Musc 200 1st Edition Lecture 11Outline of Last Lecture II. Chicago Blues instrumentationA. Slide guitarIII. Chicago blues historyIV. Listening segments from Muddy Waters and Howlin’ WolfV. Gospel influenced Rhythm and Bluesa. A Capella male quartetsb. Virtuoso female singer accompanied by band or choirOutline of Current Lecture VI. Gospel Influenced R&B (cont.)VII. 1950s Rock and Rolla. Demographic and Economic Contextb. Culture of Consumptionc. Culture of Raced. Culture of Sexualitye. The Music Industry ContextVIII.Rock and Roll RadioCurrent LectureGospel Influenced Rhythm and Blues (cont.)- Pacing: how frequently chords change or how many chords per measure- Voicing: how notes are selected and stacked for a chordo Different ways of voicing the same chord- Gospel music has characteristic ways of pacing and voicing- Climatic form: starts out with less intensity and buildso Singer embellishes more and more and builds in emotional intensity- Many singers began their careers in Gospel music and then switched to R&B- Many singers who started in R&B borrowed elements from Gospel music- Those two things caused controversy by crossing sacred and secularThese 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.Listening: “Have Mercy Baby” by The Dominos- Rhythm and Blues with Gospel influence- R&Bo Raspy voice timbreo 12 bar blueso Jump blues instrumentationo Lyrics are secular (singing about a girlfriend)- Gospelo Quartet o Call and response formo Melismao Back vocalists have smooth blendso Lyric theme could be shifted from girlfriend to GodListening: “I Got A Woman” by Ray Charles- Ray Charles was hugely influential - This was one of the main songs that put Ray Charles on the map- R&Bo Jump blues instrumentation- Gospelo Based on a Gospel song – “I Got A Savior” “I Got A Woman” shifts the song from God to a woman- Secularized version of a sacred songo Every verse has climatic formo Melismao Voicing and pacing played on the brass and reeds sound like something you could hear playing on an organ or piano in Gospel music1950s Rock and Roll: Part 1Demographic and Economic Context- 1945-46: economy not great- 1947-1950s: economy takes off, often called the Golden Age of Capitalismo Due to lack of competition from other countries since they were ruined in the waro Huge amount of government spending on the military-industrial complex and also schools, housing, interstate highways, etc.o Massive development of consumer goods- 1957: peak of the Baby Boomo Huge population growth- 1950s: suburb growtho Track housing: single floorplan used for a large area of lando Growth of highways contributed to the growth of suburbs as people needed to have easy ways to get into the city for worko Housing retailers and banks were very segregated African Americans and other minority groups weren’t able to get loans or buy houses in most suburban areas Growth of suburbs increased segregationo People living in the suburbs had more money which meant their children had disposableincomeCulture of Consumption- Our society is built around buying things, it wasn’t always like that- Going into the 20th century, people began buying a lot more- 1920s: consumer culture emerges- 1950s: consumer culture is omnipotent o Growth of consumer capitalism- Advertising industry shifted consumption from practical, pragmatic reasons to what you buy saying something about your personal identity- For the first time, teenagers had money and their identities began to be shaped by the music they listened too Mainstream music industry missed this and didn’t see this new market for music Suburban teens begin to buy more musicCulture of Race- Highly segregated by law (de jure) in the south and outside the law (de facto) everywhere else- Teenagers were aware of segregation but not all of them completely bought it, there was more flexibility- Lots of teens began to listen to R&B as they could relate and find meaning in this music better than the mainstream TPA popCulture of Sexuality- R&B was upfront about sexuality, unlike TPA- Gender roles were very rigid in principle but a lot more people were breaking them- Public expressions of sexuality were not accepted- Advertising was exploding with expressions of sexualityo Linked consumption with sexuality- Many contradictions of what was socially acceptable and what was actually going onThe Music Industry Context- R&B in the 1950s was promoted by independent labels- Mainstream music industry ignored ito Didn’t understand the music aesthetico Didn’t want to sell African American music and risk upsetting peopleo Thought only African Americans were buying it- Meaning of R&B varied for each audienceo Teens: fun, pleasure, dancing, good times, teenage experiences White teens- Conservative: listen to what parents listened to – mainstream TPA pop- Experimental: crossed the racial divide and could go against the racial segregation by listening to African American identified musico Express their sexualityo Find pleasure and interest in something that their parents didn’tunderstand o Explore class/regional divide Non-white teens- African Americans: music of their communityo Transgression- Latinos and African Americans joined together through this music- Transgression: crossing boundarieso Racial, sexual, class, and regionalo Celebrated the teenager identityRock and Roll Radio- In the 1950s, experimental whites began listening to R&B music- 1951: Alan Freed was a classical DJ in Cleveland, Ohio o A record store owner convinced him that something new was happening – white teens were coming in and buying R&B musico Freed created a new radio station called Moondog’s Rock and Roll Party White teens listened to African American music without the label of Rhythm andBlues Freed didn’t call the music rhythm and blues as he didn’t think it would draw in white teens- So he relabeled rhythm and blues as Rock and Roll, which was African American slang for sex- 1952: Moondog’s Coronation Ball – a concert organized by Alan Freedo Brought in a mixed race audience of 20,000o Due to the huge success, Freed went on to organize a series of these concerts- 1954: Freed moved from Cleveland to New York City where he emerged as an early entrepreneurof Rock and Roll- The audience who listened to Freed’s radio show began to buy R&B records-