Listening Journal # 3

For listening journal #3, we had an opportunity to listen to a variety of music from the 1920-s and deep into the 1930's. During this time frame, music had really began to flourish throughout America. I feel that the term "vernacular music" really came into play during this era. This is due to the spread of jazz and blues music among people of different ages and races. Jazz and blues also lead to the development of "swing music" and music of WWII.

As I continued my reading process through chapters 5 and 6, I was able to get an enhanced knowledge about music as well as musicians of the jazz, blues and swing era. I am a huge fan of jazz and blues music. As I listened to the music selections for listening journal #3 I was quickly brought back to memories of the music that my grandfather would play as I was a child. Chapter 5 is entitled "St. Louis Blues" however, due to the widespread popularity of blues , there were many geographical references to the sound of blues. As I listened to St. Louis Blues, I was trying to distinguish the Bessie Smith version and the W.C. Handy version. I feel that both selections are distinctive in their own way. W.C Handy's version is more upbeat and has a different instrumental feel to it where as the Bessie Smith version is slower yet emotional and was still appealing to listeners. The textbook says that Bessie Smith's version of the St. Louis Blues helped to bridge the racial gap of blues as well as introduced this type of blues to white America.

As I am still training my ear to listen critically, I cant help but to think about the close relationship of jazz and blues. It seems as if jazz and blues music feeds of one another yet they are able to hold their own place in music as separate genres. For example, As I listened to "Caravan", it has the jazz feel and flow to it from an instrumental standpoint yet it also has the feel of blues deeply rooted within the song. Again, this is just my thoughts and opinion to what I personally felt through the song. As I continue this course I will definitely continue to train my ear to listen critically to music for analytical purposes. Another aspect that I noticed from the blues selections of the listening journal is the form of twelve bar blues. The twelve bar blues served as a basis for blues music to be written or sung. The textbook even refers to twelve bar blues form as to be an important concept to American popular music.

The catch phrase "race music" was used during this time period. However, in the music world, "race music" was a phrase that was used in a more positive manner. It was used as an example of black nationalism and was meant for blacks to express pride. "Race music" was applied to musical styles such as jazz, blues,  and gospel music. As for the phrase "Hillbilly music", it was describing the music that was more so generated for southern whites. Even though the style of music had two different names, the root of blues still could not be broken or destroyed. Both styles had common instrumental and lyrical features as well as origin and pride of the music itself. The enjoyment of music makes music universal and brings all people together.

Listening Journal #2

For my second listening journal I will be reviewing some aspects of the music from module two as it relates to important contributions to our musical society.  I feel that most early developments of music has definitely put a stamp on American Poplar Music.

The music for module #2 consisted of genres of music from the 1920's t the early 1930's. The sounds of Ragtime, Jazz and Blues quickly flourished across America. The textbook describes the movement of music of this era "catching as the small-pox". I feel that these particular genres of music brought about the concept of rhythm as well as syncopation. As I listened to the recordings for module 2, I could definitely feel the various rhythm and syncopation methods used throughout the ragtime and jazz selections. However, I must admit before reading chapter 3 I did not realize that there was a special name for this technique which is called stop time sequences. Stop time sequences can be heard when the performing band abruptly stops on a dime and allows for a performer to play a solo. The use of trumpet mutes, slides and glides also came into play for various jazz, ragtime and even early blues songs.

The "Tiger Rag" is a particular  ragtime selection that I feel has had an impact on the development of jazz and blues. Throughout the activities for module 2 I was able to listen to different variations in which Tiger Rag could be played. For example, I was able to find a recording of Tiger Rag that was performed by The Canadian Brass. What made this performance so interesting is the performers ability to perform Tiger Rag on a Tuba. When in the past I have only seen or heard the song being played with the typical banjo, trumpets piano and even clarinets. I also liked Louis Armstrong version of Tiger Rag as well.

The arise of Jazz also had an impact on Early American Popular Music. Through the readings there is a bit of controversy to where jazz originated. Some people feel that jazz is rooted in New Orleans, Chicago, Detroit and even in New York.  Needless to say no matter where people feel the birthplace of jazz originated, it still has had a significant impact among African Americans success in music. The jazz craze gave countless opportunities for black musicians to perform and showcase the musical talents. The jazz craze also opened the doors for blacks to break the barrier of dance bands and dance orchestras. Musicians such as Louis Armstrong, Duke Ellington, Noble Sissle, Eubie Blake, Bennie Moten and Fletcher Henderson assisted to close the racial divide of music.

Listening Journal #1

I would like to begin my very first journal post by saying how wonderful it is to be able to have access to listen to various genres of music and vernacular. Music has been a part of my life from childhood to adulthood, therefore,  I have many favorite songs, singers, and musical groups. However, I have not explored in depth to which such wonderful music was derived from. My goal  throughout the progression of this class along with the listening journal exercises is for my knowledge and appreciation of American popular Music to increase. The selections that we were required to listen to for our first journal entry was an eye opening experience for me. Eye opening in a sense that at times we often forget the historic values that America Popular Music posses. I feel that such music has had a strong contribution to the success of the type of music that we listen to today.

As I listened to the selections I was often placed back in time to which the songs were created. Some people may feel that the selections for our first listening journal may be too old to enjoy. I have to say that personally I definitely enjoyed listening to the songs for a number of reasons. One reason being that most of the songs told a story. I feel that some of the music today lacks the intriguing lyrical aspects of music and are solely focused upon repetitive beats. For example, as I listened to "Jeanie with the Light Brown Hair", I was instantly placed in the moment. I was able to feel a type of emotion that stylistically could have been tied to love as well as sadness. I feel that these type of feelings were felt because of the acapella style and approach in which Barbary Allen sang the song.

Another selection that caught my attention was "Long John" by Lightning Washington and his fellow prisoners. I have never heard of Lighting Washington prior to this listening exercise. However, I have heard of work songs in which "Long John" reminded me of. Such songs have a deep rooted history in which I feel Blues, Jazz, and even Country music were derived from. Again, these types of songs did not involve instruments. The only instruments that can be heard were the vocal sounds of the men singing and the hammers and ax's that were being used in rhythm and unison as they worked.  I feel that the prion songs or work songs helped the men to sung to keep their spirits lifted while they worked and also often told stories or even calls and signals.

Finally, the similarities of "Coo Coo" by Dink Roberts and "Stagolee" by Mississippi John Hurt caught my attention from a lyrical ad stylistic approach . Both singers used string instruments such as the banjo and guitar to accompany their lyrics. I must say that thankfully I was able to view the lyrics in the textbook to Dink Roberts "Coo Coo". The words were a bit difficult for me to understand the first time I listened to the song. Although the words were difficult to understand, I was able to feel the flow and rhythm of the banjo. The most interesting aspect of this song is the call and response factors between Dink Roberts and his banjo. Mississippi John Hurt used call and response factors as well with his guitar  however, I feel that he was able to tell a story through his lyrics and guitar playing.