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What Type Of Music Was Popular In The 1920s
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The blues is a type of secular folk music created by African Americans in the early 20th century, originally in the South. Although instrumental accompaniment is almost universal in the blues, the blues is essentially a vocal form. Blues songs are often more lyrical than narrative because the expression of emotion is most important.
, which described states of depression and discomfort, and was later adopted as the name of the melancholic songs included in the musical genre.
The origins of the blues are poorly documented, but it is believed that after the American Civil War (1861-1865), former African Americans and their descendants created the genre while working on plantations in the South, drawing inspiration from chants, minstrel music. , work songs and country cries, ragtime and popular music of the white population of the South.
In the early 20th century, the blues (among other popular genres of music) was considered seductive and destructive by parents and clergy, who worried that this “devil’s music” was a dangerous and sinful influence on children.
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The blues has a special melancholic and gloomy tone, which is achieved through vocal techniques such as melisma, rhythmic techniques such as syncopation and instrumental techniques such as “ringing” the guitar strings around the neck or using a metallic slide on the guitar strings. Guitar strings to create a screech-like sound.
Blues, secular folk music created by African Americans in the early 20th century, originally in the South. The simple but expressive forms of the blues became in the 1960s one of the most important influences on the development of popular music, i.e. jazz, rhythm and blues, rock and country music, throughout the United States.
Although instrumental accompaniment is almost universal in the blues, the blues is essentially a vocal form. Blues songs are more lyrical than narrative; Blues singers express feelings instead of telling stories. The emotion expressed is usually sadness or melancholy, often due to love problems but also due to oppression and hard times. To express this musically, the blues uses vocal techniques such as melisma (holding a single syllable over several notes), rhythmic techniques such as syncopation and instrumental techniques such as “choking” or bending the guitar strings on the neck or playing a metal slide. Or close the guitar strings to create a sound that resembles a moan.
As a musical style, the blues is characterized by expressive “microtonal” pitch biases (blue notes), a three-line textual stanza of AAB form, and a 12-bar form. Typically, the first two and a half bars of each line are dedicated to vocals, with the last two and a half bars being an instrumental “break” that repeats, answers, or completes the vocal line. In terms of functional (ie traditional European) harmony, the simplest blues harmonic progression is described below (I, IV, and V refer respectively to the first or tonic, the fourth or subdominant, and the fifth or dominant of the scale).
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African influences are evident in the blues tonality, the call-and-response pattern of the repetitive chorus structure of the blues verse, the falsetto break in the vocal style, and instrumental imitation of vocal idioms, especially the guitar and harmonica. Pop music Pop music is a genre of popular music that originated in the late 1950s as an offshoot of traditional pop “like” a certain kind of light and.
Presentation on the topic: “Pop music Pop music is a genre of popular music that originated in the late 1950s as an offshoot of traditional pop music” as “a certain kind of light and.”— Presentation transcript:
1 Pop music Pop music is a genre of popular music that originated in the late 1950s as an offshoot of traditional pop” as “a certain type of light popular music originating from black musical styles and British folk music”, from the 1950s, the term “music Pop” was used to describe another genre, aimed at a new market, often characterized as a soft alternative to rock and roll.
In the 1940s improved microphone design allowed for a more intimate singing style, 15 and ten to twenty years later cheaper and more durable records. Another technological change was the widespread availability of television in the 1950s; With television appearances, “pop stars had to have a visual presence.” The pop of the beginnings was inspired by the sentimental ballad to take its form, it took from the soul and the soul
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The main component of pop music is the song, usually between three and five minutes in length, usually marked by a consistent and distinct rhythmic element. The rhythm and melodies are usually simple, with limited harmonic accompaniment. Modern pop song lyrics often focus on sentimental or everyday subjects, especially love relationships, personal experiences, and social issues, among others.
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While every effort is made to follow the citation style rules, inconsistencies may occur. Consult the appropriate style guide or other sources if you have any questions.
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Gunther Schuler jazz historian, composer and musicologist. Author of The Compleat Conductor, The Swing Era, The History of Jazz and others. The composer of the sonata for alto saxophone and piano, El Guerrero Negro…
Encyclopedia Editors Encyclopedia editors oversee subject areas in which they have extensive knowledge, either through years of experience working on that content or advanced degree studies. They write new content and review and edit content received from contributors.
Jazz, a musical form, often improvised, developed by African Americans and influenced by both European harmonic structure and African rhythms. It evolved in part from ragtime and blues, and is often characterized by syncopated rhythms, polyphonic ensemble playing, varying degrees of improvisation, often deliberate deviations in tonality, and the use of original timbres.
Any attempt to arrive at a precise and complete definition of jazz is probably futile. Jazz was, from its inception at the beginning of the 20th century, a music in constant development, expansion and change, passing through several unique stages of development; A definition that may apply to one phase, say New Orleans or swing, becomes inadequate when applied to another part of its history, such as free jazz. Early attempts to define jazz as music whose main characteristic was improvisation, for example, proved too restrictive and largely false, as composition, arrangement and composition were also essential elements of jazz for most of its history. Similarly, syncopation and swing, often considered essential and unique to jazz, are actually missing from much authentic jazz, whether from the 1920s or decades later. Again, the long-held notion that swing could not occur without syncopation was completely dispelled when trumpeters Louis Armstrong and Bunny Berrigan (among others) frequently created a huge swing while playing unsynchronized repeating quarter notes.
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Jazz, in fact, is not, and never has been, a pre-composed and predetermined music, nor is it fully improvised. For almost its entire history, it has used creative approaches in varying degrees and in endless permutations. And yet, despite these various terminological confusions, jazz seems to be instantly recognized and distinguished as something separate from all other forms of musical expression. To repeat Armstrong’s famous response when asked what
It says, “If you have to ask, you’ll never know.” Adding to the confusion, there were often insurmountable differences of perception between jazz producers (performers, composers and arrangers) and their audiences. For example, with the emergence of free jazz and other avant-garde expressions in recent days, many veteran musicians have argued that non-swing music is not jazz.
Most of the early classical composers (such as Aaron Copland, John Alden Carpenter, and even Igor Stravinsky, who fell in love with jazz) were attracted by his instrumental sounds and guises, unusual effects, and jazz leanings (mutes, glissandos, scopes, bends, and missing compositions). string) and their syncopations, completely ignoring, or at least minimizing, the improvisational aspects of jazz. In fact, the sounds that jazz musicians make on their instruments—the way they attack, depress, release, embellish, and color the notes—characterize jazz performance to such an extent that a classical piece would be played by jazz.
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