Music is all around us.
We all grew up listening to some type of music. No 1 can truly find when music began or which civilizations had music foremost. There are narratives of its beginnings that go back to antediluvian times. “Popular music is music produced for and sold to a wide audience. ” ( 1 ) The types of popular music we are traveling to look at are wind. country-and-western music. rhythm-and-blues music ( R & A ; B ) . stone music.
and blame. besides know as hip-hop. ( 1 )First.
we will look at wind. Jazz is a type of music that was foremost developed by African Americans around the first decennary of the twentieth century. ( 2 ) It is believed that wind originated in New Orleans. The first of all time entering of wind was in the 1890’s.
( 3 ) Wind developed into different manners. Some of these manners are. Boogie Woogie. which was named this because Clearance “Pine Top” Smith released an album with that manner called Pinetop’s Boogie Woogie. Next is improvisational wind. which is the most popular type of wind. Improve means made up on the topographic point. which is really.
what this type of wind is. Improvisational wind can be played with any instrument. Another is ragtime.
It was called this because its beat and timing sounded “raggedy” . Like improvisational wind. this was one of the first types of wind.
It was played in cakewalks and was normally played with a piano. ( 3 ) “Some of the great instrumentalists who made wind more popular are. Art Tatum.
Earl Hines. Joseph Lamb. James Scott. Scott Joplin. Hot Five and Louis Armstrong. ” ( 3 ) Some of the wind instrumentalists of today are Kenny G and Rosemary Clooney. Jazz remains a rich and critical presence in the universe of music today.The following type is state and western music.
Country and western music was chiefly produced by white Southerners get downing in the early 1920s and came from the common people music of Southern Appalachia and is rooted in the common people vocals of immigrants from Great Britain. ( 5 ) Some of the state music manners are Western swing. barrelhouse. blue grass. rockabilly.
and new state. “Although originally known by the gibelike label “hillbilly music. ” state has since moved into the popular music mainstream and gained broad international credence.
” ( 4 ) Most state music is based on the wordss instead than the musical content. Allot of state music is based on the lives and experiences of ordinary people. They include things such as love. interrupting up with person.
possibly even the creative person themselves stating a narrative in there music of their younger yearss turning up. Some of the instruments that are used in state music are the violin. the banjo. the guitar.
and the piano. ( 5 ) Some state creative persons of yesteryear are The Carter Family. Johnny Cash. Willie Nelson.
Patsy Cline and Hank Williams. Some of the state artists of today are Alan Jackson. Brooks and Dunn. Shania Twain. and Kenny Chesney. One topographic point known to all state music creative persons and instrumentalists is The Grand Ole Opry. which is in Nashville. Tennessee.
( 5 )Another type of music manner is Rhythm-and-Blues Music or better know as R & A ; B. Jerry Wexler is credited with the term R & A ; B ( 1947 ) . ( 7 ) This type of music laid the basis for stone & A ; axial rotation. “Early stone & A ; axial rotation is fundamentally R & A ; B blended with state & A ; western and pop influences. ” ( 6 ) “During the ’50s. R & A ; B was dominated by singers like Ray Charles and Ruth Brown.
every bit good as vocal groups like the Drifters and the Coasters. ” ( 6 ) The term R & A ; B was replaced in the sixtiess by psyche music and Motown. but has re-emerged in recent old ages. “In this context merely the abbreviation R & A ; B is used. non the full look. ” ( 6 ) Today there are some great R & A ; B artists every bit good. like Barry White. All-4-One.
India Arie. Erykah Badu and Alicia Keys. R & A ; B remains a important portion of stone.
psyche. and blame.Rock music is following on the list of types of music. Rock music has dominated popular music in the West since about 1955. ( 8 ) Rock music started in the United States. “The term stone music normally refers to music manners after 1959 preponderantly influenced by white instrumentalists. ” ( 8 ) Disc jockey Alan Freed was the 1 who introduced this music and subsequently gave it the name of Rock n’ Roll. The electric guitar is the instrument most associated with stone music.
Another instrument is the electric bass guitar. which was introduced by Fender in 1951. ( 8 ) The membranophone set is used in stone music besides. “Rock-and-roll guitarist Chuck Berry established a manner of playing in the late fiftiess that remains a great influence on stone music. ” ( 8 )Jimi Hendrix.
Eric Clapton. and Carlos Santana are a few more stone instrumentalists. One of my favourite stone groups is The Rolling Stones. “Closely connected with youth civilization.
stone music and instrumentalists have helped to set up new manners. signifiers of linguistic communication. attitudes. and political positions.
However. stone music is no longer limited to an audience of adolescents. since many current hearers formed their musical gustatory sensations during the aureate age of stone and axial rotation. Similarly. while stone has historically encouraged new originative looks. the inventions of Chuck Berry. Elvis Presley.
Bob Dylan. the Beatles. and Jimi Hendrix have defined a tradition to which consecutive coevalss of instrumentalists have repeatedly turned for inspiration. ” ( 8 )A particular twenty-four hours in the history of stone music was February 7. 1964 ; it was the twenty-four hours that a set called the Beatles that came from Liverpool. England to the United States. On February 11.
1964. the Beatles sang their first concert in the United States. at the Washington Coliseum. ( 12 )The Beatles.
one of the most popular stone and axial rotation esthesiss in history. created craze in the U. S. . as they became a theoretical account for stone and axial rotation. The Beatles dominated the record industries and with their dominant instrumentality. which included.
electric leads. beat. and bass guitar. membranophones and sometimes an electric organ. changed the name of Rock n’ Roll to merely Rock. Rock music and society have mirrored each other since the bad boy image of Elvis Presley. through crazes like the dance fad. and through the rebellious old ages of the counterculture.
Rock and axial rotation has been a cardinal participant in conveying differing civilizations together ; most preponderantly. it began to convey white and black people together. Although it has non wholly dissolved racial intolerance. it has significantly blurred the lines dividing us. “Music.
particularly rock and axial rotation is an unfastened forum for all people to shout out their single and varied point of views. It is a show window of life and a contemplation of society. ” ( 13 )The last type of music I would wish to touch on is blame. which is besides known as hip-hop. Rap is defined as spoken words with an underlying beat subdivision dwelling of bass. membranophones. and occasional keyboard sounds.
The words are spoken rhythmically. and speech patterns in this speech production are really of import. Hip Hop is considered the “spouse” of blame ; it is basically the background music. which accompanies the rapper. Rap’s roots can be traced to the undermentioned influences: Cab Calloway is known for his signature “Hi-de-hi-de-hi-de-ho” chant from “Minnie the Moocher” . Get downing back in the 1940’s. Calloway used a call and response format with his audience. which is one of the foundations of blame.
Other instrumentalists who have utilized this technique. or have utilized a monologue-style in their music. include the undermentioned: Lou Rawls. Charlie Daniels. Bo Diddley and Peter. Paul.
and Mary. The ‘Hip Hop’ subculture and blame music seemed to hold originated in the United States in the Bronx.The first blame record to do it large was “Rapper’s Delight” released by the Sugar Hill Gang on Syliva and Joey Robinson’s Sugar Hill label. Run-D. M. C. was the first black blame group to interrupt through to a really white audience with their albums.
Run-D. M. C and King of Rock.
These albums led the manner that blame would go into the musical mainstream. Even though Run-D. M. C.
dressed as if they came right off the street corner. this was non the instance. Run and D. M. C came from in-between category households. they were ne’er deprived of anything and they ne’er ran with a pack. One could ne’er state this by their frock or from the blames. they made.
As blame music evolved and became popular. adult females tended to be the marks of male blame wordss and by and large were non portrayed in a favourable visible radiation. Rap music manufacturers besides seemed to be hesitating to bring forth female blame creative persons. ( 9 )David Thigpin in his article. “Not for Men Merely ; Women Rappers are Interrupting the Mold with a Message of their Own” . offers two grounds for this reluctance.
One being. blame manufacturers were discerning about subscribing female rappers because they feared fiddling with their proved expression of success of bring forthing butch male rappers. The other being. blame manufacturers did non experience that female voices could provide the needed volume and harshness that they felt was a major characteristic of blame music. ( 10 ) A New York City female blame three by the name of Salt ‘N’ Pepa would supply the blame music industry with the inducement to bring forth more female rappers with the success of its introduction album.
Hot. Cool. & A ; Vicious. which sold over a million transcripts. Besides the fact that people like what they heard.
Russell Simmons who was quoted in Thigpen’s article offers another account. Simmons stated. “There are more adult females purchasing blame records who would wish to associate to adult females creative persons and there are more cats who want to hear a women’s point of position. ” ( 10 )Salt ‘N’ Pepper rapped over soul-tinged R & A ; B tunes with badgering.
street-savvy blames about adulthood. independency from work forces. and sexual duty. Another female rapper. Monie Love.
tried non to be excessively serious with her blame messages. While Queen Latifah blames were about adult females being optimistic and holding pride in them and tended to counter male rappers’ wordss. which tended to show a hapless sentiment of adult females. However. some female rappers like BWP ( Bytches with Problems ) voice a vindictive trade name of extremist black feminism. BWP’s raps cover with such issues as day of the month colza. male self-importance.
and police ferociousness.BWP showed that they could be merely every bit braggart as male rappers with their wordss on the record ‘In We Want Money’ when they stated. “Marry you? Don’t do me laugh! Don’t you know. all I want is half! ” Another female rapper who deserves adverting because of her forceful onslaught on misogynism is Yo-Yo with her record ‘You Can’t Play with My Yo-Yo” . David Thigpen concluded his article on female rappers by saying that female rappers besides offering a different attitude have shown that blame could be far more important and flexible than its critics have admitted. ( 10 ) This besides illustrates. contrary to what David Samuels holds to be true. that blame music can digest the influence of groups other than its Godheads and still survive and flourish.
( 11 )Music today is invariably altering. Music is one of the most societal art signifiers in that it creates communicating between people in many different ways. It provides for non-threatening interaction. Music is the background of all our lives. Music has been about. in one signifier or another.
since the beginning of clip. Music can comfort. excite. composure. invigorate and assist a individual express feelings they otherwise might non be able to show. Music.
hopefully. will be around for many more old ages to come.Web Beginnings1 “Popular Music.
” Microsoft® Encarta® Online Encyclopedia 2004hypertext transfer protocol: //encarta. msn. com © 1997-2004 Microsoft Corporation. All Rights Reserved.
2 “Jazz. ” Microsoft® Encarta® Online Encyclopedia 2004hypertext transfer protocol: //encarta. msn.
com © 1997-2004 Microsoft Corporation. All Rights Reserved.3 “A Passion For Jazz” © 1998 Author D C DowDell hypertext transfer protocol: //www. apassion4jazz. net/hypertext transfer protocol: //www. apassion4jazz. net/jazz_styles.
hypertext markup language4 “Country Music. ” Microsoft® Encarta® Online Encyclopedia 2004hypertext transfer protocol: //encarta. msn. com © 1997-2004 Microsoft Corporation. All Rights Reserved.5 “Silver Burdett Making Music” hypertext transfer protocol: //www.
sbgmusic. com/index. hypertext markup languageArticle “Country Music and Musicians” from web site hypertext transfer protocol: //www. sbgmusic.
com/html/teacher/reference/cultures/country. hypertext markup languageCopyright © Pearson Education. Inc. All Rights Reserved.6 “Early Rhythm & A ; Blues” by Richie Unterberger hypertext transfer protocol: //www. allmusic. com/cg/amg.
dll? p=amg & A ; uid=UIDCASS70402051244413131 & A ; sql=J113Web Sources Continued:7 R & A ; B Music Primer “The R & A ; B History File – 1” Copyright Peter Dean © 1998 – Date hypertext transfer protocol: //www. rhythmandtheblues. org. uk/pdhist. shtml8 “Rock Music. ” Microsoft® Encarta® Online Encyclopedia 2004hypertext transfer protocol: //encarta.
msn. com © 1997-2004 Microsoft Corporation. All Rights Reserved.12 “On-This-Day. com” Music History © Miconcepts 1999-2004hypertext transfer protocol: //www. on-this-day.
com/onthisday/thedays/febdays/dayfeb7. htm13 “History of Rock Music” ( TM. ® . Copyright © 2002 Piero Scaruffi.
All rights reserved. )hypertext transfer protocol: //www. scaruffi. com/history/index. hypertext markup languageMagazine Articles/Newspaper Articles9 Simpson.
Janice C. . “Time” : “Yo! Rap Gets on the Map ; Led by groups like Public Enemy” . February 5. 1990.10 Thigpen. David. “Time” : “Not for Men ; Women Rappers are Interrupting the Mold with a Message of their Own” .
May 27. 1991.Magazine Articles/Newspaper Articles Continued:11 Samuels.
David. “The New Republic” : “The Rap on Rap: the Black Music that Isn’t Either” . November 11. 1991.