Week 10 – November 3, 2010

| November 6, 2010

We handed out the final project announcement, as well as the guide for stylistic listening, and gave time for questions. The final assignments are due last day of class; references to other works/articles/etc. are encouraged.

We then had a brief discussion about grounded bass: is it the foundation for today’s pop music concept of a riff? On the whole, we agreed yes because of the amount of music based upon a single chord progression. People’s ears have opened up to hearing these kinds of repeated musical ideas, but can we really refer to them as ground bass? Are they ostinatos? Are they repeated motifs?

Some food for thought:
How did social conventions and situations in the culture function to shape the development of music?
Can’t all musics prior to popular music be thought of as a foundation?

More people presented their examples of ground bass:
Issa Bagayogo – Bana
Temptations – Papa Was A Rolling Stone
Michael Jackson – Billy Jean
In The Heights – When the Sun Goes Down
The Mammals – Silk Song
Chopin – Berceuese
Edith Piaf – L’Accordeoniste
Israel & New Breed – Hark
Handel – Passacaglia in G minor
Lupe Fiasco – Hip Hop Saved My Life

Ground bass can define the tonality through repeated musical ideas that outline the tonality.

Think about pandiatonicism, which we first saw in 20th century music. This is a good way to work with students, esp. on warm ups.

Passed out the neopolitan sixth chord, which frequently substitutes for a IV chord (has the same bass note when in the first inversion as the IV chord). Think about working with a partner for these assignments to make sure you understand the chord symbols before working on your own.

Come to class with an idea of what you want to do for your final project.
Just do Option 2 for next week.