Introduction

This module encompasses two very different units: one a beginning, and the other highlighting a peak moment when genres diverged.

In Unit 8, the gradual absorption of Latin and Afro-Cuban rhythms into American popular music is explored. Beginning as novelty to Americans, these sounds – and particularly the son clave rhythm – are woven deeply into the fabric of popular music as we know it today. Once you have learned the rhythm (tap along while you listen to “Begin the Beguine”), listen to Snoop Dogg’s 2004 classic “Drop It Like It’s Hot”, and see if you can pick out the same rhythm, somewhat altered, in the bass drum. This rhythmic influence is still seen often in popular music.

Incidentally, a similar rhythm can be found in Ghanian and other West African music, which brings up the question – did this rhythm actually originate in the Americas, or was it preserved in Latin America because, unlike African slaves in the US, slaves south of the US were allowed to retain more of their culture?

In Unit 9, musical theater and popular song come of age. No discussion of popular music in America would be complete without mentioning Frank Sinatra and Nat King Cole, two major icons of mid-20^th century song interpretation. Their unmistakable voices, ability to connect with listeners, and, frankly, star power, are only now (70 + years later) beginning to recede into history. Noticeably absent from this section is Ella Fitzgerald, arguably as important as Sinatra and Cole. Spend some time with her music if you have time.

There is a good chance your high school performed a Rodgers and Hammerstein musical at some point during your years there – maybe you had a role! There is a reason these shows endure. The music from these shows feature some of the best song-writing of the 20^th century. Musicals are still written today, and shows like Wicked and Hamilton owe much of their success to Rodgers and Hammerstein. But it was the boom of the Golden Age of Musical Theatre (app. 1943-1960) that first elevated the musical to the level of an art form, a craft that continues to evolve today (arguably in animation as much as on stage).

Though we break away from following the trajectory musical theatre around 1960, in many ways it continues to be a popular music/classical music/theatre hybrid. It is it’s own art form, but is not monolithic (it is still tightly linked to popular and classical music, and sometimes the music even bleeds back onto mainstream radio stations).

The same cannot be said for post-1960 jazz. Bebop was the point at which jazz began to truly have its own language; the point at which it became art music rather than a genre of popular music. Bop’s combination of elevated artistry and improvisation, and its movement away from conventional melodies and timekeeping meant that it had evolved out from under the “popular” umbrella, and fandom of the genre was more niche (as opposed to the mainstream popularity of swing). Though the counterculture aspect of jazz would find it’s way into early rock and roll, and though jazz, classical, and popular music continue to influence each other in various ways, from here jazz can no longer be grouped with the other popular music genres covered in the textbook, and so our study of jazz styles will end here.

As you move through this varied module, particularly Unit 9, note the increased emphasis on musicianship in these styles and how, unlike the music of the previous two modules, they flirt with artistry in a more advanced way. What is being done differently to elevate these styles above the predecessors and the contemporaries we have covered so far in the course? Note the chart at the end of Unit 9 that shows which music (from previous modules) was developing at the same time. If you are a visual learner, you may wish to draw charts tracing the development of stage music, song interpretation, jazz to 1960, etc.

Learning Objectives

When you have finished this module, you should be able to do the following:

1. Explain the key geo-political influences on Latin Music in America.
2. Explain the assimilation of Latin styles into popular music.
3. Differentiate the key genres.
4. Identify the key artists and their unique contributions to their genre.
5. Define all terminology.

Module Instructions

1. Please read Campbell Units 8 and 9 (pages 134 to 158).
2. As you read your textbook, listen to the musical examples on the Module 5: Music page.
3. Read your Module 5: Learning Material.
4. Post a response to one of the challenges if you plan to blog as part of your course assignments (see syllabus for details).
5. Join the blog discussions if they interest you.
6. Once you have completed your module work for the week, please go into the Blackboard course tools and complete the weekly quiz prior to the 4:00 pm Friday deadline.

Key Terms, Concepts, and People

• Xavier Cugat
• Cole Porter
• Long-playing (LP) 33 rpm records and 45 rpm singles
• Rodgers and Hammerstein
• Leonard Bernstein
• Charlie Parker
• Modern Jazz Quartet
• Nat “King” Cole
• Frank Sinatra

Continue to Module 5: Learning Material