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Music 240 > Quiz 1 > Flashcards

Quiz 1 Flashcards

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1
Q

Rhythm section

A

the part of a pop or jazz group supplying the rhythm, generally regarded as consisting of bass and drums and sometimes piano or guitar

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2
Q

“Rhythm” Section

A

the chord progression to “I Got Rhythm.” In twelve-bar blues form, the overall chord progression is always the same & each twelve-bar cycle is called a chorus

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3
Q

Chorus

A

a part of a song that is repeated after each verse, typically by more than one singer

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4
Q

Verse

A

An introductory section at the beginning of some pop songs (especially older songs) that leads to the refrain (see Pop Song Forms)

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5
Q

Minestrelsy

A

indigenous American theatrical form that constituted a subgenre of the minstrel show. Intended as comic entertainment

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6
Q

Great Migration

A

Since the beginning of World War I, hundreds of thousands of men and women had boarded trains and headed North in search of jobs and freedom. It was called The Great Migration”. Major cities in the North including Chicago, New York, and Detroit provided a new opportunities for Black Americans

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7
Q

Harlem Renaissance

A

Harlem Renaissance was an intellectual and cultural revival of African American music, dance, art, fashion, literature, theater, politics

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8
Q

Tin Pan Alley

A

genre of American popular music that arose in the late 19th century from the American song-publishing industry centred in New York City. … The phrase tin pan referred to the sound of pianos furiously pounded by the so-called song pluggers, who demonstrated tunes to publishers

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9
Q

Great American Songbook

A

five masterpieces in a canon now widely known as The Great American Songbook. It is not a real book, rather a term that applies to tunes of Broadway musical theatre, Hollywood movie musicals, and Tin Pan Alley (the hub of songwriting that was the music publishers’ row on New York’s West 28th Street)

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10
Q

Break

A

A solo break in jazz occurs when the rhythm section (piano, bass, drums) stops playing behind a soloist for a brief period, usually two or four bars leading into the soloist’s first improvised solo chorus (at which point the rhythm section resumes playing)

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11
Q

Call and Response

A

technique where one musician offers a phrase and a second player answers with a direct commentary or response to the offered phrase

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12
Q

Polyrhythm

A

polyrhythm is a musical texture in which there are multiple overlapping, interweaving, and contrasting rhythmic layers or elements occurring simultaneously

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13
Q

Clavé

A

a rhythmic pattern used as a tool for temporal organization in Afro-Cuban music

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14
Q

Bar / Measure

A

a segment of time corresponding to a specific number of beats in which each beat is represented by a particular note value

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15
Q

Meter

A

describes the number of beats in a measure

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16
Q

4/4 Time

A

A time signature of 4/4 means count 4 (top number) quarter notes (bottom number) to each bar. So the pulse, or beat, is counted 1, 2, 3, 4, 1, 2, 3, 4, and so on. That means all the notes in each bar must add up to 4 quarter notes. Any combination of rhythms can be used as long as they add up to 4 quarter notes.

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17
Q

Back beat

A

an accented secondary or supplementary beat

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18
Q

Stop Time

A

stop-time is an accompaniment pattern interrupting, or stopping, the normal time

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19
Q

Chart / Lead Sheet

A

A lead sheet is a piece of music with the melody (the lead line) and the chord changes written above the melody. It’s a basic sketch of a tune that allows a musician to play the song if they know how to interpret chord changes.

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20
Q

Melodic Paraphrase

A

Decorating and reworking a melody or parts of a melody in different forms

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21
Q

Riff

A

typically supporting a solo improvisation

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22
Q

Twelve Bar Blues

A

The term “12-bar” refers to the number of measures, or musical bars, used to express the theme of a typical blues song. Nearly all blues music is played to a 4/4 time signature, which means that there are four beats in every measure or bar and each quarter note is equal to one beat.

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23
Q

Classic (Vaudeville) Blues

A

Classic female blues was an early form of blues music, popular in the 1920s. An amalgam of traditional folk blues and urban theater music, the style is also known as vaudeville blues. Classic blues were performed by female singers accompanied by pianists or small jazz ensembles and were the first blues to be recorded

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24
Q

Ragtime

Study These Flashcards
A

The defining characteristic of ragtime music is a specific type of syncopation in which melodic accents fall between metrical beats. This results in a melody that seems to be avoiding some metrical beats of the accompaniment by emphasizing notes that either anticipate or follow the beat

25
Chicago Style
emphasized greater solo space, fixed ensembles, and a more prominent role for the rhythm section
26
AABA / ABAC Popular Song Form
AABA form , also known as 32-bar song form, consists of a twice-repeated strophe (AA), followed by a contrasting bridge (B), followed by another repetition of the initial strophe (A). AABA and strophic form were common especially in older pop music
27
Syncopation
a rhythm that is played off the main beats in the bar
28
Collective Improvisation
musicians all improvise at the same time
29
Tailgate (or Smear) Trombone / Glissando
a glide from one pitch to another
30
Plunger Mute
the plunger mute allows brass instruments to create a vocal-like cry
31
Cadenza
generically, an improvised or written-out ornamental passage played or sung by a soloist or soloists
32
Stride Piano
jazz piano style with roots in American ragtime piano music. Stride piano playing requires a left-hand technique in which the pianist plays a four-beat pulse alternating between a bass note on beats one and three and a chord on beats two and four
33
Solo
the performer who is playing the solo is the main focus of the audience's attention
34
Soloist
the performer who is playing the solo is the main focus of the audience's attention
35
Improvisation
the spontaneous invention of melodic solo lines or accompaniment parts in a performance of jazz music
36
Scott Joplin
African-American composer and pianist. Joplin is also known as the "King of Ragtime"
37
Wilbur Sweatman
American ragtime and dixieland jazz composer, bandleader and clarinetist.
38
Kid Ory
merican jazz composer, trombonist and bandleader. One of the early users of the glissando
39
James P. Johnson
American pianist and composer. A pioneer of stride piano
40
Bessie Smith
American blues singer widely renowned during the Jazz Age. Nicknamed the "Empress of the Blues". Vaudville
41
Bessie Jones
American gospel and folk singer
42
Buddy Bolden
cornetist and one of the founding fathers of jazz. ... Acknowledged as the cornet king of New Orleans, Bolden often worked with six or seven different bands simultaneously
43
Joe “King” Oliver
American jazz cornet player and bandleader. He was particularly recognized for his playing style and his pioneering use of mutes in jazz
44
Sidney Bechet
American jazz saxophonist, clarinetist, and composer. He was one of the first important soloists in jazz
45
Jelly Roll Morton
American ragtime and jazz pianist
46
Louis Armstrong
American trumpeter and vocalist. One of the first soloists on record, Louis was at the forefront of changing jazz from ensemble-oriented folk music into an art form that emphasized inventive solo improvisations
47
Lil Hardin
a pianist, composer, singer, and band leader who helped introduce America to jazz music. She was married to Louis Armstrong, the famous jazz trumpet player, and she was largely responsible for his successful career.
48
Earl Hines
American jazz pianist, bandleader, and composer whose unique playing style made him one of the most influential musicians in jazz history. Played a lot with Louis Armstrong.
49
Paul Whiteman
the leader of one of the most popular dance bands in the United States during the 1920s and early 1930s. Rock star, played viola and violin
50
Duke Ellington
greatest jazz composer and bandleader of his time. One of the originators of big-band jazz, he led his band for more than 50 years and composed thousands of scores. Played piano
51
Bubber Miley
American early jazz trumpet and cornet player, specializing in the use of the plunger mute
52
Eddie Lang
is known as the father of jazz guitar
53
Bix Beiderbecke
influential jazz soloists of the 1920s, a cornet player noted for an inventive lyrical approach and purity of tone
54
Frank Trumbauer
was one of the leading jazz saxophonists of the 1920s and 1930s
55
Fate Marable
American jazz pianist and bandleader
56
Freddie Keppard
American jazz cornetist who once held the title of "King" in the New Orleans jazz scene. This is after buddy bolden
57
Don Redman
an American jazz musician, arranger, bandleader, and composer. Clarinet, saxophone, vocals
58
Art Hickman
a drummer, pianist, and bandleader of one of the first big bands/orchestras
59
Coleman Hawkins
American jazz tenor saxophonist. one of the first jazz horn players with a full understanding of intricate chord progressions

Music 240 (1 decks)

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