Academic literature on the topic 'Recorded accompaniments'

This chapter describes Rollini's many activities as a member of various jazz groups that did studio work. The first was Red Nichols's Five Pennies, followed by accompaniments for singers Annette Hanshaw and Jay C. Flippenand the forming of Joe Venuti's Trio. Kirkeby continued to organize record dates under several names such as Ted Wallace and his Orchestra. Rollini would be a fixture.

This chapter introduces and discusses lundu and modinha, two genres of urban song with guitar or piano accompaniment, first documented in the late eighteenth century in Portugal, where they were associated particularly with the activities, in Lisbon, of the Brazilian poet Domingos Caldas Barbosa. Found in Brazil throughout the nineteenth century in the printed music for piano and voice, lundu and modinha are considered historically antecedent to the popular music recorded in the nation starting in the early twentieth century. In particular, lundu has commonly been seen in the historiography as a precursor of samba, and as the first Afro-Brazilian-inspired musical genre to gain the interest and acceptance of wider society. This chapter introduces and discusses lundu and modinha, two genres of urban song with guitar or piano accompaniment, first documented in the late eighteenth century in Portugal, where they were associated particularly with the activities, in Lisbon, of the Brazilian poet Domingos Caldas Barbosa. Found in Brazil throughout the nineteenth century in the printed music for piano and voice, lundu and modinha are considered historically antecedent to the popular music recorded in the nation starting in the early twentieth century. In particular, lundu has commonly been seen in the historiography as a precursor of samba, and as the first Afro-Brazilian-inspired musical genre to gain the interest and acceptance of wider society.

This chapter examines Simon Emmerson’s Time Past IV, a hauntingly beautiful work which is highly accessible thanks to its consistent tonality and economical construction. This piece is based entirely on a single hexachord and its transposition. The vocal part consists of mellifluous syllabic fragments taken from Shakespeare’s well-loved Sonnet XXX. Space-time notation is employed, affording a degree of freedom within the disciplined structure. The music moves along quite naturally, and it is only in the more frenetically active passages that timing could go awry. The chapter illustrates how Emmerson is punctilious in every detail. The work describes a logical arc, from its soft, rapt beginning, through a period of manic activity, and back to a poignant, contemplative ending. The text is used imaginatively: there are speech effects such as whispering, and diphthongs are stretched out, mutating gradually through their components. The pre-recorded electronic accompaniment provides a multicoloured palette of vocal attacks and timbres, with babbling syllabic repetitions that overlap and constantly transform themselves.

Many writers have treated the Nashville Sound as a single, monolithic style characterized by smooth background vocals, reverberant lead vocals, and sparing instrumental accompaniments. Yet, in a 1991 interview, prolific Nashville session guitarist Harold Bradley observed that “[w]hen people say the Nashville Sound, you know, singularly, I think they’re wrong, because it should be plural. Everybody that’s heavy has had their sound. . . .” Drawing upon Mark Samples’s (2012) work on musical branding, this chapter examines the ways that record producers, session musicians, and recording artists used the musical resources of Nashville’s recording studios to develop signature sounds that helped listeners identify their favorite singers on recordings and radio. Moreover, building upon recent work on the development of all-country radio during the 1960s, this chapter argues that musical brands may have played an essential role in maintaining listener attention, thereby ensuring the success of the new format.

The dominant issues that the TBMI community will face for the next 30 years and beyond are just starting to appear through the fog. In this final chapter, I will introduce some of the trends that have recently emerged that may impact the development of TBMI pedagogy, and speculate on directions they might take. These trends include, but are certainly not limited to, (1) the emergence of mobile devices such as tablets and smartphones and their potential for music making; (2) the growing popularity of alternative and electronic ensembles; (3) concerns about connections between traditional forms of music making—specifically, the critical role that singing plays in learning to be musical—and music technology; (4) the possibilities of technology-enhanced distance learning in music; and (5) the critical examination we must do regarding social and inclusion issues, and their relationships to music technology. There is little doubt that mobile devices, and particularly the iPad, will revolutionize our work in TBMI. Interestingly, as I scoured the landscape for teachers in the K–12 environment who are using iPads in their classrooms as replacements for notebook or desktop computers, few examples emerged. This provides evidence that we are at a point in technological development where we are still very much a computer lab-based culture, but we see the promise of mobile devices. Mrs. J teaches at a small independent school. Although not an official designation, the school’s teachers consider it to be project-based, and much of what Mrs. J does in her music classes is designed around projects. Her fourth grade students were composing short melodies using their recorders and then using GarageBand on iPads to create accompaniments to their melodies. My questions for Mrs. J focused on the pedagogical aspects of using iPads in her classes. First we talked about her general experiences using iPads, especially given that her students share the devices in groups of three or four. The sharing aspect seemed like it might be problematic because the iPad is designed as a personal device, usually viewed and used by one person.