HE’S A TALENTED GOSPEL ARTIST (A SINGER, SONGWRITER, GUITARIST,PRODUCER …) TODAY IS HIS SPECIAL PLEASE JOIN WITH ME TO CELEBRATE THE LIFE OF OUR BROTHER, A MINISTER OF GOD. MAY GOD ADD MANY BLESSINGS TO YOUR LIFE. LE CHEMIN DES ARTISTES TEAM WISH YOU A WONDERFUL AND GLORIOUS DAY.
History of Classical Music
Medieval (c.1150 – c.1400)
This is the first period where we can begin to be fairly certain as to how a great deal of the music which has survived actually sounded. The earliest written secular music dates from the 12th century troubadours (in the form of virelais, estampies, ballades, etc.), but most notated manuscripts emanate from places of learning usually connected with the church, and therefore inevitably have a religious basis.
Gregorian chant and plainsong which are monodic (i.e. written as one musical line) gradually developed during the 11th to 13th centuries into organum (i.e. two or three lines moving simultaneously but independently, therefore almost inadvertently representing the beginnings of harmony). Organum was, however, initially rather stifled by rigid rules governing melody and rhythm, which led ultimately to the so-called Ars Nova period of the 14th century, principally represented by the composers de Vitry, Machaut, and Landini.
Renaissance (c.1400 – c.1600)
The fifteenth century witnessed vastly increased freedoms, most particularly in terms of what is actually perceived as ‘harmony’ and ‘polyphony’ (the simultaneous movement of two or three interrelated parts). Composers (although they were barely perceived as such) were still almost entirely devoted to choral writing, and the few instrumental compositions which have survived often create the impression (in many cases entirely accurately) of being vocal works in disguise, but minus the words.
There is obvious new delight in textural variety and contrast, so that, for example, a particular section of text might be enhanced by a vocal part dropping out momentarily, only to return again at a special moment of emphasis. The four most influential composers of the fifteenth century were Dunstable, Ockeghem, Despres and Dufay.
The second half of the 16th century witnessed the beginnings of the tradition which many music lovers readily associate with the normal feel of ‘classical’ music. Gradually, composers moved away from the modal system of harmony which had predominated for over 300 years (and still sounds somewhat archaic to some modern ears), towards the organisation of their work into major and minor scales, thereby imparting the strong sensation of each piece having a definite tonal centre or ‘key’.
This was also something of a golden period for choral composition as a seemingly endless flow of a capella (unaccompanied) masses, motets, anthems, psalms and madrigals flowed from the pens of the masters of the age. In addition, instrumental music came into its own for the first time, especially keyboard music in the form of fantasias, variations, and dance movements (galliards, pavanes etc.). Composers of particular note include Dowland, Tallis, Byrd, Gibbons, Frescobaldi,Palestrina, Victoria, Lassus, Alonso Lobo, Duarte Lobo, Cardoso and Gesualdo.
Classical (c.1750 – c.1830)
The Baroque era witnessed the creation of a number of musical genres which would maintain a hold on composition for years to come, yet it was the Classical period which saw the introduction of a form which has dominated instrumental composition to the present day: sonata form. With it came the development of the modern concerto, symphony, sonata, trio and quartet to a new peak of structural and expressive refinement. If Baroque music is notable for its textural intricacy, then the Classical period is characterised by a near-obsession with structural clarity.
The seeds of the Classical age were sown by a number of composers whose names are now largely forgotten such as Schobert and Honnauer (both Germans largely active in Paris), as well as more historically respected names, including Gluck, Boccherini and at least three of Johann Sebastian Bach’s sons: Carl Phillip Emmanuel, Wilhelm Friedmann and Johann Christian (the so-called ‘London’ Bach). They were representative of a period which is variously described as rococo or galante, the former implying a gradual move away from the artifice of the High Baroque, the latter an entirely novel style based on symmetry and sensibility, which came to dominate the music of the latter half of the 18th century through two composers of extraordinary significance: Joseph Haydn andWolfgang Amadeus Mozart.
THE HISTORY OF MUSIC
The Middle Ages 450-1450
Characteristics of Music
Music comes from the Ancient Greek muses, who were the nine goddesses of art and science. Music actually began around 500 B.C. when Pythagoras experimented with acoustics and how math related to tones formed from plucking strings. The main form of music during the Middle Ages was the Gregorian chant, named for Pope Gregory I. This music was used in the Catholic Churches to enhance the services. It consisted of a sacred Latin text sung by monks without instrumentation. The chant is sung in a monophonic texture, which means there is only one line of music. It has a free-flowing rhythm with little or no set beat. The chants were originally all passed through oral tradition, but the chants became so numerous that the monks began to notate them.
Music in Society
Towards the end of the Middle Ages, about the 12th and 13th centuries, music began to move outside of the church. French nobles called troubadours and trouveres were among the first to have written secular songs. Music of this time was contained among the nobility, with court minstrels performing for them. There were also wandering minstrels who would perform music and acrobatics in castles, taverns, and town squares. These people were among the lowest social class, along with prostitutes and slaves, but they were important because they passed along information, since there were no newspapers….
The term Rhythm and Blues, R&B, was first used by Billboard magazine in the late1940′s. R&B was an African-American urban sound that evolved from blues and jazz. In the late 1940′s R&B was described as rocking and jazz based with a heavy and insistent beat. R&B was becoming popular because of it dance ability. By 1949 the term had replaced Billboard’s category Harlem Hit Parade.
The lyrics of R&B were about everyday life. The songs were about work, sex, and drinking. Paul Williams and His Hucklebuckers recorded “The Huckle-Buck that became a R&B hit. The song was called dirty boogie and was considered raunchy and risque for its time. Their concerts were hot and wild, sometimes shut down.
By the 1950′s R&B was starting to define the sound of Rock n Roll. In the early fifties Little Richard started recording for RCA Records and by the mid fifties had hits with “Tutti Frutti” and “Long Tall Sally.” Fats Domino had a hit with “Ain’t That a Shame.” Bo Diddly and Chuck Berry would influence and create beats that became mainstays in Rock n Roll.
By the 1960′s rhythm and blues would include soul music. In the seventies disco was added to the R&B category as was funk. By the 1980′s R&B was defining music that included soul, funk, rock n roll and pop music.
By the 90′s artists like Levert, Keith Sweat, Jodeci, and BellBivDeVoe were taking love songs in the R&B genre to another level. Classic-Soul and vocal harmonies were being popularized by Mariah Carey, TLC, R. Kelly, and Boyz II Men. Going into the 21st century R&B would include New Jack Swing, Hip-hop, and Neo-Soul.
Blues Music History
Sometime around 1890, the blues emerged as a distinct African-American art form, rooted in the southern U.S. and drawing on work songs and hollers, folk tradition, black spirituals, and the popular music of the time. Looking back from 1890, one can speculate about the African influence in the musical structure of the blues as it grew from slave culture and the memory of slavery. Looking forward from 1890, a time of transition in America and of dashed hopes for blacks in the resurgent Jim Crow South, one can see the blues as a powerful force both shaping and shaped by the evolution of American popular culture (from the “race records” craze of the 1920s through the blues-fueled rock revolution of the postwar years) and the history of black and white race relations in the century ahead.
Why Should I Care?
“The blues ain’t nothing but a good man feelin’ bad.” That’s what Leon Redbone said, anyway, and who can’t relate to that?
Another clever bluesman once said that the blues is what the blues doctor prescribes for people who have the blues, which actually is less crazy than it sounds. If you’ve ever had the blues and heard the blues on the radio and felt just a little bit better…That’s when the blues is the best medicine. Not convinced?
What about when your parents went crazy for Elvis? That was the blues. When your older brother bangs his head to Led Zeppelin and Black Sabbath? Those guys are blues. Dance to James Brown? You know he had the blues. Enjoy the White Stripes? Yep, Jack White plays the blues too.
If you’re starting to wonder if the blues just about defined popular music in the twentieth century, you’re on the right track. Pretty spectacular success for a style from the rural ghetto (that’s right), where the most famous practitioner was an obscure Mississippian who may have made a deal with the Devil in the middle of the road one night in the 1930s.
Whoa is right: The history of the blues is a strange story with deep roots and a lot to say about the shape of American culture.
The blues emerged from a black cultural melting pot in the American South of the 1890s, drawing on a rich mix of African-American spirituals, traditional songs, European hymns, folk ballads, work songs and hollers, and contemporary dance music. By the 1910s (when the first recorded blues were published as sheet music), the blues had taken the form widely recognized today: 12 bars, AAB lyrical structure, and a distinctive scale with the third and seventh notes flatted.
Blues came into its own as an important part of the country’s relatively new national popular culture in the 1920s with the recording, first, of the great female classic blues singers and, then, of the country folk blues singers of the Mississippi Delta, the Piedmont of the Carolinas, and Texas. As huge numbers of African Americans left the South (driven by dismal socio-economic conditions and the hope of a better life above the Mason-Dixon line) between 1915 and the 1940s, the blues went with them and took root in the urban centers of the North, particularly Chicago. The more urban, electric blues that developed and eclipsed the rural blues of the ’30s fed directly into both rock and roll and what would become known as rhythm and blues. With the folk revival of the 1950s and ’60s, white audiences “rediscovered” and breathed new commercial life into the folk blues (and some of the remaining Delta bluesmen who had languished in obscurity since the 1930s) and made it the cornerstone of the tremendously popular British and American blues rock of the next decade.
But to say that the blues was or is just that skeletal outline is like describing a human being using only descriptions of DNA and genetic processes. The blues, one prominent writer has suggested, happened “as a result of one group of people being forced to enter another’s history.”11 The story of the blues, then, is the history of African Americans told through the story of their most popular music. The blues is the story of the frustrations of failed Radical Reconstruction, of violence and oppression in the Jim Crow South, of the desperation of the sharecropping system, and of the struggles of the Civil Rights Movement. The story of the blues is the story of black culture coming to a position of prominence and influence in American society. It is the story of the women of the classic blues whose early records—the first “race” recordings—pointed to a tremendous market for African-American cultural production, and of the young white liberals and intellectuals who sought out the rural blues as an artifact of America’s vanishing agrarian past. It is the story of the cultural present finding inspiration in the cultural past. But perhaps most fundamentally, the story of the blues is one of American race relations, a document of struggle and conflict on the one hand. but also a suggestion of something universally human that just might point the way toward a future more premised on understanding and cooperation.[youtube=http://www.youtube.com/watch?v=Yd60nI4sa9A&w=420&h=315]