Describe One Way Radio Broadcasts Work
CLEANED: Describe one way that radio broadcasts (not technology), beginning
Describe one way that radio broadcasts (not technology), beginning in the 1920s, impacted American popular music. Be specific and give an example. (2 points)
2. How would the technological development of amplification impact singers of American popular music? Be specific with an example. (2 points)
3. Describe one difference between the 78 and 45 RPM records. (2 points)
4. What was the effect of prohibition (18th Amendment to the U. S. Constitution) on American popular music? (1 point)
MATCH:
- 5. _____ Scat singing - C. nonverbal vocalizing, singing without words
- 6. _____ Swing style - E. two-beat medium-fast dance
- 7. _____ Improvisation - G. creating spontaneously as one is performing
- 8. _____ Jazz Age - J. culture of the United States in the 1920s
- 9. _____ Ragtime - D. folk music of the African American community
- 10._____ Front line - I. solo wind instruments in a jazz combo
- 11._____ Jukebox - F. coin-operated record player for bars/restaurants
- 12._____ Foxtrot - E. two-beat medium-fast dance (Repeated, but consistent with context)
- 13._____ Country blues - H. country blues singer
- 14._____ Speakeasy - A. nightclub with illegal music and liquor in the 1920s
- 15._____ Charleston - D. folk music of the African American community (Note: The actual Charleston is a dance; adjust as needed based on original options)
16. Describe the origin of jazz: (2 points) Where? When?
17. Name and describe one of the roots of jazz. (1 point)
18. Describe one change in the dance orchestra of the 1920s. (1 point)
19._____ Torch song - G. song about unrequited or lost love
20._____ Long play (LP) - F. 33 RPM record
21._____ Race record - H. recording by and for African American artists
22._____ Talkie - I. movie with speaking and music, late 1920s
23._____ Standard - J. song remaining popular long after its introduction
24._____ Electric blues - E. guitar based blues of the late 1940s
25._____ New Orleans jazz - A. earliest jazz style, Dixieland
26._____ Crooning - B. shape of the first recordings
27._____ Cylinder - B. shape of the first recordings
28._____ Syncopation - C. accents between the beats of regular rhythm
29. Describe the blues text form. (1 point)
30. Describe a typical blues topic in the text. (1 point)
31. Describe how the blues continues to influence music throughout the twentieth century. Be specific with an example of a title or an artist. (2 points)
32. ____ King Oliver - L. leader of the Creole Band
33. _____ Scott Joplin - K. prominent ragtime composer and performer
34. _____ Charleston - D. a popular kick dance of the 1920s
35. _____ Lionel Hampton - C. vibraphone player in the Benny Goodman band
36. _____ Louis Armstrong - J. jazz trumpeter and scat singer
37. _____ Fletcher Henderson - E. piano playing big band leader, known for improvisation
38. _____ Count Basie - I. jazz piano player, composer, band leader known for sound color
39. _____ Benny Goodman - N/A (if needed, adjust accordingly)
40. _____ Fred Astaire - G. crooner and dancer in early “talkie” movies
41. _____ Irving Berlin - B. composer of pop songs, movies, operas, stage musicals
42. _____ Ethel Waters - F. classic blues singer
43. _____ Robert Johnson - H. country blues singer and guitarist
44. Explain how Benny Goodman broke down the color barrier in music and American life. Be specific and give an example. (2 points)
45. Describe the controversy surrounding the morality of jazz. Be specific with one example. (2 points)
46. _____ Jazz - C. music genre with rhythmic freedom and improvisation
47. _____ Tracy Chapman - B. singer-songwriter who brought socially conscious lyrics to folk/rock
48. _____ Bing Crosby - K. modern crooner and movie star
49. _____ James Reese Europe - D. bandleader who helped popularize ballroom dance
50. _____ Duke Ellington - J. jazz piano player, composer, bandleader known for sound color
51. _____ George Gershwin - L. composer who blended classical and jazz styles
52. _____ Bessie Smith - F. legendary blues singer of the 1920s
53. _____ W. C. Handy - E. “Father of the Blues,” composer of “St. Louis Blues”
54. _____ Castles - M. early jazz composer and performer
55. _____ Rhythm section - N/A (see context, typically bass, drums, piano)
56. _____ Blind Lemon Jefferson - H. country blues singer and guitarist
57. _____ Flapper - I. symbol of the new women’s independence in the 1920s
58. Listen to the following selections and answer the questions. "Hellhound on My Trail" Robert Johnson (p. 99), "Travelin’ Blues" Blind Willie McTell (p. 97), "Black Snake Moan" Blind Lemon Jefferson (p. 98). What instrument accompanies the voice in each song? (1 point)
Describe one characteristic of the singing style of the country bluesman. (1 point)
Listen on YouTube to Eric Clapton’s version of “Hellhound on My Trail” and name one difference with Robert Johnson’s version. (1 point)
58. “Maple Leaf Rag” (page 40) (2 points) What instrument do you hear? Describe one characteristic of the rhythm.
59. “Dippermouth Blues” (page 50) (3 points) What instruments are on the front line? What instruments are in the rhythm section? Describe one way that this piece exemplifies New Orleans Jazz.
60. “Castle House Rag” (page 44) (1 point) Is this selection fast or slow?
61. “Hotter Than That” (page 52) (2 points) Describe scat singing. Describe an example of call and response in the scat singing section of this example.
62. “Charleston” (page 62) (1 point) Is this fast or slow?
63. “Empty Bed Blues” (page 47) (6 points) What instruments are used in this recording? Describe one characteristic of the blues singing style. Describe the form of text and music of each verse. Summarize what this song is about. Describe one specific example of call and response in this song. Describe an example of improvisation in the song. Be specific.
64. “Am I Blue” (page 70) (1 point) How does this song fit the definition of a torch song?
65. “Fascinating Rhythm” (page 63) (2 points) Who is the composer? Who is the lyricist?
66. “Sunday” (page 65) (1 point) What does this song tell us about life in 1927?
67. “I’ve Got the World on a String” (page 72) (1 point) Describe crooning.
68. “Wrin’ Up” (page 84) (1 point) Choose which instrumental group is most prominent: A. chordophones B. aerophones C. idiophones
69. “All of Me” (page 73) (1 point) Describe one example of inflection in the singing style. Be specific with the text.
70. “Cheek to Cheek” (page 78) (2 points) Describe the singing style of the voice. What does this song signal about dance in this time period?
71. “I’ve Found a New Baby” (page 87) (1 point) What instruments are used in this performance?
72. “Ko-Ko” (page 90) (1 point) Describe one difference in this selection from “I’ve Found a New Baby” (p. ...); “Jumpin’ at the Woodside” on YouTube (page 89) (1 point) What instrument is showcased and gets an extended solo?
74. If you had lived during the Jazz Age, what music and/or performer do you think you would have enjoyed? Why? (2 points)
BONUS
- What was the name of an organization for black musicians that was part union and part booking agency, founded by James Reese Europe, and dedicated to showcase the achievements of African-American musicians?
- What is the name of the section of New Orleans where jazz originated? It was named after a politician.
- Who does the textbook call the “King of the Banjo?”
Paper For Above instruction
The influence of radio broadcasts starting in the 1920s profoundly shaped American popular music by expanding the reach of musical genres to a national audience. Radio enabled live performances, recorded music, and popular songs to be accessible across vast geographic regions, fostering uniformity in musical tastes and fostering a shared cultural experience. For example, the broadcast of big band swing music helped popularize this energetic jazz style nationwide, with artists like Benny Goodman gaining immense popularity through national radio programs. This spread encouraged the development of dance crazes, such as the Charleston, and increased record sales, fueling the music industry’s growth during the Roaring Twenties.
Technological development of amplification impacted singers by allowing their voices to reach larger audiences without the need for loud, physical projection. Microphone technology and loudspeakers made it possible for singers like Bing Crosby to croon softly and intimately, creating a more personal connection with listeners. For instance, Crosby’s use of crooning—smooth, relaxed vocal delivery—became a hallmark of the era, allowing even delicate vocal nuances to be heard clearly, which was previously impossible in large venues or via acoustic means.
A key difference between 78 and 45 RPM records involves their size and playing speed. The 78 RPM records, typically made of shellac, measured about 10 inches in diameter and were played at 78 revolutions per minute. They often held a single song per side and were fragile. Conversely, the 45 RPM records, introduced by RCA Victor, were smaller, about 7 inches, and typically played a single song per side; they could be played at their designated speed on a specialized record player, making them more durable and suitable for singles, which contributed to their popularity in the postwar era.
The prohibition era’s impact on popular music was significant, as it fostered the creation of speakeasies—illegal clubs that served alcohol and featured live jazz and blues. These venues became focal points for musical innovation and performance, particularly for African American musicians and jazz bands. The need for secrecy and the underground nature of speakeasies created a clandestine culture that often intertwined with the lively, improvisational spirit of jazz, contributing to its mystique and allure among audiences eager for illicit entertainment.
The proliferation of radio broadcasts in the 1920s made jazz accessible to a broad public, thereby elevating the genre’s status from regional to national prominence. Jazz bands like those led by Fletcher Henderson and Louis Armstrong gained wider recognition partly through radio airplay. The broadcast format facilitated the dissemination of jazz idioms such as syncopation and improvisation, shaping the evolving sound of American popular music and encouraging future generations of jazz artists. For instance, Armstrong’s innovative trumpet playing and scat singing reached audiences coast-to-coast, helping to establish jazz as a quintessential American musical form.
The origin of jazz can be traced to New Orleans, Louisiana, in the early 20th century, around the 1910s. This vibrant port city’s diverse musical landscape, influenced by African, Caribbean, and European traditions, served as the melting pot where jazz was born. The city’s lively dance halls and brass bands nurtured the new style characterized by improvisation, syncopation, and a blend of ragtime and blues elements, setting the foundation for the genre’s worldwide popularity.
One of the roots of jazz is the blues, a musical form originating in the African American communities of the Deep South. The blues features a specific 12-bar structure and employs expressive, often melancholic lyrics dealing with themes of love, heartbreak, and hardship. Its call-and-response pattern, use of blue notes, and improvisational elements heavily influenced jazz, particularly in its vocal and instrumental improvisations. An example of blues influence is Bessie Smith’s “Empty Bed Blues,” where lamenting lyrics and expressive vocal inflections evoke deep emotion and storytelling tradition.
The dance orchestra of the 1920s saw significant changes with the rise of big band arrangements, which added larger brass sections and saxophones to create fuller, more powerful sounds suitable for dancing. This evolution was exemplified by bands led by Fletcher Henderson and Duke Ellington, who incorporated sophisticated arrangements and innovative use of rhythm and harmony that distinguished them from earlier small combos. These changes made dance orchestras more dynamic and capable of entertaining large audiences in ballrooms and dance halls, fueling dance crazes like the Charleston and the Lindy Hop.
A torch song is a sentimental love song, typically about unrequited or lost love. A characteristic of torch songs is their slow tempo and expressive vocal delivery meant to evoke deep emotion. Examples include “Am I Blue,” where the singer laments longing and heartbreak, fitting the torch song archetype because of its melancholic mood and focus on love’s pain and longing.
The Long Play (LP) record, introduced in the late 1940s, revolutionized music consumption by providing extended playing time—up to 20 minutes per side— enabling albums and cohesive collections of songs. Unlike earlier 78 RPM records, which held only one song per side, LPs fostered the development of concept albums and artistic expression, essential for artists like Frank Sinatra and later, jazz musicians like Miles Davis.
Race records were recordings made primarily by African American artists aimed at Black audiences, and played a crucial role in the dissemination of blues, jazz, and gospel music. These records helped Black musicians gain recognition and influenced mainstream music, despite racial segregation in the industry. An example is Bessie Smith’s recordings, which gained popularity within Black communities and eventually affected the broader musical landscape.
The term “talkie” refers to films with synchronized spoken dialogue, which emerged in the late 1920s. The landmark movie, “The Jazz Singer,” marked the beginning of the sound film era. This innovation allowed musical performances to be integrated into movies, creating new opportunities for popular singers and actors like Al Jolson, and expanding the influence of recorded music and vocal stars in entertainment.
Standard songs are those that have achieved lasting popularity and become part of the Jazz or popular song repertoire. They are often performed and recorded repeatedly over decades, illustrating the song’s universal appeal and adaptability. An example is “St. Louis Blues,” composed by W.C. Handy, which remains a jazz and blues standard performed by countless artists worldwide.
Electric blues, developed in the late 1940s and early 1950s, employs electric guitars and amplified instruments, allowing blues musicians to perform at higher volumes suitable for clubs and performances. This development was pivotal for blues’ evolution, influencing rock and roll and artists like B.B. King and Muddy Waters, whose luminous performances popularized the genre.
New Orleans jazz, the earliest style of jazz, originated in the 1910s in New Orleans, Louisiana. It was heavily characterized by collective improvisation, a lively rhythm, and the use of brass instruments like trumpets and trombones, often performed in dance halls, parades, and street bands. This style set the foundation for many jazz developments and is notably associated with early figures such as Louis Armstrong.
One of the roots of jazz is the blues, which originated among African American communities in the Deep South in the late 19th and early 20th centuries. The blues features expressive singing, blue notes, and a 12-bar blues progression. Its themes of love, hardship, and resilience heavily influenced jazz’s improvisational style and emotional expression, as exemplified in artists like Robert Johnson and Bessie Smith.
Changes in the dance orchestra of the 1920s included the shift toward larger ensembles that incorporated saxophones and more arranged compositions, exemplified by Fletcher Henderson’s bands. This evolution created a more powerful, sophisticated sound that could fill large dance halls and introduced new harmonic and rhythmic complexities to dance music, fueling the popularity of dances such as the Charleston.
A torch song is a sentimental, slow, often melancholic love song that expresses longing or heartache. It typically features expressive vocal delivery aimed at conveying deep emotion, as in “Am I Blue” where the singer laments unrequited love and emotional pain.
“Fascinating Rhythm” was composed by George Gershwin, with lyrics by Ira Gershwin. The song exemplifies lively, syncopated rhythms characteristic of Broadway jazz standards, and became a jazz standard itself, reflecting the energetic spirit of 192