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Intro to Jazz Midterm

Terms in this set (112)

in African societies this powerful person is a music maker who serves as an oral historian, a gossip spreader, praise singer, etc.

defined phrase or series of notes repeated persistently, often in the same voice and usually at the same pitch; a repeated pattern that never changes. Essentially a pedal point involving more than one note.

several different independent rhythms sounding at the same time.

Call and response

A West African technique (also found in other parts of the world) where an individual creates verses and the rest of the group responds with the refrain. In "Jazz" and other African american music, one instrumentalist or section of a band plays a musical phrase (the question) and another member or section of a band responds (the answer). Africans have developed systems of classification of songs.

The Bahutu of Ruanda (Burundi) have at least twenty-four different types of ___________. There are songs played by professional musicians for entertainment, songs for harvesting, and other work songs, war songs, beer drinking songs, songs commemorating the birth of children, songs admonishing erring members of the society, songs deriding Europeans, vulgar songs, etc. Social songs are separated from ceremonial or religious songs.

The ___________ stylistic region includes Algeria, Egypt, Libya, Mauritania (which overlaps the Sudan region), Morocco, Tunisia, and Western Sahara. The area of Northern Africa extends over many miles. In addition to native cultures, the music produced by musicians from the regions influenced by three outside musical cultures, the Persian, Arab, and Turkish.

The __________ is an ancient Egyptian instrument that is still played today.

The old Kingdom of __________ had extended as far as today's Stanley Pool along the banks of the Zaire and Congo Rivers.

Though many aspects of their lives are inaccessible (knowledge of religious practices, for example), it is know that the forest is the sources of all good and for spiritual and practical manifestations for the ___________.

The unfolding of the main horizontal musical idea.

Attitudes that supported oppression during the slave era had corresponding precedents established by the __________ in Europe.

Both Africans and Native Americans had limited access to musical instruments and performance venues in America and were often forbidden to play __________ an other instruments.

Cross-fertilization

The slave era witnessed a rich ___________ of culture and arts of Africans, Europeans and Native Americans. Marriage between cultures and racial groups, as well as sexual activities (i.e. raping of slave women by slave owners), also affected the convergence of African-American music.

Towards the end of the 18th century the first successful slave revolt was staged in __________, under the leadership of Toussaint L'Ouverture and the numbers of free Africans in Americas was increasing.

Term for a sailor's work song.

A ternary arrangement involving an original musical statement, followed by a contrasting phrase, and concluding with a restatement of the original theme.

African-Americans developed many new songs, games, and folktales on the plantations such as "__________," which used syncopated body rhythms, the cakewalk and children's game songs.

Double entendre

As African-American music developed, its retained many elements of African music, such as vocal inflections, rhythms, and flexibility. In order to convey messages that could not be understood by whites, the music made use of __________.

Before the Civil War in the 1860s, spirituals evolved out of the antebellum hope for freedom. After the war, the __________ reflected the postbellum despair within the African-American community after the southern carpetbaggers arrived.

Fisk Jubilee Singers

Spirituals styled after the world-renowned __________ set the standard for spirituals and gospel singers & church choirs for generations.

The main influence European music had on the development of African-American instrumental music came from the __________, especially during the latter half of the 19th century.

The messages of the __________ established a tradition, in both the North and South, that was carried into the cries of street vendors offering there services after the Emancipation Proclamation. "The Hominy Man" of Philadelphia Henry Anderson (b. 1800), attracted attention initially in 1828 because of his robust tenor voice in the following song.

Through early African American __________, enslaved Africans mastered the art of conveying one meaning to "white" society in general while sending a more genuine meaning to the slaves on the southern plantation. "Swing Low Sweet Chariot," "Steal Away," "Follow the Drinking gourd" (the North Star of the Big Dipper), and "We Will Stand the Storm" were either fermentation's, announcements, or consolations sung to aid escape from bondage or to boost the spirits of apprehensive slaves.

A West Indian religion involving metaphysical ceremonies, derived from a mixture of West African (Yoruba) cult worship and elements of Catholicism. African deities were disguised as saints.

Minstrel shows developed out of European-American actors imitating and ridiculing African-American song and dance. At first white actors (an later on even black actors) darkened their faces with burned cork for the stage. Ironically the minstrel shows copied the African-American __________, which served to covertly poke fun at upper-class whites.

The name "ragtime" was first used at the end of the 19th century. Ragtime music initially developed out of __________, which slaves had learned from sailors during the Middle Passage. While the form and left-hand accompaniment derive from European music, the syncopated right hand rhythms and patterns were an African-American invention.

In __________, and even more so in Haiti, where drums were not banned, Voodoo was still practiced and it retained strong elements of African religions, music, and dance.

Originally a term referring to all French and Spanish speaking people born in the "New World." Today, it loosely refers to people with one parent of African descent ("Mélangés") in the American South, often with some French heritage.

African-American __________ created and strengthened communities, to the extent that plantation owners soon became threatened by their political and rebellious potential. They were also the primary place where children received music instruction.

Storyville and the French Quarters

In 1897 all prostitues of New Orleans moved to special houses, which employed musicians ranging from string trios to solo ragtime pianists. This situation succeeded in bringing Creoles and "darker blacks" closer together.

Another term for tone color.

Scott Joplin wrote a two Ragtime operas: A GUEST OF HONOR (1903) while living in St. Louis, but was never performed outside the state; and __________. the latter opera was composed between 1905 & 1907 and, although a more promising work on which he labored until 1915 to get it produced, it only gained an audition in Harlem before he died in 1917.

Cornet and Piano

African American Music at the turn of the century was __________ dominated.

Blues and Ragtime

__________ laid the foundations for the development of "jazz." Despite presence of some highly influential female blues singers, it was mostly a male domain.

Gertrude "Ma" Rainey

__________ (1886-1939) was a singer in the genre, an is considered the "god of the blues." Bessie Smith was her protégé. Her style had a lasting effect on the same "jazz" styles that developed towards the end of her career and began to overshadow her music in popularity.

William Christopher Handy

The "Father of the Blues" is The "Father of the Blues" is (c. 1873-1958). He was a composer, cornetist, and guitarist, who left an indelible mark on 20th century American music with compositions such as his song "St. Louis Blues."

__________ entertainment shows had their effect on ragtime, "jazz" and other African-American music around the turn of the century.

__________ (1868-1917), initially from Texas and the most prominent figure in the history of notated ragtime and is remembered as the "King of Ragtime." Two of his most famous pieces are "The entertainer" and "Maple Leaf Rag."

James Reese Europe

Musician and bandleader ___________ (1881-1919) not only organized a black musicians union (Clef Club), but he was also noted for his compositions and conducting of huge bands, with as many as 145 members in the United States and abroad in Europe. His style of composition can be described as symphonic rags. Most importantly, it is commonly overlooked that he made the first "jazz" recordings ever as early as 1913 - several years before the famous Original Dixieland Jass Band, who have traditionally been credited with being the first "jazz" band to record.

Charles "Buddy" Bolden

___________ (1877-1931), a legendary improviser on the cornet and the first great bandleader is often called the "Father of Jazz." He was one of the very first (if not the first) to play New Orleans style "jazz."

Ferdinand "Jelly Roll" Morton

__________ (1880-1941) is considered the first true "jazz" composer, for he was the first to put "jazz" pieces down on paper. His blues composition, printed in 1915, was the first published work of "jazz." He wrote and recorded many standards of his time, and in 1938 recorded his version of the history of "jazz" for the Library of Congress.

Joe "King" Oliver

__________ became Louis Armstrong's first important mentor.

The riverboats became an important venue for "jazz" musicians and __________ led one of the most influential riverboat bands to emerge from New Orleans.

__________ was named such, because of the mixture of noise that could be heard in its neighborhood in New York in the early 1900s, where songwriters were cranking out music, often playing out-of-tune pianos with one finger. The genre profited on taking over musical styles, such as African-American ragtime.

Edward "Ed Dee Dee" Chandler

Evolution of the drum and bass: The trap-set was invented in the United States, but its individual components come from all over the world. "Jazz" drummer __________ is credited with inventing the bass drum foot pedal.

Huddie Ledbetter "Leadbelly"

While "Ma" Rainey is considered the "Mother of the Blues," two of the first male rural blues musicians to record during the 20s and 30s were Blind Lemon Jefferson and __________.

Women usually sang classic blues, as opposed to rural blues. It expressed the problems surrounding ghetto life in the cities. The subject matter in rural blues on the other hand often centered on impersonal relationships, daily life in the country and hardship. Vocalist __________'s recordings represent the epitome of the classic blues style.

Many African-American women came to urban areas from southern rural environments, seeking the glamour and excitement of Harlem and other vibrant urban areas, particularly in the north. The lyrics of their songs reflect the independence and the new caliber of women in urban America. "Wild Women Don't Get the Blues," as sung by __________, is an example of this new direction.

__________ (1883-1946) was the first African American (male or female) to make a vocal recording of the blues. The wildfire success of the 1920 record "Crazy Blues" was directly responsible for the birth of the blues recording industry, and Smith, as pioneering artist, succeeded in opening an important artistic and economic avenue to black women in the early twentieth century.

At the turn of the century the primary "jazz" woodwind was the clarinet. Around 1919 the saxophone rose in prominence and gradually supplanted the clarinet and trumpet as centerpiece of innovation. __________ was one of the people responsible for the transition from clarinet to saxophone. He was a controversial figure of remarkable longevity as a "jazz" musician of prominence. During the 20s and 30s Bechet was best known for his association with Noble Sissle (1928-38). Distinguishing characteristics of his soprano saxophone style includes a shivering vibrato and strong rhythmic drive.

(tone color) the quality of a tone made by a specific instrument or voice. Different instruments have different tone color.

Around the turn of the century the lines separating blues, ragtime and other "jazz" piano styles were not as clearly defined as one might think. Around 1918 however, the stylistic characteristics of __________ became clearly defined.

Willie "The Lion" Smith

In the beginning, the left hand of the piano-player imitated lines as they were played in marching bands, such as using octaves and single notes in the bass register, mimicking the tuba. Pianist Jelly Roll Morton was responsible for introducing the ratio 3:1 between notes for rhythmic patterns (quasi-12/8 feeling). __________, James P. Johnson and others developed a left-hand technique commonly known as "stride piano."

__________ started playing horn-like solos in his right hand, and placed less emphasis on the "oompah-pattern" in the left hand, which had been prominent in stride piano.

__________, like Duke Ellington, started out as a stride pianist, who often accompanied silent films. He is credited with developing the "comping" style prevalent in "jazz" piano. He accompanied Bessie Smith & Clara Smith, played with the Blue Devils and other important bands before becoming a band leader. Carried forward the Kansas City style with bands who included the most influential individual instrumental and vocal stylist of the day (Ben Webster, Coleman Hawkins, Lester Young, etc.).

Dorothy Donegan

__________'s unpredictable and energetic playing intimidated some of her male peers, such as Oscar Peterson.

Segregated subsidiary record labels that originally sold African-American music strictly to African-American clientele.

Chicago Dixieland

As opposed to New Orleans Dixieland, __________ was played at a more frantic and faster pace, reflecting the lifestyle of an urban industrial area.

New York and Chicago

As a consequence of the movement north by many key musicians, New Orleans in the 1920s was phasing out as a center of "jazz" and attention shifted to __________.

Thomas "Fats" Waller

__________ is considered to be one of the links between early and modern "jazz" piano playing. The inventiveness and spirit of his music were indeed a reflection of the effect his personality had on everyday life, bringing joy to those he came into contact with.

Louis Armstrong

__________ is considered by many musicians to be the definite "Father of Jazz." He was the most influential trumpet player of his day. He pioneered scat vocals and was known mostly for his singing in his later years.

Papa Joe Oliver

__________ was Louis Armstrong's mentor. He was a cornet player and director of the Creole Jazz Band. His ensemble was the first African-American band to record frequently.

Lil Hardin Armstrong

Louis Armstrong's first wife, __________, had a tremendous influence on his career. She was also a member of King Oliver's band, as well as a pianist and bandleader in her own right.

Bix Beiderbecke

__________ was one of the first European-American soloists to acquire a reputation as an improviser in "jazz," even though he was mostly performing with highly "commercial" ensembles.

Fletcher Henderson

The rise of swing bands in the 1930s increased the size of the audience for "jazz" and simultaneously provided income for many musicians at once. Duke Ellington and __________ were instrumental in their early development. The latter musician not only led his own band, but he also arranged for other noted bandleaders, such as Benny Goodman.

Jimmie Lunceford

A music educator who built a band based upon precision and discipline who used a varied instrumentation (temple blocks, timpani, celeste, etc.), emphasis on melodies with unpredictable phrasing, and colorful solo devices (timbral contrasts, dynamic contrasts, etc. to create a style the moved in a direction different from that of Henderson's.

A Leader of one of the leading bands in the Midwest who trained Count Basie in the Kansas Blues style that became the foundation his development in later years (after taking over his mentor's band after his death. Developed a riff style (after Armstrong's combo riff style) and later a tradition of trading fours, and other economical devices. His band too was often in dire straights even when recording, but established the swing feel that dominated the Big Band era. Also borrowed sophisticated chord structures from popular songs.

Became the most celebrated jazz orchestra composer/leader in the world. Move his very steady bands (little turnover) through many developmental transformations and took the jazz orchestra into symphonic directions while always maintaining the tradition. Did not follow the riff style, but set new standards on almost all levels of the big band phenomenon (soloists = bass in melodic role).

Drummer whose style of driving a big band was second to none who led one of the most significant bands in Harlem. Got his big break when Duke Ellington got him a opening at the Black Bottom Club. Found Ella Fitzgerald at the Appolo (amateur night) and hired her on the spot.

In the 1930s, Count Basie developed on of the greatest swing bands of all times. Bennie Moten trained him in the __________ styles that became the foundation for his development, and took over his mentor's band after his death.

Both Glenn Miller and __________ were two popular European-American bandleaders during the swing era. Their music was more commercially oriented and featured little or no improvisation.

__________ was a tap dancer who held the baton, while reed player Audrey Hall counted the group off. With the backing of Irving Mills, her band got some of the best performances available during the swing era.

International Sweethearts of Rhythm

In the 1940s the __________ became the most preeminent all-women's band. It originally grew out of the Piney Woods Country Life School and the band was founded in 1937. The group was named as such due to the diverse cross-section of ethnicity that its players represented.

One of the most influential "jazz" pianists, who came out of the 1930s and 40s was __________, born in 1910. He was an extraordinary technician who made the most rhythmically challenging phrases fit comfortably into swinging lines. He was an innovator whose influence on "jazz" musicians is inestimable. His multiple counter-melodies in performances of pop tunes, salon music, and "jazz" pieces were saturated with an elegance that has remained unmatched.

Mary Lou Williams

Another very important pianist of this era was __________, also known as the "First Lady of Jazz." She was a brilliantly talented performer and composer who played with Andy Kirk (1929-42) and with her own bands at home and abroad. In the Swing Era she was the first female to achieve recognition as an important figure. Her style progressed from stride to swing to boogie-woogie to bebop. She became the first "jazz" musician to have her compositions performed at Carnegie Hall.

A short repeated pattern that may be altered.

Coleman Hawkins

__________ sweeping solos made the tenor saxophone come alive in "jazz". His gargantuan tone and his ingenious alternations of the progressions of familiar tunes influence all modern saxophonists (directly or indirectly). His indelible musical associations with seminal Swing bands include work with Fletcher Henderson (1923-34), with "Jazz" in Europe (1934-39), with his own bands in this country (after 1939), Basie, and others. He showed a considerable sympathy for the early bop performances and recorded several times with Dizzy and others of the first generation of boppers. He was a pivotal figure in the transition from swing to bebop.

__________ tone, on the other hand, was lighter, gentler, and had a slower vibrato. He is noted for the brilliant use of sustained open notes, languorous ballad phrasing, and his innovative performance with Count Basie (1936-40) and his own bands. He replaced Hawkins in the Henderson band. He is considered the founding father of cool "jazz". His style involved a more graceful flow than Hawkins did.

A very influential saxophonist who drew from both the styles of Hawkins and Young was __________, who played with Ellington's orchestra.

The most famous of the "jazz" clarinetists in the swing era was __________. He made his way into "jazz" in his teens with Ben Pollack, eventually (1934) to form his own group, which in 1936 made itself the center of the newly established swing epoch. In 1938 European-Americans labeled Him the "King of Swing," which was not a label considered appropriate by the leaders of the top African-American swing bands (Ellington, Basie, Lunceford, Henderson) at the time.

The voice continued to be a strong influence. Also emerging during the 1930s and 40s was __________, one of the most famous and innovative "jazz" vocalists. She was one of the definitive modern "jazz" vocalists and stylists whose influence has been significant in regards to "jazz" singing styles since swing. Her band experience includes brief excursions with Artie Shaw and Count Basie and a variety of recording ensembles, most notably those led by Teddy Wilson (1935-39). She has a heavy Armstrong influence with her detached melody line from the ground beat. She used her voice as an instrument.

Ella Fitzgerald

Vocalist __________ is considered "The First Lady of Song." Discovered by Chick Webb in 1934, she evolved to equal that great "jazz"-man in natural vitality and native musicianship. The individuality of her sound was matched with warmth and freshness of tone. She was a distinguished performer in all her years with Chick, and remained at that level until her death. Renowned for her bell-like tone, range, and rhythmic drive, she began playing with Chick Webb's group and took over after his death. She was one of the only vocalists to master bebop as a vocalist while also becoming the world's pre-eminent scat singer.

Homophonic Song

A __________ involves singing different verses to the same melody and accompaniment.

__________ involves the alternation of a repeated pattern (A) with contrasting new melodies (BCD, etc.) resulting is an ABACADA formal pattern.

Jimmie Lunceford

A music educator who built a band based upon precision and discipline who used a varied instrumentation (temple blocks, timpani, celeste, etc.), emphasis on melodies with unpredictable phrasing, and colorful solo devices (timbral contrasts, dynamic contrasts, etc. to create a style the moved in a direction different from that of Henderson's.

Leader of one of the leading bands in the Midwest who trained Count Basie in the Kansas Blues style that became the foundation his development in later years (after taking over his band after his death. Developed a riff style (after Armstrong's combo riff style) and later a tradition of trading fours, and other economical devices. His band too was often poorly paid even when recording, but established the swing feel that dominated the Big Band era. He also borrowed sophisticated chord structures from popular songs.

Played for silent films, accompanied Bessie Smith & Clara Smith, played with the Blue Devils and Bennie Moten before becoming a band leader. Carried forward the Kansas City style with bands who included the most influential individual instrumental and vocal stylist of the day (Coleman Hawkins, Lester Young, etc.). Established a comping piano style that would influence many generations of pianists. The bands renown soloists include Ben Webster, Coleman Hawkins, Lester Young, etc.

Became the most celebrated jazz orchestra composer/leader in the world. Move his very steady bands (little turnover) through many developmental transformations and took the jazz orchestra into symphonic directions while always maintaining the tradition. Did not follow the riff style, but set new standards on almost all levels of the big band phenomenon (soloists = bass in melodic role).

Drummer whose style of driving a big band was second to none who led one of the most significant bands in Harlem. Got his big break when Duke Ellington got him a opening at the Black Bottom Club. Found Ella Fitzgerald at the Apollo (amateur night) and hired her on the spot.

Blackface Minstrels

The __________ were most popular during times when racial tensions were at their zenith (1850-70).

African American people poked fun at European American people in __________ from the inside vantage point stemming from having observed their subjects in their homes, churches, and places of employment.

Rhythm section drops out so it sounds like time has been suspended or stopped (often at end of a chorus to launch a new soloist)

Stop-time solo breaks are when:

Converting a non-ragtime piece of music into ragtime by changing the time values of melody notes

Ragtime might have been derived from the term "ragging," which meant:

Spiritual and field hollers

The African-American music called the blues is thought most comprehensively to derive from:

Notes that are sung or played at a slightly different pitch than standard

European march and Afro-American banjo tradition

Ragtime developed primarily from:

It was the only source that provides lots of work for musicians

Why is the party atmosphere of New Orleans thought to have contributed significantly to
the development of jazz?

Early drummers were often restricted to playing on the __________ because recording
apparatus could not handle loud percussion sounds.

Clarinet, saxophone

The __________ was far more common than the __________ in early jazz groups

Joe "King" Oliver

Who was Armstrong's mentor?

In whose riverboat band did Armstrong play?

Who served as Armstrong's most influential music teacher and coach?

A laxative and herbal remedy

What is a Swiss Chris?

Sister Rosetta Tharpe

__________ was the vocalist who sang "Lonesome Road" with the Lucky Milliner band in the film "Jazz Women."

__________ was the no nonsense vocalist who sang "Some of these Days" in the film "Jazz
Women."

The Roaring 20s

__________ was the era of Prohibition, Zoot-suits and Jive.

__________ was the first African American woman to make a record when her legendary vaudeville routine (with celebrity Bert Williams) was produced in 1919.

Began with the big band orchestration and eventually moved vocalists from cameo appearances to leading their own bands (Ella Fitzgerald, Billie Holiday, etc.).

Alphonso E Trent

__________ was the first major figure in big band jazz. In 1923, he became the first leader to organize a jazz band into sections of brass, reed, and rhythm instruments.

In 1932, __________ recorded his composition "It Don't Mean a Thing If It Ain't Got That Swing." "Swing" was soon adopted as the name of the newest style of jazz.

__________ was the first European-American bandleader to feature African-American and European-American musicians playing together in public performances. In 1936, he introduced two great African-American soloists--pianist Teddy Wilson and vibraphonist Lionel Hampton.

__________ was another jazz form that became popular during the 1930's. Chiefly a piano style, it used eight beats to the bar instead of four. Featured the traditional blues pattern for most themes. The music had an intense quality that created excitement through the repetition of a single phrase. Albert Ammons, Pete Johnson, Meade Lux Lewis, and Pinetop Smith were among its most important artists.

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