MUSC 200 Exam 1 Study GuideLecture 1Tin Pan Alley-TPA started off in the 1890’s selling sheet music & quickly began to dominate what turned into the music industry-Responsible for giving the publisher more rights than the singer w/ a 1909 copyright lawbenefitting the publishers-Just 1 example of one/a few companies dominating a particular industryLecture 2-ASCAP formed to shift some of the power away from the publishers by forcing a reallocation of power to multiple components (people) of the recording process-ASCAP had its own internal biases, which primarily favored white, male veteran songwriters-Marketing was made significantly easier and more effective along w/ the introduction of New Media; sign of status was, in part, what you had (radio, television…) advertisements became more accessible across classes and the country-TPA drew on a wide range of styles & influences to develop its own style; however, there were racial biases regarding who developed the style of music-TPA emphasized the SONG, NOT THE SINGER; Rock & Roll does the oppositeLecture 3-Tin Pan Alley explored Verse Chorus Form in new ways-“Come Along My Monday” (Norah Bays) illustrates TPA style of the 1910’s. In this song, bridges provide contrast and add tension. The intensity in this song is quite dynamic. There is a small key change in the 2nd verse along with some novelty elements in the bridge. The 2nd chorus has more intensity.Lecture 4-“I’m Old Fashioned” (Fred Astaire) illustrates TPA pop music of the 1930’s. In this song, there are many arcing contours, internal rhymes, wordplay, alliteration, dramatic images, & personification. The vocal style of the song is crooning, and the accompaniment plays a lush, rhythmic, danceable tune. Strings, reeds, bass drums, & snare drums create a large ensemble.The strings are used heavily to emphasize the 3rd phase. The song evokes the image of a modern, white, wealthy, romantic sophistication w/ no sexual component.-“A Fine Romance” (Fred Astaire) has TPA 1930’s style. In this song, there is also clever word play; the song is also slightly more assertive than “I’m Old Fashioned.”-Blues is the biggest musical influence on Rock & Roll. The Blues tradition started at the turn of the century, influenced primarily by West Africans who came to the Americas as slaves. Love, travel, and anxiety were often the subjects of Blues songs; inspiration for the material was drawn from slavery experiences, the Great Migration, continued segregation, and legal & extralegal activities enforcing African American inferiority. TPA excluded African Americans from the music industry. Blues evolved as traditional West African style was exposed to “white” music.-The standard chord progression for the Blues is the 12 Bar Blues Form. 1st phase: all over 1 chord I / % / % / %2nd phase: start on 4-chord; resolve to 1-chord IV / % / I / %3rd phase: 5-chord4-chord1-chord5… V / IV / I / V-The most important note in a scale is 1, the tonic note. The three important chords are the 1-chord (tonic chord), the 4-chord (subdominant chord), & the 5-chord (dominant chord). Notions of tension and release are of vital importance in chords.Lecture 5-Blue notes are a particular kind of melodic device that makes music more interesting and lively.Blues musicians take the 3rd, 5th, & 7th notes (essential notes) & lower them ½ a step, which produced very distinctive sounds. Blues notes ARE the flatted 3rd, 5th, & 7th notes. Musicians would bend and slide between the notes to create more expressive opportunities.-There were 3 types of Early Blues styles. Rural Blues was the 1st style to emerge. This style was largely practiced by itinerant musicians, and typically consisted of one male singer with his guitar. Classic/City Blues generally consisted of a female vocalist accompanied by a piano or a small jazz band. This style was largely sung in Vaudeville theaters, which required strong, powerful voices. Boogie Woogie was the 3rd style of Early Blues. This style was played at parties,and was primarily a piano form of music. These songs had fast, driving rhythms.-“I Believe I’ll Dust My Broom” (Robert Johnson) illustrates the Rural Blues. The song is in 12 Bar Blues Form. Johnson played around with the tempo; he added beats, dropped measures, etc. Call & response is also clearly utilized in this song.-“Backwater Blues” (Bessie Smith) illustrates Classic/City Blues. The call & response pattern is easy to hear and distinguish. 12 Bar Blues Form is also followed perfectly. Beautifully sculpted blue notes are sung throughout the song.-“Honky Tonk Train Blues” (Meade Lux Lewis) illustrates Boogie Woogie Blues. In this song, thereis a strong contrast between the rhythms played by the left & right hands.-Country music borrowed elements from the Blues, although the music industry tried to enforcemusical segregation. Early Country Music was characterized by rejection of the newly industrialized United States (1920’s). The roots of ECM were in folk music, in which ballads were characteristic. Radio was key in getting ECM out there.Lecture 6-The Carter Family pioneered the Mountain Style of ECM. They were nationally famous; they combined some old musical elements with new musical elements. Mother Maybelle Carter was a fantastic guitar player who created Thumb Brush Style, which produced a much fuller sound.-“Can the Circle Be Unbroken?” (Carter Family) is a great example of Mountain Style ECM. The song is quite nostalgic and full of rich sounds. The melody notes and the upper notes share the time effectively. There is a lot of authority in the way the song is played – a big deal at the time. Alternating bass accompaniment is utilized during the vocal parts of the song. The song follows the way that TPA artists would follow Verse Chorus Form.-Jimmie Rodgers was THE man in Country Style ECM. He projected the image of an easygoing workingman. Rodgers’ musical signature was yodeling, which is a vocal technique where one sings with his full voice and switches to his falsetto QUICKLY. This technique is quite difficult to master, and Rodgers was amazing at it. “Blue Yodel No. 8” and “Blue Yodel No. 11” both are good examples of Rodgers applying the yodel in song.-“Waiting for a Train” by Jimmie Rodgers is full of his signature yodel. There is a double bass used in the song, but as opposed to being plucked as it usually is, the bass is BOWED, producing