MUSC 200 Lecture 9 Outline of Last LectureI. Chicago Bluesa. Timbreb. Muddy Watersc. Howlin WolfII. Rhythm & Blues with a Gospel Influencea. Gospel Properb. Golden Gate Jubilee QuartetOutline of Current Lecture III. Virtuoso Female SingersIV. Ray CharlesV. Emergence of Rock & Rolla. Demographic & Economic Contextsb. Race Relations & Sexualityc. Music Industry: ContextCurrent LectureMore on R&B w/ a gospel influence…Virtuoso Female Singers – lead singers in gospel choirs; clear voices are emphasized“How I Got Over” by Clara Ward- Instrumentation: organ, piano, & drums (no bass player needed)o Organ has the characteristic gospel sound- Big supporting choir- Call & response is quite obvious in this song; back & forth, back & forth…- *Melisma: an approach to ornamentation in which a singer sings more than 1 note per syllableo A series of notes in 1 syllable; characteristic of R&B-gospel music at this timeo Makes the line sound more interesting- Characteristic voicing & pacing of the chordso Voicing: how the chords are stackedo Pacing: spacing of the chords“Have Mercy Baby” by The Dominoes ft. Clyde McPhatter (Jump Blues w/ Gospel Influence)- Call & response – between lead vocals & background vocals- Gruff voice- Smooth blend – like an acapella gospel quartet - Sophisticated melismatic embellishments- Walking bass- 12 bar bluesRay Charles- Towering figure in popular music in the 20th century- Huge hits in R&B charts, pop charts…huge star who explored a wide range of styleso Released a Country music album (no other African Americans in the Country genre)- “I Got a Woman” (Ray Charles); Rhythm & Blues w/ a Gospel Influenceo At the start (1st 2 seconds)  3 syllables in 1 word “well”o Track adapted from a gospel songo Melismatic moves; all kinds of improvisation around the melody & ornamental noteso Sexist lyrics- Ray Charles forged a path in this style & influenced popular music for the next few decadesRock & Roll (Part I)- Start of Rock & Roll is R&B marketed under a different name- Social contexto A few years after WWII, American economy took off No local conflict translated into an intact American industrial structure No competitors on the world stage Massive industrial build-up during the war Tons of money spent on military as well as schools, state highways… BOOM in American economy (Golden Age of American capitalism)o Baby Boom – population growth was huge Growth of the suburbs followed (1950’s) – inexpensive housing created inan efficient, industrial-type process- Dominant social force of the era Size of suburbs increased by 47% in the 1950’s “Everybody” did not live in the suburbs or have heavy pockets Re-entrenchment of segregation emerged along w/ the suburbs- Through real estate practices, cultural forces, etc., that made the country (in some ways) more segregated than it was beforeo Consumption culture in America “If the 19th century was about INDUSTRIAL capitalism, the 20th century was a period of CONSUMER capitalism” – people were buying things they didn’t even know they needed! Massive industry of public relations & advertisement  associate lifestyles & meanings w/ particular products- Fitting into a particular lifestyle based on material goods 1950’s is the time when advertising becomes a leading force in American culture- Pens, notebooks, cars, vacations, music...none of these things are JUST products anymore; these products are an individual’s IDENTITY In the 1950’s, the mainstream music industry completely missed the boat on the identity the American public wanted to convey- Rock & Roll!o Most important audience for Rock & Roll was white urban teenagers (more $ to spend) Helped turn Rock & Roll from a style to a genre At least 10 years went by until mainstream music industry decided Rock &Roll artists were fair game for their exploitation as well- Teenagers were not really thought of as a target audience- Race Relationso Country is still quite segregatedo African Americans were an “exotic other” to teens in the 1950’s Confluence of race & class came togethero Idea of women staying at home started in the 1950’s New concept that grew from the idea of economic affluence – women don’t need to work if the husband is bringing the bacon home; mark of high status Sexuality is a huge marketing aspect (Madison Avenue)- Album covers had nothing to do w/ the music, just sexuality- Music & Music Industry Contexto Explosive growth of African American music styleso Mainstream music industry ignored new popular styles; independent record labels swooped in & produced this music insteado African American teens could relate to the new popular music, which was not so different from R&B and Blues of their parents’ youthso For white suburban teens, Rock & Roll brought all kinds of new significance Emphasized themes of fun & pleasure- Speaking right to white suburban teens These teens could metaphorically cross racial boundaries by listening to African American-influenced music; experienced a whole new range of meanings that would otherwise be unavailable- Sign of independence; expression of sexuality; way to stand up against racial segregation- Music was also about class; listening to Rock & Roll was a way to cross class boundaries Conservative white suburban teens listened to TPA (not too many African American elements)o Fats Domino was a part of this styleo Particular audience, particular set of