Andrew Glennon, a hip hop producer from Portland, creates "beats" from samples and loops of other recorded music, forming the underlying foundations for hip hop songs. His song "Her Eyes" shows the importance of "the hook" in popular music, a musical or lyrical phrase that stands out and is easily remembered. Pat Monahan, a guitarist and songwriter from Seattle, records his songs directly, or works with other musicians to write the arrangements. Before the age of digital recording and music software, it took someone like Lou Halmy (1912-2005) to transcribe and arrange pieces for publication. The second chapter covers "Oral Tradition in American Popular Music." Many famous American song writers could not read music, though they composed great songs.
Previous experiences enrich musical memories and influence new performances, thus "memory and creativity are not so far apart" (p. She concludes that musical memories are not like sound recordings, but are stored as various strands of sound, from which complete pieces have to be re-created at every performance. The first "interlude" examines "The Brain, Memory and Oral Tradition." McLucas reviews a wide range of literature from neuroscience, psychology and the psychology of music, studying how music memories are created, stored in the brain, and retrieved during performance. In describing these musicians, McLucas touches upon some of the major themes that will be explored later in the book, such as how musicians learn their repertory, the role of memory in performing, and the boundaries of creativity in adding to the repertory. The accompanying compact disc contains examples of music from each of them. The last two musicians currently live in Oregon. Louis, Illinois and Kevin Burke, an Irish-American fiddler. These are Hazel Dickens, an Appalachian singer Willetto Antonio, an Apache singer and healer Eagle Park Slim (Autry McNeace), a blues singer originally from East St. In the first chapter, "The Oral Process and 'Roots' Music," McLucas considers four musicians as examples of the breadth of oral tradition in the United States. She does a fine job explaining this research in plain language, providing a good introduction to the topic for any interested reader. After each of the four chapters McLucas inserts an "interlude" that explains the underlying psychological research behind the things described in the preceding chapter. The narrative also shows all the earmarks of extensive teaching experience, with examples that could easily be shared with students, and also examples drawn from students. She has drawn examples from her real-life experiences, many locally from Eugene, Oregon. We would expect that most of the examples would be of folk music, but McLucas gives just as many examples from popular, Native American, and art music, from the seventeenth century to the present. There are many places where she uses the duel term "oral/aural." The musical case studies come entirely from the United States. he term "oral tradition" will be understood to encompass all music not handed down in or necessarily learned from a written form"
To cover all facets of a process-the aural, or taking in by ear of sounds, and the oral, or the transmission by mouth (but also understood to cover instrumental performances passed on without notation). There are many books on specific oral traditions within the United States, but this is perhaps the only one that begins with oral tradition as the central topic, and then compares the commonalities of oral tradition between many different styles of American music. Anne Dhu McLucas, professor emerita from the University of Oregon, has written one of the few books on the topic of oral tradition in music.
0 kommentar(er)
