Musc 200 1st Edition Lecture 3 Outline of Last Lecture I. Song PluggingII. Economics of TPAIII. TPA and New Media Technologya. Cylinder recordsb. Radioc. MoviesIV. Musical Style in TPAOutline of Current Lecture I. African American MusicII. Musical Styles a. Instrumentationb. Song over singerc.Melody and Harmonyd.Rhythme.Lyricsf.Song lengthg.Form i.Verse/Chorus formIII. Verse/Chorus StructureIV. Changes in TPAV. Listening #1Current LectureAfrican American Music- 1890s: white people were not aware of music made by African Americanso Took several years for new styles to catch on in the white populationo First a small group of whites would start listening o Some people would freak out about ito They would realize there was nothing wrong with it and elements of African American music made their way into TPA (ragtime, blues, jazz, R&B)These notes represent a detailed interpretation of the professor’s lecture. GradeBuddy is best used as a supplement to your own notes, not as a substitute.Musical Styles- Instrumentation: set of instruments or voices used in a particular songo TPA Instrumentation: vocals accompanied by a piano or a small orchestra- Emphasis on song over singero Money was made by selling sheet musico Singers were simply a delivery mechanismo Multiple versions/interpretations of the same song sung by different singers would play on the radio - Melody: notes in a series, the part of a song that is sungo TPA Early Melodies: simple, memorable, and singable melodies mostly in the major scale- Harmony: notes at the same time in chordso TPA Early Harmonies: straightforward, basic chords of the major scale- Main singer sings melody, back up singes sing harmony- Rhythm: temporal dimension; how notes are arranged with respect to timeo TPA Early Rhythm: not much percussion, had regular pulses, not highly rhythmico 1920s: some songs now had drum kits, had a regular danceable beat (business man’s bounce), smooth light beat (rhythmic texture)- Lyrics (Song Texts): the words in a songo TPA 1890s: formal, poetic, not everyday speecho TPA joined with Vaudeville: romantic, everyday speecho 1920s-30s: wordplay, played with the language using poetic devices but using everyday speech (See “Changes in TPA” for more info)- Length of Songs: shrinks over time o 1890s: up to 4-5 minuteso 3 minute pop song became the standard (See “Changes in TPA” for more info)- Form: how a piece is organized across the entire span of musico TPA zeroed in on one form that already existed and made it their focuso Verse/Chorus Form: TPA made it their defining mark Intro: prepares/draws the listener in; quite short- Radio made intros especially significant because listeners had the opportunity to switch the channel if they didn’t like what was playing. Soa strong opener was important to grab people’s interest. Verse- In a narrative song (tells a story), each verse tells a different episode or part of the storyo Example: basically any love song- In a lyric song (explores a theme), each verse gives a different illustrationof the themeo Example: “Ironic” by Alanis Morissette- Every verse has the same melody, but different wordso Could be in a different key (the tonic center of the melody) Bridge: takes the song from the verse to the chorus- The bridge could have the same or different lyrics - Bridges act as transitions, musicians often add novelty elements here, change key (modulation), add new instruments, drop instruments out, etc. Chorus- In a narrative song, the chorus focuses on a single theme that ties the song/story together- In a lyric song, the chorus articulates the central theme- If there were background singers, they would sing only during the chorus- Every chorus has the same melody and wordso Again, could be in a different key Outro: a short piece ending the song, giving the listener a clear sense of closure Hook: a small unit of musical material that can happen anywhere in the song- Can be anywhere from 2-8 notes either vocal or instrumental, though vocal is much more common- The purpose of hooks is to stick in your head (earworm) and make you remember the song, hooks sell songs- Hooks often appear in the chorus because the intensity level is higher solisteners are paying more attention- There can be many hooks in one song, but the best hook is in the choruso No hook in the chorus – song won’t get much attention. TPA figured that out and their form and structure was driven by the desire to sell music and get money- The Verse/Chorus form is a delivery mechanism for the hook- Examples: o Vocal: “don’t stop believing”, “somebody that I used to know”o Instrumental: guitar in “Smoke On the Water”Verse/Chorus StructureI V (B1) C (B2) V (B1) C (B2) V (B1) C O- Bridges (B1 and B2) are not required- Not all songs have a bridge (B2) going from the chorus (C) to the verse (V)- Could have a bridge going from intro (I) to verse or from final chorus to outro (O)- While this is a simple structure, musicians began to play with it and vary it to make it more interestingo Example: some 70s rock artists would drop the first chorus, starting out with an intro and two verses. This teased the listener by building up to a chorus, but then not delivering it until later.o Some musicians cut out the introo Some make the third verse instrumental onlyo Some have a series of choruses at the end before the outro- Intensity Level: not tied to one feature of soundo Increase intensity by getting louder, adding more instruments, changing the tempo, etc.o Intensity builds up through the verse to the chorus (where the best hook is), drops down, builds up, etc. until the final chorus(es) build it up one last time before the outro closes it outChanges in TPA- 1890s: 3 verse songs up to 5 minutes in length- 1910s-20s: slow death of the verse, songs changed to only have 1-2 verses and by the end of the 1920s many songs were just a string of choruseso Why: cylinder records could only record about 2.5-3 minutes of a song, so verses had to be dropped Choruses had to stay because they deliver the hook- 1920s: new style of singing emerged due to technological advances in microphones o Previously: Vaudeville singers were known as “belters”, they had to project and sing very loudly to be heard over the orchestrao Crooning: developed due to the creation of microphones, allowing singers to sing in a soft, intimate, and romantic way- Late 1920s-40s: lyric changeo Lyrics turned from