April 15, 1997
Brazil
In America: poor people in the cities, rich people out
in the countryside.
In Latin
America: rich in the cities where there
is electricity, running water, poor people outside the
cities in boxes.
poor
flavela - buriel barrio
a rich person has to buy their way in
wild flowers on slums.
carnival controlled by the Mafia.
mangera - name of one particular flavela.
the patron
syndrome - A god or
something will take care of everything.
- if you're rich, you were
destined to be rich.
- no incentive to give to
the poor.
- if you're poor, you were
destined to be poor.
martial art style of
dance:
capoeira - hands and feet
makulee - machetes
2 kinds of Brazilian
Music:
Umbanda - Candouble
- religious
music, trance and
dance
Ä
for a god to inhibit body.
drums in book
Rio de Genero carnival - 6 weeks before Easter.
April 17, 1997
Slave Trade
1538 - 1780 Latin America
1619 - 1863 America
Diaspora - displaced people; scattered against their
will
(at first it only applied to Jews)
indigenous - original peoples.
Jamaica - Reggae,
Rasta Fari music
Argentina - tango
(spanish rule)
Trinidad - calypso
î Henry Belafonti
Haiti è
french influence, voodoo (means
"religion")
shango - the overall
god in voodoo
they use drums to put some
one in trance so that a god (preferably shango) will possess
them.
these things are
from Youroba, Nigeria.
1 in 10 African are
Nigerian.
Europe
bata - sacred,
ritual music
but now used in public.
all the instruments
are telephones - communications with the gods.
hit drums ð tambourine rings
they think the gods are there doing it.
April 22, 1997
African Music
- Slaves
prebellum - some
British slaves came from Ghana (shanti symbol on coffins).
1865 Bellum - old
style houses, with columns, etc.
postbellum
congo square (postbellum)
- Sunday afternoon
place of worship/spiritual music.
- work for low
wages.
- banjo, guitar,
violin - European instruments.
very little percussion - on the sly, late at night (forbidden).
religion -
protestant based, songs divided into:
field
hollers/work songs (I'd rather be somewhere else).
[most of white
people music until 1920 based on marching & opera.]
African deterred
from typical
- brought slurs
- flowing beat, fluid time
- jazz, blues, spirituals
-- Europeans find worthwhile
about us.
Sacred Plantation
music
- call and response:
lining out. (soloist reads it out,
group answers/repeats.)
- no music
background
1. no beat - fluid time
2. individual entrances
3. polyrhythmic - 2 rhythms going on at the
same time.
4. intro of maj/min scales at the same time: blue notes.
5. lamenting mood/soul in music
- blurring tonal palette.
- adding more notes.
Trance.
singing in black
church drowned out the white church singing.
World Blues
one singer & guitar
shuffle beat - music of the train
Dance
- steady beat
- syncopated beat to
get you out of chair
- maj/min scales at
the same time
- slurring
- call and response
- STANDARD BLUES
BEAT -- 12 MEASURES
text - love, social problems
either:
- English sea shanti
- African work songs
slaves expected to
sing - part of job description. A good
slave could really sing/sang all the time.
Mance Lipscomb 1895
(75 yrs old)
- sharecropper
- guitarist, made records
Important names:
Mance Lipscomb
Blind Lemon Jeffeison
Willie Ledbetter - Leadbelly
Mississippi John Hurt
" Fred McDowell
3 categories of
music:
worship
work
play
spirituals - more
than 4 (coral)
- all written out (no lining
or improv)
1880s -
sophisticated as structures, etc
- transportable
- but has same blurring tonal
maj/min
- rhythmic speech
- sincapated beat
- timbre of African American
voice
regular, predictable
1890s Ragtime - Scott Joplin
- Hubie Brooks
- brass band of the civil war
- each regiment had a band
- most skilled musicians - got to keep instruments after that war. Used them to perform
and make a living afterwards.
- but clubs changed to pianists to save money.
- mostly played in whorehouses - prostitutes danced
- syncopated - try to make music interesting
1900 Jazz - New Orleans Sound
break band up/ second line- rhythm section- more import -drum,
piano, bass, baritone
make distinction frontline
2nd line band
- bands that march
in the street
- for funerals -
real slow to the funeral, cut up on way back
- people behind
doing their own thing - called 2nd line
April 24, 1997
Jazz St. Louis/New York
Dixieland or New Orleans (1900) è Roarin' 20s
(Buddy Bolden)
Swing (1930s)
Fletcher, Henderson
Bebop (1945)
Charlie Parker
"Lining
out" = call and response
combo 3-7
front line
missed this part
"Head" arrangement -----------> not
written
"chart" =
written out arrangement
"up"
tempo/medium tempo/ballad tempo
Pg 162 Jazz Form
- especially improv.
- dance music
A B A
16 measures
A (2x) "Head"
of the piece
16 - 32
"song" form
12 meas. Blues
Dixie
Melody ---------> clarinet
or trumpet
&
Harmony ---------> trumpet or
trombone, piano/banjo/guitar
16 meas. B order of solos: each solo is a "chorus"
solo improv. frontline each soloist takes 3
choruses
on melodic + harmonic rhythm leader says "out" when
over.
material of section A drums
rhythm section accompany -
they're playing linear material
soloist -
melodic fragments, harmonic notes
- scales - to fit chords
then back to
A *Jazz
is a craftmanship, an art form*
maybe with coda
"set" - 45
minute of playing (then intermission then another set.)
Jazz Rhythm
- is divided in 3
- called shuffle
sometimes there's a
singer -- Bessie Smith -- the most popular.
"scat"
singer - singer improvises w/non word to answer soloist.
Dance styles: 2 step
Charleston
April 29, 1997
"Head"
Arrangement - music from memory.
"Head" of
the song - beginning of the song.
up, medium, ballad
tempos.
"set" -
when they band plays (between breaks, about 45 minutes).
"scat"
singing - sing improvised linear lines to nonsense syllables during solos.
"front" -
to lead the group.
"chops" -
physical condition of player's anatomy (mouth muscles, hands).
"bag of
tricks" or "bag" - certain characteristics of a performer, their
style and repeated licks.
"session"
-
"woodshed"
- to practice.
Dixieland - Dance
Swing - Dance, also
just to listen to.
Buddy Bolden
established Dixieland.
Louis Armstrong
makes it appreciated as an art.
also played swing in small combos.
Duke Ellington
(frontman) established Big Band as swing.
Count Basie
established Big Band.
*If it's not based
on shuffle, it's not Jazz.
- gave rise to
ballroom dancing, which rivals ballet.
"cutting
session" - two soloists trying to out do each other, answering,
"cutting" each other up.
Bebop 1945s (Rebop)
"Bop"
- back to small combos, night clubs.
- originated in New York.
Charlie Parker
Dizzy Gillispie
Thelonias Monk
Lester Young
Miles Davis
Max Roach
Intense, saturated
syncopated rhythm
"Angular"
melody - not singable - better for instrumentalists - large range.
complex, saturated
harmony - for listening.
Combo music
Bebop established
Jazz as an art form.
May 1, 1997
East Coast, Hard Bebop, Hard Bop (1955)
(Funk/Soul) "changes"
Horace Silver To
more saturated and syncopated rhythm.
Art Blakey overall
more intense in overall effect.
Kenny Dorham Incorporation
of Urban Blues and
John Cotraine } Gospel
styles.
Johnny Rollins }
Modalists
Miles Davis } modal
jazz Post-Hard
Boppers (1970s)
Zoot Sims Wynton
and Branford Marsalis
Filip Phillips Chick
Corea
Charles Ming Herbie
Hancock
Jazz messengers -
group formed by some of these people.
Miles Davis: Bebop, West coast, East coast, Fusion, Modal
Gospel Urban
Blues - night club kind
Thomas Dorsey Muddy
Waters - took it out of the country and into the city.
B.B. King - best of all time.
scale = modes
Modal cords - like
drone, improvised on. songs on only one chord.
Contemporary Jazz -
basically all Bop.
playing
"outside"
Latin Jazz (Now called "Salsa") 1955s
Perez Prado
Tito Puente
Ray Barnetto brought
to NY, east coast
Machito
Cal Tjader
Progressive Jazz 1960s ("Third Stream")
Stan Kenton
Gunther Schuller -
more orchestra instruments
Gil Evans -
symphonic quality
Eric Dolphy -
expanded on jazz, added symphony
Charles Mingus - less
improv
Free Jazz (1960, 70s)
west coast
a "happening"
- spontaneous get up on stage and do something
sounds like chaos
Archie Shepp - lives
in Europe
Fusion/Crossover/Jazz-Rock
(Jazz 98.1 FM)
Chick Corea
Herbie Hancock jazz: triplet
Miles Davis rock: duplet or quadruplet
Grover Washington
David Sanborn spyro-gyra,
etc.
Toto
If it has
duplet/quadruplet base, its fusion.
If it has triplet,
its one of the forms of jazz.
Modern Big Jazz
Bands combine:
Bebop
Hard Bop
Fusion
Latin (Salsa)
May 6, 1997
Jazz Styles
Dixieland or New
Orleans (1900)
Swing (1930s)
Bebop (1945s)
West coast - Cool
(1950s)
East coast Hard Bop (1955s)
("Funk" or "Soul") (mixture of Bebop, West coast, Urban blues
and gospel)
Muddy Waters
B.B. King
Thomas Dorsey
Modal (A spinoff of
East coast) (1960s)
John Coltraine
Sonny Rollins
Miles Davis
Latin (Salsa)
(1955s)
Progressive or Third
Stream (1960s)
Free or Avant Garde
(1965s)
Ornette Coleman
Archie Shepp
Sun Ra
Lester Bowie (Art Ensemble of Chicago)
Happenings - Alan
Kaprow
Fusion - 98.1
Post-Harden Bebop -
today's jazz
Marsalis, etc.
John Cage - more of
a philosopher
spontaneous - not so planned out
Indeterminant - Aleotoric music - unplanned event
NEXT MONDAY:
Indonesia
13,000 Islands from
Asia to Australia
Bigger Islands:
Borneo, Sumatra, Sulawesi(Celebes), Java, Bali (very
small/musically important)
Social
Structure/Religion: 95% Muslim, Hindu,
Budha.
originally animists
Uses of Music:
Kinds of Musical
Instruments:
Gamelan: Javanese orchestra
Shadow Play: follows the days events of giving miniature
homes to Ratukidu and going into trance
to hear her.
Semma and
Ratukidu: Semma rules the earth
Ratukidu rules the waters
Goddess of the south seas
married to human who lies on both sides of the shadow screen
Every newborn comes
to them directly from Heaven and is therefore treated with such reverence.
May 8, 1997
mozart Java - Islam (plus mixture of Animism,
Buddhist, Hindu)
Aristocratic (courts) village society, christianity
Secular music & trance for court village ritual and entertainment
rock Bali - Hindu (plus mix
of animism and Buddhist) Semma, Ratukidu
n village
society (aristocracy eliminated by dutch 1910)
roll secular and
sacred music and dance for village ritual and entertainment
In all Indonesia
(esp. Bali)
music, dance, painting textiles, mask making
Shadow play (wayang kulit)
islamic people
all night
retells old Hindu stories
transports you to your history/ancestors
X |
X light |
musicians, |
singers X | X
Puppeteer | Audience
|
Screen
Instruments at
Monday’s concert:
metal xylophones
(sapong)
metal gongs (Rayang,
Kempul - middle & gong - largest)
flute (suling)
bowed lute (Rebab)
drums (Kendang)
Javanese music -
slower for trance
Balinese music -
faster
Structure of
Indonesian music:
Buka - intro
tuning -
slendro 5 tones per octave
pelog 7 tones per octave
MULTI-LAYERED
MONOPHONIC MUSIC
1. Elaborating (ornamenting) layer - small
horizontal gongs (Rayong)
2. Fixed melody layer - metal xylophones
(Balugan - Java or Pokok - Bali) [plays vocal layer]
3. Vocal layer - flute(suling) and bowed lute
(Rebab)
4. Drum layer - (kendang) signals as well as
accompaniment
5. Colotonic layer - large horizontal gongs
(Kempul and gong)
punctuating at end of phrases/sections/pieces
- helps musicians/dancers know
where they are.
Music 151
Spring
1997
On Monday, February 10,
I listened to about forty-five minutes of Persian music from Iran. The group "Darvac" included Farhad
(the leader), Reza, Mahmood and Moin. Farhad
played the setar and occasionally sang with a deep, bass-line voice. Reza played the tar and had also written one
of the songs they performed that evening.
Mahmood played the tonbak and the ney.
Moin was the singer, perhaps a tenor if my ears serve me right. The setar is a small, long-neck guitar with
a sort of raspy sound, which is why I questioned the quality of it's
sound. The tar is a long-neck
guitar-like instrument with a skin stretched across it. It is played with a pick and it sound like an instrument used for
playing Spanish love songs. The tonbak
is very similar to a tomtom and is played with the hands. Mahmood plays a lot of rolls on the tonbak
and uses the different areas of the drumhead for different pitches. The ney is a very intriguing instrument
which caught my attention the moment it was played. It is a flute made of bamboo, end-blown with a breathy sound and
a lot of echo. Moin the singer had a
shaky voice with wavering tone. I
wasn't sure if that was for effect or because he was nervous, but I wasn't
really impressed. What I really enjoyed
listening to was the instrumental portion of the performance. As a whole, Darvac had a very interesting
sound accompanied by strange lyrics that created an ultimately foreign musical
experience. The music played that
evening was "pretty old" according to Farhad, and contained a lot of
improvisation. The styles I heard that
evening reminded me of various sounds I have heard on television and
radio. Some if it sounded like Spanish
love songs, yodeling (especially when the ney was played) or a kind of tune I
might have heard from the commercial for "Irish springs".
As far as musical
details of the evening, I have noted several key distinctions. The group maintained a steady rhythm,
straight with a little off beats here and there, which was complimentary to the
music altogether. The melody was passed
back and forth between members of the group with what I perceived to be a
monophonic texture: one melody with accompaniment. I also noticed that the dynamics varied some, but not at all
dramatic. The tone quality in general
was edgy and bright. In my opinion it
was overall, a very good performance, enjoyable and well-rounded. The only questionable aspects are not of my
personal forte, therefore could have been intentional and in good taste
according to the Middle Eastern culture.
I enjoyed the music
itself as it had familiar sounds with a foreign twist. It was an eye-opening performance and very
enlightening. My favorite part was when
the ney was played. Never before have
heard such a wondrous sound. I am sure the audience appreciated the
performance as well by their attention and applause. The four members of Darvac performed authentic music for us while
sitting indian-style on a rug up on stage.
Farhad, Reza, Mahmood and Moin shared their culture with us westerners
while having a little fun with improvisation throughout the evening.