1.
Stan Kenton
–
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
Stan Kenton
–
Stan Kenton
Stan Kenton
–
Stan Kenton with Eddie Safranski, 1947 or 1948
2.
Big band
–
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
Big band
–
Paul Whiteman and his orchestra in 1921
Big band
–
Benny Goodman and
Peggy Lee
Big band
–
Glenn Miller
Big band
–
Ockbrook Big Band at
Pride Park Stadium
3.
Art music
–
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
Art music
–
Ludwig van Beethoven 's manuscript sketch for
Piano Sonata No. 28, Movement IV, Geschwind, doch nicht zu sehr und mit Entschlossenheit (
Allegro), in his own handwriting. The piece was completed in 1816.
4.
Alternative culture
–
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
Alternative culture
–
Visiting a popconcert in leather and Mohawk hairstyle on a horse with motor steering
stem
5.
Celtic folk
–
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
Celtic folk
–
Performance in 2010
Celtic folk
–
Alan Stivell at Nuremberg, Germany, 2007
Celtic folk
–
Massed pipers at the Lorient festival
6.
Indian music
–
The music of India includes multiple varieties of Indian classical music, folk music, Filmi and Indian pop. Indias classical music tradition, including Hindustani music and Carnatic, has a history spanning millennia, Music in India began as an integral part of socio-religious life. The basic concepts of music includes shruti, swaras, alankar, raga. Its tonal system divides the octave into 22 segments called shrutis, not all equal, the Hindustani music tradition diverged from Carnatic music around the 13th-14th centuries CE. The practice of singing based on notes was popular even from the Vedic times where the hymns in Sama Veda, developing a strong and diverse tradition over several centuries, it has contemporary traditions established primarily in India but also in Pakistan and Bangladesh. Classical genres are dhrupad, dhamar, khyal, tarana and sadra, the present of Carnatic music can be traced to the 14th - 15th centuries AD and thereafter. It originated in South India during the rule of Vijayanagar Empire, like Hindustani music, it is melodic, with improvised variations, but tends to have more fixed compositions. It consists of a composition with improvised embellishments added to the piece in the forms of Raga Alapana, Kalpanaswaram, Neraval and, in the case of advanced students, Raga, Tala. The main emphasis is on the vocals as most compositions are written to be sung, there are about 7.2 million ragas in Carnatic Music, with around 300 still in use today. Every December, the city of Chennai in India has its eight-week-long Music Season, Carnatic music has served as the foundation for most music in South India, including folk music, festival music and has also extended its influence to film music in the past 100–150 years or so. Light classical or semi-classical, among others, Thumri, Dadra, Ghazal, Chaiti, Kajri and Tappa, Rabindra Sangeet, also known as Tagore songs, are songs written and composed by Rabindranath Tagore. They have distinctive characteristics in the music of Bengal, popular in India, Sangeet means music, Rabindra Sangeet means music of Rabindra. Rabindra Sangeet used Indian classical music and traditional music as sources. Rabindranath Tagore was a figure in Indian music. Many singers in West Bengal and Bangladesh base their careers on the singing of Tagore musical masterpieces. The national anthem of India and national anthem of Bangladesh are Rabindra Sangeets, bihu is the festival of New Year of Assam falling on mid April. This is a festival of nature and mother earth where the first day is for the cows, second day is for the man. Bihu dances and songs accompanied by drums and wind instruments are essential part of this festival
Indian music
–
A Lady Playing the Tanpura, ca. 1735 (Rajasthan)
Indian music
–
A pair of
Indian folk musicians performing in a rural village
Indian music
–
Rabindranath Tagore's Bengali-language initials are worked into this "Ro-Tho" wooden seal, stylistically similar to designs used in traditional Haida carvings. Tagore embellished his manuscripts with such art.
Indian music
–
Dance accompanied by Rabindra Sangeet
7.
African music
–
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
African music
–
Classical
Egyptian vocalist
Um Kulthum
African music
–
Aar Maanta performing with his band at Pier Scheveningen Strandweg in
The Hague,
Netherlands.
African music
–
Geo-political map of Africa divided for ethnomusicological purposes, after
Alan P. Merriam, 1959.
African music
–
Algerian musician
Abderrahmane Abdelli playing the
oud.
8.
Progressive rock
–
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
Progressive rock
–
King Crimson, one of the most important and influential progressive rock bands
Progressive rock
–
The synthesizer became a viable instrument when modular synthesizers, such as this one played by Keith Emerson, were replaced by smaller, simpler versions
Progressive rock
–
Modern synthesizer technology has reduced the need for huge setups of bulky equipment. Here
Rick Wakeman plays a digital synthesizer with one hand and programs a Minimoog with the other
Progressive rock
–
Canadian band Rush perform in 2004. (left to right
Alex Lifeson,
Geddy Lee and
Neil Peart)
9.
Art theory
–
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
Art theory
–
Bronze sculpture, thought to be either
Poseidon or
Zeus,
National Archaeological Museum of Athens
Art theory
–
Plato –
Kant –
Nietzsche
Art theory
–
Cubist painting by
Georges Braque, Violin and Candlestick (1910)
Art theory
–
William Hogarth, self-portrait, 1745
10.
Electronic media
–
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
Electronic media
–
A screenshot of a web page. The computers to store, transmit, and display the web page are electronic media. The web page is an electronic medium.
11.
Marketing
–
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
Marketing
–
Constructive criticism helps marketers adapt offerings to meet changing customer needs.
12.
Pop music
–
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
Pop music
–
The Oxford Dictionary of Music states that the term "pop" refers to music performed by such artists as
the Rolling Stones (pictured here in a 2006 performance)
Pop music
–
According to several sources,
MTV helped give rise to
pop stars such as
Michael Jackson and
Madonna; and Jackson and Madonna helped make MTV.
Pop music
13.
Concept album
–
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
Concept album
–
Pink Floyd in mid-performance of
Dark Side of the Moon (1973)
14.
Music industry
–
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
Music industry
–
The
Sony Center at Potsdamer Platz in Berlin
Music industry
–
The online iTunes "Store" has become a popular way for listeners to find and buy music.
15.
Jazz
–
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
Jazz
–
Louis Armstrong (1901–1971) is considered one of the pivotal musicians in jazz for his contributions as a trumpet player, composer and singer.
Jazz
–
Double bassist
Reggie Workman, saxophone player
Pharoah Sanders, and drummer
Idris Muhammad performing in 1978
Jazz
–
Albert Gleizes, 1915, Composition pour Jazz, gouache on cardboard, mounted on Masonite, 73 x 73 cm,
Solomon R. Guggenheim Museum, New York
Jazz
–
In the late 18th-century painting
The Old Plantation, African-Americans dance to banjo and percussion.
16.
Swing music
–
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
Swing music
–
Benny Goodman, one of the first swing bandleaders to achieve widespread fame.
Swing music
–
Frank Sinatra
Swing music
–
Django Reinhardt and Stephane Grappelli
17.
Bebop
–
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
Bebop
–
Dizzy Gillespie, at the Downbeat Club, NYC, ca 1947
Bebop
–
Several Bebop musicians headlining on
52nd Street, May 1948
18.
Progressive pop
–
Progressive pop is a form of pop music which attempts to break with the genres standard formula. Performers commonly produce their own material while opposing the influence of managers, agents, since 1967, progressive pop has stood in contrast to mass/chart pop. Following the economic boom of the mid 1960s, record labels investing in artists. Groups who combined rock and roll with various music styles such as Indian ragas. After the 1970s, prog began selling poorly, opening a vacuum for a new, during the 1980s, the New Pop movement attempted to bridge the divide between progressive pop and its mass/chart counterpart. By the 2000s, progressive pop gave rise to a host of popular, the term progressive refers to the wide range of attempts to break with standard pop music formulas through extended instrumentation, personalized lyrics, and individual improvisation. The premise involved popular music that was created with the intention of listening, not dancing, Progressive music was also mainly produced by the performing artists themselves. Some stylistic features of progressive pop include changes in key and rhythm or experiments with larger forms, in terms of tonal structure, progressive pop is similar to rock and roll in overthrowing harmony as its basic organizing structure. However, unlike rock and roll, progressive pop inverts received conventions, playing with them ironically, disrupting them, or producing shadows of them in new and unexpected forms. Electronic techniques such as echo, feedback, stereo, loudness, Progressive pop was originally termed for progressive rock music. By the late 1970s, progressive pop was roughly synonymous with rock music, authors Don and Jeff Breithaupt define progressive pop in the 1970s and 1980s as a leaner breed of pomp rock that was derivative of the Beatles. Parsons thought progressive pop was a name, explaining that what made progressive was the epic sound. During the mid 1960s, pop music made repeated forays into new sounds, styles, the word progressive was frequently used, and it was thought that every song and single was to be a progression from the last. The Beatles Paul McCartney intimated in 1967, we got a bit bored with 12 bars all the time, then came Dylan, the Who, and the Beach Boys. Were all trying to do vaguely the same kind of thing, before the progressive pop of the late 1960s, performers were typically unable to decide on the artistic content of their music. The Beach Boys leader Brian Wilson is credited for setting a precedent that allowed bands and artists to enter a recording studio, upon release, the Beach Boys 1966 album Pet Sounds was hailed by British newspapers as the most progressive pop album ever. Clevelands Troy Smith believes that the established the group as forefathers of progressive pop, right from the beginning chords of Wouldnt It Be Nice. In December 1966, Melody Maker attempted to define the recent developments in pop, in the opinion of author Simon Grilo, the Beatles progressive pop was exemplified in the double A-sided single Strawberry Fields Forever / Penny Lane
Progressive pop
–
Electric Light Orchestra in 1978
19.
Cool jazz
–
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
Cool jazz
–
Chet Baker, known as the "Prince of Cool", 1983.
20.
Modernist
–
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
Modernist
Modernist
–
Eugène Delacroix 's
Liberty Leading the People, 1830, a
Romantic work of art
Modernist
–
A
Realist portrait of
Otto von Bismarck
Modernist
–
Odilon Redon, Guardian Spirit of the Waters, 1878, charcoal on paper,
The Art Institute of Chicago
21.
Igor Stravinsky
–
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
Igor Stravinsky
Igor Stravinsky
–
Igor Stravinsky, 1903
Igor Stravinsky
–
A costume sketch by
Léon Bakst for
The Firebird
Igor Stravinsky
–
Vaslav Nijinsky as Petrushka in 1910–11
22.
Paul Hindemith
–
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
Paul Hindemith
–
Paul Hindemith aged 28.
Paul Hindemith
–
Hindemith (to the left) received the Sibelius Prize in 1955 from Antti Wihuri.
23.
Dizzy Gillespie
–
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
Dizzy Gillespie
–
Gillespie in concert, Deauville,
Normandy, France
Dizzy Gillespie
–
Dizzy Gillespie,
Tadd Dameron,
Hank Jones,
Mary Lou Williams and Milt Orent in 1947
Dizzy Gillespie
–
Tadd Dameron, Mary Lou Williams and Dizzy Gillespie in 1947
Dizzy Gillespie
–
Ella Fitzgerald, Dizzy Gillespie,
Ray Brown,
Milt Jackson and
Timme Rosenkrantz in September 1947, New York
24.
AllMusic
–
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
AllMusic
–
AllMusic's
logotype and logo (since July 2013)
25.
Gil Evans
–
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
Gil Evans
–
With guitarist
Ryo Kawasaki at
Sweet Basil in New York City, 1982.
26.
Toshiko Akiyoshi
–
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
Toshiko Akiyoshi
–
Toshiko Akiyoshi in 1978 (Photo: Brian McMillen)
27.
Frank Foster (musician)
–
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
Frank Foster (musician)
–
Frank Foster (left) and
Dan Morgenstern in 2008.
28.
Carla Bley
–
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
Carla Bley
–
Carla Bley at
Keystone Korner, San Francisco 1979 (photo: Brian McMillen)
Carla Bley
–
Carla Bley
Carla Bley
–
Carla Bley,
Moers Festival 2012
29.
Sun Ra
–
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
Sun Ra
–
Sun Ra at the
New England Conservatory of Music, February 27, 1992
30.
Duke Ellington
–
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
Duke Ellington
–
Ellington c. 1940s
Duke Ellington
–
"East St. Louis Toodle-Oo" (1927)
Duke Ellington
–
Duke Ellington at the Hurricane Club in New York, May 1943
Duke Ellington
–
Ellington poses with his piano at the KFG Radio Studio November 3, 1954.
31.
Art rock
–
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
Art rock
–
Roxy Music performing in Toronto in 1974
Art rock
–
David Bowie performing in 1978
Art rock
–
Spector (center) in the studio with
Modern Folk Quartet in 1966
32.
New Pop
–
New Pop was a British music movement rooted in the post-punk movement of the late 1970s. New Music was a pop music and cultural phenomenon in the US associated with the Second British Invasion, many New Pop artists created technologically oriented music that sweetened less commercial and experimental aspects with a pop coating. Entryism became a concept for groups at the time. New Music acts were danceable, had a look, emphasized the synthesizer and drum machines, wrote about the darker side of romance. They rediscovered rockabilly, Motown, ska, reggae and merged it with African rhythms to produce what was described as a fertile, stephen Holden of the New York Times wrote at the time that New Music was more about its practitioners than their sound. Teenage girls and males that had grown tired of traditional phallic guitar driven rock embraced New Music, New Music was a singles oriented phenomenon, reverting the 1970s rock music album orientation. During the late 1970s, New Musick was one of the labels that was applied to certain post-punk groups, the term post-punk was also deployed interchangeably with new wave. In the New Rolling Stone Encyclopedia of Rock, new wave is described as a meaningless term. By the early 1980s, British journalists had largely abandoned new wave in favor of other such as synthpop, and in 1983. In the wake of the rock explosion of the late 1970s. Around this time, the term rockist would gain popularity to disparagingly describe music that privileged traditionalist rock styles, according to Pitchforks Jess Harvel, If new pop had an architect, it was Paul Morley. As the 1980s began, a number of musicians desired to broaden these movements to reach a mainstream audience. In 1980, the New Music Seminar made its debut and it was designed to help young new wave artists gain entrance into the American music industry. The event grew rapidly in popularity and encouraged the shift away from the use of new wave to New Music in the United States, a similar shift occurred in Great Britain where new wave was replaced with New Romantic and New Pop. Unlike in Great Britain, attempts prior to 1982 to bring new wave, during 1982, New Music acts began to appear on the charts in the United States, and clubs there that played them were packed. In reaction to New Music, album-oriented rock radio stations doubled the amount of new acts they played, annie Lennox and Boy George were the two figures most associated with New Music. Criticism of New Pop emerged from both supporters of traditional rock and newer experimental rock and these critics looked at New Pop as pro corporate at expense of rock musics anti-authoritarian tradition. Critics believed New Pops embrace of synths and videos were ways of covering in many cases lack of talent, the heavy metal magazine Hit Parader regularly used the homophobic slur faggot to describe New Music musicians
New Pop
–
The Oxford Dictionary of Music states that the term "pop" refers to music performed by such artists as
the Rolling Stones (pictured here in a 2006 performance)
New Pop
–
According to several sources,
MTV helped give rise to
pop stars such as
Michael Jackson and
Madonna; and Jackson and Madonna helped make MTV.
New Pop
33.
Experimental pop
–
Experimental pop is pop music that cannot be categorized within traditional musical boundaries or which attempts to push elements of existing popular forms into new areas. It may incorporate experimental techniques such as musique concrète, aleatoric music, throughout the ensuing decades, some purveyors of the style shared a literary-experimental tradition that balanced experimentation with populist cohesion. Often, the process involves the use of electronic production effects to manipulate sounds. According to musicologist Leigh Landy, experimental pop settings combine sound-based work and note-based work, composer Nico Muhly described the world of experimental pop as celebrations of sonic juxtapositions. In the pop and rock music of the early 1960s, it was common for producers, songwriters, and engineers to freely experiment with form, orchestration, unnatural reverb. Some of the best known examples are Phil Spectors Wall of Sound, however, a gulf would still exist between experimental composers and out-there pop musicians, partly due to the role of the recording studio. Regarding this, composer Robert Ashley is quoted in 1966, We cant be popular musicians, the one thing I like about popular music is that they record it. They record it, record it, record it, record it, the astute producer cuts out the magic from the different tapes and puts them in a certain order and gets a whole piece. Its very beautiful, because its really aural magic and we have to invent social situations to allow that magic to happen. Music historian Lorenzo Candalaria described American rock band the Beach Boys as one of the most experimental, co-founder and leader Brian Wilson wrote and produced songs for the group that ranged from massive hits to obscure experimental pop compositions. It was followed by Smiley Smile, an album of stripped-down recordings, in 2003, Stylus Magazine wrote that the album embrace the listener with a drugged out sincerity, a feat never accomplished by the more pretentious and heavy-handed psychedelia of that era. It is for this reason Smiley Smile flows so well with the experimental pop of today. In the view of artist Duggie Fields, the Syd Barret-led incarnation of Pink Floyd exemplified experimental pop, the group found their initial success playing at the UFO Club in London, an underground venue whose objective was to provide an outlet for experimental pop groups. According to The New York Times, Barrett and his subsequent solo albums became a touchstone for experimental pop musicians, drummer John Densmore believed that the Doors were on the cutting-edge of experimental pop music until he listened to the Beatles album Sgt. Peppers Lonely Hearts Club Band, which he described as to have done it all, martin wrote that, along with the Rolling Stones Their Satanic Majesties Request, the Beatles Sgt. Pepper opened a space for experimental pop which would be filled by Jimi Hendrix, Jethro Tull. Pepper, Gary Usher and Curt Boettcher were Los Angeles-based songwriters and producers who were interested in classical music, later cited as fixtures of sunshine pop, they worked together to create their debut studio album, Present Tense. It was credited to Sagittarius, a group referred to as an experimental pop band by The A. V
Experimental pop
34.
Experimental rock
–
Experimental rock is a subgenre of rock music which pushes the boundaries of common composition and performance technique or which experiments with the basic elements of the genre. From its inception, rock music was experimental, but it wasnt until the late 1960s that rock artists began creating extended, in 1967, the genre was as commercially viable as pop music, but by 1970, most of its leading players had incapacitated themselves in some form. In Germany, the krautrock subgenre merged elements of improvisation and psychedelic rock with avant-garde, later in the 1970s, significant musical crossbreeding took place in tandem with the developments of punk and new wave, DIY experimentation, and electronic music. Funk, jazz-rock, and fusion rhythms became integrated into experimental rock music. The first wave of 1980s experimental rock groups had few precedents for their sound. Later in the decade, avant-rock pursued a psychedelic aesthetic that differed from the self-consciousness, during the 1990s, a loose movement known as post-rock became the dominant form of experimental rock. As of the 2010s, the experimental rock has fallen to indiscriminate use, with virtually every modern rock band being categorized under prefixes such as post-, kraut-, psych-. Although experimentation had always existed in music, it wasnt until the late 1960s that new openings were created from the aesthetic intersecting with the social. In 1966, the boundaries between pop music and the avant-garde began to blur as rock albums were conceived and executed as distinct, self-taught rock musicians in the middle and late 1960s drew from the work of composers such as John Cage, Karlheinz Stockhausen, and Luciano Berio. In addition, The Quietus Ben Graham described duos the Silver Apples, calling attention to the very recordedness of the album. This would also be reflected in contemporary experimental rock LPs, such as the Beach Boys Pet Sounds and Smile, the Whos The Who Sell Out and Tommy. The Velvet Underground were a group in experimental rock, according to Rosenberg. Peppers inspired a new consideration for experimental rock as commercially viable music, as progressive rock developed, experimental rock acquired notoriety alongside art rock. By 1970, most of the musicians which had been at the forefront of rock had incapacitated themselves. Groups such as Can, Faust, Neu, the ideas of minimalism and composers such as Stockhausen would be particularly influential. During this era, funk, jazz-rock, and fusion rhythms became integrated into experimental rock music, some groups who were categorized as post-punk considered themselves part of an experimental rock trajectory, with This Heat as one of the prominent players. Anderson claims that the no wave scene represented New York’s last stylistically cohesive avant-rock movement, steve Redhead noted the resuscitation of New Yorks avant-rock scene, including artists such as Sonic Youth and John Zorn, in the 1980s. In the late 1980s, avant-rock pursued a frazzled, psychedelia-tinged, blissed out aesthetic that differed from the self-consciousness, the UK shoegaze scene was seen by some as a continuation of an experimental rock tradition
Experimental rock
–
Einstürzende Neubauten
Experimental rock
–
Sonic Youth
Experimental rock
–
Animal Collective performing live in Prague on October 14, 2008
Experimental rock
–
Prepared guitar
35.
Romantic music
–
Romantic music is an era of Western classical music that began in the late 18th or early 19th century. In the Romantic period, music became more expressive and emotional, expanding to encompass literary, artistic, famous early Romantic composers include Beethoven, Schubert, Schumann, Chopin, Mendelssohn, Bellini, and Berlioz. The late 19th century saw an expansion in the size of the orchestra and in the dynamic range. Also, public concerts became a key part of middle class society, in contrast to earlier periods. Famous composers from the half of the century include Johann Strauss II, Brahms, Liszt, Tchaikovsky, Verdi. A prominent mark of late 19th century music is its nationalistic fervor, as exemplified by such figures as Dvořák, Sibelius, other prominent late-century figures include Saint-Saëns, Fauré, Rachmaninoff and Franck. The Romantic movement was an artistic, literary, and intellectual movement that originated in the half of the 18th century in Europe. In part, it was a revolt against social and political norms of the Age of Enlightenment and a reaction against the scientific rationalization of nature. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography and education. One of the first significant applications of the term to music was in 1789, in the Mémoires by the Frenchman André Grétry, in the first of these essays Hoffmann traced the beginnings of musical Romanticism to the later works of Haydn and Mozart. It was also through the writings of Hoffmann and other German authors that German music was brought to the centre of musical Romanticism, the attributes have also been criticized for being too vague. For example, features of the ghostly and supernatural could apply equally to Mozarts Don Giovanni from 1787, events and changes that happen in society such as ideas, attitudes, discoveries, inventions, and historical events always affect music. For example, the Industrial Revolution was in effect by the late 18th century. This event had a profound effect on music, there were major improvements in the mechanical valves. The new and innovative instruments could be played with greater ease, another development that had an effect on music was the rise of the middle class. Composers before this period lived on the patronage of the aristocracy, many times their audience was small, composed mostly of the upper class and individuals who were knowledgeable about music. The Romantic composers, on the hand, often wrote for public concerts and festivals, with large audiences of paying customers. Composers of the Romantic Era, like Elgar, showed the world that there should be no segregation of musical tastes, during the Romantic period, music often took on a much more nationalistic purpose
Romantic music
–
Wanderer Above the Sea of Fog, by
Caspar David Friedrich is an example of Romantic painting.
36.
Acid rock
–
Acid rock is a loosely defined type of rock music that evolved out of the mid-1960s garage punk movement and helped launch the psychedelic subculture. Acid rock is defined by distorted guitars, lyrics with drug references. Distinctions between other genres can be tenuous, it may also encompass certain garage rock, 1960s punk, proto-metal and heavy, the style may distinguish itself from other psychedelic styles by having a harder, louder, or heavier sound. Developing mainly from the American West Coast, acid rock did not focus on novelty recording effects or whimsicalness as much as subsequent British psychedelia, rather, American groups emphasized the heavier qualities associated with both the positive and negative extremes of the psychedelic experience. Some of the bands in the genre include 13th Floor Elevators, the Charlatans, the Grateful Dead, Count Five, the Beatles. Of the last three groups, their 1966 songs Psychotic Reaction, Tomorrow Never Knows, and East-West were especially influential. As the movement progressed into the late 1960s and 1970s, elements of rock split into two directions, with hard rock and heavy metal on one side and progressive rock on the other. In the 1990s, the metal genre combined acid rock with other hard rock styles such as grunge, updating the heavy riffs and long jams found in acid rock. Rock journalist Nik Cohn called it a meaningless phrase that got applied to any group. It was originally used to describe the music for acid trips in underground parties in the 1960s. The term is regularly deployed interchangeably with psychedelic rock and this would mean psychedelic rock that is heavier, louder, or harder. As a hard rock variant of psychedelia, acid rock evolved from the 1960s garage punk movement, percussionist John Beck defines acid rock as synonymous with hard rock and heavy metal. The term eventually encompassed heavy, blues-based hard rock bands, musicologist Steve Waksman wrote that the distinction between acid rock, hard rock, and heavy metal can at some point never be more than tenuous. Many bands associated with acid rock aimed to create a movement based on love and peace. David P. Szatmary states, a legion of rock bands, playing what became known as acid rock, when played live at dance clubs, performances were accompanied by psychedelic-themed light shows in order to replicate the visual effects of the acid experience. Their stage performance involved the use of lights to reproduce LSDs surrealistic fragmenting or vivid isolating of caught moments. The Acid Test experiments subsequently launched the entire psychedelic subculture, other bands credited with creating or laying the foundation for acid rock include garage rock bands such as the 13th Floor Elevators and Count Five. According to Laura Diane Kuhn, the form of psychedelic rock known as acid rock developed from the late 1960s California music scene
Acid rock
–
The Jimi Hendrix Experience
37.
Psychedelic rock
–
Many psychedelic groups differ in style, and the label is often used indiscriminately. Musically, the effects may be represented via novelty studio tricks, electronic or non-Western instrumentation, disjunctive song structures, some of the earlier 1960s psychedelic rock musicians were based in folk, jazz, and the blues, while others showcased an explicit Indian classical influence called raga rock. In the 1960s, there existed two main variants of the genre, the whimsical British pop-psychedelia, and the harder American West Coast acid rock. While acid rock is often deployed interchangeably with the psychedelic rock, it can also refer more specifically to the heavier. The genre bridged the transition from early blues- and folk-based rock to rock and hard rock. Since the late 1970s it has revived in various forms of neo-psychedelia. The term psychedelic was first coined in 1956 by psychiatrist Humphry Osmond as a descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy. As the countercultural scene developed in San Francisco, the acid rock. In the popular music of the early 1960s, it was common for producers, songwriters, and engineers to freely experiment with form, arrangements, unnatural reverb. Some of the best known examples are Phil Spectors Wall of Sound production formula, there was no transition to be made. You go from things like Flying Purple People Eater to I Am the Walrus, music critic Richie Unterberger says that attempts to pin down the first psychedelic record are therefore nearly as elusive as trying to name the first rock & roll record. Some of the far-fetched claims include the instrumental Telstar and the Dave Clark Fives massively reverb-laden Any Way You Want It, the first mention of LSD on a rock record was the Gamblers 1960 surf instrumental LSD25. American folk singer Bob Dylan was an influence on mid 1960s rock music. He led directly to the creation of rock and the psychedelic rock musicians that followed. Molly Longman of mic. com writes that, in terms of bridging the relationship between music and hallucinogens, the Beatles and the Beach Boys were the eras most pivotal acts. The considerable success enjoyed by these two bands allowed them the freedom to experiment with new technology over entire albums. In Unterbergers opinion, the Byrds, emerging from the Californian folk scene, with their ominous minor key melodies, hyperactive instrumental breaks, and use of Gregorian chants. In the songs lyric, the requests, Take me on a trip upon your magic swirling ship
Psychedelic rock
–
A
sitar, much used on early records of the genre.
Psychedelic rock
–
Bob Dylan and
Allen Ginsberg in 1975
Psychedelic rock
–
Big Brother and the Holding Company, c. 1966–67:
Janis Joplin is seated in the foreground.
38.
Hippie
–
The word hippie came from hipster and was initially used to describe beatniks who had moved into New York Citys Greenwich Village and San Franciscos Haight-Ashbury district. The term hippie was first popularized in San Francisco by Herb Caen, the origins of the terms hip and hep are uncertain. By the 1940s, both had become part of African American jive slang and meant sophisticated, currently fashionable, fully up-to-date, the Beats adopted the term hip, and early hippies inherited the language and countercultural values of the Beat Generation. In the United Kingdom in 1970, many gathered at the gigantic Isle of Wight Festival with a crowd of around 400,000 people, in later years, mobile peace convoys of New Age travelers made summer pilgrimages to free music festivals at Stonehenge and elsewhere. In Australia, hippies gathered at Nimbin for the 1973 Aquarius Festival, piedra Roja Festival, a major hippie event in Chile, was held in 1970. Hippie fashion and values had an effect on culture, influencing popular music, television, film, literature. Since the 1960s, many aspects of culture have been assimilated by mainstream society. The religious and cultural diversity espoused by the hippies has gained widespread acceptance, lexicographer Jesse Sheidlower, the principal American editor of the Oxford English Dictionary, argues that the terms hipster and hippie derive from the word hip, whose origins are unknown. The term hipster was coined by Harry Gibson in 1944, by the 1940s, the terms hip, hep and hepcat were popular in Harlem jazz slang, although hep eventually came to denote an inferior status to hip. In Greenwich Village in the early 1960s, New York City, young counterculture advocates were named hips because they were considered in the know or cool, as opposed to being square. In the April 27,1961 issue of The Village Voice, An open letter to JFK & Fidel Castro, Norman Mailer utilizes the term hippies, in questioning JFKs behavior. In a 1961 essay, Kenneth Rexroth used both the hipster and hippies to refer to young people participating in black American or Beatnik nightlife. According to Malcolm Xs 1964 autobiography, the hippie in 1940s Harlem had been used to describe a specific type of white man who acted more Negro than Negroes. Andrew Loog Oldham refers to all the Chicago hippies, seemingly in reference to black musicians, in his rear sleeve notes to the 1965 LP The Rolling Stones. The word hippie was also used in reference to Philadelphia in at least two songs in 1963, South Street by The Orlons, and You Cant Sit Down by The Dovells. In both songs, the term is applied to residents of Philadelphias South Street, in that article, Fallon wrote about the Blue Unicorn Cafe, using the term hippie to refer to the new generation of beatniks who had moved from North Beach into the Haight-Ashbury district. New York Times editor and usage writer Theodore M. Bernstein said the paper changed the spelling from hippy to hippie to avoid the ambiguous description of clothing as hippy fashions. Even the counterculture of the Ancient Greeks, espoused by philosophers like Diogenes of Sinope and the Cynics were also early forms of hippie culture
Hippie
–
Young hippie people near the Woodstock festival in August 1969.
Hippie
–
A Hippie-painted VW bug
Hippie
–
American hippies smoking cannabis in Thailand
Hippie
–
Escapin' through the lily fields I came across an empty space It trembled and exploded Left a bus stop in its place The bus came by and I got on That's when it all began There was cowboy Neal At the wheel Of a bus to never-ever land -
Grateful Dead, lyrics from "That's It for the Other One"
39.
The Beach Boys
–
The Beach Boys are an American rock band formed in Hawthorne, California in 1961. The groups original lineup consisted of brothers Brian, Dennis, and Carl Wilson, their cousin Mike Love, distinguished by their vocal harmonies and early surf songs, they are one of the most influential acts of the rock era. The Beach Boys began as a band managed by the Wilsons father Murry. Emerging at the vanguard of the California Sound, they performed material that reflected a southern California youth culture of surfing, cars. After 1964, they abandoned the surfing aesthetic for more personal lyrics, in 1966, the Pet Sounds album and Good Vibrations single vaulted the group to the top level of rock innovators and established the band as symbols of the nascent counterculture era. Following Smiles dissolution, Brian gradually ceded production and songwriting duties to the rest of the band, reducing his input because of mental health and substance abuse issues. The continued success of their greatest hits albums during the mid 1970s precipitated the transition into an oldies act. Since the 1980s, much-publicized legal wrangling over royalties, songwriting credits, Dennis drowned in 1983 and Carl died of lung cancer in 1998. After Carls death, many live configurations of the band fronted by Mike Love, Even though Wilson and Jardine have not performed with Love and Johnstons band since their one-off 2012 reunion tour, they remain a part of the Beach Boys corporation, Brother Records Inc. The Beach Boys are one of the most critically acclaimed, commercially successful, the group had over eighty songs chart worldwide, thirty-six of them US Top 40 hits, four reaching number-one on the Billboard Hot 100 chart. They received their only Grammy Award for The Smile Sessions, the core quintet of the three Wilsons, Love and Jardine were inducted into the Rock and Roll Hall of Fame in 1988. At the time of his birthday on June 20,1958, Brian Wilson shared a bedroom with his brothers, Dennis and Carl – aged thirteen and eleven. He had watched his father, Murry Wilson, play piano, after dissecting songs such as Ivory Tower and Good News, Brian would teach family members how to sing the background harmonies. For his birthday that year, Brian received a tape recorder. He learned how to overdub, using his vocals and those of Carl, Brian played piano with Carl and David Marks, an eleven-year-old longtime neighbor, playing guitars they had each received as Christmas presents. Soon Brian and Carl were avidly listening to Johnny Otis KFOX radio show, inspired by the simple structure and vocals of the rhythm and blues songs he heard, Brian changed his piano-playing style and started writing songs. His enthusiasm interfered with his studies at school. Family gatherings brought the Wilsons in contact with cousin Mike Love, Brian taught Loves sister Maureen and a friend harmonies
The Beach Boys
–
The Beach Boys during their 2012 reunion (left to right)
Brian Wilson,
David Marks,
Mike Love,
Bruce Johnston,
Al Jardine
The Beach Boys
–
The historical landmark in Hawthorne, California marking where the Wilson family home once stood
The Beach Boys
–
The Beach Boys, in
Pendleton outfits, performing at a local high school
The Beach Boys
–
The Beach Boys performing "I Get Around" on
The Ed Sullivan Show in 1964
40.
The Beatles
–
The Beatles were an English rock band, formed in Liverpool in 1960. With members John Lennon, Paul McCartney, George Harrison and Ringo Starr, the Beatles built their reputation playing clubs in Liverpool and Hamburg over a three-year period from 1960, with Stuart Sutcliffe initially serving as bass player. The core of Lennon, McCartney and Harrison went through a succession of drummers, including Pete Best, before asking Starr to join them. They acquired the nickname the Fab Four as Beatlemania grew in Britain the next year, from 1965 onwards, the Beatles produced increasingly innovative recordings, including the albums Rubber Soul, Revolver, Sgt. Peppers Lonely Hearts Club Band, The Beatles and Abbey Road, after their break-up in 1970, they each enjoyed successful musical careers of varying lengths. McCartney and Starr, the members, remain musically active. Lennon was shot and killed in December 1980, and Harrison died of cancer in November 2001. The Beatles are the band in history, with estimated sales of over 600 million records worldwide. They have had more number-one albums on the British charts and sold more singles in the UK than any other act, according to the RIAA, the Beatles are also the best-selling music artists in the United States, with 178 million certified units. In 2008, the group topped Billboard magazines list of the all-time most successful Hot 100 artists, as of 2016 and they have received ten Grammy Awards, an Academy Award for Best Original Song Score and fifteen Ivor Novello Awards. The group was inducted into the Rock and Roll Hall of Fame in 1988 and they were also collectively included in Time magazines compilation of the twentieth centurys 100 most influential people. In March 1957, John Lennon, then aged sixteen, formed a group with several friends from Quarry Bank school. They briefly called themselves the Blackjacks, before changing their name to the Quarrymen after discovering that a local group was already using the other name. Fifteen-year-old Paul McCartney joined as a rhythm guitarist shortly after he, in February 1958, McCartney invited his friend George Harrison to watch the band. The fourteen-year-old auditioned for Lennon, impressing him with his playing, after a month of Harrisons persistence, they enlisted him as their lead guitarist. By January 1959, Lennons Quarry Bank friends had left the group, the three guitarists, billing themselves at least three times as Johnny and the Moondogs, were playing rock and roll whenever they could find a drummer. They used the name until May, when they became the Silver Beetles, before undertaking a tour of Scotland as the backing group for pop singer. By early July, they had changed their name to the Silver Beatles, allan Williams, the Beatles unofficial manager, arranged a residency for them in Hamburg, but lacking a full-time drummer they auditioned and hired Pete Best in mid-August 1960
The Beatles
–
The "Fab Four" Beatles lineup in 1964 Top: Lennon, McCartney Bottom: Harrison, Starr
The Beatles
–
Abbey Road Studios main entrance
The Beatles
–
McCartney, Harrison, Swedish pop singer
Lill-Babs and Lennon on the set of the Swedish television show Drop-In, 30 October 1963
The Beatles
–
The Beatles arrive at John F. Kennedy International Airport, 7 February 1964
41.
The Byrds
–
The Byrds /ˈbɜːrdz/ were an American rock band, formed in Los Angeles, California in 1964. The band underwent multiple changes throughout its existence, with frontman Roger McGuinn remaining the sole consistent member. Initially, they pioneered the genre of folk rock, melding the influence of the Beatles and other British Invasion bands with contemporary. As the 1960s progressed, the band was influential in originating psychedelic rock, raga rock. The bands signature blend of clear harmony singing and McGuinns jangly twelve-string Rickenbacker guitar has continued to be influential on popular music up to the present day, among the bands most enduring songs are their cover versions of Bob Dylans Mr. Tambourine Man and Pete Seegers Turn. Turn. along with the originals, Ill Feel a Whole Lot Better, Eight Miles High, So You Want to Be a Rock n Roll Star, Ballad of Easy Rider. The original five-piece lineup of the Byrds consisted of Jim McGuinn, Gene Clark, David Crosby, Chris Hillman, and Michael Clarke. However, this version of the band was relatively short-lived and by early 1966, Clark had left due to associated with anxiety. The Byrds continued as a quartet until late 1967, when Crosby, McGuinn and Hillman decided to recruit new members, including country rock pioneer Gram Parsons, but by late 1968, Hillman and Parsons had also exited the band. McGuinn disbanded the current lineup in early 1973, to make way for a reunion of the original quintet. The Byrds final album was released in March 1973, with the group disbanding soon afterwards. In the late 1980s, Gene Clark and Michael Clarke both began touring as the Byrds, prompting a legal challenge from McGuinn, Crosby, and Hillman over the rights to the bands name. As a result of this, McGuinn, Crosby, and Hillman performed a series of concerts as the Byrds in 1989 and 1990. In January 1991, the Byrds were inducted into the Rock and Roll Hall of Fame, McGuinn, Crosby, and Hillman still remain active but Gene Clark died of a heart attack in May 1991, and Michael Clarke died of liver failure in December 1993. The nucleus of the Byrds formed in early 1964, when Jim McGuinn, Gene Clark, All three musicians had a background rooted in folk music, with each one having worked as a folk singer on the acoustic coffeehouse circuit during the early 1960s. McGuinn had also spent time as a songwriter at the Brill Building in New York City. By early 1964, McGuinn had become enamored with the music of the Beatles, soon after, David Crosby introduced himself to the duo at The Troubadour and began harmonizing with them on some of their songs. Impressed by the blend of their voices, the three formed a trio and named themselves the Jet Set, a moniker inspired by McGuinns love of aeronautics
The Byrds
–
The Byrds in 1965 From left to right:
David Crosby,
Gene Clark,
Michael Clarke,
Chris Hillman, and
Jim McGuinn
The Byrds
–
A
Rickenbacker 360 12-string guitar similar to the one used by Jim McGuinn in 1964 and 1965. By 1966, McGuinn had transitioned to playing the three
pickup 370/12 model.
The Byrds
–
Producer Terry Melcher (left) in the recording studio with Gene Clark (center) and David Crosby (right). Melcher brought in session musicians to play on the "Mr. Tambourine Man" single because he felt that the Byrds hadn't yet gelled musically.
The Byrds
–
Bob Dylan making an impromptu guest appearance with the Byrds at Ciro's nightclub.
42.
Popular song
–
Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training and it stands in contrast to both art music and traditional or folk music. Art music was historically disseminated through the performances of music, although since the beginning of the recording industry. Traditional music forms such as blues songs or hymns were passed along orally, or to smaller. The original application of the term is to music of the 1880s Tin Pan Alley period in the United States, although popular music sometimes is known as pop music, the two terms are not interchangeable. Popular music songs and pieces typically have easily singable melodies, in the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or region to another. Some popular music forms have become global, while others have an appeal within the culture of their origin. Through the mixture of genres, new popular music forms are created to reflect the ideals of a global culture. The examples of Africa, Indonesia and the Middle East show how Western pop music styles can blend with local traditions to create new hybrid styles. Sales of recordings or sheet music are one measure, middleton and Manuel note that this definition has problems because multiple listens or plays of the same song or piece are not counted. Manuel states that one criticism of music is that it is produced by large media conglomerates and passively consumed by the public. He claims that the listeners in the scenario would not have been able to make the choice of their favorite music, moreover, understandings of popular music have changed with time. A societys popular music reflects the ideals that are prevalent at the time it is performed or published, david Riesman states that the youth audiences of popular music fit into either a majority group or a subculture. The majority group listens to the commercially produced styles while the subcultures find a minority style to transmit their own values and this allows youth to choose what music they identify with, which gives them power as consumers to control the market of popular music. Form in popular music is most often sectional, the most common sections being verse, chorus or refrain, other common forms include thirty-two-bar form, chorus form *, and twelve-bar blues. Popular music songs are rarely composed using different music for each stanza of the lyrics, the verse and chorus are considered the primary elements. Each verse usually has the melody, but the lyrics change for most verses. The chorus usually has a phrase and a key lyrical line which is repeated
Popular song
–
The 19th century singer
Jenny Lind depicted performing
La sonnambula
43.
Brian Wilson
–
Brian Douglas Wilson is an American musician, singer, songwriter, and record producer best known for being the multi-tasking leader and co-founder of the rock band the Beach Boys. After signing with Capitol Records in 1962, Wilson wrote or co-wrote more than two dozen Top 40 hits for the group, in the mid-1960s, Wilson composed, arranged and produced Pet Sounds, considered one of the greatest albums ever made. The intended follow-up to Pet Sounds, Smile, was canceled for various reasons, as he suffered repeated nervous breakdowns, Wilsons contributions to the Beach Boys diminished, and his erratic behavior led to tensions with the band. He remains a member of the Beach Boys corporation, Brother Records Incorporated, Wilsons work with the Beach Boys helped raise pop music to the level of high art. Wilson effectively set a precedent that allowed bands and artists to enter a recording studio and his songs became inextricably tied with the zeitgeist of the early 1960s, and he helped develop the sound of the wistful Flower Power era that proceeded. In later years, Wilson was regarded as a godfather to an era of musicians who were inspired by his melodic sensibilities, chamber pop orchestrations. His honors include being inducted into the 1988 Rock and Roll Hall of Fame and winning Grammy Awards for Brian Wilson Presents Smile and The Smile Sessions. In lists published by Rolling Stone, Wilson ranked 52 for the 100 Greatest Singers of All Time in 2008 and 12 for the 100 Greatest Songwriters of All Time in 2015. In 2012, music publication NME ranked Wilson number 8 in its 50 Greatest Producers Ever list and he is an occasional actor and voice actor, having appeared in television shows, films, and other artists music videos. His life was portrayed in the 2014 biopic Love & Mercy, Brian Douglas Wilson was born on June 20,1942, at Centinela Hospital in Inglewood, California, the son of Audree Neva and Murry Wilson. He was the eldest of three boys, his brothers were Dennis and Carl. He has English, Swedish, Dutch, German, and Irish ancestry, when Brian was two, the family moved from Inglewood to 3701 West 119th Street in nearby Hawthorne, California. Murry Wilson said, He was very clever and quick, I just fell in love with him. At about age two, Brian heard George Gershwins Rhapsody in Blue, which had an emotional impact on him. A few years later, he was discovered to have diminished hearing in his right ear. The exact cause of hearing loss is unclear, though theories range from him simply being born partially deaf to a blow to the head from his father, or a neighborhood bully. While Brians father Murry was ostensibly a reasonable provider, he was often abusive, a minor musician and songwriter, he also encouraged his children in this field in numerous ways. At an early age, Brian was given six weeks of lessons on a toy accordion and, at seven and eight, at Hawthorne High School, Brian was on the football team as a quarterback, played baseball and was a cross-country runner in his senior year
Brian Wilson
–
Brian Wilson (center) performing with the Beach Boys circa 1964.
Brian Wilson
–
Wilson performing in England in 2009
Brian Wilson
–
Brian Wilson at a
15 Big Ones session, circa 1976
Brian Wilson
–
The Brian Wilson Band performing in 2005.
44.
Music journalism
–
Music journalism is media criticism and reporting about popular music topics, including pop music, rock music, and related styles. Journalists began writing music in the eighteenth century, providing commentary on what is now thought of as classical music. An influential English 19th-century music critic, for example, was James William Davison of The Times, the composer Hector Berlioz also wrote reviews and criticisms for the Paris press of the 1830s and 1840s. The 1840s could be considered a point, in that music critics after the 1840s generally were not also practicing musicians. However, counterexamples include Alfred Brendel, Charles Rosen, Paul Hindemith, in the early 1980s, a decline in the quantity of classical criticism began occurring when classical-music criticism visibly started to disappear from the media. Also of concern in classical music journalism was how American reviewers can write about ethnic and folk music from other than their own, such as Indian ragas. The performers be treated as human beings and their music be treated as human activity rather than a mystical or mysterious phenomenon, the review should show an understanding of the musics cultural backgrounds and intentions. A key finding in a 2005 study of journalism in America was that the profile of the average classical music critic is a white, 52-year old male. Demographics indicated that the group was 74% male, 92% white, davis, one of the most respected voices of the craft, said he had been forced out after 26 years. Music writers only started treating pop and rock music seriously in 1964 after the breakthrough of the Beatles, one of the early music magazines in Britain, Melody Maker, complained in 1967 about how newspapers and magazines are continually hammering pop music. Melody Maker magazine advocated the new forms of pop music of the late 1960s, by 1999, the quality press was regularly carrying reviews of popular music gigs and albums, which had a key role in keeping pop in the public eye. As more pop music critics began writing, this had the effect of legitimating pop as an art form, as a result, in the world of pop music criticism, there has tended to be a quick turnover. In the realm of music, as in that of classical music. Frank Zappa declared that, Most rock journalism is people who cant write, interviewing people who cant talk, in the 2000s, online music bloggers began to supplement, and to some degree displace, music journalists in print media. In 2006, Martin Edlund of the New York Sun criticized the trend, arguing that while the Internet has democratized music criticism, slate magazine writer Jody Rosen discussed the 2000s-era trends in pop music criticism in his article The Perils of Poptimism. Rosen noted that much of the debate is centered on a perception that rock critics regard rock as normative … the standard state of popular music … to which everything else is compared. At a 2006 pop critic conference, attendees discussed their guilty pop pleasures, reconsidering musicians and genres which rock critics have dismissed as lightweight. Rosen stated that this new paradigm is called popism — or, more evocatively
Music journalism
–
Hector Berlioz, active as a music journalist in
Paris in the 1830s and 1840s.
Music journalism
–
US music writer
Robert Christgau was one of the first rock critics in the 1960s.
45.
Simon Reynolds
–
Simon Reynolds is an English music journalist, critic, and author. Over the course of his career, he has contributed to Spin, Rolling Stone, The New York Times, The Village Voice, The Guardian, The Wire, Reynolds was born in London in 1963 and grew up in Berkhamsted. Inspired by a brother, he interested in music in the late 1970s shortly after the dissipation of the punk rock movement. In the mid 1980s, he attended the University of Oxford, in 1986, Reynolds joined the staff of Melody Maker, where his writing was marked by enthusiasm for a wave of neo-psychedelic rock and hip hop artists that emerged in the mid-1980s. Many pieces from this era would later constitute the retrospective collection Blissed Out, The Raptures of Rock, in 1990, Reynolds left Melody Maker and became a freelance writer, splitting his time between London and New York. During this time, he coined the term post-rock in his review of Bark Psychosis album Hex. In 1994, Reynolds moved to the East Village in Manhattan, in 1995, with his wife, Joy Press, Reynolds co-authored The Sex Revolts, Gender, Rebellion and Rock n Roll, a critical analysis of gender in rock. In 1998, Reynolds published Energy Flash, a Journey Through Rave Music and Dance Culture, a history of what became rave music, and became a senior editor at Spin magazine in the US. In 1999, he returned to work and published an American version of Energy Flash in abridged form, titled, Generation Ecstasy, Into the World of Techno. In 2005, Reynolds released Rip It Up and Start Again, Postpunk 1978–1984, in 2008, an updated edition of Energy Flash was published, with new chapters on the ten years of dance music following the appearance of the first edition. He contributed a chapter to Sound Unbound, Sampling Digital Music and Culture, in 2011, Reynolds published Retromania, Pop Cultures Addiction to Its Own Past, a critical investigation into what he perceives as the current situation of chronic retrogression in pop music. Reynolds has continued writing for magazines, as well as his blog, Blissblog and his history of the glam rock era, Shock and Awe, Glam Rock and Its Legacy, was published in October 2016. Reynolds writing has blended cultural criticism with music journalism and he has written extensively on gender, class, race, and sexuality in relation to music and culture. He has on occasion used the Marxist concepts of commodity fetishism, Reynolds has also written about drug culture and its relationship to various musical developments and movements. Blissed Out, The Raptures of Rock, serpents Tail, August 1990, ISBN 1-85242-199-1 The Sex Revolts, Gender, Rebellion and Rock N Roll. Faber and Faber Ltd, April 2005, ISBN 0-571-21569-6 Bring The Noise,20 Years of writing about Hip Rock, Faber and Faber Ltd, May 2007, ISBN 978-0-571-23207-9 Totally Wired, Post-Punk Interviews and Overviews. Faber and Faber Ltd, February 2009, 978-0571235490 Retromania, Pop Cultures Addiction to Its Own Past, Faber and Faber Ltd, June 2011, 978-0571232086 Shock and Awe, Glam Rock and Its Legacy, from the Seventies to the Twenty-First Century. Faber and Faber Ltd, October 2016, 978-0571301713 Rip It Up and Start Again, Post Punk 1978-1984 - CD compiled by Simon Reynolds,15 May 2006, V2 label Official blog Furious
Simon Reynolds
–
Reynolds in 2011
46.
Psychedelia
–
Psychedelia is a name given to the subculture of people, originating in the 1960s, who often use psychedelic drugs such as LSD, mescaline and psilocybin. The term is used to describe a style of psychedelic artwork. Psychedelic art and music typically try to recreate or reflect the experience of altered consciousness, the term psychedelic is derived from the Ancient Greek words psychē and dēloun, translating to soul-revealing. Psychedelic states may be elicited by various techniques, such as meditation, sensory stimulation or deprivation, when these psychoactive substances are used for religious, shamanic, or spiritual purposes, they are termed entheogens. The term was first coined as a noun in 1956 by psychiatrist Humphry Osmond as a descriptor for hallucinogenic drugs in the context of psychedelic psychotherapy. Seeking a name for the experience induced by LSD, Osmond contacted Aldous Huxley, Huxley coined the term phanerothyme, from the Greek terms for manifest and spirit. This mongrel spelling of the word psychedelic was loathed by American ethnobotanist Richard Evans Schultes, but championed by Timothy Leary, who thought it sounded better. In the same period Lysergic acid diethylamide, better known as LSD, or acid, began to be used in the US and UK as an experimental treatment, initially promoted as a potential cure for mental illness. There had long been a culture of use among jazz and blues musicians, and use of drugs had begun to grow among folk and rock musicians. By the mid-1960s, the psychedelic life-style had already developed in California, and this was particularly true in San Francisco, due in part to the first major underground LSD factory, established there by Owsley Stanley. Leary was a proponent of the use of psychedelics, as was Aldous Huxley. However, both advanced widely different opinions on the use of psychedelics by state and civil society. Leary promulgated the idea of such substances as a panacea, while Huxley suggested that only the cultural and intellectual elite should partake of entheogens systematically, in the mid-1960s the use of psychedelic drugs became widespread in modern Western culture, particularly in the United States and Britain. The movement is credited to Michael Hollingshead who arrived in America from London in 1965 and he was sent to the U. S. by other members of the psychedelic movement to get their ideas exposure. Resurgences of the style are common in the modern era, in science, hallucinogen remains the standard term. Advances in printing and photographic technology in the 1960s saw the traditional lithography printing techniques rapidly superseded by the printing system. Many artists in the late 1960s and early 1970s attempted to illustrate the psychedelic experience in paintings, drawings, illustrations, in the modern era, computer graphics may be used to produce psychedelic effects for artwork. The counterculture music scene frequently used psychedelic designs on posters during the Summer of Love, many of these works are now regarded as classics of the poster genre, and original items by these artists command high prices on the collector market today
Psychedelia
–
A
retro example of psychedelia—
hula hoops with
LEDs did not exist in the 1960s
Psychedelia
–
U.S. postage stamp, featuring artwork by
Peter Max, that commemorated
Expo '74
Psychedelia
–
Psychedelic Festival in
Brazil
47.
Cleveland.com
–
The Plain Dealer is the major daily newspaper of Cleveland, Ohio, United States. It has the largest circulation of any Ohio newspaper and was a top 20 newspaper for Sunday circulation in the United States as of March 2013, as of December 2015, The Plain Dealer had more than 250,000 daily readers and 790,000 readers on Sunday. The Plain Dealers media market, the Cleveland-Akron DMA, is one of the Top 20 markets in the United States, with a population of 3.8 million people, it is the fourth-largest market in the Midwest, and Ohios largest media market. In April 2013 The Plain Dealer announced it would reduce home delivery to four days a week and this went into effect on August 5,2013. A daily version of The Plain Dealer is available electronically as well as in print at stores, newsracks and newsstands. The newspaper was established in 1842, less than 50 years after Moses Cleaveland landed on the banks of the Cuyahoga River in The Flats, the Plain Dealer Publishing Company is under the direction of Virginia Wang. The paper employs over 700 people, the newspaper was sold on March 1,1967, to S. I. Newhouses newspaper chain, and has been under the control of the Newhouse family ever since. W. On December 18,2005, The Plain Dealer ceased publication of its weekly Sunday Magazine and it also assured readers that the stories that would formerly have appeared in the Sunday Magazine would be integrated into other areas of the paper. On the morning of Wednesday, July 31,2013, nearly a third of the staff was eliminated through layoffs. Previously, in December 2012, under an agreement with the Newspaper Guild, the July round of layoffs led to accusations by the Guild that management had misled the union by cutting more employees than had been agreed upon. On August 5,2013, the Northeast Ohio Media Group launched, Northeast Ohio Media Group operates cleveland. com and Sun Newspapers and is responsible for all multimedia ad sales and marketing for The Plain Dealer, Sun News and cleveland. com. It also provides content to The Plain Dealer, cleveland. com, the Plain Dealer Publishing Company provides content and publishes in print seven days a week. The company also provides production, distribution, finance, information technology, accounting and other services for the Plain Dealer Publishing Co. 1953 Pulitzer Prize for Editorial Cartooning,2003 Editor & Publisher Editor of the Year Award 12-time Ohio News Photographers Association Award recipient.50 and the Sunday/Thanksgiving Day edition is $2.25 at newsstands/newsracks. The full subscription weekly price is $4.65 and these prices only apply to The Plain Dealers home delivery area, which are the Northeast Ohio counties of Cuyahoga, Lake, Geauga, Portage, Erie, Ottawa, Summit, Ashtabula, Medina and Lorain. The Plain Dealer is available all over the state at select newsstands, including in the capital, Columbus. The newspaper reported daily readership of 543,110 and Sunday readership of 858,376 as of October,2013. Effective August 5,2013, home delivery was reduced to four days a week, an edition on Wednesday, Friday, and Sunday
Cleveland.com
–
Front page of the Cleveland Plain Dealer dated August 7, 1945 featuring the
atomic bombing of Hiroshima,
Japan.
Cleveland.com
–
The Plain Dealer
Cleveland.com
–
On October 8, 1922, The Plain Dealer, published an article written
Royal S. Copeland telling Clevelanders to "Eat Candy as a Part of Your Daily Meal and Enjoy the Best of Health."
_(LOC)_(5354790936)_(cropped).jpg)
.jpg)
