Title History of Modern Music Lecture 1

W African West African Music - Polyrhythms - Call Response

Work Songs ?1800’s to 1900 Evolution of Call/Response Used to set rhythmic cadence of work Work Songs

Spirituals 1800’s ’s Mahalia Jackson “Amazing Grace” Spirituals

Blues Deep South, Robert Johnson “Whiskey Blues” Blues

Rhythm And Blues Memphis, LA, 1940’s and 50’s Big Joe Turner, “Shake, Rattle, and Roll” Rhythm and blues

Rock and Roll 1950’s - 60’s Chuck Berry “Johnnie B. Good” Rock and Roll

French Impressionism - forsaking classic forms - harmony and melody are flexible, not fixed - emotional response is critical to the art form

French Impressionism Late 19th Century Claude Debussy “Jeux De Vagues” From “La Mer” Debussy

Ragtime St. Louis, 1890’s to 1910’s Scott Joplin “Maple Leaf Rag” ragtime

Black Creole Black Creole Culture New Orleans,

The LA Negro Code The Louisiana “Negro Code”, Limited the ability of black musicians to work in “white only” establishments

The LA Negro Code The Louisiana “Negro Code”, Limited the ability of black musicians to work in “white only” establishments - Forced classically trained black creole musicians to work in segregated bars and clubs, with untrained black musicians.

The LA Negro Code The Louisiana “Negro Code”, Limited the ability of black musicians to work in “white only” establishments - Forced classically trained black creole musicians to work in segregated bars and clubs, with untrained black musicians. - Resulted in a merging of West African music and French Impressionism

Original Dixieland Jazz Band Dixieland

Early Jazz Jelly Roll Morton “Original Jelly Roll Blues” Jelly Roll Morton

HOT JAZZ Chicago, 1920’s Louis Armstrong Duke Ellington Hot Jazz

Big Band Swing Chicago, NY, Glen Miller Benny Goodman Duke Ellington Swing

Big Band Swing NY, 1930’s to 1945 Glen Miller “In The Mood” Glen Miller

BeBop NY, LA 1950’s Charlie Parker “In The Mood” Parker & Gillespie

BeBop NY, LA 1950’s Thelonious Monk “Rhythm-a-ning” T monk