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African American Drum Orchestra |
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Title= Rhythmic pattern; Instruments:drums;shakers;gangoui(cowbell); played with hands and beaters;voice: natural and expressive;Dancing:Athletic,expressive;music related;played the song ?agbekor? |
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Music was ensemble based with soloists and accompaniment; polyrhythmic;repetitive and ostinato pattern based; Rhythms were related to the language; the master drummer did solo improvisation; vocal: singing;whoops;shouts and speech like;Dance was interpretations of the music and usually told a story used in war etc. |
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A fusion of blues and swing |
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1920s;used in a positive way to describe the African americans after the civil war;Described records made for the black community; Changed to Rhythm and Blues in late 1940?s. |
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1940s; In WWII 1500000 african americans moved to northern and western cities; high paying jobs; created new kinds of Black Music that reflected the life of the Urban Black Community |
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Louis Jordan and his Timpani Five |
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saxophonist/singer/composer/bandleader; He transformed big band swing into the combo sound; had the ?jump blues sound?; Played caldonia; |
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Instrumentation of Louis Jordan and his timpani five |
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2 saxophones; electric guitar; piano;trumpet;bass;drums |
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Louis Jordan and his timpani five song titles |
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His song titles reflected black folk life: such as ?aint nobody here but us chickens; beans and corn bread; Saturday night fish fry; choo choo ch boogie |
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West coast; central avenue los angeles; they included piano;guitar;bass;drums and latin rhythms as well as a honking tenor saxophone style |
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Had the boogie woogie feel; blues form; instrumental accompaniment-riffs;saxophone;piano;drums;bass;electric guitar; unusual timbres; and eventually had a heavy back beat it developed throughout the years portrayed in songs that he had in slides |
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Piano/Band Leader/singer; played jazz;club blues;cocktail music; Appealed to Black and white audiences;mellow background music;Guitar;piano;bass instrumentation; played :straighten up and fly right and ; Unforgettable |
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Background: Barbershop style of early 20th century Male quartets singing stylized four-part harmony of popular songs. Themes were mostly comic tunes, snappy pop tunes, or melancholy love songs. A cappella - without instrumental accompaniment played "let me call you sweetheart" |
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Black barbershop harmonies Instrumental vocal sounds Vocal bass lines Crossed racial boundaries |
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The Mills Brothers song "Hold That Tiger" |
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1930s movie short Four singers with guitar accompaniment Guitarist sings bass lines Vocal trumpet sounds Scat vocal Early microphones frightened some singers so the engineer camouflaged them. |
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Contemporaries of the Mills Brothers Also appealed to both Black and White audiences Signature feature: Spoken lyrics by the bass voice “If I Didn’t Care” - #1 hit. |
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Beganin1930ssinging Barbershop arrangements with jazz and blues inflection Sang at FranklinD. Roosevelt’s inauguration. 1930s national radio show Vocal Group Hall of Fame 1998 |
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Golden gate jubilee quartet continued |
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Arrangementsincluded vocal instrumental sounds A Cappella singing Tightharmony Rhythmicdelivery GoldenGate“GospelTrain” No accompaniment Vocal train imitations “Chugging train rhythm” Syncopation |
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Second generation Vocal R&B |
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1950s teenagers seeking a way out of poverty Performed on street corners, at school gatherings, in city parks, and on sidewalk stoops. Songs dealt with teenage experiences and fantasies |
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1950s 1945 - NYC Bridged the gap between pre-war and post-war vocal groups Repertoire included pop standards and ballads in a jazz-blues treatment |
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The Ravens - 1950s “Old Man River” |
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Piano, Guitar accompaniment Bass vocal lead Vocal background Non-sense syllables Swing rhythm Syncopation |
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1946 InspiredbyBlacksacred music Church harmonies Tenor obbligato Religiousballads Inspiredlater‘bird”groups; Swallows, Penguins, The Robins, and the Cardinals. played "crying in the chapel" |
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Used non-sense syllables “doo-doo- doo—doo-do” adding rhythmic interest to ballads. Bass sang “jazz style walking bass lines” played goodnite sweetheart |
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• Louisville,KY • Started as the “Crazy Sounds.” Alan Freed changed their name to the “Moonglows.” • Recorded “Sincerely” for Chess in 1954 • Developed the “blow harmony” technique • This technique became standard for Black vocal groups and ushered in the “Doo Wop” sound of the fifties. |
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Moonglows "sincerely-1954 |
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Doo Wop vocal quartet Ballad style Lead singer with vocal background Used “blow harmony” Instruments? piano,guitar,saophone What is the meter?4/4 |
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 Teenagers became the major group for popular music consumption Also, many performers of R&B were teen- age Black singers from urban areas. Record companies signed R&B vocal groups aimed at the African American market. |
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Black talent scouts developed new dance forms by introducing Cuban rhythms into the doo wop vocal styles. Regional R&B styles developed including New Orleans “Professor Longhair (Roy Byrd),” “Fats” Domino exemplified this style |
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"Hey Little Girl"-Professor Longhair |
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Instruments? Piano, bass, drums Rhythm? Rhumba – “Latin Tinge” Musical Form? The Blues Lyric form? aab form Vocal Timbre? timbre |
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New Orleans Influenced by “Professor Longhair” Piano Most famous of the New Orleans R&B performers "blueberry Hill" |
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Songs like shboom by the black band chords were done as covers by bands like the crew cuts in order to appeal to white audiences. |
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played "smoke gets in your eyes" |
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bands like the clovers whoo played"fool,fool,fool" ruth Brown who played "5-10-15 house ". And big Joe Turner played shake rattle and roll paved the path for bands to come in to rock and roll |
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Billy Ward and the dominoes |
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East Coast Doo wop Ballad style 1951 “HarborLights” “Stardust” “DeepPurple” “60MinuteMan” |
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Richard Penniman (b. 1932) Religious Background Rhythm and Blues Piano - Energetic - Hard Singer - Influence |
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Played by little Richard it had Falsetto "whoops",nonsense syllables and a fast rock beat. |
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Considered father of Rock and Roll • Chicago • Electric Guitar • Hit records: • “Maybellene” - “Ida Red” • “Roll Over Beethoven and Johny b. goode |
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Elias McDaniel “Diddley Bo” Rhythm Patent tried to played "Bo'Diddley" |
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Reactions to Rock and Roll |
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1956 - White Citizens Council of Birmingham, Alabama: [rock and roll] appeals to the base in man, brings out animalism and vulgarity, and most important, represented a “plot to mongrelize America.” Rock and roll brought “the animal instinct in modern teenagers.” We are talking about“hugs”and“squeeze”andother “euphemisms which are attempting a total breakdown of all reticence's about sex” |
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The Platters (1953) Hit Recordings: “Only You” “The Great Pretender” “My Prayer” “Twilight Time” |
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Jerry Leiber and Mike Stoller |
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Atlantic Records Incorporated “Pop” production techniques: Chorus/refrainsongs Blues/Gospelharmonies Comboarrangements with orchestral accompaniment TheCoastersandElvis Presley |
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Humorous tunes composed by Leiber and Stoller “Searchin” “YacketyYak” CharlieBrown “PoisonIvy” |
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Latin Rhythms(habanara and Baion) |
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ben e king- up on the roof |
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Ray Charles R&B Hits Country “Georgia” “I Can’t Stop Loving You” 1st Crossover song “What’d I Say” |
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The Soul Stirrers Teen idol Recorded R&B in 1957 - forced to leave “The greatest sex symbol in gospel history” |
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