Exam 3 Study Guide. PDF

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Fall 2021 Study guide for exam three....

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Pop, Rock and Soul Exam 3 Study Guide Unit 13 Audio Cassette: Development of cassette’s mean that one’s music became more portable and customizable  Manufacturers like Philips, Sony, and Grundig worked to develop cassettes and cassette players and to come up with industry standard  Sales of cassettes exceed those of LPs by 1982  Smaller, more portable, accessible, and allowed users to make their own playlists  First Walkman developed by Sony in 1979  Boomboxes Distortion: Used with heavy metal  More extreme than in conventional hard rock  Metal bands compensated for nonmental bands’ use of distortion by increasing distortion to the point where it obscured pitches Power Chord: Consists of root note and 5th interval  Used in heavy metal Synthesizer: Family of electronic instruments in which sounds are produced electronically, either by generating waveform within machine or by digitally recording acoustic sounds  Most operated by keyboard  Alan R. Pearlman founded ARP Instruments (1969) to produce instruments capable of creating variety of electronic sounds  First synthesizers were cumbersome machines, but ARP 2600 used transistors instead of tubes, making synthesizers lighter and smaller  Pearlman gave units to top rock and R&B musicians like The Who’s Peter Townshend (“Won’t Get Fooled Again”) Pop-Rock: Mainstream rock Soul: Term used widely in 1960s by both white and black Americans to describe popular music by African Americans, particularly music, like that of James Brown, marginally influenced by pop or white rock styles Progressive Rock Heavy Metal: Heavily distorted alternative rock of the 1980s, characterized by both power and defiance  Anything but a monolithic style  Power and craft are two outstanding qualities  Use of more distortion; massive amplification; use of modes, pentatonic scales & power chords; basic rhythms; power trio instrumental nucleus  Projection of masculine power, where performers could sport skillfully styled hair, wear makeup, and sing higher than many women without fear of abandoning their sexual identity  Mastery of craft – adapted to work, juxtaposed them with elemental musical material

Glam Rock: Rock style of early 1970s in which theatrical elements (makeup, outlandish dress) were prominent  David Bowie considered by many to be major figure in glam rock  Rock as an artifice (behind a mask) found its expression in glam rock Singer-Songwriter: Term that came to use around 1970 to describe songwriters who performed their own music  Musical characteristics: emphasize on melody, folk-like accompaniment, relatively low dynamic level  Solo performers who made personal statements in song  First wave included established acts who went solo  Music represents continuing evolution of folk/country/pop fusions of mid-sixties Philly Soul (Philadelphia Sound): An early 70s style which revised, expanded upon and modernized the Motown sound  Engineered by Kenny Gamble, Leon Huff, and Thom Bell  As if Motown had opened a branch in Philadelphia  Most Motown-like records appeared on Gamble and Huff’s Philadelphia International label  Genre of Motown rhythmic songs by vocal groups singing about ups and downs of love Elton John: Mainstream rock performer who was top act of the 70s  Plays piano and has huge ensemble  Still popular today  Longevity and collaborations The Who: Came together in 1964 and popular in late 60s and early 70s  Synthesizers and power chords  Rock and roll Led Zeppelin (1969): Defies categorization  Their version of heavy metal evolved from blues  Jimmy Page (guitarist), Robert Plant (vocals), John Paul Jones (bass), John Bonham (drums)  Page and Plant interested in mystic, mythical and occult, which manifested in music  Ability to establish, then reconcile extremes  “Black Dog” (1971, Early Heavy Metal) o Rhythmic play, complicated lines, vocal instrumental balance  “Won’t Get Fooled Again” and “Black Dog” exemplify key moment in history of rock o Rock as fully developed style, timeless music o Musicians feel comfortable  Large, loyal audience  British band focusing on US fan base Joni Mitchell: Vocal and dulcimer  Lyrics open door to her subconscious  Complex, difficult relationships and emotional rollercoaster  “All I Want” (1971, Singer-Songwriter) o Confessional lyrics, outpouring of melody, indecisive harmony, open-ended form  Canada  Detroit  NY  Southern California

Billy Joel: Singer-songwriter of the 70s and 80s Stevie Wonder: Renegotiates contract with Motown in 1971  Assumed unprecedented artistic control  Three key features o New music as big business o Determination of artists to go their own way o Increasingly important role of technology  Solo act as opposed to a group act like most Motown acts  Blind man with sunglasses and long braided, beaded hair sitting behind piano  Performed, recorded, mixed, mastered, etc.  Sung about social issues  Most popular black artist of the 1970s  Tuneful melodies and rich harmonies of black romantic music, dense textures and highly syncopated riffs of funk, improvisatory flights of jazz and subtly rhythms of reggae and Latin music  “Superstition” (1972) The O’Jays: Included Eddie Levert, William Powell, and Walter Williams  Languished until they met Gamble and Huff in 1968  “Back Stabbers” (1972, Philadelphia Sound) o Rhythmic effects, multiple melodic hooks, rich orchestrations, and sprawling form David Bowie: Three components – words, Bowie’s singing, and musical backdrop – all assume multiple roles  Creates a persona that demands attention, but is shrouded in mystery in Ziggy Stardust  Accessibility and ambiguity are present in every aspect  “Hang On to Yourself” (1972, Glam Rock) o Proto-punk, hooks, and sophisticated features  One of the most influential musicians of the decade Kiss: Epitomized theatrical aspect of 70s rock Steely Dan: Pursuit of studio perfection makes him distinguishable  Creative minds – keyboardist Donald Fagen and bassist Walter Becker  Each song seems different from next and songs are mainly about music  “Peg” (1977, Jazz Influenced Pop Rock) o Fragmentary account of film star on the rise o Words vs. Music, formal imagination, infusion of jazz values  NY  LA studio band  Perfection in studio recording and lyrics  Provocative hip movements Ziggy Stardust: David Bowie’s first public persona  Bowie stripped identity down to most basic question of gender  Lithe build, flamboyant costumes and heavy makeup  Persona demands attention, but is shrouded in mystery

Unit 14 Funk: R&B-derived style that developed in 1970s, primarily under guidance of George Clinton  Dense textures (bands may include 8 or more musicians)  Complex, often 16-beat rhythms  Originally targeted not the ears but the nose, but turned into another meaning – hip  Initially referred to a simpler, more blues-oriented style but has come to identify a particularly rhythmic strain of black music George Clinton: Mastermind behind two funk bands: Parliament and Funkadelic  Recorded guitar-oriented material under Funkadelic and more polished horn-section material with vocal harmonies under Parliament  Laughing to keep from crying  Escapist aspect to his work  “Tear the Rook Off the Sucker (Give Up the Funk)” (1976, Funk) o Rhythm over melody, bass and black music, in the groove, in the moment, road to rap Reggae: Most widely known Jamaican popular music and has distinctive, intoxicating rhythm  Emerged around 1970 in music of Jimmy Cliff, Bob Marley  Spoke to and for Jamaicans because its powerful messages reverberated with legacy of colonialism with following political independence in 1962  Ska: Dominant Jamaican popular music through the first part of the 1960s  Most distinctive feature is strong afterbeat: strong crisp chunk on latter part of each beat  Jamaican musicians began to absorb rhythm and blues  Evolved into rock steady in latter half of sixties  Rock steady further evolved into reggae Disco: Dance music that rose to popularity in mid-1970s  Relentless beat, complex rhythmic texture (usually 16-beat rhythm) and rich orchestration (augmented rhythm section with horns and strings)  Short for discotheque, which means record library  Used in France during German occupation to refer to underground night club  Began to cross over and was very egalitarian Punk: Rock style that emerged in late 1970s characterized musically by relatively simple instrumentation, rhythms, and production  The Ramones and the Sex Pistols  Presence designed to stand out, outrage, and affront those on the outside  Sought to recapture revolutionary fervor of early rock  Took shape in NY in small clubs located in Greenwich Village and SoHo  Shifted from a “we” mindset to a “me” mindset  “Pure” punk songs are short and get straight to the point; subtlety is not part of the equation  Restored essence and power of rock rhythm by isolating it New Wave: “Back to basics” movement within rock beginning in late 1970s, featuring simplified instrumentation and basic chords and melodies  Talking Heads

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Umbrella term used to identify music that emerged in small clubs, mainly in NY and London during mid-70s, that embraced not only punk acts but other bands seeking similar audience Both band and audience assumed anti-mainstream position Music was reaction against prevailing tastes Bands favored stripped down, streamlined sound: guitar, bass and drums with occasional keyboard Clean rhythmic texture with little syncopation or rhythmic interplay Primary role of music was to enhance lyrics

James Brown: Forefront of change from soul to funk  “Father of Funk”  “Godfather of Soul” Sly & the Family Stone: Preached integration  1968-1972: created exuberant new sound  Affected by James Brown and his style  Strong political and social message  “Thank You (Falettinme Be Mice Elf Agin)” (1970, Proto-funk) o Dark lyrics, upbeat music, emphasis on the groove, new bass sounds, bridge from James Brown to Funk  Funk band prominent in 70s  Played key role in transition from soul to funk  White and black members  16 beat rhythm  Spontaneous sound  Political and social message of restraint against violent activism Earth, Wind & Fire: Black pop and R&B group  Key to crossover’s success was ability to meld funk-like grooves with more melodious material  Large group with as many as 14 musicians led by Maurice White (sang and kalimba)  Juxtaposition of funk and more melodious music within single song  “Shining Star” (1975, Funk/Black Pop Fusion) o Inspirational message, funk/pop mix, sixteen beat rhythm, stack of riffs Bob Marley: Powerful voice on social issues  Success gave him unprecedented exposure  Popularity was leverage for him to make meaningful change in Jamaica  1970s’ most visible spokesperson for peace and brotherhood  Began recording career in 1960s  “Is This Love” (1978, Reggae, Guitar/Vocals) o One on one with special woman, gentle pulsations of drum and tambourine o About love, not politics, at leisurely tempo o Reggae rhythm, and buoyant, pulsating sound

Jimmy Cliff: One of reggae’s first stars with reputation as singer-songwriter  Lead role in The Harder They Come, title song brings story into present  “The Harder They Come” (1972, Reggae, Vocals) o Reggae as protest music

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Contradiction between words and music: words are menacing, music is happy Reggae rhythm

Donna Summer: Performer whose career embodies disco  Met Giorgio Moroder who helped collaborate on her major seventies hits  Wispy voice and use of Moroder’s electric counterparts to traditional drum set  Queen of Disco  Born in Boston and moved to Europe  “I Feel Love” (1977, Disco, Vocal) o Electronic sound would, obvious rhythm, woman vs. machine Village People: Brainchild of Jacques Morali (French producer in NY)  Recruited men literally off the street in gay clubs  Village People act was an inside joke, depicting 6 gay men as macho  Quintessential disco music: march-speed tempo with beat marked by bass drum; active rhythms, especially bass in chorus and string figuration; rich orchestration, with strings, oversize rhythm section and electronic instruments; catchy chorus melody; repetitive harmony  “YMCA” (1978, Disco) o Coded lyric: NYC YMCA = gay meeting place o Disco, a multiple minority music: included diverse audiences o Slick dance music, funk, disco, and the beat, control of the producer Ramones: Popular punk band Sex Pistols: Created by Malcolm McLaren  Vocalist – Johnny Rotten, guitarist – Steve Jones, Bassists – Glenn Matlock and Sid Vicious, and drummer Paul Cook  Hung out at SEX, McLaren’s clothing boutique  Influenced by The Ramones  Popular in the 70s  “God Save the Queen” (1977, Punk) o Incendiary lyrics, sound with an edge power of punk o Loud and subversive The Clash: Formed in 1976 amidst tensions between races in US (London Calling)  Songs rallied against political and social injustices (White Riot) and are fast, loud and crude  More skilled and versatile band with variety of styles  “Death or Glory” (1979, Punk-Influenced Rock) o Lyrics in forefront o Rock song conventions o Strong sectional contrasts Talking Heads: Started out in art school and was led by David Byrne  Music offers considerable variety, which is unlike most punk bands  “Psycho Killer” (1977, New Wave) o Prominent lyrics describing person in process of losing it o Portraying demented person with instruments in background Blondie: Pioneer in early American New Wave and punk scenes in mid-1970s

Unit 15 Bossa Nova: Samba-based, jazz-influenced Brazilian popular-song style that became popular in the US in the early 1960s  Introduced with Black Orphans  Slang for something new and different and emerged in late fifties as sophisticated, more melodic and rhythmically less complex samba-inspired popular style  Small nucleus of musicians, notably songwriters Antonio Carlos Jobim, Luis Bonfa, singer/guitarist Joao Gilberto, and songwriter/guitarist Baden Powell fell in love with American jazz, especially jazz infused pop singing and West Coast based cool jazz  Craze peaked in mid sixties with music by Jobim and Gilberto Tejano: Hybrid blending Mexican music with outside sources  Seldom featured percussion, drums, or complex rhythms  Two most tejano characteristics were accordion and bajo sexto (oversized Mexican twelve string guitar) Salsa: Popular dance oriented music, which developed out of a fusion of Cuban, Puerto Rican and Latin American Musical Styles  Affirmation of Afro-Cuban identity of uptown mambo  Blending of other styles (Latin: PR music; American: jazz, R&B)  Characteristic features o Dense, percussion rich texture featuring Cuban instruments (conga, timbales and bongos o Clave rhythm o Tumbao bass: play clave-derived pattern that comes on off beats rather than main ones o Montuno: piano patterns: pianist plays active, syncopate patterns over and over Joao Gilberto: Singer/guitarist  Collaborated with Stan Getz  “The Girl from Ipanema”  Cool, flat, low-pitched voice  Complex off-beat rhythms Stan Getz: Jazz saxophonist  Collaborated with Joao Gilberto  “The Girl from Ipanema”  Straightforward and lyrical  Sound has restrained quality and smooth edge that Brazilians admired so much Flaco Jimenez: Accordionist who is son of Santiago Jimenez, Sr. (one of the pioneers of tejano music)  Musical curiosity led him to explore other styles  Melds influences: Spanish language story telling lyrics, a paired vocal and instrumental lines, sound of accordion, and polka-like rhythmic foundation  “El Puente Roto” (The Broken Bridge, 1992, Tejano) o Sound of accordion, country parallels, and voices and instruments in pairs

Willie Colon: Band released landmark salsa recording in 1970s, Siembra  “Ojos” demonstrated how traditionally-oriented salsa updated Afro-Cuban/American synthesis first heard in mambo and ultimately connected back to Cuban son Gloria Estefan: Tropical Latin artist who fled from Cuba to Miami during Cuban Revolution  Miami Sound Machine  Music derived from salsa  Recorded in Spanish and English  Rich, expressive voice  “No Me Dejes de Querer” (2000, Tropical Latin) o Salsa love song, from “Latin to salsa,” la cantante o Salsa inspired dance song

Unit 16 Eagles: One of the most successful rock groups of the 70s  As they gained popularity, became more mainstream and less country  Legacy was “countrifrication” of rock rhythm  “Hotel California” (1977)  “Take it Easy” (1972, 1970s Country Rock) o Blends rock and country o Country themed lyrics o Country rock beat o Bluegrass sounds Lynyrd Skynyrd: American rock band best known for popularizing southern hard-rock genre during 1970s Allman Brothers: American rock/blues band of the 1970s  Incorporated elements of blues, jazz, and country music  Live shows have jam band-style improvisation and instrumentals Willie Nelson: Started 4th of July festival that brought together “the hippie and the redneck”  Started “outlaw” movement with Waylon Jennings in defiance of Nashville’s commercialism  More in tune with public taste than Nashville  “Free-living, good timing old boys that figure so prominently on southern back roads and in southern folklore”  Modern version of cowboy songs of 30s and 40s  Eclectic approach of Nelson that included music he likes made him most successful crossover artist of 1970s Waylon Jennings: Started “outlaw” movement with Willie Nelson  “Free-living, good timing old boys that figure so prominently on southern back roads and in southern folklore” Outlaw Country: Pop covers of country did better than original, so country tried to sound more pop, which outlaws didn’t like and made their case outside of Nashville

Country Rock: Music combining strong honky-tonk two-beat with clear, simple rock rhythm Southern Rock: Subgenre of rock music and genre of Americana  Developed in Southern US from rock and roll, country music and blues  Focused on electric guitar and vocals

Unit 17 DJ: Person who orchestrates sequence of songs, how much they’ll use of each song and kind of transition they’ll use to give a sense of architecture to the set  Can respond to dancers’ energy, building to a climatic moment/s as set unfolds  Transformed practice of connecting songs into an art  With two-turntable set up, able to mix a series of songs into a set (unbroken string of songs) MC: Turntables: Device used by DJs to mix songs together Toasting: Practice developed by Jamaican disc jockeys of delivering stead stream of patter  Much of it was topical, even personal: they would pick out and sometimes pick on people in crowd that had gathered around  Direct forerunner of rap: both initially featured topical, humorous commentary over preexisting music  Act of telling stories, making boastful claims over records Def Jam: American record label founded in 1984  Focused predominantly on hip-hop and urban music  Owned by Universal Music Group  Operates as part of Island Def Jam Music Group Sugarhill Gang: American hip-hop group that was big in the late 70s Grandmaster Flash: Grew up with interests in father’s jazz records and merged as a budding DJ at block parties and in public parks  Sound collage: cut and pasted sound clips from recordings into his music  Rap pioneer  Developed array of turntable techniques that would revolutionize rap  “The Message” (1982, Rap) o Presents brutal picture of life in the ghetto o Many layers of activity, most of it generated on synthesizers and drum machines Run-DMC: Helped rap crossover into mainstream  “Walk This Way” (1986) o Cover of Aerosmith song o Included Aerosmith members Steven Tyler and Joe Perry Public Enemy: Most political of rap acts to emerge during late 80s

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Rekindled memories of black radicals from the 60s “1 Million Bottlebags” (1991, Rap) o Equal opportunity denunciations: criticism of users/procedures of alcohol o Rich sound world: 5 sound sources: rap, spoken elements, real-world sounds, percussion sounds and pitched sounds o Rap, rhythm, and message

N.W.A. 2Pac: Gangsta rap artist who seemed destined to live and die by the sword  Conflict between sensitive and violent sid...