MUSC 200 Lecture 2 Outline of Last Lecture I. TPAII. TPA & Its Social Contexta. Early Marketingb. Start of the Music IndustryIII. TPA & New Media TechnologyOutline of Current LectureIV. New Mediaa. ASCAPb. Radioc. MoviesV. Musical Style in TPAa. Instrumentation, melody & harmony, rhythm, lyrics, length, formCurrent LectureNew Media (cont.)o 1914: American Society of Composers, Authors, & Publishers is created (ASCAP)o To be compensated for recording a song, an organization must track the song…& that became ASCAP (not just publisherspower shift)o 1915: top writers (composers & lyricists) receive some compensation for their songs; more power dispersal in TPAo Frank Sinatra – most powerful mainstream singer of the 20th century Lobbied for singers to be included in royalty laws (no success)o ASCAP originally restricted (heavily)o Old songwriters got more money than new writers Racist (Latino, black, etc.)o *White, established, male songwriters benefitted the mostRadio : the consumer good of its periodo New, culture-changing technologyo 1st commercial radio stations in 1920’so *1920: 1st radio station in Pittsburgho 2 major networks controlling the radioo NBCo CBSo 1922: $60 million spent (by public) on radio sets (U.S.)o Revolutionary way of listening to music; accessible to the masses & such a VARIETY of musico 1929: $842 million spent by consumers on radio setso 1 in 3 U.S. houses had radios (9 years after launch)o TPA was not interested…until they wereo ASCAP got revenue goingradio was tracked for composers, authors, & publishers to make money (but NOT musicians)o TPA was at odds w/ the radio (& always is after)Movieso 1920’s: start of movies w/ sound (silent movies in 1910’s)o Theaters hired musicians to play during silent movieso Same owners of Vaudeville invested in movie houses/industry Vaudeville housesmovie theaterso 1929: Broadway Melody of 1929 = BIG HITo Broadway = high status production; classy bitchezo Movie musicals are DOMINANT after this film TPA cut a deal w/ movie studios for their songs to be put into the movie- Movies benefitted from the music in movies as wello RKO Radio – elite controlledMusical Style in TPAo Musical roots: TPA drew on a wide range of styles/influences (old popular, Steven Foster,opera, musical comedy, John Phillips Susa, brass bands, folk music)o Some styles of African American music gained audience…TPA took a BIT from this, along w/ ragtime, jazz…o Did NOT want rhythm & blues b/c of fear their racist audience would not be amusedo Soundo Instrumentation: a group of instruments &/or voices on a track/style/etc. Vocalist singing main melody accompanied by small orchestra or pianisto Built on emphasis of the SONG, NOT THE SINGER (song is the intellectual property of TPA) Singers as a delivery mechanism (like the needle for heroin) The song was what the consumer wanted- Singer is secondary Shaped aesthetics & values of TPA Rock & roll was ALL about the SINGER, NOT THE SONGo Melody & Harmony Melody: notes in a series over time- Different notes, rhythms, etc. Harmony: notes played at the same time TPA was into simple, memorable melodies built from the major scale accompanied by harmony w/ the major chords By 1920’s & 1930’s: Golden Age of TPA- Expansion of harmony, but still about a simple, catchy tuneo Rhythm: change of sound over time By 1920’s: a steady beat played by a small orchestra was common- TPA all about light, danceable music (sense of floating b/c of pairing w/ every other note)o Fox troto Lyrics: song texts TPA lyric style changes over time- Cheerful song- Poetic language- Vernacular language; romantic (not so formal)o Length: how long the song is “3 minute pop song” from TPA- Due to cylinder recordings only having about 3 minutes worth of storage space- Unnatural music standardo Form: how the segments of the song are