocal performance) Rhythm and Blues (r&b) which also overlaps as “Soul Music” started in the South during the 20th century in the late 1930s and early 1940s. It was created by and for African Americans. Gospel music is a heavy component of R&B, even ministers would have the members of the church “testify”. Testimonies are people speaking on something that happened in their life and God turned it around for the better. Most of the pioneers of R&B like Ray Charles, B.B. King, James Brown etc. were black children that grew up in church and branched off into R&B which was seen as unholy to religious folk. It was deemed secular because churchgoers felt as if the music was blasphemous. This act of testifying is the base of rhythm and blues lyrics. In R&B you release bottled up emotions, but through song you “testify” and tell personal experiences. R&B also came from African folk songs called “work songs”. Work songs use “call” and “response”, which has a leader who calls out a word or sentence and the group responds back. Work songs were therapeutic and helped the shift go by. Eventually, the “call” and “response” method of R&B, which involves a crowd turned into a solo performance. R&B lyrics, as I said earlier are heavily influenced and derived from gospel. The instrumentation comes from Blues and Jazz causing the instruments to mirror the words. In 1947, Jerry Wexler, who was at the time a reporter for billboard, named “R&B” as a genre while editing the charts for the magazine. Wexler is credited for the term. Before the term Rhythm and Blues, all music made by blacks had an offensive category name called “race music”. R&B came from African American’s merging Gospel, Jazz, and Blues. In the 1950s, R&B was considered a lower class style of music compared to Jazz which was considered a high class form of black expression. R&B was apart of the social scene for black youth especially in clubs. In classic R&B, the “Rhythm” is from the strong use of backbeat and four-beat measures. The “Blues” is about expressing how you feel, which was usually “blue” and “sad”. Why was the music blue and sad ? Racism was a huge issue, this affected the African American community. Also, this music’s rise was among the World War II era. People were being killed because of the war, experienced mental issues because of the trauma of war and hate crimes because of the color of their skin. Majority of the music reflected the times. Instruments like the electric guitar, piano, harmonica, bass, drums, blues harp, slide guitar, and xylophone were used but the main focus is the singer. The singer expresses how they are feeling and set the tone of the song. There are many instrumentals of rhythm and blues but most of the time they are imitating a singer’s voice. Ray Charles is one of the key players in R&B music. In several songs he collided gospel and blues together to make masterpieces. Evident in “I Got A Woman” (1954), in 1959 “What’d ...

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My love affair with bossa nova actually blossomed when I studied in Europe in 1988. In December of that year, alone and far from family to spend Christmas with, my friends and I decided to spend our winter school break in London. While promenading along Oxford Street, I went inside Virgin Record Shop where I was awed by the wide array of records the likes of which I have not seen before. I bought a collection of vintage but digitally re-mastered bossa nova classics. Reading through the CD jacket, I marveled at how the origins of the music were intertwined with the political and cultural history of Brazil. On that day, I was introduced to the music of composer and arranger Antônio Carlos Jobim, guitarist João Gilberto, poet and lyricist Vinicius de Moraes, saxophonist Stan Getz, guitarist Luis Bonfá, and chanteuse Elis Regina.

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