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Transitions 1960-70 Overview: The Youth Generation of the 1960s Kennedy's assassination Social issues Sexual revolution Music was a central to the 1960s landscape Bob Dylan Bob Dylan Early years New York City 1961 March 1962 Bob Dylan The Free-wheelin' Bob Dylan

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overview the youth generation of the 1960s
Overview: The Youth Generation of the 1960s
  • Kennedy's assassination
  • Social issues
  • Sexual revolution
  • Music was a central to the 1960s landscape
bob dylan4
Bob Dylan
  • Early years
  • New York City 1961
  • March 1962
bob dylan5
Bob Dylan
  • The Free-wheelin' Bob Dylan
  • With The Times They Are a-Changin'
  • Dylan warns the establishment
  • Newport Folk Festival
  • Another Side of Bob Dylan
  • Folk rock
  • Like a Rolling Stone
bob dylan6
Bob Dylan
  • Dylan seemed to disappear
  • “All Along the Watchtower"
  • Nashville Skyline
  • Dylan after the 1960s
dyaln s significance
Dyaln’s Significance

Lyrics

  • Symbolism, internal ironies, sarcasm, thought-provoking messages, dry wit, surrealism, and graceful flow
soul and mowtown aretha franklin9
Soul And Mowtown: Aretha Franklin
  • Early years
  • Early 1960s, Aretha pop singer for Columbia Records
  • Wexler and Atlantic Records
  • Songs by some of the finest songwriters
  • Vocal agility
respect
Respect
  • First uptempo hit
  • Emotionally redefined fast soul
  • Transforms sexual machismo
  • Became anthem for women’s movement
  • Interlocked rhythm section
respect11
Respect
  • Riffs or sustained chords
  • “Gospel sound”
  • Spelling out RESPECT memorable
  • Verse/refrain has changed
  • Denser textures
what a friend we have in jesus
What a Friend We Have in Jesus
  • familiar form
  • sixteen measures
  • AABA pattern
what a friend we have in jesus13
What a Friend We Have in Jesus
  • rhythm uncomplicated
  • F major
  • Expands form
  • “freedom” of musical form
what a friend
What a Friend…
  • fills form with melody
  • Compare the first two measures of the original tune with Aretha’s phrase
  • notes added and rhythms significantly modified
  • some notes falling behind where they “should”; others coming ahead
  • pitch variations
  • “blue note”
what a friend15
What a Friend…
  • Interpolations
  • freedom to add words
  • Melisma: a technique in which one syllable is extended over two or more pitches
amazing grace
Amazing Grace
  • eleven minutes
  • contains many examples of extended melismas
  • Wide range of vocal timbres
  • Shout “What a Friend” “and needles pain”
  • Very breathy tone
san francisco overview
San Francisco: Overview
  • Drugs
  • Volume levels at live concerts reached a new high.
  • San Francisco groups often placed considerable emphasis on the instrumentalists
  • Electronic technology
janis joplin19
Janis Joplin
  • Early years
  • Ghet Helms
  • Big Brother
ball and chain
Ball and Chain
  • Stutters, reiterations
  • Melismas, interpolations
  • Hommange to Smith?
  • Hisses “sitting”
  • Necessary embellishments
ball and chain21
Ball and Chain
  • Joplin’s voice not as rich as Smith’s
  • Tempo of the song slower
  • Musical space must be filled
  • Progressively less restrained
pearl
Pearl
  • Roots in R & B and Gospel
  • Janis was unique

Mercedes Benz

  • Parodies hippie values and communalism
  • A cappella
art rock and frank zappa24
Art Rock And Frank Zappa
  • In the late 1960s, the creative minds in rock began to expand
  • Just how far can Rock go?
classical elements and rock elements
Classical Elements and Rock Elements

1. Quote a classical excerpt in the midst of a rock song.

2. Use a classical melody as the basis of a rock song.

3. Create a series of rock songs conceived as units in a larger form.

frank zappa
Frank Zappa
  • Introduction
  • Offends
  • Early years
help i m a rock
Help I’m a Rock

A "It can't happen here"—non-metric, non-tonal vocal expanding this lyric

B "Who could imagine"—(1) "freak out in Kansas" (followed by improvisation on "Kansas")

(2) "freak out in Minnesota" (followed by improvisation on "Minnesota")

C: Instrumental section—piano and drums in a fragmented, non-tonal, pointillistic style

help i m a rock28
Help I’m a Rock

B: "Who could imagine"—"freak out in

Washington, D.C." (followed by

improvisation on "D.C.")

A: "It can't happen here"—enters underneath previous section, but begins to dominate

D: "I remember"—metric; three phrases

help i m a rock29
Help I’m a Rock

A: "It couldn't happen here"—brief return

E: Suzy Creamcheese—dialogue with semi-fictional Zappa character

A: "It can't happen here"—brief return; filtered voices

help i m a rock30
Help I’m a Rock
  • Combines two common classical forms: the arch form and the rondo.

C

B B

A A

  • Improvisation
  • Experimentation with textures
frank zappa31
Frank Zappa
  • Drugs
  • Uncle Meat
  • Fillmore East
  • Shut Up Play Yer Guitar