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Notes on Chapter 3 – The Roots of Jazz

Notes on Chapter 3 – The Roots of Jazz. Serve to establish a persistent musical identity Helped create the hybrid nature of American culture Ballads : local history through long songs; often include braggadocio Work songs: accompanied manual labor Berta Berta

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Notes on Chapter 3 – The Roots of Jazz

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  1. Notes on Chapter 3 – The Roots of Jazz

  2. Serve to establish a persistent musical identity Helped create the hybrid nature of American culture Ballads: local history through long songs; often include braggadocio Work songs: accompanied manual labor Berta Berta Work Song (Cannonball Adderley) Field hollers: unaccompanied, rhythmically loose, accompany farm labor Spirituals: call and response with religious poetry; highly interactional Folk Traditions

  3. State of mind. The term "blue.“ ridding oneself of "the blues." musician’s ability to play the blues expressively is a measure of quality. The Blues

  4. Performance “techniques” or practices • "rough" or "unrefined" timbres • "blue" notes such as the b3 or b5, or deviations from "standard" pitch • improvisation, including variations of the melody and solos

  5. Form of the Blues • Strophic – repetition of one or more sections of a piece, such as in a song with multiple verses or choruses • Typical form of a blues chorus • 2 identical lines of text followed by a single contrasting line • melody follows the lyric form • form described as AAB • Fixed Harmonic progression

  6. Minstrelsy • uniquely American entertainment - parodies of European operatic and theatrical songs • In the 1830s, interludes between circus acts or theatrical performances • (1843) first full-scale minstrel show played in New York; "Virginia Minstrels“ applied black cork to their faces, performed song-and-dance/variety show • Blackface • typically burned, pulverized champagne corks mixed with water or petroleum jelly • racial marker • type of mask to shield the performers from identification with the their roles

  7. “Jim Crow” and “Zip Coon” • "Jim Crow" - "Weel about and turn about and do jus' so, Eb'ry time I weel about, I jump Jim Crow." • "Zip Coon" - Created by George Washington Dixon; "dandy," "sporting life" Northern character who had acquired some wealth through legitimate or illegitimate means.

  8. Ragtime • Performance Practice vs. written notation • Known & unknown variations in “established” music • Pitch variance (intonation). • “rough and varied timbres.” • “ragging” • "African" contributions include: • Syncopated rhythm. • Social significance. Ragtime possibly descended from the “cakewalk,” a “walkaround” in which couples would parade around a square and improvise high-stepping, vigorous movements as they turned the corner. The cakewalk can be seen as a white imitation of black slaves parodying European dances.

  9. More Ragtime • European music contributions. • Form, probably derived from the march. • Solo piano. • Other characteristics: • Alternating root/chord in the left hand. • Solo piano. • Fully notated.

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