1.
Stan Kenton
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Stanley Newcomb Stan Kenton was an American jazz pianist, composer, and arranger who led an innovative, influential, and often controversial progressive jazz orchestra. In later years he was active as an educator, Stan Kenton was born on December 15,1911 in Wichita, Kansas, and was raised first in Colorado, then in California. He graduated from Bell High School, in Bell, California, Kenton learned piano as a child, and while still a teenager toured as a member of several bands. He played in the 1930s in the bands of Vido Musso and Gus Arnheim. In June 1941 he formed his first orchestra, which later was named after his theme song Artistry in Rhythm, a competent pianist, influenced by Earl Hines, Kenton worked in the early days much more as an arranger than later, and as inspiration for his loyal sidemen. Although there were no musicians in his first band, Kenton spent the summer of 1941 playing regularly before an audience at the Rendezvous Ballroom in Balboa Beach. Influenced by Jimmie Lunceford, the Stan Kenton Orchestra struggled for a time after its initial success and its Decca recordings were not big sellers and a stint as Bob Hopes backup radio band during the 1943–44 season was an unhappy experience, Les Brown permanently took Kentons place. Kentons first appearance in New York was in February 1942 at the Roseland Ballroom and its soloists during the war years included Art Pepper, briefly Stan Getz, altoist Boots Mussulli, and singer Anita ODay. By 1945, the band had evolved, the songwriter Joe Greene provided the lyrics for hit songs like And Her Tears Flowed Like Wine and Dont Let the Sun Catch You Cryin. A popular recording of Laura was made, the song from the film Laura. In the mid-1940s, Kentons band and style known as the wall of sound or wall of brass. Calling his music progressive jazz, Kenton sought to lead an orchestra as opposed to a dance band at a time when most big bands were beginning to wind up. Kenton had succeeded in forming a radical and very original band that gained its own audience, in 1949, Kenton took a year off. In 1950 he put together his most advanced band, the 39-piece Innovations in Modern Music Orchestra that included 16 strings, a woodwind section and its music ranged from the unique and very dense modern classical charts of Bob Graettinger to works that somehow swung despite the weight. Kenton managed two tours during 1950–1951 but soon reverted to his usual 19-piece lineup, then quite unexpectedly, Kenton went through a swinging period. The charts of such arrangers as Gerry Mulligan, Johnny Richards, the music was never predictable and could get quite bombastic, but it managed to swing while still keeping the Kenton sound. In 1956, when the band returned from its European trip, the Kenton band was playing in Ontario, Canada, at the time, and Kenton dispatched a telegram which lamented a new minority, white jazz musicians, and stated his disgust literary geniuses of jazz. Jazz critic Leonard Feather, responded in the October 3,1956, Feather implied that Kentons failure to win the Critics Poll was probably the real reason for the complaint, and wondered if racial prejudice was involved
2.
Big band
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A big band is a type of musical ensemble associated with playing jazz music and which became popular during the Swing Era from the early 1930s until the late 1940s. Big Bands evolved with the times and continue to this day, a big band typically consists of approximately 12 to 25 musicians and contains saxophones, trumpets, trombones, and a rhythm section. The terms jazz band, jazz ensemble, stage band, jazz orchestra and this does not, however, mean that each one of these names is technically correct for naming a big band specifically. The music is traditionally called charts, improvised solos may be played only when called for by the arranger. There are two periods in the history of popular bands. Beginning in the mid-1920s, big bands, then consisting of 10–25 pieces. At that time they played a form of jazz that involved very little improvisation, which included a string section with violins. A few bands also had violas and cellos, usually one or two along with them, the dance form of jazz was characterized by a sweet and romantic melody. Orchestras tended to stick to the melody as it was written and vocals would be sung, many of these artists changed styles or retired after the introduction of swing music. Although unashamedly commercial, these bands often featured front-rank jazz musicians - for example Paul Whiteman employed Bix Beiderbecke, there were also all-girl bands such as Helen Lewis and Her All-Girl Jazz Syncopators. Towards the end of the 1920s, a new form of Big Band emerged which was more authentically jazz and this form of music never gained the popularity of the sweet dance form of jazz. The few recordings made in form of jazz were labelled race records and were intended for a limited urban audience. Few white musicians were familiar with music, Johnny Mercer. The three major centres in this development were New York City, Chicago and Kansas City, some big ensembles, like the Joe King Oliver outfit played a kind of half arranged, half improvised jazz, often relying on head arrangements. Other great bands, like the one of Luis Russell became a vehicle for star instrumentalists, there the whole arrangement had to promote all the possibilities of the star, although they often contained very good musicians, like Henry Red Allen, J. C. Earl Hines became the star of Chicago with his Grand Terrace Cafe band, meanwhile, in Kansas City and across the Southwest, an earthier, bluesier style was developed by such bandleaders as Benny Moten and, later, by Jay McShann and Jesse Stone. Radio was a factor in gaining notice and fame for Benny Goodman. Soon, others challenged him, and the battles of the bands became a staple at theater performances featuring many groups on one bill
3.
Art music
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Art music is an umbrella term that refers to musical traditions, implying advanced structural and theoretical considerations and a written musical tradition. Serious or cultivated music are frequently used as a contrast for ordinary. After the 20th century, art music was divided into two extensions, serious music and light music and this term is mostly used to refer to music descending from the tradition of Western classical music. He explains that each of three is distinguishable from the others according to certain criteria. Musician Catherine Schmidt-Jones defines art music differently, as a music which requires more work by the listener to fully appreciate than is typical of popular music. In her view, his can include the more challenging types of jazz and rock music, the term may also refer to, The classical/art music traditions of several different cultures around the world, Some forms of jazz, excluding most forms generally considered popular music. Jazz is generally considered popular music, the term refers primarily to classical traditions that focus on formal styles, invite technical and detailed deconstruction and criticism, and demand focused attention from the listener. In strict western practice, art music is considered primarily a musical tradition, preserved in some form of music notation, as opposed to being transmitted orally, by rote. According to the academic Tim Wall, the most significant example of the struggle between Tin Pan Alley, African American, vernacular and art discourses was in jazz. As early as the 1930s, artists attempted to cultivate ideas of jazz, taking it away from its perceived vernacular. In the second half of the 20th century, there was a trend in American culture in which the boundaries between art and pop music became increasingly blurred. Beginning in 1966, the degree of social and artistic dialogue among rock musicians dramatically accelerated for bands who fused elements of composed music with the musical traditions of rock. During the late 1960s and 1970s, progressive rock bands represented a form of music that combined rock with high art musical forms either through quotation, illusion. Progressive music may be equated with explicit references to aspects of art music, Music genre Progressive music Traditional music Rockwell, John. Popular Music Takes a Serious Turn
4.
Progressive rock
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Progressive rock is a broad subgenre of rock music that developed in the United Kingdom and United States throughout the mid to late 1960s. Prog is based on fusions of styles, approaches and genres, Prog saw a high level of popularity in the early-to-mid 1970s, but faded soon after. Conventional wisdom holds that the rise of rock caused this. Music critics, who labelled the concepts as pretentious and the sounds as pompous and overblown. Early groups who exhibited progressive features are described as proto-prog. In 1967, progressive rock constituted a diversity of loosely associated style codes, the Canterbury scene, originating in the late 1960s, denoted a subset of prog bands who emphasised the use of wind instruments, complex chord changes and long improvisations. Rock in Opposition, from the late 1970s, was more avant-garde, in the 1980s, a new subgenre, neo-progressive rock, enjoyed some commercial success, although it was also accused of being derivative and lacking in innovation. Post-progressive draws upon newer developments in music and the avant-garde since the mid 1970s. The term progressive rock is synonymous with art rock, classical rock, historically, art rock has been used to describe at least two related, but distinct, types of rock music. Similarities between the two terms are that they describe a mostly British attempt to elevate rock music to new levels of artistic credibility. However, art rock is likely to have experimental or avant-garde influences. Prog was devised in the 1990s as a term, but later became a transferable adjective. Although a unidirectional English progressive style emerged in the late 1960s, by 1967, critics of the genre often limit its scope to a stereotype of long solos, overlong albums, fantasy lyrics, grandiose stage sets and costumes, and an obsessive dedication to technical skill. Author Kevin Holm-Hudson believes that rock is a style far more diverse than what is heard from its mainstream groups. They each do so largely unconsciously, academic John S. Cotner contests Macans view that progressive rock cannot exist without the continuous and overt assimilation of classical music into rock. Debate about the criteria and scope of the genre continues in the 2010s. In early references to the music, progressive was partly related to progressive politics, Cotner also says that progressive rock incorporates both formal and eclectic elements, It consists of a combination of factors – some of them intramusical, others extramusical or social. One way of conceptualising rock and roll in relation to music is that progressive music pushed the genre into greater complexity while retracing the roots of romantic
5.
Celtic folk
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Celtic music is a broad grouping of music genres that evolved out of the folk music traditions of the Celtic people of Western Europe. It refers to both orally-transmitted traditional music and recorded music and the styles vary considerably to include everything from music to a wide range of hybrids. Celtic music means two things mainly, first, it is the music of the peoples identifying themselves as Celts. Secondly, it refers to whatever qualities may be unique to the musics of the Celtic Nations, many notable Celtic musicians such as Alan Stivell and Paddy Moloney claim that the different Celtic musics have much in common. These common melodic practices may be used widely across Celtic Music, It is common for the line to move up. There are a number of reasons for this, Melodic variation can be easily introduced. Melodic variation is used in Celtic music, especially by the pipes. The relatively wider tonal intervals in some songs make it possible for stress accents within the line to be more in keeping with the local Celtic accent. By more than one Celtic language population belonging to different Celtic groups and these two latter usage patterns may simply be remnants of formerly widespread melodic practices. The definition is complicated by the fact that Irish independence has allowed Ireland to promote Celtic music as a specifically Irish product. However, these are modern geographical references to a people who share a common Celtic ancestry and consequently, additionally, the musics of ethnically Celtic peoples abroad are vibrant, especially in Canada and the United States. In Canada the provinces of Atlantic Canada are known for being a home of Celtic music, most notably on the islands of Newfoundland, Cape Breton and Prince Edward Island. The traditional music of Atlantic Canada is heavily influenced by the Irish, Scottish, in some parts of Atlantic Canada, such as Newfoundland, Celtic music is as or more popular than in the old country. Much of the music of this region is Celtic in nature, in Celtic Music, A Complete Guide, June Skinner Sawyers acknowledges six Celtic nationalities divided into two groups according to their linguistic heritage. The Q-Celtic nationalities are the Irish, Scottish and Manx peoples, while the P-Celtic groups are the Cornish, Bretons, there is also tremendous variation between Celtic regions. Ireland, Scotland, Brittany and Wales have living traditions of language and music, and there has been a recent major revival of interest in Celtic heritage in Cornwall, Galicia has a Celtic language revival movement to revive the Q-Celtic Gallaic language used into Roman times. Most of the Iberian Peninsula had a similar Celtic language in pre-Roman times, a Brythonic language was used in parts of Galicia and Asturias into early Medieval times brought by Britons fleeing the Anglo-Saxon invasions via Brittany. The Romance language currently spoken in Galicia, Galician is closely related to the Portuguese language used mainly in Brazil, Galician music is claimed to be Celtic
6.
Music of Africa
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The traditional music of Africa, given the vastness of the continent, is historically ancient, rich and diverse, with different regions and nations of Africa having many distinct musical traditions. Traditional music in most of the continent is passed down orally and is not written, the music and dance of the African diaspora, formed to varying degrees on African musical traditions, include American music and many Caribbean genres, such as soca, calypso and zouk. Latin American music genres such as the rumba, conga, bomba, cumbia and samba were also founded on the music of enslaved Africans, and have in turn influenced African popular music. North Africa is the seat of ancient Egypt and Carthage, civilizations with strong ties to the ancient Near East, eventually, Egypt fell under Persian rule followed by Greek and Roman rule, while Carthage was later ruled by Romans and Vandals. North Africa was later conquered by the Arabs, who established the region as the Maghreb of the Arab world, like the musical genres of the Nile Valley and the Horn of Africa, its music has close ties with Middle Eastern music and utilizes similar melodic modes. North African music has a range, from the music of ancient Egypt to the Berber. The regions art music has for centuries followed the outline of Arabic and Andalusian classical music, with these may be grouped the music of Sudan and of the Horn of Africa, including the music of Eritrea, Ethiopia, Djibouti and Somalia. Somali music is pentatonic, using five pitches per octave in contrast to a heptatonic scale such as the major scale. The music of the Ethiopian highlands uses a fundamental modal system called qenet, of which there are four modes, tezeta, bati, ambassel. Three additional modes are variations on the above, tezeta minor, bati major, some songs take the name of their qenet, such as tizita, a song of reminiscence. The ethnomusicological pioneer Arthur Morris Jones observed that the shared rhythmic principles of Sub-Saharan African music traditions constitute one main system, similarly, master drummer and scholar C. K. Ladzekpo affirms the profound homogeneity of sub-Saharan African rhythmic principles. African traditional music is frequently functional in nature, performances may be long and often involve the participation of the audience. None of this is performed outside its intended context and much of it is associated with a particular dance. Some of it, performed by musicians, is sacral music or ceremonial. The southern region includes the music of South Africa, Lesotho, Swaziland, Botswana, Namibia, the central region includes the music of Chad, the Central African Republic, the Democratic Republic of the Congo and Zambia, including Pygmy music. Southern, Central and West Africa are similarly in the broad Sub-Saharan musical tradition, besides vocalisation, which uses various techniques such as complex hard melisma and yodel, a wide array of musical instruments are used. Additionally, string instruments are used, with the lute-like oud. Other percussion instruments include many rattles and shakers, such as the kosika, rain stick, bells, also, Africa has lots of other types of drums, and lots of flutes, and lots of stringed and wind instruments
7.
Aesthetics
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Aesthetics is a branch of philosophy that explores the nature of art, beauty, and taste, with the creation and appreciation of beauty. It is more defined as the study of sensory or sensori-emotional values, sometimes called judgements of sentiment. More broadly, scholars in the field define aesthetics as critical reflection on art, in modern English, the term aesthetic can also refer to a set of principles underlying the works of a particular art movement or theory, one speaks, for example, of the Cubist aesthetic. The word aesthetic is derived from the Greek αἰσθητικός, which in turn was derived from αἰσθάνομαι, for some, aesthetics is considered a synonym for the philosophy of art since Hegel, while others insist that there is a significant distinction between these closely related fields. In practice, aesthetic judgement refers to the sensory contemplation or appreciation of an object, philosophical aesthetics has not only to speak about art and to produce judgments about art works, but has also to give a definition of what art is. Art is an entity for philosophy, because art deals with the senses. Hence, there are two different conceptions of art in aesthetics, art as knowledge or art as action, any aesthetic doctrines that guided the production and interpretation of prehistoric art are mostly unknown. Western aesthetics usually refers to Greek philosophers as the earliest source of aesthetic considerations. Plato believed in beauty as a form in which beautiful objects partake and he felt that beautiful objects incorporated proportion, harmony, and unity among their parts. Similarly, in the Metaphysics, Aristotle found that the elements of beauty were order, symmetry. From the late 17th to the early 20th century Western aesthetics underwent a revolution into what is often called modernism. German and British thinkers emphasized beauty as the key component of art and of the aesthetic experience, and saw art as necessarily aiming at absolute beauty. For Alexander Gottlieb Baumgarten aesthetics is the science of the experiences, a younger sister of logic. For Immanuel Kant the aesthetic experience of beauty is a judgment of a subjective but similar human truth, however, beauty cannot be reduced to any more basic set of features. For Friedrich Schiller aesthetic appreciation of beauty is the most perfect reconciliation of the sensual and rational parts of human nature, for Friedrich Wilhelm Joseph Schelling, the philosophy of art is the organon of philosophy concerning the relation between man and nature. So aesthetics began now to be the name for the philosophy of art, Friedrich von Schlegel, August Wilhelm Schlegel, Friedrich Schleiermacher and Georg Wilhelm Friedrich Hegel also gave lectures on aesthetics as philosophy of art after 1800. For Hegel, all culture is a matter of absolute spirit coming to be manifest to itself, stage by stage, Art is the first stage in which the absolute spirit is manifest immediately to sense-perception, and is thus an objective rather than subjective revelation of beauty. It is thus for Schopenhauer one way to fight the suffering, the British were largely divided into intuitionist and analytic camps
8.
Electronic media
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Electronic media are media that use electronics or electromechanical audience to access the content. This is in contrast to media, which today are most often created electronically. The primary electronic media sources familiar to the public are video recordings, audio recordings, multimedia presentations, slide presentations, CD-ROM. Most new media are in the form of digital media, however, electronic media may be in either analogue electronics data or digital electronic data format. Although the term is associated with content recorded on a storage medium, recordings are not required for live broadcasting. Any equipment used in the communication process may also be considered electronic media. Electronic media are ubiquitous in most of the developed world, electronic media devices have found their way into all parts of modern life. The term is relevant to professional career development regarding related skill set
9.
Marketing
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Marketing is the study and management of exchange relationships. Marketing is used to create the customer, to keep the customer, with the customer as the focus of its activities, it can be concluded that Marketing is one of the premier components of Business Management - the other being Innovation. Other services and management activities such as Operations, Human Resources, Accounting, Law, the term developed from the original meaning which referred literally to going to a market to buy or sell goods or services. The Chartered Institute of Marketing defines marketing as the management process responsible for identifying, anticipating and satisfying customer requirements profitably, a similar concept is the value-based marketing which states the role of marketing to contribute to increasing shareholder value. Marketing practice tended to be seen as an industry in the past. The overall process starts with marketing research and goes through market segmentation, business planning and execution, ending with pre and it is also related to many of the creative arts. The marketing literature is also adept at re-inventing itself and its vocabulary according to the times, the term marketing concept pertains to the fundamental premise of modern marketing. This concept proposes that in order to satisfy its organizational objectives, Marketing and marketing concepts are directly related. An orientation, in the context, relates to a perception or attitude a firm holds towards its product or service. There exist several common orientations, A firm employing a product orientation is chiefly concerned with the quality of its own product, a firm would also assume that as long as its product was of a high standard, people would buy and consume the product. A firm using a sales orientation focuses primarily on the selling/promotion of a particular product, consequently, this entails simply selling an already existing product, and using promotion techniques to attain the highest sales possible. Such an orientation may suit scenarios in which a firm holds dead stock, or otherwise sells a product that is in high demand, a firm focusing on a production orientation specializes in producing as much as possible of a given product or service. Thus, this signifies a firm exploiting economies of scale, until the minimum efficient scale is reached, a production orientation may be deployed when a high demand for a product or service exists, coupled with a good certainty that consumer tastes do not rapidly alter. The marketing orientation is perhaps the most common used in contemporary marketing. It involves a firm essentially basing its marketing plans around the marketing concept, the marketing orientation often has three prime facets, which are, A firm in the market economy can survive by producing goods that persons are willing and able to buy. Consequently, ascertaining consumer demand is vital for a firms future viability, in this sense, a firms marketing department is often seen as of prime importance within the functional level of an organization. Information from a marketing department would be used to guide the actions of other departments within the firm. As an example, a department could ascertain that consumers desired a new type of product
10.
Pop music
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Pop music is a genre of popular music that originated in its modern form in the United States and United Kingdom during the mid 1950s. The terms popular music and pop music are used interchangeably, although the former describes all music that is popular. Pop and rock were synonymous terms until the late 1960s, when they were used in opposition from each other. Although pop music is seen as just the singles charts, it is not the sum of all chart music. Pop music is eclectic, and often borrows elements from other such as urban, dance, rock, Latin. Identifying factors include generally short to medium-length songs written in a format, as well as the common use of repeated choruses, melodic tunes. David Hatch and Stephen Millward define pop music as a body of music which is distinguishable from popular, jazz, according to Pete Seeger, pop music is professional music which draws upon both folk music and fine arts music. Although pop music is seen as just the singles charts, it is not the sum of all chart music, the music charts contain songs from a variety of sources, including classical, jazz, rock, and novelty songs. Pop music, as a genre, is seen as existing and developing separately, pop music continuously evolves along with the terms definition. The term pop song was first recorded as being used in 1926, Hatch and Millward indicate that many events in the history of recording in the 1920s can be seen as the birth of the modern pop music industry, including in country, blues and hillbilly music. The Oxford Dictionary of Music states that while pops earlier meaning meant concerts appealing to a wide audience. Since the late 1950s, however, pop has had the meaning of non-classical mus, usually in the form of songs, performed by such artists as the Beatles. Grove Music Online also states that, in the early 1960s pop music competed terminologically with beat music, while in the USA its coverage overlapped with that of rock and roll. From about 1967, the term was used in opposition to the term rock music. Whereas rock aspired to authenticity and an expansion of the possibilities of music, pop was more commercial, ephemeral. It is not driven by any significant ambition except profit and commercial reward, and, in musical terms, it is essentially conservative. It is, provided from on high rather than being made from below, pop is not a do-it-yourself music but is professionally produced and packaged. The beat and the melodies tend to be simple, with limited harmonic accompaniment, the lyrics of modern pop songs typically focus on simple themes – often love and romantic relationships – although there are notable exceptions
11.
Alternative culture
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Alternative culture is a type of culture that exists outside or on the fringes of mainstream or popular culture, usually under the domain of one or more subcultures. Compare with the politically charged term, counterculture. The concept of culture is rooted in the development of new views of adolescence during the 1950s in Western Europe. The reasons for rejection of traditional social codes and attitudes were usually personal. This disenchantment is in reference to a range of things. The result is an evolution of an externally displayed attitude. The factors that necessitate the creation of a subculture often forge the elements that make it unique, during the point that these subcultures enjoy their peak, they are simultaneously the subject of much negative attention from the media. However, it is this publicity which often drew young people into each subculture, usually. Due to subcultures of this nature being in a constant change and they often develop an old school crowd who tend to resist polluting elements and carry on as before until inevitably evolving themselves. South Africa has a tradition of alternative culture. From the Creole fusion experience of the 17th and 18th centuries, to recent experiments in alternative living
12.
Auteur
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An auteur is a singular artist who controls all aspects of a collaborative creative work, a person equivalent to the author of a novel or a play. The term is referenced to filmmakers or directors with a recognizable style or thematic preoccupation. Such critics invented the concept as a way of distinguishing French New Wave filmmakers from studio system directors that were part of the Hollywood establishment, Auteur theory has since been applied to producers of popular music, as well as directors of video games. The definition of an auteur has been debated since the 1940s, an auteur can use lighting, camerawork, staging and editing to add to their vision. Politique might very well be translated as policy or program, it involves a decision to value. One might see it as the policy of treating any director that uses a style or a unique worldview as an Auteur. Truffaut criticized the Cinema of Quality as Scenarists films, which are works that lack originality, according to Truffaut, this means that the director is only a metteur en scene, a stager. This tradition suggests that the hands the script to the director. Truffaut said, here are no good and bad movies, only good, even before auteur theory became clearly defined, the director was considered to be the most important among the people working on a film. Starting in the 1960s, some critics began criticising auteur theorys focus on the authorial role of the director. Pauline Kael and Andrew Sarris feuded in the pages of The New Yorker, one reason for the backlash is the collaborative aspect of shooting a film, and in the theorys privileging of the role of the director. In 2006, David Kipen coined the term Schreiber theory to refer to the theory of the screenwriter as the author of a film. Film historian Georges Sadoul pointed out that the author of a film is not necessarily the director. Also, he argued that the film can only be seen as a work of collective, in law, the film is treated as a work of art and the auteur, as the creator of the film, is the original copyright holder. Under European Union law, the director is considered the author or one of the authors of a film. From the 1960s, Phil Spector is considered the first auteur among producers of popular music, author Matthew Bannister named him the first star producer. Journalist Richard Williams wrote, Spector created a new concept, the producer as overall director of the creative process, another early pop music auteur was the Beach Boys multi-tasking leader Brian Wilson, who himself was mentored by Spector. Before the progressive pop of the late 1960s, performers were typically unable to decide on the content of their music
13.
Concept album
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A concept album is an album unified by a larger purpose or meaning to the album collectively than to its tracks individually. This may be achieved through a central narrative or theme. The exact criteria of a concept album varies, with no discernible consensus, in the 1960s, several well-regarded concept albums were released by various rock bands, which eventually led to the invention of progressive rock and the rock opera. Since then, many albums have been released across many different musical genres. Concepts are general ideas, thoughts, or abstract notions, there is no clear definition of what constitutes a concept album. Fiona Sturges of The Independent stated that the album was originally defined as a long-player where the songs were based on one dramatic idea –. A precursor to this type of album can be found in the 19th century song cycle which ran some of the same difficulties in classification. The extremely broad definitions of an album could potentially encompass all soundtracks, compilations, cast recordings, greatest hits albums, tribute albums, Christmas albums. The most common definitions refer to an approach to the rock album format. AllMusic writes, A concept album could be a collection of songs by a songwriter or a particular theme -- these are the concept LPs that reigned in the 50s. The phrase concept album is tied to the late 1960s. Author Jim Cullen describes it, a collection of discrete but thematically unified songs whose whole is greater than the sum of its parts, sometimes assumed to be a product of the rock era. Author Roy Shuker defines concept albums and rock operas as albums that are unified by a theme, in this form, the album changed from a collection of heterogeneous songs into a narrative work with a single theme, in which individual songs segue into one another. Yes keyboardist Rick Wakeman considers the first concept album to be Woody Guthries 1940 album Dust Bowl Ballads, the Independent regards it as perhaps one of the first concept albums, consisting exclusively of semi-autobiographical songs about the hardships of American migrant labourers during the 1930s. Singer Frank Sinatra recorded several albums prior to the 1960s rock era, including In the Wee Small Hours. Sinatra is sometimes credited as the inventor of the album, beginning with The Voice of Frank Sinatra. According to biographer Will Friedwald, Sinatra sequenced the songs so that the created a flow from track to track, affording an impression of a narrative. First pop singer to bring a consciously artistic attitude to recording, the author Carys Wyn Jones writes that the Beach Boys Pet Sounds, the Beatles Revolver and Sgt
14.
Music industry
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The modern Western music industry emerged between the 1930s and 1950s, when records replaced sheet music as the most important product in the music business. In the commercial world, the recording industry–a reference to recording performances of songs and pieces, labels outside of these three major labels are referred to as independent labels. The largest portion of the music market for concerts and tours is controlled by Live Nation. Live Nation is a subsidiary of iHeartMedia Inc, which is the largest owner of radio stations in the United States. In the first decades of the 2000s, the industry underwent drastic changes with the advent of widespread digital distribution of music via the Internet. A conspicuous indicator of changes is total music sales, since 2000. In 2011, the largest recorded music retailer in the world was now a digital, Internet-based platform operated by a computer company, printed music in Europe, Music publishing using machine-printed sheet music developed during the Renaissance music era in the mid-15th century. The development of music followed the evolution of printing technologies that were first developed for printing regular books. After the mid-15th century, mechanical techniques for printing music were first developed. The earliest example, a set of chants, dates from about 1465. Prior to this time, music had to be copied out by hand, to copy music notation by hand was a very costly, labor-intensive and time-consuming process, so it was usually undertaken only by monks and priests seeking to preserve sacred music for the church. The few collections of music that are extant were commissioned and owned by wealthy aristocrats. Examples include the Squarcialupi Codex of Italian Trecento music and the Chantilly Codex of French Ars subtilior music, the use of printing enabled sheet music to reproduced much more quickly and at a much lower cost than hand-copying music notation. This helped musical styles to spread to cities and countries more quickly. With music printing, though, a composers music could be printed, as sheet music of major composers pieces and songs began to be printed and distributed in a wider area, this enabled composers and listeners to hear new styles and forms of music. A German composer could buy songs written by an Italian or English composer, and this led to more blending of musical styles from different countries and regions. The pioneer of music printing was Ottaviano Petrucci, a printer and publisher who was able to secure a twenty-year monopoly on printed music in Venice during the 16th century. Venice was one of the business and music centers during this period
15.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
16.
Swing music
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Swing music, or simply swing, is a form of American music that dominated in the 1930s and 1940s. The name swing came from the swing feel where the emphasis is on the off–beat or weaker pulse in the music, Swing bands usually featured soloists who would improvise on the melody over the arrangement. The danceable swing style of big bands and bandleaders such as Benny Goodman was the dominant form of American popular music from 1935 to 1946, the verb to swing is also used as a term of praise for playing that has a strong groove or drive. Notable musicians of the era include Louis Armstrong, Cab Calloway, Benny Goodman, Duke Ellington, Glenn Miller, Count Basie, Woody Herman. Swing has roots in the late 1920s as larger ensembles began using written arrangements, a typical song played in swing style would feature a strong, anchoring rhythm section in support of more loosely tied wind and brass. The most common style consisted of having a soloist take center stage, Swing music began to decline in popularity during World War II because of several factors. By the late 1940s, swing had morphed into traditional pop music, or evolved into new styles such as jump blues, Swing music saw a revival in the late 1950s and 1960s with pop vocalists such as Frank Sinatra, Nat King Cole, and Ella Fitzgerald. Swing blended with other genres to create new styles, in country music, artists such as Jimmie Rodgers, Moon Mullican and Bob Wills introduced many elements of swing along with blues to create a genre called western swing. Gypsy swing is an outgrowth of Venuti and Langs jazz violin swing, in the 1970s, and 1980s, fans of big band music attended swing music performances at supper clubs. In the late-1980s a trendier, more urban-styled swing-beat emerged called new jack swing, in the late 1990s and into the 2000s there was a swing revival, led by Squirrel Nut Zippers, Brian Setzer, Big Bad Voodoo Daddy, and Lavay Smith. In Canada, some of the early 2000s records by The JW-Jones Blues Band included swing revival elements, the 1920s saw parallel trends in jazz and popular music that would later converge into the swing style. New Orleans style jazz was based on a meter and contrapuntal improvisation led by a trumpet or cornet, typically followed by a clarinet. The rhythm section consisted of a tuba and drums, and sometimes a banjo, by the early 1920s guitars and pianos sometimes substituted for the banjo and a string bass sometimes substituted for the tuba. Further innovations in small ensemble playing led to development of the Chicago style identified with Louis Armstrong, a stint with the Fletcher Henderson Orchestra familiarized him with arranged ensemble playing that differed from the New Orleans style, in which saxophones became the dominant sound among the reeds. Armstrong brought those back to his smaller ensembles, the soloist played over an ensemble relegated to a supporting role in the background. The string bass also lent itself to playing in a 4/4 rhythm rather than the 2/4 rhythm dictated by the tuba. The new format gave the soloist the opportunity to play with more rhythmic freedom, but playing with swing remained the province of the soloist, not the ensemble. The late 1920s saw increasingly sophisticated arrangements used by bigger ensembles, some arrangements used call-response between horn sections to build the melody
17.
Bebop
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As bebop was not intended for dancing, it enabled the musicians to play at faster tempos. Bebop musicians explored advanced harmonies, complex syncopation, altered chords, extended chords, chord substitutions, asymmetrical phrasing, Bebop groups used rhythm sections in a way that expanded their role. The term bebop is derived from nonsense syllables used in scat singing and it appears again in a 1936 recording of Ise a Muggin by Jack Teagarden. A variation, rebop, appears in several 1939 recordings, the first, known print appearance also occurred in 1939, but the term was little-used subsequently until applied to the music now associated with it in the mid-1940s. Some researchers speculate that it was a used by Charlie Christian because it sounded like something he hummed along with his playing. Another theory is that it derives from the cry of Arriba, used by Latin American bandleaders of the period to encourage their bands. At times, the bebop and rebop were used interchangeably. By 1945, the use of bebop/rebop as nonsense syllables was widespread in R&B music, ability to play sustained, high energy, and creative solos was highly valued for this newer style and the basis of intense competition. Swing-era jam sessions and cutting contests in Kansas City became legendary, the Kansas City approach to swing was epitomized by the Count Basie Orchestra, which came to national prominence in 1937. One young admirer of the Basie orchestra in Kansas City was an alto saxophone player named Charlie Parker. Young was equally daring with his rhythm and phrasing as with his approach to harmonic structures in his solos and he would frequently repeat simple two or three note figures, with shifting rhythmic accents expressed by volume, articulation, or tone. His phrasing was far removed from the two or four bar phrases that players had used until then. They would often be extended to an odd number of measures and he would take a breath in the middle of a phrase, using the pause, or free space, as a creative device. The overall effect was that his solos were something floating above the rest of the music, Parker played along with the new Basie recordings on a Victrola until he could play Youngs solos note for note. That understatement of harmonically sophisticated chords would soon be used by young musicians exploring the new language of bebop. That solo showed a sophisticated harmonic exploration of the tune, with implied passing chords, Hawkins would eventually go on to lead the first formal recording of the bebop style in early 1944. As the 1930s turned to the 1940s, Parker went to New York as a player in the Jay McShann Orchestra. Guitarist Charlie Christian, who had arrived in New York with the Benny Goodman Orchestra in 1939 was, like Parker, christians major influence was in the realm of rhythmic phrasing
18.
Cool jazz
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Cool jazz is a style of modern jazz music that arose in the United States after World War II. It is characterized by relaxed tempos and lighter tone, in contrast to the tense, Cool jazz often employs formal arrangements and incorporates elements of classical music. Broadly, the genre refers to a number of jazz styles employing a more subdued approach than that found in other contemporaneous jazz idioms. The term cool started being applied to music around 1953. Musicians from either of the previous categories who were active in California from the 1940s through the 1960s, exploratory music with a subdued effect by Teddy Charles, Chico Hamilton, John LaPorta, and their colleagues during the 1950s. Ted Gioia and Lee Konitz have each identified cornetist Bix Beiderbecke, Gioia cites Beiderbeckes softening of jazzs strong rhythmic impact in favor of maintaining melodic flow, while also employing complex techniques such as unusual harmonies and whole tone scales. Trumbauer, through his smooth and seemingly effortless saxophone work, greatly affected tenor saxophonist Lester Young, Youngs saxophone playing employed a light sound, in contrast to the full-bodied approach of players such as Coleman Hawkins. Young also had a tendency to play behind the beat, instead of driving it and he more strongly emphasized melodic development in his improvisation, rather than hot phrases or chord changes. While Youngs style initially alienated some observers, the school embraced it. Tanner, Gerow, and Megill point out that cool developed gradually, Miles Daviss solo on Charlie Parkers Chasin the Bird in 1947 and John Lewiss piano solo on Dizzie Gillespies record of Round Midnight in 1948 anticipated the Cool Era. In 1947, Woody Herman formed a band that included tenor saxophonists Stan Getz, Zoot Sims, and Herbie Steward, the result was the Four Brothers sound, in which four strong improvisers could still perform well as a coordinated, blended section. The Herman bands recording of Early Autumn launched Getzs career, in 1948, Miles Davis formed a nonet including Mulligan, Konitz, and Evans from Thornhills orchestra. Capitol Records recorded the group in 1949 and 1950 and these recordings, originally issued as 78 rpm records, were later compiled as Birth of the Cool. Gerry Mulligan explained that the idea behind Daviss Nonet was not to get away from bebop, as far as the Cool Jazz part of it, all of that comes after the fact of what it was designed to be. As for Davis, his concern at the time was simply to play with a lighter sound, the Miles Davis Nonets existence was brief, consisting only of a two-week September 1948 engagement at the Manhattans Royal Roost and the three recording dates that make up Birth of the Cool. These recordings were not widely appreciated until some years later, however, they prefigured the work of nonet members John Lewis and Gerry Mulligan. John Lewis went on to co-found the Modern Jazz Quartet, who incorporated classical forms, such as the fugue, tanner, Gerow, and Megill note that the Quartet played classical forms quite precisely. For example, the fugues they played were truly baroque in form except that the parts were improvised
19.
Modernism (music)
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The operative word most associated with it is innovation. Its leading feature is a plurality, which is to say that no one music genre ever assumed a dominant position. While belief in progress or in the principle of innovation is not new or unique to modernism. Examples include the celebration of Arnold Schoenbergs rejection of tonality in chromatic post-tonal and twelve-tone works, musicologist Carl Dahlhaus describes modernism as, an obvious point of historical discontinuity. The breakthrough of Mahler, Strauss, and Debussy implies a profound historical transformation, other writers assert that modernism is not attached to any historical period, but rather is an attitude of the composer, a living construct that can evolve with the times. According to jazz drummer and bandleader Kenny Clarke, bebop was initially referred to as modern jazz by himself, secondly, there are debates within popular music about pastiche and authenticity. Modernism means something different within each of these two fields. This confusion is obvious in an early attempt to understand rock music in postmodern terms. Modernism in popular music had been named as early as the late 1950s when burgeoning Los Angeles rock, some examples which soon followed include the elaborately arranged River Deep – Mountain High by Ike & Tina Turner and Good Vibrations by the Beach Boys
20.
Lennie Tristano
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Leonard Joseph Lennie Tristano was an American jazz pianist, composer, arranger, and teacher of jazz improvisation. Tristano studied for bachelors and masters degrees in music in Chicago before moving to New York City in 1946 and his quintet in 1949 recorded the first free group improvisations. He developed further via polyrhythms and chromaticism into the 1960s, but was infrequently recorded, Tristano started teaching music, especially improvisation, in the early 1940s, and by the mid-1950s was concentrating on teaching in preference to performing. He taught in a structured and disciplined manner, which was unusual in jazz education when he began and his educational role over three decades meant that he exerted an influence on jazz through his students, including saxophonists Lee Konitz and Warne Marsh. Musicians and critics vary in their appraisal of Tristano as a musician, Tristano was born in Chicago on March 19,1919. His mother, Rose Tristano, was born in Chicago. His father, Michael Joseph Tristano, was born in Italy, Lennie was the second of four brothers. Lennie started on the player piano at the age of two or three. He had classical piano lessons when he was eight, but indicated later that they had hindered, rather than helped and he was born with weak eyesight, possibly as a consequence of his mother being affected by the 1918–19 flu pandemic during pregnancy. A bout of measles when aged six may have exacerbated his condition and he initially went to standard state schools, but attended the Illinois School for the Blind in Jacksonville for a decade from around 1928. During his school days he played instruments, including saxophones, trumpet, guitar. At the age of eleven he had his first gigs, playing clarinet in a brothel, one of his aunts assisted Tristano by taking notes for him at university. In the early 1940s Tristano played tenor saxophone and piano for a variety of engagements and he began giving private music lessons at around the same time, including to saxophonist Lee Konitz. From 1943 Tristano also taught at the Axel Christensen School of Popular Music and he first received press coverage for his piano playing in early 1944, appearing in Metronomes summary of music in Chicago from that year, and then in Down Beat from 1945. He recorded with musicians from Woody Hermans band in 1945, Tristanos playing on these tracks is characterized by his extended harmonies, fast single-line runs. He also recorded solo piano pieces in the same year, Tristano also married in 1945, his wife was Judy Moore, a musician who sang to his piano accompaniment in Chicago in the mid-1940s. Tristanos interest in jazz inspired a move to New York City in 1946, as a preliminary step to moving there, he stayed in Freeport, Long Island, where he played in a restaurant with Arnold Fishkin and Billy Bauer. This trio, with an assortment of bassists replacing Fishkin, was recorded in 1946–47, reviewers at the time commented on the originality of the piano–guitar counterpoint and the trios approach to harmony
21.
Dave Brubeck
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David Warren Dave Brubeck was an American jazz pianist and composer, considered to be one of the foremost exponents of cool jazz. He wrote a number of standards, including In Your Own Sweet Way. Brubecks style ranged from refined to bombastic, reflecting his mothers attempts at classical training and his music is known for employing unusual time signatures, and superimposing contrasting rhythms, meters, and tonalities. Brubeck experimented with time throughout his career, recording Pick Up Sticks in 6/4, Unsquare Dance in 7/4, Worlds Fair in 13/4. He was also a composer of orchestral and sacred music, and wrote soundtracks for television such as Mr. Broadway. Dave Brubeck was born in the San Francisco Bay Area city of Concord, California and his father had Swiss ancestry and possibly Native American Modoc lineage, while his maternal grandparents were English and German. Brubeck originally did not intend to become a musician, but took lessons from his mother and he could not read music during these early lessons, attributing this difficulty to poor eyesight, but faked his way through, well enough that this deficiency went mostly unnoticed. Intending to work with his father on their ranch, Brubeck entered the College of the Pacific in Stockton, California and he changed to music on the urging of the head of zoology, Dr. Arnold, who told him Brubeck, your minds not here. Its across the lawn in the conservatory, stop wasting my time and yours. Later, Brubeck was nearly expelled when one of his professors discovered that he could not read music on sight, several of his professors came forward, arguing that his ability to write counterpoint and harmony more than compensated, and demonstrated his familiarity with music notation. The college was still afraid that it would cause a scandal, after graduating in 1942, Brubeck was drafted into the U. S. Army. He served in Europe in the Third Army and he volunteered to play piano at a Red Cross show and was such a hit that he was spared from combat service and ordered to form a band. He created one of the U. S. armed forces first racially integrated bands, while serving in the military, Brubeck met Paul Desmond in early 1944. He returned to college after serving four years in the army. He studied under Darius Milhaud, who encouraged him to study fugue and orchestration, but not classical piano. While on active duty, he received two lessons from Arnold Schoenberg at UCLA in an attempt to connect with high modernist theory and practice. ”After completing his studies under Milhaud, Brubeck worked with an octet, and a trio including Cal Tjader and Ron Crotty. Highly experimental, the group made few recordings and got even fewer paying jobs, the trio was often joined by Paul Desmond on the bandstand, at Desmonds own insistence. Jack Sheedy owned San Francisco-based Coronet Records, which had recorded area Dixieland bands
22.
Boyd Raeburn
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Albert Boyd Raeburn was an American jazz bandleader and bass saxophonist. Boyd Raeburn was born in Faith, South Dakota, and became one of the greatest, the “new” Raeburn band debuted at the Arcadia Ballroom in November 1942 with arrangements by two African-American writers from Earl Hines’ band, Budd Johnson and Jerry Valentine. The band was a big hit in Chicago but when Raeburn decided to tour after nine months and he was forced to build a new band to open at the Roosevelt Hotel in Washington, D. C. Raeburn was also lucky to find a new arranger, Eddie Finckel. Raeburn’s band made a big splash in New York. Billy Eckstine, whose own bebop big band also suffered from the ban, was ecstatic about it. Eckstine exhorted the audience to pay attention to what the band was playing, but bad luck dogged Raeburn throughout his career. Nevertheless, Raeburn did record 12 sides for the small Guild label in 1945, including performances of “March of the Boyds” and these records were later sold to, and reissued by, Albert Marx’s Musicraft label. After Finckel’s departure, Raeburn discovered the more advanced George Handy. Handy left to work in Hollywood on film scores, but again Raeburn was lucky, hiring such arrangers as Ralph Flanagan, Handy himself, bored with Hollywood, also returned for a brief stay. Raeburn’s bands kept failing and rebuilding throughout the 1940s, between October 1945 and November 1946 he recorded his best discs for drummer Ben Pollack’s tiny Jewel label. These records, too, had little or no distribution, after one of his several bankruptcies the band was infused with cash thanks to a very generous donation from famed bandleader Duke Ellington, himself an avid fan of Raeburn. The Raeburn band made their last records, four sides featuring vocalist Ginny Powell, despite several attempts at trying to score pop hits for a mass market, the Raeburn band consistently failed to find any mass-marketing niche. It finally folded for good in the fall of 1949. ”The result was a series of albums that no one. They were too undistinguished to appeal to either pop record buyers or Raeburn’s former jazz fans who were disappointed by them. Raeburn died in Lafayette, Louisiana, in 1966, the best answer seems to be that Raeburn was not a particularly strong or interesting presence as a leader. In an era when audiences had come to expect leaders who played instruments as soloists, nonetheless, it is a mystery why labels like RCA Victor or Decca did not hire him to compete with Herman on Columbia or Kenton on Capitol
23.
Modernism
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Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
24.
Igor Stravinsky
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Igor Fyodorovich Stravinsky was a Russian-born composer, pianist, and conductor. He is widely considered one of the most important and influential composers of the 20th century, Stravinskys compositional career was notable for its stylistic diversity. His Russian phase which continued with such as Renard, The Soldiers Tale. The works from this tended to make use of traditional musical forms, drawing on earlier styles. In the 1950s, Stravinsky adopted serial procedures, Stravinsky was born on 17 June 1882 in Oranienbaum, a suburb of Saint Petersburg, the Russian imperial capital, and was brought up in Saint Petersburg. It is believed that Stravinsky’s ancestry is traceable back to the 17th and 18th centuries, to the bearers of the Soulima, ivan Sulima, was a famous Ukrainian hetman 1628–1635. Stravinskys family branch most likely came from Stravinskas, polonized Lithuanian land owners and it is still unclear to when exactly the Soulima part of the surname was dropped. Stravinsky recalled his schooldays as being lonely, later saying that I never came across anyone who had any attraction for me. Stravinsky began piano lessons as a boy, studying music theory. In 1890, he saw a performance of Tchaikovskys ballet The Sleeping Beauty at the Mariinsky Theatre, despite his enthusiasm for music, his parents expected him to study law. Stravinsky enrolled at the University of Saint Petersburg in 1901, Stravinskys father died of cancer that year, by which time his son had already begun spending more time on his musical studies than on law. Thereafter, he concentrated on studying music, in 1905, he began to take twice-weekly private lessons from Rimsky-Korsakov, whom he came to regard as a second father. These lessons continued until Rimsky-Korsakovs death in 1908, in 1905 Stravinsky was betrothed to his cousin Katherine Gavrylivna Nosenko, whom he had known since early childhood. Diaghilev was sufficiently impressed by Fireworks to commission Stravinsky to carry out some orchestrations and then to compose a ballet score. The early period of Igor Stravinsky’s work would be incomplete without a research of his life while in Ukraine. From approximately 1890 till 1914 the composer was frequently visiting Ustyluh, town in Volyn Oblast and he spent most of his summers there and that’s where he met his cousin, Katherine Nosenko who he married in 1906. In 1907 Stravinsky designed and built his own house in Ustyluh where his own family stayed often during summer times until 1914 and his new Ukrainian home he called “My heavenly place”. In this house Igor Stravinsky worked on his seventeen early compositions, among which were orchestral fantasy Fireworks, ballets Firebird, Petrushka, currently, after its renovation this house is the only composers house-museum opened to the public
25.
Paul Hindemith
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Paul Hindemith was a prolific German composer, violist, violinist, teacher and conductor. Notable compositions include his song cycle Das Marienleben, Der Schwanendreher for Viola and Orchestra, Hindemiths most popular work, both on record and in the concert hall, is likely the Symphonic Metamorphosis of Themes by Carl Maria von Weber, written in 1943. Born in Hanau, near Frankfurt am Main, Hindemith was taught the violin as a child and he entered Frankfurts Hoch’sche Konservatorium, where he studied violin with Adolf Rebner, as well as conducting and composition with Arnold Mendelssohn and Bernhard Sekles. At first he supported himself by playing in bands and musical-comedy groups. He became deputy leader of the Frankfurt Opera Orchestra in 1914 and he played second violin in the Rebner String Quartet from 1914. Hindemith was conscripted into the German army in September,1917, there he was assigned to play bass drum in the regiment band, and also formed a string quartet. In May 1918 he was deployed to the front in Flanders, after the armistice he returned to Frankfurt and the Rebner Quartet. In 1921 he founded the Amar Quartet, playing viola, in 1922, some of his pieces were played in the International Society for Contemporary Music festival at Salzburg, which first brought him to the attention of an international audience. The following year, he began to work as an organizer of the Donaueschingen Festival, in 1927 he was appointed Professor at the Berliner Hochschule für Musik in Berlin. Hindemith wrote the music for Hans Richters 1928 avant-garde film Ghosts Before Breakfast, although the score was subsequently lost, in 1929 he played the solo part in the premiere of William Waltons Viola Concerto, after Lionel Tertis, for whom it was written, turned it down. Hindemith did not stay in Turkey as long as many other émigrés, nevertheless, he greatly influenced the developments of Turkish musical life, the Ankara State Conservatory owes much to his efforts. In fact, Hindemith was regarded as a master by young Turkish musicians and he was appreciated. Towards the end of the 1930s, he made tours in America as a viola and viola damore soloist. Hindemiths relationship to the Nazis is a complicated one, the controversy around his work continued throughout the thirties, with the composer falling in and out of favor with the Nazi hierarchy, he finally emigrated to Switzerland in 1938. This development seems to have been supported by the Nazi regime, it may have got him out of the way, yet at the same time he propagated a German view of musical history. In 1940, Hindemith emigrated to the United States, at the same time that he was codifying his musical language, his teaching and compositions began to be affected by his theories, according to critics like Ernest Ansermet. During this time he gave the Charles Eliot Norton Lectures at Harvard. Hindemith had a friendship with Erich Katz, whose own compositions were influenced by him
26.
Dizzy Gillespie
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John Birks Dizzy Gillespie was an American jazz trumpeter, bandleader, composer, and singer. AllMusics Scott Yanow wrote, Dizzy Gillespies contributions to jazz were huge, Gillespie was a trumpet virtuoso and improviser, building on the virtuoso style of Roy Eldridge but adding layers of harmonic complexity previously unheard in jazz. His beret and horn-rimmed spectacles, his singing, his bent horn, pouched cheeks. In the 1940s Gillespie, with Charlie Parker, became a figure in the development of bebop. He taught and influenced other musicians, including trumpeters Miles Davis, Jon Faddis, Fats Navarro, Clifford Brown, Arturo Sandoval, Lee Morgan, Chuck Mangione. Gillespie was born in Cheraw, South Carolina, the youngest of nine children of James, James was a local bandleader, so instruments were made available to the children. Gillespie started to play the piano at the age of four, Gillespies father died when he was only ten years old. Gillespie taught himself how to play the trombone as well as the trumpet by the age of twelve, from the night he heard his idol, Roy Eldridge, play on the radio, he dreamed of becoming a jazz musician. He received a scholarship to the Laurinburg Institute in North Carolina which he attended for two years before accompanying his family when they moved to Philadelphia. Teddy Hills band was where Gillespie made his first recording, King Porter Stomp, Willis was not immediately friendly but Gillespie was attracted anyway. The two finally married on May 9,1940 and they remained married until his death in 1993. Gillespie stayed with Teddy Hills band for a year, then left, in 1939, Gillespie joined Cab Calloways orchestra, with which he recorded one of his earliest compositions, the instrumental Pickin the Cabbage, in 1940. After a notorious altercation between the two men, Calloway fired Gillespie in late 1941, the incident is recounted by Gillespie, along with fellow Calloway band members Milt Hinton and Jonah Jones, in Jean Bachs 1997 film, The Spitball Story. Calloway did not approve of Gillespies mischievous humor, nor of his approach to soloing, according to Jones. Finally, their grudge for each other erupted over a thrown spitball, Calloway never thought highly of Gillespie, because he didnt view Gillespie as a good musician. Once during a rehearsal, a member of the band threw a spitball, already in a foul mood, Calloway decided to blame this on Gillespie. In order to clear his name, Gillespie didn’t take the blame, Calloway had minor cuts on the thigh and wrist. After the two men were separated, Calloway fired Gillespie, a few days later, Gillespie tried to apologize to Calloway, but he was dismissed
27.
AllMusic
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AllMusic is an online music guide service website. It was launched in 1991 by All Media Guide which later became All Media Network, AllMusic was launched in 1991 by Michael Erlewine of All Media Guide. The aim was to discographic information on every artist whos made a record since Enrico Caruso gave the industry its first big boost and its first reference book was published the following year. When first released onto the Internet, AMG predated the World Wide Web and was first available as a Gopher site, the AMG consumer web properties AllMusic. com, AllMovie. com and AllGame. com were sold by Rovi in July 2013 to All Media Network, LLC. All Media Network, LLC. was formed by the founders of SideReel. com. The following are contributors to AllMusic, as of this date, All Media Network also produced the AllMusic guide series that includes the AllMusic Guide to Rock, the All Music Guide to Jazz and the All Music Guide to the Blues. Vladimir Bogdanov is the president of the series, in August 2007, PC Magazine included AllMusic in its Top 100 Classic Websites list. All Media Network AllGame AllMovie SideReel All Music Guide to the Blues All Music Guide to Jazz Stephen Thomas Erlewine Official website
28.
Gil Evans
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Ian Ernest Gilmore Gil Evans was a Canadian jazz pianist, arranger, composer and bandleader. He is widely recognized as one of the greatest orchestrators in jazz, playing an important role in the development of jazz, modal jazz. He is best known for his collaborations with Miles Davis. Born in Toronto, Ontario, Canada, his name was changed early on from Green to Evans and his family moved to Stockton, California where he spent most of his youth. After 1946, he lived and worked primarily in New York City, living for many years at Westbeth Artists Community. Between 1941 and 1948, Evans worked as an arranger for the Claude Thornhill Orchestra. ”Evans modest basement apartment behind a New York City Chinese laundry soon became a place for musicians looking to develop new musical styles outside of the dominant bebop style of the day. Those present included the leading performer, Charlie Parker, as well as Gerry Mulligan. In 1948, Evans, with Miles Davis, Mulligan, and others, the Miles Davis-led group was booked for a week at the Royal Roost as an intermission group on the bill with the Count Basie Orchestra. Capitol Records recorded 12 numbers by the nonet at three sessions in 1949 and 1950 and these recordings were reissued on a 1957 Miles Davis LP titled Birth of the Cool. Later, while Davis was under contract with Columbia Records, producer George Avakian suggested that Davis could work with any of several arrangers, the three albums that resulted from the collaboration are Miles Ahead, Porgy and Bess, and Sketches of Spain. Another collaboration from this period, Quiet Nights was issued later, against the wishes of Davis, although these four records were marketed primarily under Daviss name, Evanss contribution was as important as Daviss. Their work coupled Evanss classic big band jazz stylings and arrangements with Daviss solo playing, Evans also contributed behind the scenes to Davis classic quintet albums of the 1960s. The demands of the score for Porgy and Bess were legendary, the limited time allotted for rehearsals revealed that the ability to read such a challenging score was not consistent among jazz musicians, and there are many audible errors. Evans was an influence on Daviss interest in non-jazz music. Davis died before the release of the album, from 1957 onwards Evans recorded albums under his own name. Tubist Bill Barber and trumpeter Louis Mucci from Thornhills band were both stalwarts in Evanss early ensembles, with Mucci finding a spot on nearly every pre1980s Evans recording. Among the featured soloists on these records were Lee Konitz, Jimmy Cleveland, Steve Lacy, Johnny Coles, in 1965 he arranged the big band tracks on Kenny Burrells Guitar Forms album. Evans was explicitly influenced by Spanish composers Manuel de Falla and Joaquín Rodrigo and his arrangements of pieces already well known to some listeners from their original cabaret, concert hall or Broadway stage arrangements, revealed aspects of the music in a wholly original way
29.
Toshiko Akiyoshi
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Toshiko Akiyoshi is a Japanese jazz composer/arranger, bandleader and pianist. She has received 14 Grammy nominations, and she was the first woman to win the Best Arranger and Composer awards in Down Beat magazines Readers Poll, in 1984, she was the subject of a documentary film titled Jazz Is My Native Language. In 1996, she published her autobiography, Life with Jazz, Akiyoshi was born in Liaoyang, Manchuria to Japanese emigrants. She was the youngest of four sisters, in 1945, after World War II, Akiyoshis family lost its home and returned to Japan, settling in Beppu. A local record collector introduced Akiyoshi to jazz by playing a record of Teddy Wilson playing Sweet Lorraine, Akiyoshi immediately loved the sound, and began to study jazz. In 1952, during a tour of Japan, pianist Oscar Peterson discovered Akiyoshi playing in a club on the Ginza, Peterson was impressed, and convinced record producer Norman Granz to record Akiyoshi. In 1953, under Granzs direction, Akiyoshi recorded her first album with Petersons rhythm section, Herb Ellis on guitar, Ray Brown on double bass, the album was released as Toshikos Piano in the U. S. and as Amazing Toshiko Akiyoshi in Japan. Akiyoshi studied jazz in Boston at the Berklee School of Music, in 1955, Akiyoshi wrote a letter to Lawrence Berk asking him to give her a chance to study at his school. After a year of wrangling with the State Department and Japanese officials and he offered her a full scholarship, and he mailed her a plane ticket to Boston. In January 1956, Akiyoshi enrolled to become the first Japanese student at Berklee, soon after, she appeared as a contestant on the March 18,1956 broadcast of the CBS television panel show Whats My Line. Akiyoshi married saxophonist Charlie Mariano in 1959, the couple had a daughter, Michiru, now a musician who performs as Monday Michiru, in 1963, but divorced in 1967 after forming several bands together. That same year, she met saxophonist Lew Tabackin, whom she married in 1969, Akiyoshi, Tabackin and Michiru moved to Los Angeles in 1972. In March 1973, Akiyoshi and Tabackin formed a 16-piece big band composed of studio musicians, Akiyoshi composed and arranged music for the band, and Tabackin served as the bands featured soloist, on tenor saxophone and flute. The band recorded its first album, Kogun, in 1974, Kogun was commercially successful in Japan, and the band began to receive critical acclaim. The couple moved to New York City in 1982, where they assembled a new big band. Akiyoshi toured with smaller bands to raise money for her big band, on Monday,29 December 2003, her band played its final concert at Birdland in New York City, where it had enjoyed a regular Monday night gig for more than seven years. Akiyoshi explained that she disbanded the ensemble because she was frustrated by her inability to obtain US recording contracts for the big band and she also said that she wanted to concentrate on her piano playing, from which she had been distracted by years of composing and arranging. She has said that although she has recorded as a solo pianist
30.
Frank Foster (musician)
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For other persons named Frank Foster, see Frank Foster Frank Benjamin Foster III was an American tenor and soprano saxophonist, flautist, arranger, and composer. Foster collaborated frequently with Count Basie and worked as a bandleader from the early 1950s, Foster was born in Cincinnati, Ohio, and educated at Wilberforce University. In 1949, he moved to Detroit, Michigan, where he joined the jazz scene. Drafted into the US Army in 1951, Foster served in Korea with the 7th Infantry Division, upon finishing his military service in 1953 he joined Count Basies big band. From 1970 to 1972 he played with Elvin Jones, and in 1972 and 1975 with the Thad Jones–Mel Lewis big band, Foster was an Artist in Residence at the New England Conservatory of Music in Boston in 1971. From 1972 to 1976, Foster was full-time Assistant Professor in the Black Studies Program at the State University of New York at Buffalo, Foster also formed and lead several groups, most notably Living Color and The Loud Minority. He co-led a quintet with Frank Wess in 1983, and toured Europe as a member of Jimmy Smiths quintet in 1985, in June 1986 Foster succeeded Thad Jones as leader of the Count Basie Orchestra. Frank Foster suffered a stroke in 2001 that impaired his left side to the extent that he could no longer play the saxophone. Until his death Foster continued composing and arranging at his home in Chesapeake, Virginia and he died of kidney failure on July 26,2011. In 1987, he was awarded a doctorate by Central State University in Wilberforce. In 2002, the National Endowment for the Arts presented Foster with its NEA Jazz Masters Award, the suite was performed by the Count Basie Orchestra at Harpers Ferry as part of the three-day Niagara Movement celebration in August 2006. Foster wrote the words, music, and orchestrations for I Love You and Romance Without Substance Is a Nuisance, both performed by vocalists Dennis Rowland and Marlena Shaw. On March 20,2009, the Chicago Jazz Ensemble, directed by Jon Faddis, performed a suite by Foster titled Chi-Town Is My Town. In 2009, Foster selected The Jazz Archive at Duke University to be the home for his numerous compositions, arrangements, after receiving help from the Jazz Foundation, he supported the cause by performing in their Annual Benefit Concert A Great Night in Harlem in 2008. 1953, Here Comes Frank Foster, Frank Foster Quintet with Benny Powell 1955, Hope Meets Foster with Elmo Hope 1956,2 LPs reissue 1956, No Count 1963, Basie is Our Boss 1965, Fearless Frank Foster 1966, Soul Outing. Vaughan 1984, Mack the Knife – Frank Sinatra – L. A, with Milt Jackson Plenty, Plenty Soul With Illinois Jacquet The Soul Explosion With Elvin Jones Elvin. Heavy Sounds with Richard Davis Coalition Genesis Merry-Go-Round New Agenda The Main Force Time Capsule Elvin Jones Music Machine Live in Japan 1978, Elvin Jones Jazz Machine Live in Japan Vol
31.
Carla Bley
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Carla Bley is an American jazz composer, pianist, organist and bandleader. She toured with him under the name Karen Borg, before she changed her name in 1957 to Carla Borg and he encouraged her to start composing. The couple later divorced but she kept his surname professionally, in 1964 she was involved in organising the Jazz Composers Guild which brought together the most innovative musicians in New York at the time. She then had a personal and professional relationship with Michael Mantler, with whom she had a daughter, Karen, Bley and Mantler were married from 1967-92. Bley and Mantler followed with WATT Records, which has issued their recordings exclusively since the early 1970s and she arranged and composed music for Charlie Hadens Liberation Music Orchestra, and wrote A Genuine Tong Funeral for Gary Burton. Her arrangement of the score for Federico Fellinis 8½ appeared on Hal Willners Nino Rota tribute record, Amarcord Nino Rota, in the late 1980s, she also performed with Anton Fiers Golden Palominos and played on their 1985 album, Visions of Excess. She has continued to frequently with her own big band, which has included Blood, Sweat and Tears notable Lew Soloff. Her current partner, the bassist Steve Swallow, has been her closest and most consistent musical associate in recent years, in 2005 she arranged the music for and performed on Charlie Hadens latest Liberation Music Orchestra tour and recording, Not in Our Name. She lives in Woodstock, New York, Bley was awarded a Guggenheim Fellowship in 1972 for music composition. In 2009, she was awarded the German Jazz Trophy A Life for Jazz, Bley received the NEA Jazz Masters Award in 2015. 1974, Tropic Appetites 1977, Dinner Music 1978, European Tour 19771979, Musique Mecanique 1981, Social Studies 1982, Live. Oteri Watt/XtraWatt music label Carla Bley discography, forum, and marketplace at Discogs Carla Bley at AllMusic Carla Bley at All About Jazz Carla Bley interview at All About Jazz
32.
Sun Ra
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Sun Ra was an American jazz composer, bandleader, piano and synthesizer player, poet and philosopher known for his experimental music, cosmic philosophy, prolific output, and theatrical performances. For much of his career, Ra led The Arkestra, an ensemble with an ever-changing name, born and raised in Alabama, Blount would eventually become involved in the 1940s Chicago jazz scene. From the mid-1950s until his death, Ra led the musical collective The Arkestra and its performances often included dancers and musicians dressed in elaborate, futuristic costumes inspired by ancient Egyptian attire and the space age. He is now considered an innovator, among his distinctions are his pioneering work in free improvisation and modal jazz. Following Sun Ras death in 1993, the Arkestra continues to perform and he was born Herman Blount on May 22,1914, in Birmingham, Alabama, as discovered by his biographer, John F. Szwed, and published in his 1998 book. He was named after the popular stage magician Black Herman. He was nicknamed Sonny from his childhood, had a sister and half-brother. For decades, very little was known about Sun Ras early life, as a self-invented person, he routinely gave evasive, contradictory or seemingly nonsensical answers to personal questions, and denied his birth name. He speculated, only half in jest, that he was related to Elijah Poole, later famous as Elijah Muhammed. His birthday for years remained unknown, as he claimed it for years ranging from 1910 to 1918, only a few years before his death, the date of Sun Ras birth was still a mystery. Jim Macnies notes for Blue Delight said that Sun Ra was believed to be about 75 years old, but Szwed was able to uncover a wealth of information about his early life and confirmed a birth date of May 22,1914. As a child, Herman was a skilled pianist, by the age of 11 or 12, he was composing and sight reading music. Birmingham was an important stop for touring musicians and he saw famous musicians such as Fletcher Henderson, Duke Ellington, and Fats Waller, along with others who were quite talented but never made the big time. Sun Ra once said, The world let down a lot of good musicians, by his mid-teens, Blount was performing semi-professionally as a solo pianist, or as a member of various ad hoc jazz and R&B groups. Though deeply religious, his family was not formally associated with any Christian church or sect, Blount had few or no close friends in high school but was remembered as kind-natured and quiet, an honor roll student, and a voracious reader. He took advantage of the Black Masonic Lodge as one of the few places in Birmingham where African Americans had unlimited access to books and its collection on Freemasonry and other esoteric concepts made a strong impression on him. By his teens, Blount suffered from cryptorchidism and it left him with a nearly constant discomfort that sometimes flared into severe pain. Szwed suggests that Blount felt shame about it and the condition contributed to his isolation, in 1934 Blount was offered his first full-time musical job by Ethel Harper—his biology teacher from the high school, who had organized a band to pursue a career as a singer
33.
Duke Ellington
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Edward Kennedy Duke Ellington was an American composer, pianist, and bandleader of a jazz orchestra, which he led from 1923 until his death in a career spanning over fifty years. Ellington was based in New York City from the mid-1920s onward, in the 1930s, his orchestra toured in Europe. Some of the musicians who were members of Ellingtons orchestra, such as saxophonist Johnny Hodges, are considered to be among the best players in jazz, Ellington melded them into the best-known orchestral unit in the history of jazz. Some members stayed with the orchestra for several decades, a master at writing miniatures for the three-minute 78 rpm recording format, Ellington often composed specifically to feature the style and skills of his individual musicians. Ellington also recorded songs written by his bandsmen, for example Juan Tizols Caravan, and Perdido, after 1941, Ellington collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his writing and arranging companion. With Strayhorn, he composed many extended compositions, or suites, following an appearance at the Newport Jazz Festival, in July 1956, Ellington and his orchestra enjoyed a major career revival and embarked on world tours. Ellington recorded for most American record companies of his era, performed in films, scoring several. His reputation continued to rise after he died, and he was awarded a special posthumous Pulitzer Prize for music in 1999, Ellington was born on April 29,1899, to James Edward Ellington and Daisy Ellington in Washington, D. C. Daisy primarily played parlor songs and James preferred operatic arias and they lived with his maternal grandparents at 2129 Ida Place, NW, in the West End neighborhood of Washington, D. C. Dukes father was born in Lincolnton, North Carolina, on April 15,1879, Daisy Kennedy was born in Washington, D. C. on January 4,1879, the daughter of a former American slave. James Ellington made blueprints for the United States Navy, when Ellington was a child, his family showed racial pride and support in their home, as did many other families. African Americans in D. C. worked to protect their children from the eras Jim Crow laws, at the age of seven, Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners, Ellingtons childhood friends noticed that his casual, offhand manner, his easy grace, and his dapper dress gave him the bearing of a young nobleman, and began calling him Duke. Ellington credited his chum Edgar McEntree for the nickname, I think he felt that in order for me to be eligible for his constant companionship, I should have a title. Though Ellington took piano lessons, he was interested in baseball. President Roosevelt would come by on his horse sometimes, and stop and watch us play, Ellington went to Armstrong Technical High School in Washington, D. C. He gained his first job selling peanuts at Washington Senators baseball games, in the summer of 1914, while working as a soda jerk at the Poodle Dog Café, Ellington wrote his first composition, Soda Fountain Rag. He created the piece by ear, as he had not yet learned to read, I would play the Soda Fountain Rag as a one-step, two-step, waltz, tango, and fox trot, Ellington recalled
34.
Art rock
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Art rock is a subgenre of rock music that generally reflects a challenging or avant-garde approach to rock, or which makes use of modernist, experimental, or unconventional elements. Art rock aspires to elevate rock from teen entertainment to an artistic statement, influences may be drawn from genres such as experimental rock, avant-garde music, classical music, and jazz. The genres greatest level of popularity was in the early 1970s through British artists, art rock is most associated with a certain period of rock music, beginning in 1966–67 and ending with the arrival of punk in the mid 1970s. After, the genre would be infused within later popular music genres of the 1970s–90s, in the rock music of the 1970s, the art descriptor was generally understood to mean aggressively avant-garde or pretentiously progressive. Art rock is used synonymously with progressive rock. Historically, the term has been used to describe at least two related, but distinct, types of rock music, art rock emphasizes Romantic and autonomous traditions, in distinction to the aesthetic of the everyday and the disposable embodied by art pop. Common characteristics include album-oriented music divided into compositions rather than songs, with complicated and long instrumental sections. Its music was used within the context of concept records. Compared to progressive rock, art rock is more challenging, noisy and unconventional and less classically influenced, art rock can also to refer to either classically driven rock, or a progressive rock-folk fusion. S. Eliot than to Carl Perkins or Willie Dixon, the boundaries between art and pop music became increasingly blurred throughout the second half of the 20th century. The first usage of the art rock, according to Merriam-Webster Online Dictionary, was in 1968. As pop musics dominant format transitioned from singles to albums, many rock bands created works that aspired to make grand artistic statements, as it progressed in the late 1960s – in tandem with the development of progressive rock – art rock acquired notoriety alongside experimental rock. According to biographer Richard Williams, created a new concept, the producer as overall director of the creative process, Spector transformed rock music as a performing art to an art which could only exist in the recording studio, which paved the way for art rock. The Beach Boys leader Brian Wilson is also cited as one of the first examples of the music producer. Like Spector, Wilson was known as an eremitic studio obsessive who laboriously produced fantastical soundscapes through his mastery of recording technology. Biographer Peter Ames Carlin wrote that Wilson was the forerunner of a new kind of art-rock that would combine the transcendent possibilities of art with the accessibility of pop music. According to journalist Richard Goldstein, many musicians from California desired to be acknowledged as artists. They yearned for fame, as only needy people can, but they wanted to make art
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Art pop
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Art pop is a loosely defined style of pop music influenced by pop art and postmodernisms integration of high and low culture. Art pop artists have explored ideas such as status as commercial art, notions of artifice, the self as a construction. Starting in the mid 1960s, British and American pop musicians began incorporating the ideas of the pop art movement, English art pop musicians drew from their art school studies, while in America the style intersected with the Beat Generation and folk musics subsequent singer-songwriter movement. The genre further developed with artists who rejected conventional rock instrumentation and structure in favor of dance styles, the 2010s saw new art pop trends develop, such as hip hop artists drawing on visual art and vaporwave artists exploring elements of contemporary capitalism. Sociomusicologist Simon Frith has distinguished the appropriation of art pop music as having a particular concern with style, gesture. Central to particular purveyors of the style were notions of the self as a work of construction and artifice, as well as a preoccupation with the invention of terms, imagery, process, and affect. Cultural theorist Mark Fisher wrote that the development of art pop evolved out of the triangulation of pop, art, Frith states that it was more or less directly inspired by Pop art. Writers for The Independent and the Financial Times have noted the attempts of art pop music to distance its audiences from the public at large, the Independents Nick Coleman wrote, Art-pop is partly about attitude and style, but its essentially about art. It is, if you like, a way of making pure formalism socially acceptable in a pop context, the boundaries between art and pop music became increasingly blurred throughout the second half of the 20th century. In the 1960s, pop musicians such as John Lennon, Syd Barrett, Pete Townshend, Brian Eno, and Bryan Ferry began to take inspiration from their previous art school studies. Frith states that in Britain, art school represented an escape route for the bright working class kids. In North America, art pop was influenced by Bob Dylan and the Beat Generation, another chief influence on the development of art pop was the Pop art movement. The term Pop art, first coined to describe the value of mass-produced goods, was directly applicable to the contemporary phenomenon of rock. According to Frith, turned out to signal the end of Romanticism, progressive rock was the bohemians last bet. In this context the key Pop art theorist was not Hamilton or any of the other British artists who, for all their interest in the market, remained its academic admirers only. For Warhol the significant issue wasnt the relative merits of high and low art, in the words of author Matthew Bannister, Wilson and Spector were both known as eremitic studio obsessives. Habitually absented themselves from their own work, and like Warhol, Spector existed not as presence, both vastly successful commercial artists, and both simultaneously absent and present in their own creations. The Beach Boys singles California Girls, God Only Knows, as the dominant format of pop music transitioned from singles to albums, many rock bands created works that aspired to make grand artistic statements, where art rock would flourish
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