MUSC 200 Lecture 2 Outline of Last Lecture I TPA II TPA Its Social Context a Early Marketing b Start of the Music Industry III TPA New Media Technology Outline of Current Lecture IV New Media a ASCAP b Radio c Movies V Musical Style in TPA a Instrumentation melody harmony rhythm lyrics length form Current Lecture New 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 TPA o 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 most Radio the consumer good of its period o New culture changing technology o 1st commercial radio stations in 1920 s o 1920 1st radio station in Pittsburgh o 2 major networks controlling the radio o NBC o CBS o 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 music o 1929 842 million spent by consumers on radio sets o 1 in 3 U S houses had radios 9 years after launch o TPA was not interested until they were o 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 Movies o 1920 s start of movies w sound silent movies in 1910 s o Theaters hired musicians to play during silent movies o Same owners of Vaudeville invested in movie houses industry Vaudeville houses movie theaters o 1929 Broadway Melody of 1929 BIG HIT o Broadway high status production classy bitchez o 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 well o RKO Radio elite controlled Musical Style in TPA o 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 amused o Sound o Instrumentation a group of instruments or voices on a track style etc Vocalist singing main melody accompanied by small orchestra or pianist o 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 SONG o 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 tune o 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 trot o 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 standard o Form how the segments of the song are organized