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Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Harmonica music (Blues).'
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Journal articles on the topic "Harmonica music (Blues)":
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Kitts, Thomas M. "Classic Harmonica Blues." Popular Music and Society 36, no. 4 (October 2013): 554–57. http://dx.doi.org/10.1080/03007766.2013.814225.
Parler, Samuel. "DeFord Bailey in Country Music's Multiracial Canon." Journal of the American Musicological Society 73, no. 1 (2020): 53–94. http://dx.doi.org/10.1525/jams.2020.73.1.53.
DeFord Bailey (1899–1982), an African American harmonica virtuoso, performed regularly on the Grand Ole Opry radio program from 1926 to 1941 and afterward fell into obscurity. Decades later, however, he was inducted into the Country Music Hall of Fame (2005), overseen by the Country Music Association (CMA), amid calls to diversify a predominantly white country music canon. Motivated by racially progressive ideals and seeking to rehabilitate the genre's image, many fans and industry advocates misrepresented Bailey's achievements in the surrounding conversations, or they relied upon essentializing notions of black music in their advocacy on his behalf. Resistance to his candidacy for the Hall was cited as evidence of the industry's institutionalized racism. While his eventual induction allowed the CMA some room in which to refute that charge and promote a multiracial narrative for the genre's history, consistent with its long-standing desire to cultivate middle-class respectability, that same multiracial narrative obscured Bailey's role in the production of a distinctly white image for country music in the 1920s and 1930s. Highlighting this discrepancy, this article compares the historical and contemporary reception of Bailey's music and legacy, drawing upon newspaper accounts, Opry promotional materials, archival interviews, and commercial recordings. Opry broadcasts played host to blues, blackface, and other racially coded repertoires; Bailey's blues-based style did not distinguish him from his white Opry peers. Opry marketing worked assiduously to present a singular white image for the show and its repertoire, marginalizing or obscuring Bailey's racial identity in its programming and publicity. In this manner, Bailey's career has paradoxically been made to serve narratives asserting both the whiteness and the multiracialism of country music.
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Katz, Jonah. "Harmonic Syntax of the Twelve-Bar Blues Form." Music Perception 35, no. 2 (December 1, 2017): 165–92. http://dx.doi.org/10.1525/mp.2017.35.2.165.
This paper describes the construction and analysis of a corpus of harmonic progressions from 12-bar blues forms included in the jazz repertoire collection The Real Book. A novel method of coding and analyzing such corpus data is developed, with a notion of “possible harmonic change” derived from the corpus and logit mixed-effects regression models that describe the difference between actually occurring harmonic events and possible but non-occurring ones in terms of various sets of theoretical constructs. Models using different sets of constructs are compared using the Bayesian Information Criterion, which assesses the accuracy and efficiency of each model. The principal results are that: (1) transitional probabilities are better modeled using root-motion and chord-frequency information than they are using pairs of individual chords; (2) transitional probabilities are better described using a mixture model intermediate in complexity between a bigram and full trigram model; and (3) the difference between occurring and non-occurring chords is more efficiently modeled with a hierarchical, recursive context-free grammar than it is as a Markov chain. The results have implications for theories of harmony, composition, and cognition more generally.
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SAGEE, ALONA. "Bessie Smith: ‘Down Hearted Blues’ and ‘Gulf Coast Blues’ revisited." Popular Music 26, no. 1 (January 2006): 117–27. http://dx.doi.org/10.1017/s026114300700116x.
A re-examination of Bessie Smith's first two released blues recordings – ‘Down Hearted Blues’ and ‘Gulf Coast Blues’ – demonstrates that her interpretative originality and expressive individuality were evident from the start of her recording career in 1923. The micro-components of Bessie's early vocal tendencies are revealed through full transcriptions of her vocal line on each of these recordings combined with detailed description and analysis of the pitch content, the main rhythmic and melodic characteristics, and the melodic-harmonic and text-music relationships. The method demonstrates that, although Bessie's phrases display some similarities with each other, they constantly vary in imaginative ways, matching her with true jazz improvisers.
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GIVAN, BENJAMIN. "Apart Playing: McCoy Tyner and “Bessie's Blues”." Journal of the Society for American Music 1, no. 2 (May 2007): 257–80. http://dx.doi.org/10.1017/s1752196307070095.
Jazz pianist McCoy Tyner's improvisation on the theme “Bessie's Blues,” recorded with the John Coltrane Quartet in 1964, exemplifies the traditional Afrodiasporic performance practice of “apart playing.” A formulation of the art historian Robert Farris Thompson, apart playing occurs whenever individual performers enact different, complementary roles in an ensemble setting. For interpretative purposes, the concept helps to provide a cultural context for certain pitch-based formal devices, such as substitute harmonies and playing “outside” an underlying chord or scale, which Tyner uses in the course of his solo.
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Huron, David. "Interval-Class Content in Equally Tempered Pitch-Class Sets: Common Scales Exhibit Optimum Tonal Consonance." Music Perception 11, no. 3 (1994): 289–305. http://dx.doi.org/10.2307/40285624.
Pitch-class sets (such as scales) can be characterized according to the inventory of possible intervals that can be formed by pairing all pitches in the set. The frequency of occurrence of various interval classes in a given pitch-class set can be correlated with corresponding measures of perceived consonance for each interval class. If a goal of music-making is to promote a euphonious effect, then those sets that exhibit a plethora of consonant intervals and a paucity of dissonant intervals might be of particular interest to musicians. In this paper, it is shown that the pitch-class sets that provide the most consonant interval-class inventories are the major diatonic scale, the harmonic and melodic minor scales, and equally tempered equivalents of the Japanese Ritsu mode, the common pentatonic scale, and the common "blues" scale. Consonant harmonic intervals are more readily available in these sets than in other possible sets that can be drawn from the 12 equally tempered pitch chromas.
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Rohrmeier, Martin. "The Syntax of Jazz Harmony: Diatonic Tonality, Phrase Structure, and Form." Music Theory and Analysis (MTA) 7, no. 1 (April 30, 2020): 1–63. http://dx.doi.org/10.11116/mta.7.1.1.
The regularities underlying the structure building of chord sequences, harmonic phrases, and combinations of phrases constitute a central research problem in music theory. This article proposes a formalization of Jazz harmony with a generative framework based on formal grammars, in which syntactic structure tightly corresponds with the functional interpretation of the sequence. It assumes that chords establish nested hierarchical dependencies that are characterized by two core types: preparation and prolongation. The approach expresses diatonic harmony, embedded modulation, borrowing, and substitution within a single grammatical framework. It is argued in the second part that the proposed framework models not only core phrase structure, but also relations between phrases and the syntactic structures underlying the main forms of Jazz standards. As a special case, the Blues form relies heavily on the plagal derivation from the tonic and is analyzed in comparison with other analytical approaches to the Blues. The proposed theory is specified to a sufficient level of detail that it lends itself to computational implementation and empirical exploration, and this way it makes a step towards music theory building that embraces the close links between formal, mathematical, and computational methods.
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Costa, Marco, and Mattia Nese. "Perceived Tension, Movement, and Pleasantness in Harmonic Musical Intervals and Noises." Music Perception 37, no. 4 (March 11, 2020): 298–322. http://dx.doi.org/10.1525/mp.2020.37.4.298.
Perceived valence, tension, and movement of harmonic musical intervals (from the unison to the octave presented in a low- and high-register) and standard noises (brown, pink, white, blue, purple) were assessed in two studies that differed in the crossmodal procedure by which tension and movement were rated: proprioceptive device or visual analog scale. Valence was evaluated in both studies with the visual analog scale. In a preliminary study, the proprioceptive device was calibrated with a psychophysical procedure. Roughness of the stimuli was included as covariate. Tension was perceived higher in dissonant intervals and in intervals presented in the high register. The higher the high-pitch energy content in the standard noise, the higher the perceived tension. The visual analog scale resulted in higher tension ratings than the proprioceptive device. Perception of movement was higher in dissonant intervals, in intervals in the high register, and in standard noises than in musical intervals. High-pitch spectrum noises were associated with more sense of movement than low-pitch spectrum noises. Consonant intervals and low-register intervals were evaluated as more pleasant than dissonant and high-register intervals. High-pitch spectrum purple and blue noises were evaluated as more unpleasant than low-pitch spectrum noises.
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Larkey, Edward. "Austropop: popular music and national identity in Austria." Popular Music 11, no. 2 (May 1992): 151–85. http://dx.doi.org/10.1017/s0261143000004980.
The diffusion of rock and popular music from the US and British mass entertainment industries since the 1950s has had a profound impact on the music traditions world-wide. Several generations of youth have been socialised to the musical accompaniment of rock and roll music of the 1950s, the ‘beat music’ of the 1960s, the so-called ‘psychedelic’ or ‘underground’ rock music of the 1970s, disco, punk and new wave music in the 1970s and 1980s. It has resulted in the transplantation of these ‘foreign’ styles into music cultures with small groups of fan communities for rock and roll, country and western, blues, punk, reggae and others which were previously unheard of there before their introduction. In addition, domestic traditions have been profoundly affected by the diffusion of these new music styles and have integrated some of their musical, technical and other components into their own repertoires. The Schlager music in the German-speaking countries has been one of the most prominent in this respect, adapting syncopated rhythm but modifying its harmonic attributes in order to maintain its own prominence and cultural legitimacy in the music culture. Even the volkstümliche or folk-like music, a commercialised genre of traditional folk music, has undergone changes as a result of the diffusion of the newer forms of popular music. A third type of impact upon music tradition is that of ‘transnational’ or ‘transcultural’ styles. When imported musical and cultural innovations are mixed with domestic styles and traditions, these new styles and conventions are ultimately created. These, in turn, form a primary thrust in the cultivation and development of innovations in musical traditions, which eventually evolve into changes in the cultural identity of the particular country.
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Herbst, Jan-Peter. "Distortion and Rock Guitar Harmony." Music Perception 36, no. 4 (April 1, 2019): 335–52. http://dx.doi.org/10.1525/mp.2019.36.4.335.
Research on rock harmony accords with common practice in guitar playing in that power chords (fifth interval) with an indeterminate chord quality as well as major chords are preferred to more complex chords when played with a distorted tone. This study explored the interrelated effects of distortion and harmonic structure on acoustic features and perceived pleasantness of electric guitar chords. Extracting psychoacoustic parameters from guitar tones with Music Information Retrieval technology revealed that the level of distortion and the complexity of interval relations affects sensorial pleasantness. A listening test demonstrated power and major chords being perceived as significantly more pleasant than minor and altered dominant chords when being played with an overdriven or distorted guitar tone. This result accords with musical practice within rock genres. Rather clean rock styles such as blues or classic rock use major chords frequently, whereas subgenres with more distorted guitars such as heavy metal largely prefer power chords. Considering individual differences, electric guitar players rated overdriven and distorted chords as significantly more pleasant. Results were ambiguous in terms of gender but indicated that women perceive distorted guitar tones as less pleasant than men. Rock music listeners were more tolerant of sensorial unpleasant sounds.
Dissertations / Theses on the topic "Harmonica music (Blues)":
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Quillen, Zachary J. "The Relationship Between the Melodic-Harmonic Divorce in Blues-Based Rock, theStructure of Blue Tonality, and the Blue Tonality Shift." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1617440977351617.
Vaughn, Erin M. "Harmonic Resources in 1980s Hard Rock and Heavy Metal Music." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1449012267.
Harp, David. Play the harmonica--today!: A revolutionary technique for learning to play the blues, rock & folk harmonica. New York, NY: Mud Puddle Books, 2010.
Guyger, Steve. Blues harmonica: Authentic styles & techniques of the great harp players / by Steve Guyger ; edited by Chad Johnson. Milwaukee, WiI: Hal Leonard, 2013.
Book chapters on the topic "Harmonica music (Blues)":
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Gussow, Adam. "Introduction." In Whose Blues?, 1–18. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469660363.003.0001.
This chapter sketches the outlines of Whose Blues?, framing it as a contemporary conversation between Black bluesism (blues as Black music, Black history, and Black cultural property) and blues universalism (blues as globalized culture and a scene of enlivening interracial cooperation). The author grounds his study in a moment of personal awakening prompted by a 2012 blues conference at which harmonica players Sugar Blue, Billy Branch, and other Chicago-area blues musicians voiced a litany of complaints about racial inequities and slights they had suffered over the years. The postmodern flux of contemporary blues registers in the wide range of discourses, both academic and vernacular, through which scholars, fans, musicians, teachers, and other cultural custodians seek to make sense of the music and its legacy. Finally, this chapter offers an overview of the book’s content in a series of brief synopses. (The chapters are called “bars” and there are twelve of them, so that the book’s structure replicates the 12-bar format of the blues’ most familiar musical structure.)
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Chapman, Con. "The Coming of Bird." In Rabbit's Blues, 99–106. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0014.
The chapter discusses a new type of jazz that arrived beginning in the mid-1940s that came to be known as “bebop.” It was marked by new harmonies, staccato rhythms and—on the alto sax—a shift away from the smooth technique of Johnny Hodges, Benny Carter, and Willie Smith to the revolutionary syntax and vocabulary of Charlie Parker. In 1944 DownBeat predicted that soon Parker would be ranked number two behind Johnny Hodges on the alto; this prediction proved to be too cautious, as Parker along with fellow innovators of bebop changed the jazz landscape. Today, Parker is generally ranked as the foremost alto player in jazz history. The boppers subordinated tone and feeling to speed, melodic invention, and harmonic complexity. By the end of the decade, Hodges’s music had begun to seem dated.
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Chapman, Con. "Swee’ Pea." In Rabbit's Blues, 79–88. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0011.
The chapter discusses the addition of Billy Strayhorn to the Ellington band at the end of 1938. Strayhorn gradually transformed its music with harmonic enhancements that he had mastered as a student of European classical music. He also began to write pieces that served as vehicles by which Hodges developed a romantic style to broaden his appeal beyond the hot jazz and blues of his early period. Ellington had learned his trade from East Coast stride pianists, who used the piano as a percussion instrument in the bass register. Strayhorn’s music showed the influence of Debussy and Ravel, romantics with a softer side that was well suited to Hodges’s warm tone. Strayhorn took control of the Ellington small-group sessions and became so closely associated with Hodges that the two formed a four-man group for a time that played apart from Ellington.
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Stoia, Nicholas. "Harmonic Progressions." In Sweet Thing, 176–93. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190881979.003.0005.
Chapter 4 explores the combination of the poetic forms and rhythmic types with the harmonic language of early blues, country, and gospel music. The main harmonic building blocks of these genres are the major tonic (I), subdominant (IV), and dominant (V) chords, and these are the chords that make up the harmonic progressions in most realizations of the “Sweet Thing” scheme. The harmonic element of the “Sweet Thing” scheme is highly flexible, but this chapter demonstrates that its progressions nonetheless divide into broad comprehensible categories—namely blues-like progressions, periodic progressions, fragmented progressions, and amalgamated progressions—and that the harmony is always closely intertwined with text and rhythm.
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Nobile, Drew. "Verses." In Form as Harmony in Rock Music, 39–69. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190948351.003.0002.
This chapter focuses on the harmonic and formal procedures found in rock’s verse sections. To begin, the chapter divides the category of verses into sectional verses—those that contain a complete harmonic structure ending with a cadence—and initiating verses—those that contain only the beginning of a harmonic structure, setting up a continuation in later sections. Sectional verses exhibit several common thematic layouts, including periods, srdc, twelve-bar blues, and small aaba, all of which have particular harmonic layouts. The chapter includes a discussion of refrains, in particular distinguishing them from choruses.
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Isaacs, Bruce. "Music You Can Hear." In The Art of Pure Cinema, 164–84. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190889951.003.0008.
Pure cinema and the aesthetic of the fragment is applied to the evolution of sound design in the avant-garde experimental silent cinema of the late 1920s and early 1930s. The chapter argues that sound design and production were conceived as an integral part of pure cinema, tracing the emergence and development of this philosophy within the avant-garde experimentation with film form. Hitchcock articulates a philosophy of pure sound cinema in a number of critical pieces from the early 1930s and is clearly influenced by European philosophies of the early sound image. Sound is read as a discretized contrapuntal aesthetic form, achieving the abstraction of noise as patterned pitch (melodic), harmonic, and rhythmic form, in close analyses of Rear Window, The Birds, the imitation of Vertigo’s “Madeleine” theme in Pino Donaggio’s score for Dressed to Kill, and Argento’s cutting of a narrative segment of Deep Red to a standard blues I–IV–V harmonic progression. The chapter concludes with a study of Bernard Herrmann’s concluding sonic motif in Psycho as the purity of sound form in its atonal harmonic structure.
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Chapman, Con. "The Partnership Begins." In Rabbit's Blues, 53–60. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190653903.003.0007.
This chapter describes the early years of Hodges’s association with Duke Ellington beginning in 1928, when the band strove to play “jungle music” that would titillate white patrons of the segregated Cotton Club, where the group served as house band. Hodges’s seductive approach added a new dimension to the growls, hot rhythms, and strange harmonies that characterized Ellington’s early efforts; the warmth of his tone, his flatted “blue” notes and his plaintive phrasing brought an element of New Orleans to Ellington’s New York band that it had lacked after the brief tenure of Sidney Bechet ended. Noteworthy performances of the 1930s are described, including Hodges’s participation in Benny Goodman’s 1938 mixed-race concert at Carnegie Hall. Goodman and Ellington were rivals, and Ellington was upset that Goodman got to Carnegie Hall before he did and that Hodges showed an independent streak by participating.
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Stoia, Nicholas. "“The Frog’s Courtship” and Other Sources." In Sweet Thing, 79–134. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190881979.003.0003.
The stanzaic form of “The Frog’s Courtship” represents a second major branch in the lineage of the “Sweet Thing” scheme. Chapter 2 concerns its progress from Elizabethan England all the way to late nineteenth-century ragtime and early twentieth-century blues and country music. The stanzaic form appears in the United States by the early nineteenth century and then largely disappears from print until reemerging in several songs collected by folklorists in the early twentieth century, demonstrating its strong endurance in oral tradition. More often than “Captain Kidd,” this second stanzaic form appears in extensively abbreviated versions, reflecting its oral mode of transmission, which allows for more flexibility in length of bars. In early ragtime, the form unites with the harmonic language of contemporaneous popular music and acquires melodic and textual content that subsequently imbues early blues and country music as pervasive elements of the twentieth-century “Sweet Thing” scheme.
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Rapport, Evan. "“Raw Power”: Protopunk Transformations of the Blues." In Damaged, 35–62. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496831217.003.0002.
Punk’s musical style can be considered as beginning with the transformations to blues resources explored mostly by white baby boomers invested in the sixties counterculture, especially in the northern Midwest, such as the Stooges and the MC5. Their approaches to the blues were a response to the changing stakes of musical expressions of whiteness and Blackness during the 1960s, connected to the social upheaval surrounding so-called white flight to the suburbs and the Second Great Migration of African Americans from the South. Some similar approaches to the blues were also cultivated in New York among musicians such as the Velvet Underground. Their music emphasized riffs, limited harmonic movement, and other features which are described in this chapter as the “Raw Power” approach to punk. But despite punk’s deep musical roots in the blues, the discourse around punk served to obscure these connections.
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Hobson, Vic. "Lil’s Hot Shots." In Creating the Jazz Solo, 136–44. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819772.003.0014.
This chapter explores the relationship between Armstrong’s playing and classical composition in relation to his wife Lilian Hardin. The music explored includes “Coal Cart Blues,” “Skid-Dat-De-Dat,” and “Struttin’ With Some Barbecue.”While more research is needed, I argue that what has been interpreted as classical influences and harmonic sophistication in Armstrong’s playing in relation to tunes part composed with Hardin, these sophisticated touches are often rooted in barbershop practice rather than in the classical cannon.
