WVU Music 271 Podcast

4.25.07

May 1, 2007

Music 271: 4/25/07
I: The Blues:
A: Form:
• Solo vocalist accompanied by a guitar, small jazz ensemble, Big Band, guitar based ensembles, etc.
• Sing the blues is to get rid of the blues
• Most of the early singers were men from the south
• 1920s: African-American women singers of the blues began their rise
• Twelve-Bar Blues: Strophic forms usually in 5-6 stanzas (most vocal, at least one instrumental in many instances)
• Three four-measure phrases: A - A’ - B
• A: 2mm (I) + 2 mm (I)
Singer → Instrument
Call Response
• A’: 2mm (IV) + 2mm (I)
• B: 2mm (V) + 2mm (I)
• Robert Johnson, Bessie Smith were among the first blues singers
B: Role of call and response:
C: The multiple opportunities for Signifyin’:

II: Compositions surveying Jazz to c1945:
• c1900-c1925: New Orleans Jazz
• Outdoors: Parades
• Celebratory Parades: (Political campaigns, Social clubs, Saints’ days, and other religious occasions)
• Funereal Parades: (Dirges and hymns prior to internment, Jazz numbers after internment)
• Dances: (Two-step (Ragtime’s Dance), Fox and other “Trots”)
• Indoors: Dances

A: The New Orleans Parade Band: “Lord, lord, lord”: the Olympia Brass Band:
B: New Orleans Jazz in Chicago: Louis Armstrong and his Hot Five: “West End Blues”: Jazz went up the IC railroad, not the Miss. river
C: The Duke Ellington Orchestra: “Old Man Blues”:

III: Crawford’s discussion of developments in Jazz after WWII:
• Ch. 30: p.390
• Louis Armstrong: Did more to alter Jazz history than any other player, focused on the improvisation, expanded the range of the trumpet above the treble staff
• Introduced Scat singing, but did not invent it: nonsense syllables in place of words
• Late 1920s - beginning of 1940s, Jazz evolves into the Big Band style
• Centers of Jazz became New York and Kansas City, Missouri
• KC: Count Bassie
• NY: Duke Ellington Orchestra - wrote pieces to feature individual players in his band, wrote over 1000 pieces

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