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Transitions 1960-70

Transitions 1960-70. Overview: The Youth Generation of the 1960s. Kennedy's assassination Social issues Sexual revolution Music was a central to the 1960s landscape. Bob Dylan. Bob Dylan. Early years New York City 1961 March 1962. Bob Dylan. The Free-wheelin' Bob Dylan

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Transitions 1960-70

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  1. Transitions1960-70

  2. Overview: The Youth Generation of the 1960s • Kennedy's assassination • Social issues • Sexual revolution • Music was a central to the 1960s landscape

  3. Bob Dylan

  4. Bob Dylan • Early years • New York City 1961 • March 1962

  5. Bob Dylan • The Free-wheelin' Bob Dylan • With The Times They Are a-Changin' • Dylan warns the establishment • Newport Folk Festival • Another Side of Bob Dylan • Folk rock • Like a Rolling Stone

  6. Bob Dylan • Dylan seemed to disappear • “All Along the Watchtower" • Nashville Skyline • Dylan after the 1960s

  7. Dyaln’s Significance Lyrics • Symbolism, internal ironies, sarcasm, thought-provoking messages, dry wit, surrealism, and graceful flow

  8. Soul And Mowtown: Aretha Franklin

  9. Soul And Mowtown: Aretha Franklin • Early years • Early 1960s, Aretha pop singer for Columbia Records • Wexler and Atlantic Records • Songs by some of the finest songwriters • Vocal agility

  10. Respect • First uptempo hit • Emotionally redefined fast soul • Transforms sexual machismo • Became anthem for women’s movement • Interlocked rhythm section

  11. Respect • Riffs or sustained chords • “Gospel sound” • Spelling out RESPECT memorable • Verse/refrain has changed • Denser textures

  12. What a Friend We Have in Jesus • familiar form • sixteen measures • AABA pattern

  13. What a Friend We Have in Jesus • rhythm uncomplicated • F major • Expands form • “freedom” of musical form

  14. What a Friend… • fills form with melody • Compare the first two measures of the original tune with Aretha’s phrase • notes added and rhythms significantly modified • some notes falling behind where they “should”; others coming ahead • pitch variations • “blue note”

  15. What a Friend… • Interpolations • freedom to add words • Melisma: a technique in which one syllable is extended over two or more pitches

  16. Amazing Grace • eleven minutes • contains many examples of extended melismas • Wide range of vocal timbres • Shout “What a Friend” “and needles pain” • Very breathy tone

  17. San Francisco: Overview • Drugs • Volume levels at live concerts reached a new high. • San Francisco groups often placed considerable emphasis on the instrumentalists • Electronic technology

  18. Janis Joplin

  19. Janis Joplin • Early years • Ghet Helms • Big Brother

  20. Ball and Chain • Stutters, reiterations • Melismas, interpolations • Hommange to Smith? • Hisses “sitting” • Necessary embellishments

  21. Ball and Chain • Joplin’s voice not as rich as Smith’s • Tempo of the song slower • Musical space must be filled • Progressively less restrained

  22. Pearl • Roots in R & B and Gospel • Janis was unique Mercedes Benz • Parodies hippie values and communalism • A cappella

  23. Art Rock And Frank Zappa

  24. Art Rock And Frank Zappa • In the late 1960s, the creative minds in rock began to expand • Just how far can Rock go?

  25. Classical Elements and Rock Elements 1. Quote a classical excerpt in the midst of a rock song. 2. Use a classical melody as the basis of a rock song. 3. Create a series of rock songs conceived as units in a larger form.

  26. Frank Zappa • Introduction • Offends • Early years

  27. Help I’m a Rock A "It can't happen here"—non-metric, non-tonal vocal expanding this lyric B "Who could imagine"—(1) "freak out in Kansas" (followed by improvisation on "Kansas") (2) "freak out in Minnesota" (followed by improvisation on "Minnesota") C: Instrumental section—piano and drums in a fragmented, non-tonal, pointillistic style

  28. Help I’m a Rock B: "Who could imagine"—"freak out in Washington, D.C." (followed by improvisation on "D.C.") A: "It can't happen here"—enters underneath previous section, but begins to dominate D: "I remember"—metric; three phrases

  29. Help I’m a Rock A: "It couldn't happen here"—brief return E: Suzy Creamcheese—dialogue with semi-fictional Zappa character A: "It can't happen here"—brief return; filtered voices

  30. Help I’m a Rock • Combines two common classical forms: the arch form and the rondo. C B B A A • Improvisation • Experimentation with textures

  31. Frank Zappa • Drugs • Uncle Meat • Fillmore East • Shut Up Play Yer Guitar

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