| This History of Rock and Roll | ||
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Glossary of Terms |
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12-bar blues- a musical form that is extremely common in R&B, rock, and jazz (also found in country music); consists of three four-bar phrases. A cappella- without accompaniment Anomie- A french word for a person or society that lacks purpose, identity, or ethical values, thus leading to a feeling of rootlessness; without these qualities, the individual (or society) may be less capable of making decisions, viewing all alternative as equivalent. AOR ( album-oriented rock)- an FM radio format that concentrates on longer album tracks, album sides, and even entire albums (as opposed to the Top 40 singles); developed in the 1960's; sometimes referred to as "adult-oriented rock". A-side- A term developed in the 1950's in reference to the 7-inch vinyl record ("single"); the A side is the featured song-the one the record company expects to be the hit. Acid Rock- A style of rock developed in the late 1960's that was associated with LSD; frequently characterized by high volume levels, long improvised solos, and drug-related lyrics; loosely interchangeable with psychedelic rock. Augmentation- lengthening the note values of a previously stated melody (e.g. doubling the length of each note in a given theme or tune). B-side- a term developed in the 1950s in reference to the 7-inch vinyl record; the b side (also called "slip side") is a song that is not expected to be a hit. Back beat- extra emphasis on the 2nd and 4th beats in a quadruple meter; a basic characteristic of rock and roll (and some of its predecessors and later offshoots). Sometimes referred to as the "off beat." Backmasking- a technique in which a musical and/or lyric passage is mixed into a recording backward. Bar- a notational device that allows for the grouping of beats; used interchangeably with measure. Commonly there would be a four beat bar. A Waltz has three beats to the bar. Barbershop Quartet- an ensemble of four voices (traditionally male) that sings pop songs a cappella in four-part consonant homophony (usually in block chords) Beatlemania- a term that was coined to describe the extreme frenzy of popularity related to the Beatles; Beatlemania (both the phenomenon and the term) began in England in 1963 and hit the U.S. in 1964. Beats- metrical pulses found in most music; usually grouped into recurring patterns (meter). Block Chords- a series of chords in which the notes of each chord all move simultaneously to the notes of the next chord; thus all voices are dependent on each other (no independent movement). Boogie (boogie-woogie)- a piano style popularized in the 1930s; usually based on the 12-bar blues and characterized by a rhythmically active and repetitive bass pattern (left hand) accompanying elaborate improvisations (right hand). Break dancing- a style of dancing that developed in the 1970s related to the hip-hop culture; practiced by individuals (not couples), the style is characterized by high-energy, improvisational, gymnastic elements. Cadence- a brief harmonic progression that closes a phrase or section of a song. Call and response: In singing, the leader of a group or congregation would call out or sing a phrase, which would be followed immediately with a repeat of the phrase (or a variation thereof) by the chorus. Found in African music and in Gospel music. Calypso- a popular style of music developed in the Caribbean, especially Trinidad and Jamaica; originated in the very early 20th century; since the 1940s, associated with the timbre of steel drums. Camp- a term used to describe something (such as a song) that appeals because it is so out of style; something that is so extreme and/or ostentatious that it acquires a perversely sophisticated appeal. (Campy) Chain (ownership)- a business model in which one owner or set of owners controls a series of local enterprises; in case of radio, a string of local stations, all of which are owned b one corporate entity. Chitlin Circuit- a series of venues in the eastern and southern U.S. that catered to African America performers and audiences; such nightclubs and theaters thrived in the 1940s to 1970s (although there are venues that were successful before and after those decades). Chord- three or more pitches sounded simultaneously. Chromatic (chromaticism)- the melodic and/or harmonic use of pitches not contained in the diatonic scale of a given key. Close (slow) Dancing- a dance style popular through the early 1960s in which partners moved in a position resembling an embrace (usually to slow music); typically, they held hands and placed the other hand around the partner's waist or on the partner's shoulder. Close Harmony- a type of harmonization in which at least the 3 upper voices are within and octave; typically, the top voice takes the melody note, and the seconds and third voices take the nearest adjacent chord tones. Coda- the closing section of a musical form. Codetta- the closing section of an internal part of a larger musical form. Complex (asymmetrical) Meters- meters in which the grouping of subdivisions is irregular (asymmetrical) instead of regular (symmetrical) ; for example in quadruple meter, the eight subdivisions might be grouped as 3+2+3 instead of the normal 2+2+2+2. Compound Meter- a meter that has three subdivisions per beat. Concept Album- an album in which all or most of the songs are related to a single idea or story; very different from the most traditional practice that simply gathers a series of unrelated songs onto an album. Conjunct- a melodic style characterized by primarily stepwise motion (i.e. each note moves up or down to the nearest note in the key); creates a very smooth melodic contour. Contour (pitch contour)- the overall linear shape of a melody as the pitches rise and fall. Countermelody- a secondary melody; it coexists with the primary melody and adds interest to the overall musical texture. Cover- a subsequent version of an original song. Crooner- a singer in the pop style, characterized by a rich, resonant voice, wide range, and perfect enunciation and intonation. Traditionally applied to male ballad singers. Crossover- a song that originates in one segment of the music market but achieves success in one or more other segments. Death Metal- a style of rock that combines the volume and distortion of heavy metal with the tempo and driving rhythm of speed metal, with lyrical references to graphic images of death and destruction. Diatonic- the melodic and/or harmonic use of the pitches of a given key's scale. Diegetic Music- a type of film music that is assumed to be audible to all characters in the on-screen narrative. Or "actual sound." Dirty Saxophone- a style of playing the saxophone characterized by a "growl" (produced by humming a different note than the one being played); especially popular in R&B and 1950s rock bands. Disjunct- a melodic style characterized by leaps (notes moving to nonadjacent notes); creates a more angular melodic contour. Dissonant (interval)- in traditional pop styles, intervals other than those contained in the major or minor triad, thus seconds, sevenths, and tritones; psychologically, we have been conditioned to expect these intervals to resolve to more stable intervals. Dissonant (chord)- in traditional pop styles, chords that contain one or more dissonant intervals; increased dissonance adds more tension (or "bite") to a given harmony; psychologically, we are conditioned to perceive increased dissonance as "uglier" and increased consonance as "sweeter". DIY (do it yourself)- a musical development evident in both the punk and alternative music scenes that actively challenged the separation of contemporary society into listeners and trained music specialists ;bands such as the Sex Pistols and White Stripes exemplify this approach (even though some of the participating musicians may attain relatively high levels of musical ability); sometimes referred to as a garage band ethic. Doo-wop- a style of R&B and soft rock characterized b the use of nonsense syllables ; in its most basic form, it features a small vocal group singing a cappella; the addition of vocal rhythmic patterns (using nonsense syllables) takes the place of the missing instruments and provides a stronger rhythmic element. Double Entendre- double meaning (often used when one meaning has a risqué connotation). Dub- developed primarily by produces Lee "scratch" Perry, this music consists of a remix of existing reggae recordings that provide a foundation for improvised vocal solos; the addition of reverberation, echo, and sound effects by the DJ are common. Duck Walk- a stage movement made famous by Chuck Betty; consists of a series of forward jumps on one leg, while moving the other leg back and forth; sometimes Berry would add a bobbing head motion to heighten the effect. Dynamics- refers to degrees of loudness in music; indicated by a variety of musical notations. Echo Effect- an audio effect that records a signal and then plays it back after the desired delay (ranging from several milliseconds to several seconds); originally achieved using tape loops; now accomplished electronically. Eight-bar Blues- a musical form related to the 12-bar blues; although there are frequent variations to the basic pattern, the eight-bar patterns often has the following chord progression (one chord per bar); I-I-IV-IV-I-V-I-V. Electronica- heavily influenced by Chicago house and Detroit techno, a musical style that consists of danceable grooves, loose song forms, and a primary focus on finding a new sound; most early electronica was danceable, but some later styles were intended for listening; eventually fragmented into numerous subgenres and fusions, including ambient house, experimental techno, electrotechno, and many others. Emo- "emotionally oriented rock" a subgenre of indie rock, characterized by lyrics that are deeply personal and often include intimate confessions uncharacteristic of many of the harder styles of rock; representative groups include Dashboard Confessional, Coldplay, and Jimmy Eat World. EP (extended play)- a record format that became popular i the 1950s (although it existed both before and after); typically contained four songs (two per side) on a 45-RPM, 7-inch disc. Expressive deviations- intentional, often subtle, alternations in basic musical elements (pitch, loudness, timbre, and duration) by a performer that communicate nonverbal emotional cues to the listener. Falsetto- the male voice singing in a female range (usually alto). Feedback- The result of a sound loop between an audio input and output; for example, a signal received by a microphone is amplified and broadcast through a loudspeaker; the speaker output, in turn, is received again by the microphone and is further and is further amplified and sent (again) to the loudspeaker, thus creating the loop; in most settings, feedback is unintentional and undesirable; however, many rock bands have intentionally created and manipulated feedback. Folk ballad- a song (traditionally from unknown origins) that narrates a simple incident, story, or plot; typically in strophic form, the folk ballad uses acoustic guitar or guitar-like instruments to accompany one or more singers. Folk Music- music (songs) of unknown origin that has been conveyed by the aural tradition from generation to generation (often with changes to melody and lyrics); some of the songs of the folk revival were true folk songs; others (most) were newly composed in the style of traditional folk music. Folk Rock- a style developed in the mid 1960s by artists such as the Byrds and Bob Dylan; combines some folk elements with rock elements. Folknik- a fan of folk music (usually applied to folk subculture that thrived in the late 1950s and early 1960s); also referred to as "folkies". (Takeoff from the word "beatnik" of the beat generation. An unconventional thinker.) Form- the organizational structure of a piece of music; overall form is determined by the sequence of sections in a given composition and how each section relates to earlier sections. Free Jazz- a style of jazz developed in the 1950s and 1960s as a reaction against conventional jazz styles; characterized by improvisation that may have little or no discernable relationship to a preexisting tune, chord progression, meter, or tempo. Fugue- a classical style of composition in which a relatively rief theme is stated in one voice and then imitated successively by the other voices; when not playing (or singing) the subject, voices may state a countersubject (a secondary theme) and/or develop motives contained within the subject or countersubject. Funk- a term applied to both jazz and rock styles to denote a combination of earthiness, emotionalism, and spirituality associated with the African America culture; often used interchangeably with soul, funky styles blend elements of R&B and gospel; characterized by repetitive riffs, a strong quadruple beat, and prominent bass lines. Fuzz Tone- a distorted tone that results when an electric guitar signal is processed through a fuzz box ( a commercially available electronic device that adds distortion to the incoming signal). Gangsta Rap- a subgenre of rap with lyrics that emphasize the violence of the street life, including gang warfare, misogynistic vignettes, encouragement of drug use, and materialism; representative artists include NWA, Snoop Dogg, and Tupac Shakur. Genre- a category or style, usually within one of the arts. Glissando- a continuous sliding movement through a series of musical pitches (i.e. sliding fingers up and down a keyboard) Glitter (or Glam) Rock- a style developed in the early 1970s that often involved sexual ambiguity (androgyny) and extreme costumes and makeup; more popular in England than the U.S., glitter rock was less of a musical style than a theatrical style. Glottal Stop- the momentary closing of the glottis (the opening between the vocal chords in the larynx); to feel the glottal stop say the word uh-oh; used in rock vocals to subdivide syllabus (such as Buddy Holly's "peggy sue-ooh-ohh"). Grunge- a subgenre of alternative rock that emerged in the late 1980s from the Pacific Northwest, combining heavy metal and post punk elements; primarily responsible for bringing alternative rock into the mainstream; representative bands include Mudhoney, Nirvana, and Pearl Jam. Hardcore- a subgenre of punk rock that originated in the U.S. in the late 1970s and early 1980s serving as a transition between punk and the more intense form of heavy metal known as thrash metal; songs by hardcore bands were often short, loud and distorted, providing passionate expositions on topics ranging from politics and anarchy to the hardcore culture itself. Harmony- a collection of pitches (two or more) sounded simultaneously. Heavy Metal- emerging in the late 1960s and early 1970s, this style of rock music had clear roots in blues-based rock and psychedelic rock; heavily guitar-centric and incorporating lightning-fast guitar solos and a relentlessly pounding drumbeat, heavy metal was louder, simpler, more distorted, and more rebellious than preceding forms of rock. Hell's Angels- an international motorcycle club founded in California in the late 1940s; although truly international it is often associated with California and has become the epitome of the biker culture. Hip-Hop- a collection of urban art forms emerging in the South Bronx during the late 1970s including lifestyle, fashions, fast-talking comedy, break dancing, graffiti art, poetry, double dutch jump roping, and music; as an urban musical style, hip-hop tracks incorporated extant musical sounds, combining these previously recorded segments into a new composition performed on dual turntables by a DJ.
Hocket- a technique in which a melody is passed back and forth between two or more vocal or instrumental parts, smoothly alternating such that when one part stops, the other part picks up where the other left off, providing the illusion of a continuous melodic line; occurring in polyphonic textures; it was used in both art music and popular music of the 13th and 14th centuries; a similar style of back and forth delivery is evident in some rap music, especially that of Run- DMC. Homophony- a type of musical texture in which there is one predominant melody to which other parts are secondary; examples include the melody and accompaniment texture (typical of most popular styles, including rock) and the block chord texture (in which all parts move in the same or similar rhythm, as determined by the primary melody). Hook- usually a specific line of lyrics in a song that is intended to be particularly appealing and memorable; the hook line is usually repeated often throughout the song; sometimes a hook can be musical (i.e. the riff in "satisfaction"). Horizontal Organization- an approach to musical composition that is oriented more to melodic considerations than harmonic considerations; with improvisation the player is more concerned with the ongoing musical line and working with scales and motives than with conforming to underlying chord progressions. House- a style of dance music that emerged from Chicago's Warehouse Club during the early 1980s obviously influenced by disco of preceding decade; characteristics include a repetitive quadruple meter maintained by a drum machine, with bass drum pounding on every beat and i-hat on offbeats, simplistic synth bass lines, and heavily synthesized string orchestrations reminiscent of the disco era. Indie (music)- refers to artists that intentionally placed themselves in opposition to the mainstream in musical sound, fashion, and/or image. Indie (record company)- an informal term for an independent record company; small, individually owned companies that are distinct from the larger major record labels. Instruction Song- a type of song made popular during the dance craze of early 1960s; the lyrics of the song provided instructions (more or less) for performing the specific dance. Instrumental- a purely instrumental song (without vocals). Jam- a performance style that is typically less formal than a mainstream rock performance and in which each performer is granted a high degree of freedom and spontaneity. Jam-grass- an outgrowth of the jam band style, with its emphasis on improvisation, but strongly influenced by mountain music and bluegrass. Key (tonality)- a combination of pitch relationships that establishes one of the pitches as the tonal center; for example (F-G-A-B-C-D-F) creates the key (or tonality) of F major. Key center (tonic)- the pitch that begins and ends the scale of a given key (or tonality) and gives the key its name; the tonal center of the key. Key Signature- an arrangement of the sharps (or flats) needed to create the scale of a given key; a notational device that appears at the beginning of the musical staff. Lead Singer- the primary vocalist in a band or vocal group. LP (long-playing)- a recording format introduced in 1948 that became the standard album format, until replaced by CD's in the 1980s; originally a 10-inch vinyl disc, a larger 12-inch disc became the standard; LPs turn at 33 1/3 RPMs and usually contain about 50 minutes of music (about 25 minutes per side). LSD (lysergic acid diethylamide)- a mind-altering drug espoused by the hippie counterculture of the 1960s; originally created in 1938, its recreational use began in the 1950s among a few health professionals and socially/politically elite individuals; such usage expanded dramatically in the 1960s; banned in the U.S. in 1971. Major Triad: A specific type of three note chord in which the middle note is four half steps above the lowest pitch. MC- (Master of Ceremony) In the context of rap, refers to the individual who speaks rhythmically, often with improvised lyrics, over the musical foundation laid down by a DJ. Measure- See Bar. :Melisma- Extending one syllable of text over many notes; although used in many styles, it is a central characteristic of soul music. Melody- A series of musical pitches (notes); in traditional music (including all pop styles), the series creates a recognizable and memorable tune, or melody. Memphis Mafia- The informal name of a collection of friends, employees, and associates of Elvis Presley; some performed specific duties; others were there for companionship. Mersey sound- Refers to a rather large blend of rock and roll, doo-wop, R&B, and skiffle produced in the 1960’s by Liverpool (UK) groups (e.g. the Beatles, the Searchers, Gerry and the Pacemakers); used interchangeably with Liverpool sound, the name derives from the Mersey River, which runs through Liverpool. Meter- The organizational grouping of beats; various meters are identified according to the number of beats that are grouped together; thus duple meter organizes the beats into groups of two, triple meter, organizes beats into groups of three, etc. The vast majority of rock music is in quadruple meter (beats occur is groups or cycles of four); within each of these (and other) meters, there is a differentiation of stronger and weaker beats. Modes- (Scales) Collections of pitches spanning an octave; each mode (or scale) differs from others both by the number of pitches and by the pattern of intervals between adjacent pitches. Monophony- A type of musical texture in which there is only one line or melody, with no accompanying parts. Motown- A record company established by Berry Gordy Jr. in Detroit; thrived throughout the 1960’s with African American artists whose backgrounds were in gospel, R&B, and doo-wop styles; by combining elements of these styles with pop styles, Motown and its various labels appealed to a wide audience of both blacks and whites. Musical Theatre- A theatrical form that includes songs, dialogue, dance, and musical accompaniment; with individualized characters, scenery, costumes, and plots, musicals are similar to opera but usually utilize more popular styles of music and incorporate spoken, rather than sung, dialogue. Octave- the distance from a given pitch to its next occurrence in the musical alphabet (e.g. from the note G to the next higher or lower G); the frequency of the higher pitch is twice that of the lower pitch. Pentatonic Scale- five note scale, blues notes. Pitch- A sound created by a vibrating body; the greater the frequency of vibration, the higher the resulting pitch is perceived to be; sometimes used interchangeably with note or tone. Polyphony- A type of musical texture in which there are two or more simultaneous, independent, and generally equal melodic lines. Pop- Short form of popular music; in the broadest sense, refers to widely disseminated music aimed at the general audience and includes various styles of rock, jazz. country, soul, folk, etc. Also known as the style of music that was by and for the general (white) population of the US for the first half of the 20th century; the music was frequently associated with Broadway Musicals and the Hollywood movie industry. Quartal- Based on the musical interval of a fourth; may be applied to harmonies (chords built on the interval of the fourth) and melodies; distinct from the more traditional tertian harmonies and melodies (based on the interval of a third). Range- The distance from highest to lowest pitch; thus the range of a melody might be quite narrow or very wide; same with the range of a singer’s voice. Rhythm- The interrelationship between music and time. R&B- (rhythm and blues) a style of popular music associated with African Americans, especially from the 1940’s to the 1960’s; characterized by prominent rhythms, strong melodic bass line, shouting vocals, and a reliance on the 12-bar blues form; typical instrumentation includes piano, electric guitar, bass, drums, saxophone, and vocals. R&B was the strongest, most direct progenitor of rock and roll. Ritard- Short form of ritardando; a gradual slowing of the tempo. Root- The fundamental or generating pitch of a chord; thus, in the C major triad, the root is C. Scale Degree- The numbered position of a pitch within a scale; may be indicated by number (e.g. second, fifth, seventh) or name (tonic, supertonic, mediant, subdominant, dominant, submediant, leading tone). Slap (bass)- 1- slapping the strings of an acoustic bass with four fingers on the right hand in time with the drummer. 2- plucking an acoustic bass string so hard that it bounces off the fingerboard. Subdivision- A secondary pulse within a beat of music; the most common subdivisions are duple (two secondary pulses per beat), triple, and quadruple. Talking Blues- A song style associated with folk music and country music in which the singer speaks a narrative over an instrumental accompaniment. (e.g. Woody Guthrie who influenced Bob Dylan) Tempo- The relative speed of the musical beat; may be described subjectively (e.g. fast, slow, moderate,) or objectively (e.g. 120 beats per minute) Timbre- Tone color; refers to the tone quality of various instruments or voices. Tonality- See Key Tone- See Pitch Tonic (note)- See Key center Tonic (chord)- A chord, the root of which is the tonic note (or key center); usually refers to a triad; thus the tonic chord in G major is the G-B-D triad. Triad- A chord consisting of three different pitches. Tritone- two notes that are three whole-steps apart (example: the tritone from F to B includes whole-steps from F to G, G to A, and A to B). Upbeat- 1- an informal term used to describe faster tempos; 2- the beat that precedes the downbeat (first beats) of the next measure of music; thus, in quadruple meter, the upbeat is the fourth be of the measure. Vibrato- A slight fluctuation in pitch to enrich or intensify the sound; the listener perceives a fast wobble in the pitch; some pop singers begin a given pitch with a straight tone (no vibrato) and then initiate vibrato.
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