Since this course focuses not only on the music, but particularly also on the lyrics of songs, we often pass over many important artists that contributed to certain music genres – especially in the genres of blues, rhythm & blues, and jazz. Since many of these key musicians did not produce lyrics, we unfortunately have to skip them to stay focused on our aim in studying “Poetry in Music.” I would nevertheless advise you to look into some of the key contributors to modern music. One place to start would be in New Orleans.
A very important hub for modern music has always been New Orleans, especially with regard to blues and jazz. A good place to start to get better acquainted with the music that grew out of New Orleans would be David Shore’s five part radio program called “New Orleans – A History of Contemporary Music.”
For a taste of current bands in New Orleans you may want to consider visiting the New Orleans Website Directory.
From Blues to Rhythm & Blues
Rhythm & Blues is a term used for African American music that evolved out of Blues, Gospel, and Jazz (the latter we will discuss next week). It is often associated with Soul, Funk, and Disco – we will look at these three genres later in this course.
In his “A Brief Introduction to Rhythm ‘n’ Blues,” Piero Scaruffi writes:
The lyrics still has the repetitive style typical of blues, but the sound is perked up and the theme much more humorous. Another hit by Louis Jordan is “Choo choo ch’boogie.”
Listen to Ray Charles singing “Baby Please Don’t Go / I Got a Woman.” He begins by singing the old blues song “Baby Please Don’t Go,” but the rhythm suddenly shifts as he starts singing “I Got a Woman.” This is a nice example of traditional blues changing in mood and style to what would later be known as Rhythm & Blues.
Koko Taylor, known as the “Queen of Blues,” is another important crossover artist from blues to Rhythm & Blues. Listen to her sing “Wang Dang Doogle.” Listen to orchestration and try to hear how this song is different from the typical blues songs (like “I’m a Woman”) for which Koko Taylor is known for.
Stevie Wonder’s “Signed, Sealed, Delivered, I’m Yours” is a good example of what Rhythm & Blues eventually became. When listening to this song, try to identify the elements from blues and from Gospel. Can you identify anything unique about this song that is neither blues nor Gospel?
From here on it is a small step to Contemporary R&B, which you are probably much more familiar with, and which we will cover towards the end of the semester.
In his “A Brief Introduction to Rhythm ‘n’ Blues,” Piero Scaruffi writes:
The blues was mutating according to the changing social and artistic landscape. The 32 beats of white pop music, the dramatic emphasis of gospel singers, the heavy rhythm of jump blues, the tight brassy riffs of swing orchestras, the witty attitude of minstrel shows, all had a role in making blues music more malleable and entertaining. Transplanted in the dancehalls, the juke joints and the vaudeville theaters, blues music became energetic and exuberant. Form (arrangement, rhythm and vocal style) began to prevail over content (message and emotion). While the lyrics were still repeating the traditional themes of segregation, the music was largely abandoning its original traits.A prominent feature of Rhythm & Blues is its emphasis on beat, especially the backbeat or shuffle beat. We’ve already heard some songs that started to move away from traditional blues to a greater focus on dance rhythms. One example of this crossover style is Louis Jordan and his band. Below you will hear “Five Guys Named Moe,” by Louis Jordan.
The lyrics still has the repetitive style typical of blues, but the sound is perked up and the theme much more humorous. Another hit by Louis Jordan is “Choo choo ch’boogie.”
Listen to Ray Charles singing “Baby Please Don’t Go / I Got a Woman.” He begins by singing the old blues song “Baby Please Don’t Go,” but the rhythm suddenly shifts as he starts singing “I Got a Woman.” This is a nice example of traditional blues changing in mood and style to what would later be known as Rhythm & Blues.
Koko Taylor, known as the “Queen of Blues,” is another important crossover artist from blues to Rhythm & Blues. Listen to her sing “Wang Dang Doogle.” Listen to orchestration and try to hear how this song is different from the typical blues songs (like “I’m a Woman”) for which Koko Taylor is known for.
Stevie Wonder’s “Signed, Sealed, Delivered, I’m Yours” is a good example of what Rhythm & Blues eventually became. When listening to this song, try to identify the elements from blues and from Gospel. Can you identify anything unique about this song that is neither blues nor Gospel?
From here on it is a small step to Contemporary R&B, which you are probably much more familiar with, and which we will cover towards the end of the semester.
Blues: Percy Mayfield
Percy Mayfield made some important contributions to modern music, and is sometimes referred to as “Poet of the Blues.” Three songs that made lasting impressions are “Life is Suicide,” “Please Send Me Someone to Love,” and “Hit the Road Jack.”
When listening to these early songs of Mayfield, notice how he is moving away from the traditional Blues form. Mayfield is a significant early crossover artist towards Rhythm & Blues and Jazz.
Listen to his “Life is Suicide.” Something to listen to is the brass instruments playing a counter-melody to the vocalist’s main melody. Also note the lyrics that do not follow the traditional AAB-form, but is definitely blues in theme and tone.
The original “Please Send Me Someone to Love” can be listened to here. Listen to Sade’s version below in the YouTube-video. What you’ll notice is that the song has a strong Rhythm & Blues, or Soul feel to it. Although Percy Mayfield is known as the “Poet of the Blues,” his songs are often categorized under Rhythm & Blues.
Likely the most recognizable song by Percy Mayfield is “Hit the Road Jack.” Listen to it below, as performed by Ray Charles and his backing vocalists. A prominent feature of this song is the base contour (left hand on the piano) – a continual loop (i.e. repetition) of four notes in descending steps, giving the main four-beat pattern of this song. Also note the syncopated beat in-between these four main beats.
When listening to these early songs of Mayfield, notice how he is moving away from the traditional Blues form. Mayfield is a significant early crossover artist towards Rhythm & Blues and Jazz.
Listen to his “Life is Suicide.” Something to listen to is the brass instruments playing a counter-melody to the vocalist’s main melody. Also note the lyrics that do not follow the traditional AAB-form, but is definitely blues in theme and tone.
The original “Please Send Me Someone to Love” can be listened to here. Listen to Sade’s version below in the YouTube-video. What you’ll notice is that the song has a strong Rhythm & Blues, or Soul feel to it. Although Percy Mayfield is known as the “Poet of the Blues,” his songs are often categorized under Rhythm & Blues.
Likely the most recognizable song by Percy Mayfield is “Hit the Road Jack.” Listen to it below, as performed by Ray Charles and his backing vocalists. A prominent feature of this song is the base contour (left hand on the piano) – a continual loop (i.e. repetition) of four notes in descending steps, giving the main four-beat pattern of this song. Also note the syncopated beat in-between these four main beats.
Blues: Robert Johnson
A notorious figure in the history of blues is Robert Johnson who, according to legend, sold his soul to the Devil in exchange for great music talent.
The story goes that Johnson went to the crossroad at the Dockery Plantation between Ruleville and Cleveland, Mississippi. There he met with the Devil who tuned Johnson’s guitar so that he could play any song he wanted.
Below are some songs by Johnson that may have contributed to this legend. First up is the song “Crossroad Blues” performed here by Eric Clapton. Listen specifically to the orchestration for this rendition of the song.
Notice the different interludes between the verses; for instance the harmonica interlude, and the lead electrical guitar interlude. These interludes do not play the main melody; instead, they play improvisations based on the basic blues rhythm that is set by the other instruments (e.g. percussion).
A second song that may have contributed to Robert Johnson’s Faustian legend is “Me and the Devil Blues” played here by the man himself. Something to listen for is how the guitar plays short accentuated segments after the vocals, almost like a type of caller-response pattern that we heard before in the spirituals and Gospel.
Another song that may have leaded to the legend is “Hellhound on My Trail.” You can listen to it performed in the excerpt from the documentary “Hellhounds on my Trail - The Afterlife of Robert Johnson” in the YouTube-video below. The artist is the late Christ Whitley. Something to listen for is how Chris Whitley uses dissonance in his guitar playing; this may be a way of expressing the evil “hellhounds,” or demons, that are distressing the speaker in the lyrics.
Robert Johnson is one of the greatest influences on modern music and is considered a blues genius. When he died, he was only 27 years old. So what do you think? Did Robert Johnson die so young because he sold his soul to the Devil?
To read more on Robert Johnson, you can visit these websites.
Blues: Lead Belly
Lead Belly began singing “blues” even before the blues existed. What he really sang was the folksongs of the slaves. These folksongs differed from spirituals in that their themes were secular, not religious. One such a song is “Pick a Pale of Cotton.” Although the lyrics include “God”, the song’s topic is about an everyday activity, i.e. picking cotton.
How would you describe the rhythmic density of "Pick a Pale of Cotton"?
Another famous song of Lead Belly is “My Girl Where Did You Sleep Last Night”. It became especially famous after the grunge-rock band Nirvana covered it. Look at the lyrics of this song and identify its structure.
Lead Belly is also known for singing “House of the Rising Sun, which is another song that is very famous and covered by numerous artists. The Animals recorded it in 1964, and hit number one in the United States, the United Kingdom, Canada, and Sweden.
However, it is probably Bob Dylan’s version that is most recognizable:
Carefully read the lyrics of this song and answer the "Becoming Familiar with a Song" questions. Why do you think is this song so timeless?
"The House of the Rising Sun" was also covered by an array of different artists singing in different genres, such as Sinead O’Connor, Duran Duran, Bon Jovi, Cat Power, Dolly Parton, The Doors, Tori Amos, Nina Simone, Tracy Chapman, and Muse just to name a few!
Assignment: In a paragraph say which version of “House of the Rising Sun” is your favourite, and explain why? Use the terminology you have learned so far to substantiate your answer.
Apart from capturing these timeless folksongs, Lead Belly is also the first person to carry over the Boogie Woogie bass line from piano to guitar. You can read more about this at BoogieWoogie.Com.
How would you describe the rhythmic density of "Pick a Pale of Cotton"?
Another famous song of Lead Belly is “My Girl Where Did You Sleep Last Night”. It became especially famous after the grunge-rock band Nirvana covered it. Look at the lyrics of this song and identify its structure.
Lead Belly is also known for singing “House of the Rising Sun, which is another song that is very famous and covered by numerous artists. The Animals recorded it in 1964, and hit number one in the United States, the United Kingdom, Canada, and Sweden.
However, it is probably Bob Dylan’s version that is most recognizable:
Carefully read the lyrics of this song and answer the "Becoming Familiar with a Song" questions. Why do you think is this song so timeless?
"The House of the Rising Sun" was also covered by an array of different artists singing in different genres, such as Sinead O’Connor, Duran Duran, Bon Jovi, Cat Power, Dolly Parton, The Doors, Tori Amos, Nina Simone, Tracy Chapman, and Muse just to name a few!
Assignment: In a paragraph say which version of “House of the Rising Sun” is your favourite, and explain why? Use the terminology you have learned so far to substantiate your answer.
Apart from capturing these timeless folksongs, Lead Belly is also the first person to carry over the Boogie Woogie bass line from piano to guitar. You can read more about this at BoogieWoogie.Com.
Blues
Before the emancipation the slaves sang the spirituals – they sang about a better life, literally once they are freed from slavery, and figuratively, once they are freed from sin in this world and enjoy the blessings in Heaven. After their emancipation many African-Americans found that their literal freedom did not necessarily bring a better life as they were still poor and discrimination was still felt. This disillusionment made them sing about their sorrows. The jubilantly happy Gospel songs were an opposite reaction to these "sorrow songs."
“After the Civil War, African-American performers began to improvise a new type of song sometimes referred to as the “sorrow song,” lamenting their many difficulties in a world still unfriendly in spite of emancipation. Shortly after the turn of the twentieth century the sorrow song acquired a relatively standardized structure and another name: the “blues”” (Crossroads in Music, p. 107).
First the Spirituals, then the Blues
Blues developed out of spirituals, but with a slight change in emphasis: “blues tend to express individual, worldly feelings while spirituals express the religious feelings of a group,” also the “…spirituals are unaccompanied while blues are accompanied” (Crossroads in Music, p. 108).
Listen to Sleepy John Estes perform the old spiritual “When the Saints Go Marching In.”
Mood
“The prevailing mood [in blues] is one of sadness or depression, perhaps because of disappointment in love, loneliness, or longing for distant locations. The vocal style strives less for beauty of tone or precise intonation that for expressive communication of sentiments that are not serene or soothing” (Crossroads in Music, p. 109).
Listen to Bessie Smith singing “Nobody Knows When You Are Down and Out.” The theme of this song is clearly that of sadness, depression, and loneliness.
Blues Structure
Bessie Smith is known as the “Empress of Blues.” Listen to her perform “Mean Old Bed Bug Blues”.
Below are the first three verses of the song. Notice how the first two lines in each verse is the same, but the third line is different. This is called the traditional blues form/structure, or the AAB-form.
The blues is also known for its twelve measure structure, where each measure has four beats. Listen to the song above again – as soon as Bessie Smith starts singing start to tap the beat, every four beats equals one measure. What do you notice?
Twelve Bar
Each verse contains this twelve measure structure. It is also known as the blues “twelve bar.” The twelve bar is the basic form in blues and is repeated many times in a song. Often the vocals would sing the first two beats of the measure, and there would be some kind of improvised instrumental fill for the second two beats of the measure. This mimics the call-response method derived from African music, which was incorporated into spirituals and also used in Gospel music.
Boogie Woogie
"Boogie woogie is a solo piano style that often uses the twelve-measure blues structure. Its most characterisitc feature is a powerful, repeated eight-note pattern (four beats per measure, subdivided into two notes on each beat) played by the left hand" (Crossroads in Music. p. 212).
Above you can see a typical boogie-woogie base line progression ("riff") which is played by the left hand on the piano. You can listen to an audio clip of it here.
"Above this pattern, the right hand is free to interpret the melody or to improvise. The contrast between the two hands is so stirking that it can give the impression of two players" (Crossroads in Music. p. 212).
Although the boogie woogie is related to blues music, it is not sorrowful at all; rather it is cheerful dance music. Listen to Johan Blohm from The Refreshments play a boogie-woogie riff.
Meade Lux Lewis was probably one of the most prominent boogie woogie performers. Listen to him play the boogie woogie in the YouTube-video below.
In the YouTube-video below you can listen to an example of blues and the boogie woogie used together -- Big Joe Turner singing "Role 'Em Pete":
Notice how the boogie woogie is used as a strong intro from where the blues song (lyrics) builds with the clear AAB-structure. After the first three verses there is boogie woogie piano solo (accompanied with percussion). Later a saxophone joins the instrumental interlude.
Syncopated Rhythms
Another feature of blues is that it incorporated a syncopated rhythm, with focus on the "off" beat. In other words, in a 4/4 rhythm, the second and fouth beat is accentuated. This back beat pattern became a common feature rhythm & blues, jass, Rock 'n Roll, and other modern music.
Blues artist also sometimes use a "shuffle beat", which is a syncopated beat slightly before the regular bear. For instance, when you tap a 4-rhythm beat, ad a quick beat just before the regular rhythm -- The shuffle beat can be thought of as the "and"in "and one, and two, and three, and four".
“After the Civil War, African-American performers began to improvise a new type of song sometimes referred to as the “sorrow song,” lamenting their many difficulties in a world still unfriendly in spite of emancipation. Shortly after the turn of the twentieth century the sorrow song acquired a relatively standardized structure and another name: the “blues”” (Crossroads in Music, p. 107).
First the Spirituals, then the Blues
Blues developed out of spirituals, but with a slight change in emphasis: “blues tend to express individual, worldly feelings while spirituals express the religious feelings of a group,” also the “…spirituals are unaccompanied while blues are accompanied” (Crossroads in Music, p. 108).
Listen to Sleepy John Estes perform the old spiritual “When the Saints Go Marching In.”
Mood
“The prevailing mood [in blues] is one of sadness or depression, perhaps because of disappointment in love, loneliness, or longing for distant locations. The vocal style strives less for beauty of tone or precise intonation that for expressive communication of sentiments that are not serene or soothing” (Crossroads in Music, p. 109).
Listen to Bessie Smith singing “Nobody Knows When You Are Down and Out.” The theme of this song is clearly that of sadness, depression, and loneliness.
Blues Structure
Bessie Smith is known as the “Empress of Blues.” Listen to her perform “Mean Old Bed Bug Blues”.
Below are the first three verses of the song. Notice how the first two lines in each verse is the same, but the third line is different. This is called the traditional blues form/structure, or the AAB-form.
“Mean Old Bed Bug Blues”
Yeah, bed bugs sure is evil, they don't mean me no good
Yeah, bed bug sure is evil, they don't mean me no good
Thinks he's a woodpecker an’ I'm a chunk of wood
When I lay down at night, I wonder how can a poor gal sleep
When I lay down at night, I wonder how can a poor gal sleep
When some is holdin’ my hand, others eatin’ my feet
Bed bug as big as a jackass, will bite you and stand an’ grin
Bed bug as big as a jackass, will bite you and stand an’ grin
Will drink all the bed bug for them turn around and bite you again
The blues is also known for its twelve measure structure, where each measure has four beats. Listen to the song above again – as soon as Bessie Smith starts singing start to tap the beat, every four beats equals one measure. What do you notice?
Twelve Bar
Each verse contains this twelve measure structure. It is also known as the blues “twelve bar.” The twelve bar is the basic form in blues and is repeated many times in a song. Often the vocals would sing the first two beats of the measure, and there would be some kind of improvised instrumental fill for the second two beats of the measure. This mimics the call-response method derived from African music, which was incorporated into spirituals and also used in Gospel music.
Boogie Woogie
"Boogie woogie is a solo piano style that often uses the twelve-measure blues structure. Its most characterisitc feature is a powerful, repeated eight-note pattern (four beats per measure, subdivided into two notes on each beat) played by the left hand" (Crossroads in Music. p. 212).
Above you can see a typical boogie-woogie base line progression ("riff") which is played by the left hand on the piano. You can listen to an audio clip of it here."Above this pattern, the right hand is free to interpret the melody or to improvise. The contrast between the two hands is so stirking that it can give the impression of two players" (Crossroads in Music. p. 212).
Although the boogie woogie is related to blues music, it is not sorrowful at all; rather it is cheerful dance music. Listen to Johan Blohm from The Refreshments play a boogie-woogie riff.
Meade Lux Lewis was probably one of the most prominent boogie woogie performers. Listen to him play the boogie woogie in the YouTube-video below.
In the YouTube-video below you can listen to an example of blues and the boogie woogie used together -- Big Joe Turner singing "Role 'Em Pete":
Notice how the boogie woogie is used as a strong intro from where the blues song (lyrics) builds with the clear AAB-structure. After the first three verses there is boogie woogie piano solo (accompanied with percussion). Later a saxophone joins the instrumental interlude.
Syncopated Rhythms
Another feature of blues is that it incorporated a syncopated rhythm, with focus on the "off" beat. In other words, in a 4/4 rhythm, the second and fouth beat is accentuated. This back beat pattern became a common feature rhythm & blues, jass, Rock 'n Roll, and other modern music.
Blues artist also sometimes use a "shuffle beat", which is a syncopated beat slightly before the regular bear. For instance, when you tap a 4-rhythm beat, ad a quick beat just before the regular rhythm -- The shuffle beat can be thought of as the "and"in "and one, and two, and three, and four".
Religious Music: Gospel
One of the earliest Gospel singers were Mahalia Jackson. Listen to her perform “Be Still, My Soul.” Listen to the orchestration; also note the timbre of her voice and the style in which she sings. Mahalia Jackson seems to blend the typical hymn-style with the spiritual-style.
Out of the spirituals evolved Gospel music: “African-American singing enthusiastically affirmative of the singer’s religious faith” (Crossroads in Music, p. 88). Gospel music is often characterized by the leader-chorus format, where the lead singer entices the choir (or audience) to respond. This is known as the “call and response pattern.” Orchestration often include a choir, piano, Hammond organ, and sometimes percussion instruments, as well as the bass guitar and electric guitar.
Below are four YouTube-videos showing clippings from a BBC-documentary entitled “The History Of Gospel Music”:
After having watched the snippets from the BBC-documentary, what would you say are the most influential socio-economic or cultural events or trends that contributed to the development of Gospel music?
The YouTube-video below tells a short history of the Davis-Sisters, a once famous Gospel ensemble that came to a sad end.
Listen to the Davis Sisters perform "By and By". As the song progress try to describe it using all the music-terminology you have learned so far.
Out of the spirituals evolved Gospel music: “African-American singing enthusiastically affirmative of the singer’s religious faith” (Crossroads in Music, p. 88). Gospel music is often characterized by the leader-chorus format, where the lead singer entices the choir (or audience) to respond. This is known as the “call and response pattern.” Orchestration often include a choir, piano, Hammond organ, and sometimes percussion instruments, as well as the bass guitar and electric guitar.
Below are four YouTube-videos showing clippings from a BBC-documentary entitled “The History Of Gospel Music”:
After having watched the snippets from the BBC-documentary, what would you say are the most influential socio-economic or cultural events or trends that contributed to the development of Gospel music?
The YouTube-video below tells a short history of the Davis-Sisters, a once famous Gospel ensemble that came to a sad end.
Listen to the Davis Sisters perform "By and By". As the song progress try to describe it using all the music-terminology you have learned so far.
Religious Music: Spirituals
You can read more about the history of negro spirituals at NegroSpirtuals.Com.
Listen to the short documentary in the video clip below, then describe what you think are the “spirituals”.
Negro spirituals can readily be identified as a type of folk music – “the music of the people”. Crossroads in Music (p. 63) explains that “folk music communicates on a direct personal level and is readily accepted by a large percentage of the population. An important defining feature of folk music is the anonymity of its creators. In addition, it is usually performed by amateurs and – at least in recent years – has been most often transmitted by oral tradition…”
“The spiritual is the first combining of African and European elements” (Crossroads in Music, p. 104). Negro spiritual are the songs that were originally sung by African-American slaves and were one of the main influences from which Gospel music, blues, jazz, rhythm and blues, country and rock ‘n roll would eventually evolve.
There are basically two types of spiritual: the leader-chorus and the verse-and-refrain. “The leader-chorus type closely resembles the call and response type so characteristic of African singing: in both, lines of text sung by a soloist alternate with a sung group response. Songs that tell a story are often in verse and refrain, the action is told in a series of verses, and each verse is followed by a refrain . . . Spirituals often combined the two types. Singers would raise and lower notes, slide from note to note, and add melodic embellishments to emphasize the emotional content of the words. These traits closely resembled the traditional elements of African singing” (Crossroads in Music, p. 104).
Water is a common theme in spirituals because it had both a spiritual meaning as well as a practical value. Spiritually water refers to baptism and the washing away of sins. Jesus also identified Himself as the source of Living Water, the source of Everlasting Life. On a practical level slaves fleeing from the slave masters were admonished to “Wade in the Water,” so that they could not easily be tracked. The word “wade” means to walk through shallow water.
Listen to Yolanda Rhodes singing “Wade in the Water”:
Another famous water-themed spiritual is “Take me to the Water (to Be Baptised)”, sung here by Nina Simone.
Listen to Alison Krauss singing “As I went down to the river to pray”
To be free from slavery was about both freedom from their physical slave masters, but also free from their spiritual slave master – namely Satan and sin. The song “Steal Away” is an example of a song that reflects this double meaning. Listen to “Steal Away” as sung by Mahalia Jackson and Nat King Cole.
Apart from “Amazing Grace”, one of the most famous spirituals is “Swing Low Sweet Chariot.” Listen to it in the YouTube-video below. This version by Etta James starts to sound more like Gospel Music – which we will take a look at in the next post. You can also listen to a Gospel rendition of "Amazing Grace" by Aretha Franklin below that.
How do you think spiritual music differ from Gospel music?
Listen to the short documentary in the video clip below, then describe what you think are the “spirituals”.
Negro spirituals can readily be identified as a type of folk music – “the music of the people”. Crossroads in Music (p. 63) explains that “folk music communicates on a direct personal level and is readily accepted by a large percentage of the population. An important defining feature of folk music is the anonymity of its creators. In addition, it is usually performed by amateurs and – at least in recent years – has been most often transmitted by oral tradition…”
“The spiritual is the first combining of African and European elements” (Crossroads in Music, p. 104). Negro spiritual are the songs that were originally sung by African-American slaves and were one of the main influences from which Gospel music, blues, jazz, rhythm and blues, country and rock ‘n roll would eventually evolve.
There are basically two types of spiritual: the leader-chorus and the verse-and-refrain. “The leader-chorus type closely resembles the call and response type so characteristic of African singing: in both, lines of text sung by a soloist alternate with a sung group response. Songs that tell a story are often in verse and refrain, the action is told in a series of verses, and each verse is followed by a refrain . . . Spirituals often combined the two types. Singers would raise and lower notes, slide from note to note, and add melodic embellishments to emphasize the emotional content of the words. These traits closely resembled the traditional elements of African singing” (Crossroads in Music, p. 104).
Water is a common theme in spirituals because it had both a spiritual meaning as well as a practical value. Spiritually water refers to baptism and the washing away of sins. Jesus also identified Himself as the source of Living Water, the source of Everlasting Life. On a practical level slaves fleeing from the slave masters were admonished to “Wade in the Water,” so that they could not easily be tracked. The word “wade” means to walk through shallow water.
Listen to Yolanda Rhodes singing “Wade in the Water”:
Another famous water-themed spiritual is “Take me to the Water (to Be Baptised)”, sung here by Nina Simone.
Listen to Alison Krauss singing “As I went down to the river to pray”
To be free from slavery was about both freedom from their physical slave masters, but also free from their spiritual slave master – namely Satan and sin. The song “Steal Away” is an example of a song that reflects this double meaning. Listen to “Steal Away” as sung by Mahalia Jackson and Nat King Cole.
Apart from “Amazing Grace”, one of the most famous spirituals is “Swing Low Sweet Chariot.” Listen to it in the YouTube-video below. This version by Etta James starts to sound more like Gospel Music – which we will take a look at in the next post. You can also listen to a Gospel rendition of "Amazing Grace" by Aretha Franklin below that.
How do you think spiritual music differ from Gospel music?
Religious Music: Hymns
We start our discussion on modern Religious Music with “Finlandia” by the Finnish composer Jean Sibelius. A part of the last section in this symphonic poem is known as the “Finlandia Hymn”. The symphonic poem was composed in 1899 while Finland was suffering under Russian dictatorship. Listen and hear if you recognize it – the “Finlandia Hymn” starts around 5 minutes 20 seconds into the YouTube-video below and lasts until around 7 minutes 7 seconds; elements of it is again recognizable at around 8 minutes.
Try to identify the instruments used in this recording of the “Finlandia Hymn.” Listen to the different timbres and take note how the density changes. What causes the density to change?
The “Finlandia Hymn” has become well known as a Christian hymn – “Be Still, My Soul”. Listen to it sung by Izzy.
Now listen to it sung by rock artist Sheryl Crow.
How is the orchestration different in the rendition with Izzy compared to the one by Sheryl Crow? Describe the difference in musical instruments used. How is the density different? Can you describe the difference in timbre between Izzy’s voice and Sheryl Crow’s voice?
The lyrics that is usually sung to the melody of the “Finlandia Hymn” (“Be Still, My Soul”) was originally written in German (“Stille meine Wille, dein Jesus hilft siegen”) by Katharina Amalia (1752). It was later translated into English by Laurie Borthwick (1855).
Listen to Ginny Owens, CCM (Christian Contemporary Music) artist, use the same lyrics but sing it to a completely different melody.
How will you describe the difference in the “Finlandia Hymn”-melody compared to Ginny Owens’ melody?
Of the three versions (Izzy's, Sheryl Crow's, and Ginny Owens'), which do you prefer and why?
Try to identify the instruments used in this recording of the “Finlandia Hymn.” Listen to the different timbres and take note how the density changes. What causes the density to change?
The “Finlandia Hymn” has become well known as a Christian hymn – “Be Still, My Soul”. Listen to it sung by Izzy.
Now listen to it sung by rock artist Sheryl Crow.
How is the orchestration different in the rendition with Izzy compared to the one by Sheryl Crow? Describe the difference in musical instruments used. How is the density different? Can you describe the difference in timbre between Izzy’s voice and Sheryl Crow’s voice?
The lyrics that is usually sung to the melody of the “Finlandia Hymn” (“Be Still, My Soul”) was originally written in German (“Stille meine Wille, dein Jesus hilft siegen”) by Katharina Amalia (1752). It was later translated into English by Laurie Borthwick (1855).
Listen to Ginny Owens, CCM (Christian Contemporary Music) artist, use the same lyrics but sing it to a completely different melody.
How will you describe the difference in the “Finlandia Hymn”-melody compared to Ginny Owens’ melody?
Of the three versions (Izzy's, Sheryl Crow's, and Ginny Owens'), which do you prefer and why?
Instruments
The Voice
It is impossible to have music without musical instruments; the most important musical instrument being the voice. Thus everybody with a voice (which is technically every person) have with them an instrument to produce music. In certain settings the voice is the only instrument, for instance in a cappella singing, which is often used in religious music. A cappella music is singing without instrumental accompaniment.
Voices differ greatly in their timbre. Listen, for instance to Doris Day singing “Dream a Little Dream of Me”. Now compare her voice with that of Louis Armstrong singing the same song. How do these examples differ in timbre?
Wind Instruments
“Wind instruments are those in which the sounds is produced by a vibrating column of air” (Crossroads in Music, p. 49). Wind instruments are divided into woodwinds and brass-winds.
String Instruments
“Instruments in which the sound is generated by a vibrating string are called string instruments” (Crossroads in Music, p. 50).
Percussion
“Percussion instruments that produce a sound when struck or shaken. Drums are almost exclusively percussion instruments in which the sounds is produced by the vibration of a stretched piece of skin or plastic (a head)” (Crossroads in Music, p. 50).
Synthetic Instruments
“Synthetic instruments are those in which the sound is produced electronically, not by the vibration of some natural material. Instruments such as synthesizers use oscillators to produce sound electronically. Other instruments such as the electric guitar, in which a natural vibration is amplified and/or modified electronically, are not synthetic instruments” (Crossroads in Music, p. 56).
“Instruments that do not create sound but trigger the actions of a computer/synthesizer are called controllers. These include guitar controllers, drum machines, keyboard controllers, wind controllers, and keyboard mallet controllers. Computers are also able to reproduce natural sounds through a process called sampling. A sampler is a device that takes successive digital snapshots of a natural sound over time. The digital information can then be used to recreate the sound synthetically. In another process called sequencing, the digital data that is necessary to play back MIDI [Musical Instrument Digital Interface] sequences and files is stored in a computer” (Crossroads in Music, p. 57).
Ensembles
"Instruments and/or voices that perform together are called ensembles. Such groupings provide for greater diversity in volume, pitch, and timbre than a solo voice or instrument can create" (Crossroads in Music, p. 57).
Since the 20th century, orchestras (big ensembles) used an orchestra seating plan to arrange the different instruments.
Please familiarize yourself with the basic instruments and their sounds/timbres. This will help you to more effectively discuss a song and its orchestration.
It is impossible to have music without musical instruments; the most important musical instrument being the voice. Thus everybody with a voice (which is technically every person) have with them an instrument to produce music. In certain settings the voice is the only instrument, for instance in a cappella singing, which is often used in religious music. A cappella music is singing without instrumental accompaniment.
Voices differ greatly in their timbre. Listen, for instance to Doris Day singing “Dream a Little Dream of Me”. Now compare her voice with that of Louis Armstrong singing the same song. How do these examples differ in timbre?
Wind Instruments
“Wind instruments are those in which the sounds is produced by a vibrating column of air” (Crossroads in Music, p. 49). Wind instruments are divided into woodwinds and brass-winds.
String Instruments
“Instruments in which the sound is generated by a vibrating string are called string instruments” (Crossroads in Music, p. 50).
Percussion
“Percussion instruments that produce a sound when struck or shaken. Drums are almost exclusively percussion instruments in which the sounds is produced by the vibration of a stretched piece of skin or plastic (a head)” (Crossroads in Music, p. 50).
Synthetic Instruments
“Synthetic instruments are those in which the sound is produced electronically, not by the vibration of some natural material. Instruments such as synthesizers use oscillators to produce sound electronically. Other instruments such as the electric guitar, in which a natural vibration is amplified and/or modified electronically, are not synthetic instruments” (Crossroads in Music, p. 56).
“Instruments that do not create sound but trigger the actions of a computer/synthesizer are called controllers. These include guitar controllers, drum machines, keyboard controllers, wind controllers, and keyboard mallet controllers. Computers are also able to reproduce natural sounds through a process called sampling. A sampler is a device that takes successive digital snapshots of a natural sound over time. The digital information can then be used to recreate the sound synthetically. In another process called sequencing, the digital data that is necessary to play back MIDI [Musical Instrument Digital Interface] sequences and files is stored in a computer” (Crossroads in Music, p. 57).
Ensembles
"Instruments and/or voices that perform together are called ensembles. Such groupings provide for greater diversity in volume, pitch, and timbre than a solo voice or instrument can create" (Crossroads in Music, p. 57).
Since the 20th century, orchestras (big ensembles) used an orchestra seating plan to arrange the different instruments.
Please familiarize yourself with the basic instruments and their sounds/timbres. This will help you to more effectively discuss a song and its orchestration.
Assignment #2 (Due Sept 23)
Choose any one of the three songs below.
Regina Spektor -- "Fidility"
Harry Connick, Jr. -- "Hear Me in the Harmony"
Justin Timberlake -- "Love Stoned / I Think She Knows Interlude"
Write a short (typed) essay in which you describe its Melody, Harmony, Rhythm and general Form. Remember to make use of the terminology you have learned this week.
Some ideas:
Regarding the “Melody” you could identify the melody and explain why you think it is a successful melody or not. Talk about the melodic contour, the type of motion (generally conjunct or disjunct notes), and range.
Regarding the “Harmony” you could include who or what is performing the harmony and what makes up the harmonies of this song. You may also mention consonance and dissonance, chord progressions and so one.
Regarding the “Rhythm” you could describe how you think it contributes to the song. You may also talk about the meter of the song and mention if there is polyrhythm and/or syncopation.
Also say how you think the music (melody, harmony & rhythm) contribute to the lyrics (or not).
Proper essay form:
Remember that a proper essay should have in introductory paragraph, some body paragraphs, and a concluding paragraph. The introduction and conclusion should resonate. Your essay should also include a clear heading in the top left corner (with your name, name of this class and the date the assignment is due). There should also be a title which should be centered.
Any essay which does not comply with the basic principles of academic essay writing will not be graded.
Regina Spektor -- "Fidility"
Harry Connick, Jr. -- "Hear Me in the Harmony"
Justin Timberlake -- "Love Stoned / I Think She Knows Interlude"
Write a short (typed) essay in which you describe its Melody, Harmony, Rhythm and general Form. Remember to make use of the terminology you have learned this week.
Some ideas:
Regarding the “Melody” you could identify the melody and explain why you think it is a successful melody or not. Talk about the melodic contour, the type of motion (generally conjunct or disjunct notes), and range.
Regarding the “Harmony” you could include who or what is performing the harmony and what makes up the harmonies of this song. You may also mention consonance and dissonance, chord progressions and so one.
Regarding the “Rhythm” you could describe how you think it contributes to the song. You may also talk about the meter of the song and mention if there is polyrhythm and/or syncopation.
Also say how you think the music (melody, harmony & rhythm) contribute to the lyrics (or not).
Proper essay form:
Remember that a proper essay should have in introductory paragraph, some body paragraphs, and a concluding paragraph. The introduction and conclusion should resonate. Your essay should also include a clear heading in the top left corner (with your name, name of this class and the date the assignment is due). There should also be a title which should be centered.
Any essay which does not comply with the basic principles of academic essay writing will not be graded.
More Terms
Apart from the terms associated with melody, harmony, and rhythm there are more terms that can help you to discuss music – some of them are listed and explained below. (Much of this discussion is based on Crossroads in Music, p. 31-47.)
Dynamics
When we want to talk about how loud or soft the volume of music is we refer to its dynamics. Soft dynamics is called piano and loud dynamics is known as forte.
Timbre
Different instruments can all play the same pitch (For more on "pitch" see "Melody"); however, we are able to distinguish the violin from cello and the trumpet from the French horn. How are we able to do this? “The answer lies in the fact that natural sounds are actually a composite made up of a primary pitch and a series of other pitches called overtones or partials” (Crossroads in Music, p. 32). These overtones give each instrument a unique sound, known as timbre.
Orchestration
When different timbres are combined for a band or an orchestra we call it orchestration.
Texture
Texture refers to the interplay between melody and harmony in music. If a song consist only of a melody, it is called monophonic (“mono” = one; “phony” = sound). When you are whistling a melody to yourself we can say that the texture is monophonic.
If there are more than one melody that are weaved together we refer to it as polyphonic (“poly” = many). The texture of Rossini’s “Duet for Two Cats” is polyphonic (To listen to Rossini's duet go to"Melody"). An important term here is counterpoint, and refers to a type of polyphony where the melodies are not merely combined, but plays against each other. Listen how Judy Garland and Barbra Streisand sing “Get Happy” and “Happy Days are Here Again” in a counterpoint duet.
If the music consists primarily of a single melody supported by harmony made up of fitting chords (For "chords" go to "Harmony"), it is known as homophonic (“homo” = similar; thus ‘similar sounds’). The texture of most popular music (i.e. pop music) is homophonic.
Density
When discussing the texture of music we can also describe its tonal density and rhythmic density. Tonal density refers to the number and kinds of voices and instruments that are used. Rhythmic density refers to the amount of rhythmic activity. A music’s dynamics (if it is forte, i.e. the volume is loud) will also influence its density. The timbre of certain instruments may also influence the density of music; for instance, a trumpet creates more tonal density than a flute.
Listen to Queen’s “Bohemian Rhapsody” again. Notice how both the tonal density and the rhythmic density changes throughout the song.
Form
We already touched on form when we discussed “Song Structure”. Crossroads in Music define form as “the overall design of a musical work that can be heard by the listener.” When we talk about a song's structure or form, we may use terms like repetition, variation, and contrast. Verses and choruses are usually repeated, while bridges and interludes provide variation and contrast. Listen to Dave Matthews perform “Sing Along” with The Blue Man Group.
The hook for this song is “If I sing a song, will you sing along,” but notice how the melody for the hook changes, especially towards the end of the song. There is therefore “variation” in the hook’s melody. Contrast in the song is provided by the guitar interlude. Towards the end of the song there is also a counterpoint melody that provides further contrast.
Minimalism
A final useful term when describing certain kinds of music is minimalism. “Minimalism involves using limited musical materials in a texture that features few (minimal) changes in rhythm, melody, and harmony. In practice this typically involves repeating musical ideas with an occasional change of a single feature…” (Crossroads in Music, p. 46). Electronic music, such as Techno Music, is often minimalistic. The “Ballad of Love and Hate” by The Avett Brothers (whom we listened to in a previous class) may also be described as minimalistic as it contains a lot of repetition with very little variation – it does not even have a chorus to provide contrast.
Dynamics
When we want to talk about how loud or soft the volume of music is we refer to its dynamics. Soft dynamics is called piano and loud dynamics is known as forte.
Timbre
Different instruments can all play the same pitch (For more on "pitch" see "Melody"); however, we are able to distinguish the violin from cello and the trumpet from the French horn. How are we able to do this? “The answer lies in the fact that natural sounds are actually a composite made up of a primary pitch and a series of other pitches called overtones or partials” (Crossroads in Music, p. 32). These overtones give each instrument a unique sound, known as timbre.
Orchestration
When different timbres are combined for a band or an orchestra we call it orchestration.
Texture
Texture refers to the interplay between melody and harmony in music. If a song consist only of a melody, it is called monophonic (“mono” = one; “phony” = sound). When you are whistling a melody to yourself we can say that the texture is monophonic.
If there are more than one melody that are weaved together we refer to it as polyphonic (“poly” = many). The texture of Rossini’s “Duet for Two Cats” is polyphonic (To listen to Rossini's duet go to"Melody"). An important term here is counterpoint, and refers to a type of polyphony where the melodies are not merely combined, but plays against each other. Listen how Judy Garland and Barbra Streisand sing “Get Happy” and “Happy Days are Here Again” in a counterpoint duet.
If the music consists primarily of a single melody supported by harmony made up of fitting chords (For "chords" go to "Harmony"), it is known as homophonic (“homo” = similar; thus ‘similar sounds’). The texture of most popular music (i.e. pop music) is homophonic.
Density
When discussing the texture of music we can also describe its tonal density and rhythmic density. Tonal density refers to the number and kinds of voices and instruments that are used. Rhythmic density refers to the amount of rhythmic activity. A music’s dynamics (if it is forte, i.e. the volume is loud) will also influence its density. The timbre of certain instruments may also influence the density of music; for instance, a trumpet creates more tonal density than a flute.
Listen to Queen’s “Bohemian Rhapsody” again. Notice how both the tonal density and the rhythmic density changes throughout the song.
Form
We already touched on form when we discussed “Song Structure”. Crossroads in Music define form as “the overall design of a musical work that can be heard by the listener.” When we talk about a song's structure or form, we may use terms like repetition, variation, and contrast. Verses and choruses are usually repeated, while bridges and interludes provide variation and contrast. Listen to Dave Matthews perform “Sing Along” with The Blue Man Group.
The hook for this song is “If I sing a song, will you sing along,” but notice how the melody for the hook changes, especially towards the end of the song. There is therefore “variation” in the hook’s melody. Contrast in the song is provided by the guitar interlude. Towards the end of the song there is also a counterpoint melody that provides further contrast.
Minimalism
A final useful term when describing certain kinds of music is minimalism. “Minimalism involves using limited musical materials in a texture that features few (minimal) changes in rhythm, melody, and harmony. In practice this typically involves repeating musical ideas with an occasional change of a single feature…” (Crossroads in Music, p. 46). Electronic music, such as Techno Music, is often minimalistic. The “Ballad of Love and Hate” by The Avett Brothers (whom we listened to in a previous class) may also be described as minimalistic as it contains a lot of repetition with very little variation – it does not even have a chorus to provide contrast.
Bo Diddly's Meme
In Tom Zarecki’s discussion on rhythm, he points out the major influence that Bo Diddly brought to popular music with his unique rhythm. You can listen to Bo Diddly’s groundbreaking rhythm in the YouTube-video below.
Now listen to the series of different songs that follow. Notice how Bo Diddly’s rhythm is used in these different songs.
Remember how many songs can share the same chord progression (see “Harmony”) – so too many songs can share the same rhythm. Again, it is the melody that makes the big difference; and of course, the lyrics are also different.
Now listen to the series of different songs that follow. Notice how Bo Diddly’s rhythm is used in these different songs.
- Rolling Stones -- "Not Fade Away" (1964)
- George Michael -- "Faith" (1987)
- U2 -- "Desire" (1989)
Remember how many songs can share the same chord progression (see “Harmony”) – so too many songs can share the same rhythm. Again, it is the melody that makes the big difference; and of course, the lyrics are also different.
Rhythm
Rhythm is probably the most basic form of music. Even new born babies can recognize rhythm.
The Free Dictionary explains rhythm as: The patterned, recurring alternations of contrasting elements of sound or speech. Crossroads in Music (p. 12) defines it as: “the temporal organization of sounds in music.” Rhythm is made up of “regularly spaced rhythmic pulses called beats” and “the speed of the beats is called tempo” (p. 12, 13). These beats are often grouped together “into regularly recurring patterns” known as meter. Each grouping is called a measure (p 13, 14) and every measure usually has beats that are stronger accented than the other beats.
Note that this is similar to poetry (and therefore lyrics). A poem may also have a rhythm which is structured or regular, which is also known as the poem’s meter. The groupings in poetry are not called measures, but feet (singular: foot). Every foot usually has word syllables that are more stressed than other syllables.
Not all songs have a clear distinguishable rhythm – in which case we refer to them as having flexible or unmetered rhythm. Poems that do not have a clear meter are known as free verse or cadenced verse. Some pieces of music may have multiple layers of rhythm sounding at the same time – this is referred to as polyrhythm. Sometimes polyrhythm may be in contradiction and is known as syncopation or off-beats. This happens when rhythms are not perfectly aligned with the strong pulses in the underlying meter. (Crossroads in Music, p. 16, 17.)
The Free Dictionary explains rhythm as: The patterned, recurring alternations of contrasting elements of sound or speech. Crossroads in Music (p. 12) defines it as: “the temporal organization of sounds in music.” Rhythm is made up of “regularly spaced rhythmic pulses called beats” and “the speed of the beats is called tempo” (p. 12, 13). These beats are often grouped together “into regularly recurring patterns” known as meter. Each grouping is called a measure (p 13, 14) and every measure usually has beats that are stronger accented than the other beats.
Note that this is similar to poetry (and therefore lyrics). A poem may also have a rhythm which is structured or regular, which is also known as the poem’s meter. The groupings in poetry are not called measures, but feet (singular: foot). Every foot usually has word syllables that are more stressed than other syllables.
Not all songs have a clear distinguishable rhythm – in which case we refer to them as having flexible or unmetered rhythm. Poems that do not have a clear meter are known as free verse or cadenced verse. Some pieces of music may have multiple layers of rhythm sounding at the same time – this is referred to as polyrhythm. Sometimes polyrhythm may be in contradiction and is known as syncopation or off-beats. This happens when rhythms are not perfectly aligned with the strong pulses in the underlying meter. (Crossroads in Music, p. 16, 17.)
Harmony
In music, harmony means that more than one note with different pitches are sounded at the same time. Listen to the Gaithar Vocal Band singing in harmony (in the shower!) in the YouTube-video below.
Intervals and Chords
The distance in pitch between the notes are called the interval. When three or more notes are sounded at the same time it is called a chord. The most common chord is the triad chord – three different notes sounded together. When people learn to strum the guithar they usually learn to play different chords, and often triad chords. Popular songs are usually made up of three (sometimes four) chords that go well together. “When different chords systematically follow each other in a piece of music, we describe the musical results as a chord progression” (Crossroads in Music, p. 26). Listen to the YouTube-video below and notice how many popular songs all use the same chord progression.
Since the chord progression is exactly the same, how do we differentiate between these songs? Yes, it is the melody that makes these songs unique.
Dissonance and Consonance
Usuall when we think of “harmony” in music, we think of notes that sound nice toghether. However, harmony can be any notes sounded at the same time and does not necessarily have to sound pleasing. When notes sound pleasing together is called consonance. When notes sound unpleasing together it is called dissonance. Dissonance creates tension in music. Rock music, especially heavy metal music, makes use of a lot of dissonance to create tension. Crossroads in Music (p. 29) explains that “moving from dissonance to consonance provides resolution (rest)…”
The song “Bohemian Rhapsody”by the rock band Queen is probably one of the most famous songs of all time. This song has much emphasis on harmony by the different vocals – there is therefore lots of consonance in the song. Although there is a strong focus on consonance between the different vocals and instruments, there are also clear moments dissonance. Listen to the song in the YouTube-video below and notice how the dissonance creates tension which is resolved when the dissonance changes into consonance again.
Which instrument(s) do you think helps the most with creating those moments of dissonance in “Bohemian Rhapsody”?
Harmony’s Effect on Your Mind
It is well known that music can put us into a certain mood. For instance, sad music can make you melancholic or upbeat music can give you energy. How do you think music with lots of dissonance, such as heavy metal music, will influence your emotional state? It is possible that long term exposure to music with a strong emphasis on dissonance (which creates musical tension) could put you into a negative – even aggressive, agitated, or depressed – frame of mind. Later in this semester we will see how certain types of music have traditions of drug abuse, violence, depression and suicide associated with them.
What effect has the music you listen to on your mind?
Intervals and Chords
The distance in pitch between the notes are called the interval. When three or more notes are sounded at the same time it is called a chord. The most common chord is the triad chord – three different notes sounded together. When people learn to strum the guithar they usually learn to play different chords, and often triad chords. Popular songs are usually made up of three (sometimes four) chords that go well together. “When different chords systematically follow each other in a piece of music, we describe the musical results as a chord progression” (Crossroads in Music, p. 26). Listen to the YouTube-video below and notice how many popular songs all use the same chord progression.
Since the chord progression is exactly the same, how do we differentiate between these songs? Yes, it is the melody that makes these songs unique.
Dissonance and Consonance
Usuall when we think of “harmony” in music, we think of notes that sound nice toghether. However, harmony can be any notes sounded at the same time and does not necessarily have to sound pleasing. When notes sound pleasing together is called consonance. When notes sound unpleasing together it is called dissonance. Dissonance creates tension in music. Rock music, especially heavy metal music, makes use of a lot of dissonance to create tension. Crossroads in Music (p. 29) explains that “moving from dissonance to consonance provides resolution (rest)…”
The song “Bohemian Rhapsody”by the rock band Queen is probably one of the most famous songs of all time. This song has much emphasis on harmony by the different vocals – there is therefore lots of consonance in the song. Although there is a strong focus on consonance between the different vocals and instruments, there are also clear moments dissonance. Listen to the song in the YouTube-video below and notice how the dissonance creates tension which is resolved when the dissonance changes into consonance again.
Which instrument(s) do you think helps the most with creating those moments of dissonance in “Bohemian Rhapsody”?
Today, musicians in the fiels of electronic music, rap music, and some other musical styles do not emply harmony in a traditional sense. They rely on the intensity of sound, lyrics, or rhythmic drive to give meaning to their musical statemensts, which often come as isolated sounds rather than as part of a harmonic context. (Crossroads in Music, p. 31.)Reread the quote above and then listen to Justin Timberlake’s “Lovestoned / I Think She Knows Interlude”. What do you think is the most important element in this song: melody, harmony, rhythm, or lyrics?
Harmony’s Effect on Your Mind
It is well known that music can put us into a certain mood. For instance, sad music can make you melancholic or upbeat music can give you energy. How do you think music with lots of dissonance, such as heavy metal music, will influence your emotional state? It is possible that long term exposure to music with a strong emphasis on dissonance (which creates musical tension) could put you into a negative – even aggressive, agitated, or depressed – frame of mind. Later in this semester we will see how certain types of music have traditions of drug abuse, violence, depression and suicide associated with them.
What effect has the music you listen to on your mind?
Melody
The melody is often the most important part of a song. In the textbook Crossroads in Music, melody is described as “a succession of musical tones organized in a meaningful fashion” (p. 17). We can differentiate between songs because of their different melodies. Crossroads in Music (p. 17) explains that good melodies are easy to remember, but also different enough to be unique.
There are some vocabulary you need to know when discussing a song's melody. Much of the definitions below come from the textbook Crossroads in Music (p. 17-24).
Pitch
Pitch is the “highness or lowness of sound.” The keys on a piano each represent a different pitch, with higher pitches towards the right of the piano and lower pitches towards the right. Pitch and note are often used synonymously, although the meaning is slightly different.
Scales
A scale is “sequences of pitches” – a series of pitches that customarily go together. The most common scale in Western music is the C major scale, which include all the white keys on the piano from one C to the next C. In Western music there are two common scales, namely major scales and minor scales. Minor scales tend to sound sad, therefore sad ballads are often written in a minor scale. On the other hand, happy songs are written in major scales.
The most important note in the melody is called the tonic (also known as the key); for example, “C” is the tonic for a song written in C major.
A special type of scale that uses only five pitches (only the black keys on the piano) is called the pentatonic scale. Music from Asian cultures are often in the pentatonic scale. A very famous Western song that is in the pentatonic scale is “Amazing Grace”.
Melodic Contour, Motion, and Range
The contour (or shape) of a melody describes how the notes move up or down in pitch. For instance, the melody of “Twinkle, Twinkle, Little Star” starts by ascending from C to A, then changing direction and descending again to C. Next follows two repetitions of a descending pattern (starting with G and ending in D), after which the first part with its ascending-descending form is repeated.
Notes can move up and down by stepping (conjunct) or skipping (disjunct). Stepping means that the notes move up or down one pitch at a time. Skipping means that the notes miss some pitches when the melody progress up or down. In the song “Twinkle, Twinkle, Little Star” the melody starts by repeating the same note (C) twice and then skipping upward to G, which is also repeated twice. The melody then steps one note up to (A) which is also repeated twice. Next the melodic contour changes direction and descends through a series of downward steps and repetitions. And so on.
“Twinkle, Twinkle, Little Star” has a short range. Its range only spans six notes from C to A. The range of a song is the distance between the the lowest and the highest pitch. Usually the wider the range of a song, the more difficult it is to perform. Vocalists are often praised if they can sing a wide range (very low and very high notes).
Countermelody
Apart from the primary melody, a song may have a secondary melody which is called the countermelody. Listen to the Rossini's "Duet for Two Cats" in the YouTube-video below. The first vocalist sings the primary melody and the second vocalist sings the countermelody. The piano provides the harmony.
Usually the countermelody is considered to be of secondary importance to the primary melody. Do you think that the countermelody in Rosinni's "Duet for Two Cats" is of less importance that the primary melody? Why or why not?
There are some vocabulary you need to know when discussing a song's melody. Much of the definitions below come from the textbook Crossroads in Music (p. 17-24).
Pitch
Pitch is the “highness or lowness of sound.” The keys on a piano each represent a different pitch, with higher pitches towards the right of the piano and lower pitches towards the right. Pitch and note are often used synonymously, although the meaning is slightly different.
Scales
A scale is “sequences of pitches” – a series of pitches that customarily go together. The most common scale in Western music is the C major scale, which include all the white keys on the piano from one C to the next C. In Western music there are two common scales, namely major scales and minor scales. Minor scales tend to sound sad, therefore sad ballads are often written in a minor scale. On the other hand, happy songs are written in major scales.
The most important note in the melody is called the tonic (also known as the key); for example, “C” is the tonic for a song written in C major.
A special type of scale that uses only five pitches (only the black keys on the piano) is called the pentatonic scale. Music from Asian cultures are often in the pentatonic scale. A very famous Western song that is in the pentatonic scale is “Amazing Grace”.
Melodic Contour, Motion, and Range
The contour (or shape) of a melody describes how the notes move up or down in pitch. For instance, the melody of “Twinkle, Twinkle, Little Star” starts by ascending from C to A, then changing direction and descending again to C. Next follows two repetitions of a descending pattern (starting with G and ending in D), after which the first part with its ascending-descending form is repeated.
Notes can move up and down by stepping (conjunct) or skipping (disjunct). Stepping means that the notes move up or down one pitch at a time. Skipping means that the notes miss some pitches when the melody progress up or down. In the song “Twinkle, Twinkle, Little Star” the melody starts by repeating the same note (C) twice and then skipping upward to G, which is also repeated twice. The melody then steps one note up to (A) which is also repeated twice. Next the melodic contour changes direction and descends through a series of downward steps and repetitions. And so on.
“Twinkle, Twinkle, Little Star” has a short range. Its range only spans six notes from C to A. The range of a song is the distance between the the lowest and the highest pitch. Usually the wider the range of a song, the more difficult it is to perform. Vocalists are often praised if they can sing a wide range (very low and very high notes).
Countermelody
Apart from the primary melody, a song may have a secondary melody which is called the countermelody. Listen to the Rossini's "Duet for Two Cats" in the YouTube-video below. The first vocalist sings the primary melody and the second vocalist sings the countermelody. The piano provides the harmony.
Usually the countermelody is considered to be of secondary importance to the primary melody. Do you think that the countermelody in Rosinni's "Duet for Two Cats" is of less importance that the primary melody? Why or why not?
Assignment #1 (Due Sept 16)
Choose any English song. (Please do not choose a song with excessive profanity; i.e. foul language, lyrics that promote gender violence, etc.)
Provide the metadata for the song, answer question #20 (i.e. copy the lyrics of the song and indicate the song structure), and answer questions #1-#9, from the list of questions from the "Becoming Familiar with a Song"-post. Some questions you may not be able to answer; for instance, it is not always possible to know who the audience (i.e. who the speaker is singing to) is.
Your assignment should be typed. Please use full sentences when answering the questions. Remember to include a link to the song online, so that I can listen to it.
Provide the metadata for the song, answer question #20 (i.e. copy the lyrics of the song and indicate the song structure), and answer questions #1-#9, from the list of questions from the "Becoming Familiar with a Song"-post. Some questions you may not be able to answer; for instance, it is not always possible to know who the audience (i.e. who the speaker is singing to) is.
Your assignment should be typed. Please use full sentences when answering the questions. Remember to include a link to the song online, so that I can listen to it.
Becoming Familiar with a Song
Before you can really criticize and evaluate a song, you need to become “familiar” with it. Listen to it a couple of times. Listen to the melody, the harmony, and the rhythm. (We will discuss these terms in much more detail later.) Can you identify the musical instruments? Have you started to recognise parts of the structure of the song? Read the lyrics.
The following questions are adapted from the book Perrine’s Sound & Sense: An Introduction to Poetry by Thomas R. Arp and Greg Johnson and will help you to understand the lyrics of the song, and the song as a whole, much better:
The following questions are adapted from the book Perrine’s Sound & Sense: An Introduction to Poetry by Thomas R. Arp and Greg Johnson and will help you to understand the lyrics of the song, and the song as a whole, much better:
- Who is the speaker? What kind of person is the speaker?
- Is there an identifiable audience for the speaker? In other words, who is the singer singing to? (For instance, is it a Casanova singing to woo a potential lover?) What can we know about the audience (her, him, or them)?
- What is the occasion?
- What is the setting in time (hour, season, century, and so on)?
- What is the setting in place (indoors or out, city or country, land or sea, region, nation, hemisphere)?
- What is the central purpose of the song?
- State the central idea or theme of the song in a sentence.
- (a.) Outline the ideas in the lyrics to show its structure and development, or (b.) summarize the events of the song.
- Paraphrase the lyrics.
- Discuss the diction of the song. Point out words that are particularly well chosen and explain why.
- Discuss the imagery of the song. What kinds of imagery are used? Is there a structure of imagery?
- Point out examples poetic devices, such as metaphor, simile, personification, and metonymy, and explain their appropriateness.
- Point out and explain symbols. If the song is allegorical, explain the allegory.
- Point out and explain examples of paradox, overstatement, understatement, and irony. What is their function?
- Point out and explain any allusions. What is their function?
- What is the tone (i.e. feeling) of the lyrics? How is it achieved? How does the music contribute, or contrast, the tone of the lyrics?
- Point out the significant examples of sound repetition in the words and explain their function.
- (a.) What is the meter of the poem (lyrics)? (b.) Copy the lyrics and mark its scansion.
- Discuss the adaptation of sound to sense.
- Describe the form or pattern (i.e. structure) of the song.
- Criticize and evaluate the song.
Use the questions above, specifcally question #20 and #1-#9, on the two songs below:
- "Life for Rent" by Dido -- Listen to the song on YouTube, and read the lyrics here.
- "The Ballad of Love and Hate" by The Avett Brothers -- Listen to the song on YouTube, and read the lyrics here. This song is an allegory. Explain the allegory (see question #13).
Hooks & Memes
The “hook” of the song, is the catchy part of the song. It is that part that you think of first when someone asks you to sing the song. The hook is usually found in the chorus, and it is sometimes also the title of the song.
Think of the Beatles’ song “Love Me Do”. Where is the hook? You’ve guessed it, it is the “Love Me Do”-part. What is the hook in the song you introduced as your favourite song?
A “meme” is a piece of cultural information that easily spreads within a community. Some short video clips on the Internet that people forward to each other are a form of memes. The phrase “Why so serious?!” from the movie Batman: The Dark Knight is a very famous meme.
Certain tunes, and often the choruses of popular music, can be a meme. Frequently the hook of a very popular song can also become a meme. Have you ever whistled or hummed a part of a song, and then suddenly a friend that overheard you starts to whistle or hum it too? That is a meme in action -- a piece of cultural information moving from one brain to another brain.
As you can see hooks and memes have a close relationship. The most famous songs are those songs that have become popular memes.
Song Structure: "Save Me From Myself"
Today we looked at the song "Save Me From Myself" (listen on YouTube), performed by Christina Aguilera. Look at the lyrics of the song below and note how we identified the song's structure, using the terminology you learned before.
Where is the "hook" in this song?
When listening to music in your own time, practise identifying the structure of the songs you listen to. Do the artists you listen to use a set formula or do they deviate and use experimental song structures?
“Save Me From Myself” – Christina Aguilera
Verse 1
It's not so easy loving me
It gets so complicated
All the things you gotta be
Everything's changing
But you're the truth
I'm amazed by all your patience
Everything I put you through
Pre-Chorus
when I'm about to fall
Somehow you're always waiting with
Your open arms to catch meChorus 1
You're gonna save me from myself
From myself, yes
You're gonna save me from myself
Vocal InterludeVerse 2
My love is tainted
by your touch
Well some guys have shown me aces
But you've got that royal flush
I know it's crazy everyday
Well tomorrow may be shaky
But you never turn awayPre-Chorus
Don't ask me why I'm crying'
Cause when I start to crumble
You know how to keep me smiling
Chorus 1
You always save me from myself
From myself, myself
You're gonna save me from myselfBridge
I know it's hard, it's hard
But you've broken all my walls
You've been my strength, so strong
Pre-Chorus
And don't ask me why I love you
It's obvious your tenderness
Is what I need to make meChorus 2
A better woman to myself
To myself, myself
You're gonna
save me from myself
Where is the "hook" in this song?
When listening to music in your own time, practise identifying the structure of the songs you listen to. Do the artists you listen to use a set formula or do they deviate and use experimental song structures?
Song Structure
The lyrics (or words) of a song usually follow a structure. Different parts of the structure are identifiable, and have specific names. These include:
For more information, read Tom Zarecki's post about "Song Lyrics"
- Verses
- Chorus (Refrain)
- Pre-chorus
- Hook ("Meme")
- Bridge
- Intro
- Outtro
- Interludes & Riffs
- Breakdown
For more information, read Tom Zarecki's post about "Song Lyrics"
Your Favourite Songs
Below is a list of the songs you all shared for the "Introduction Assignment". Thank you for sharing!
- "She Will Be Loved" -- Maroon 5
- "Some Might Say" -- Oasis
- "Tomorrow" -- Annie: The Musical
- "Everytime" -- Britney Spears
- "One Moment in Time" -- Whitney Houston
- "Lucky" -- Jazon M'raz
- "The Winner Takes All" -- ABBA
- "Incomplete" -- Sisqo
- "In a Big Big World" -- Emillia
- "My Heart Will Go On" -- Celine Dion
- "Pretty Fly for a White Guy" -- Offspring
- "Misread" -- Kings of Convenience
- "So Sick" -- Ne-Yo
- "I Knew I Loved You" -- Savage Garden
- "Listen" -- Beyoncé
- "Every Body Knows" -- John Legend
- "Fly Like a Bird" -- Mariah Carey
- "I Gotta Feeling" -- Black Eyed Peas
Introduction Assignment
In the next class you will introduce yourself by playing your favourite English song. (Bring the song as a music file, or as a CD.) Include the following information in your introduction:
- Your name
- Basic metadata of the song (You should have at least the title and artist, but the more metadata the better.)
- Tell us what the song is about
- Tell us why you like it
Metadata
The metadata of a song is the important basic information about the song’s creation. Below are short definitions of different points that form the metadata of a song. But first, what is a song? For the purpose of this course we will define “song” as the combination of music and lyrics. (Song = music + lyric).
Title
The title is the name of the song.
Artist(s)
The artist is the person or group that performs the song. Artists usually includes a vocalist (singer) and other musicians (musical instrument players).
Composer
The composer is the person or persons responsible for the initial creation of the song. Composing a song requires a lyricist and a musician. The lyricist writes the lyric. A lyric is a type of poem that is relatively short and meant for singing. (That is why our course is called “Poetry in Music”. It could also have been called “Lyrics and Music”.) The musician, in the context of composing, is the person who writes the musical notes for the song. Sometimes the lyricist and musician is the same person; while at other times it might be different people.
Arranger
The arranger is responsible for the structure of the song, and decides when the different instruments will play and so on.
Engineer
The engineer (aka sound engineer, studio engineer, session engineer, recording engineer) controls the electronic recording equipment and “mixes” or “edits” the music electronically.
Producer
The producer is the overall manager/director of the song.
Three other important terms that is also part of the metadata are intro, outro and runtime. The intro (or “open”) is the beginning-section of the song from when the music starts, until the vocalist(s) start singing. The outro (or “close”) is the end-section of the song from when the vocalist(s) stops, until the music stops. There are two types of outros; a cold ending and a fade ending. With a cold ending the music stops suddenly. With a fade ending the music fades out; i.e. the volume decreases until all sound is gone. The runtime is the total length of time of the song and is usually given in minutes and seconds.
The metadata may also include the year the song was produced, and the record label (the name of the music company that produced, manufactured and marketed the song / album), as well as the album (usually the record or CD) on which the song first appeared.
Exercise:
Listen to the song “Wonderwall” by Oasis in the YouTube-video below.
See if you can find the metadata that are missing below. You may need to search on the Internet, or if you have the album, look in the CD-cover.
Title: "Wonderwall"
Artist: Oasis
Album:
Composer:
Arranger:
Engineer:
Producer: Owen Morris
Intro: Acoustic guitar strumming; 22 sec
Outtro: Cold end; ____ sec
Runtime:
When you use the music video above to figure out the length of the Intro, take note that the music only starts at second 17 of the video. The vocals start at second 39 in the video. To work out the length of the Intro you need deduct 17 from 39 That will give you the length in seconds for the Intro. A similar principle applies for working out the Outtro and the Runtime.
Title
The title is the name of the song.
Artist(s)
The artist is the person or group that performs the song. Artists usually includes a vocalist (singer) and other musicians (musical instrument players).
Composer
The composer is the person or persons responsible for the initial creation of the song. Composing a song requires a lyricist and a musician. The lyricist writes the lyric. A lyric is a type of poem that is relatively short and meant for singing. (That is why our course is called “Poetry in Music”. It could also have been called “Lyrics and Music”.) The musician, in the context of composing, is the person who writes the musical notes for the song. Sometimes the lyricist and musician is the same person; while at other times it might be different people.
Arranger
The arranger is responsible for the structure of the song, and decides when the different instruments will play and so on.
Engineer
The engineer (aka sound engineer, studio engineer, session engineer, recording engineer) controls the electronic recording equipment and “mixes” or “edits” the music electronically.
Producer
The producer is the overall manager/director of the song.
Three other important terms that is also part of the metadata are intro, outro and runtime. The intro (or “open”) is the beginning-section of the song from when the music starts, until the vocalist(s) start singing. The outro (or “close”) is the end-section of the song from when the vocalist(s) stops, until the music stops. There are two types of outros; a cold ending and a fade ending. With a cold ending the music stops suddenly. With a fade ending the music fades out; i.e. the volume decreases until all sound is gone. The runtime is the total length of time of the song and is usually given in minutes and seconds.
The metadata may also include the year the song was produced, and the record label (the name of the music company that produced, manufactured and marketed the song / album), as well as the album (usually the record or CD) on which the song first appeared.
Exercise:
Listen to the song “Wonderwall” by Oasis in the YouTube-video below.
See if you can find the metadata that are missing below. You may need to search on the Internet, or if you have the album, look in the CD-cover.
Title: "Wonderwall"
Artist: Oasis
Album:
Composer:
Arranger:
Engineer:
Producer: Owen Morris
Intro: Acoustic guitar strumming; 22 sec
Outtro: Cold end; ____ sec
Runtime:
When you use the music video above to figure out the length of the Intro, take note that the music only starts at second 17 of the video. The vocals start at second 39 in the video. To work out the length of the Intro you need deduct 17 from 39 That will give you the length in seconds for the Intro. A similar principle applies for working out the Outtro and the Runtime.
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