GLST 490 – Days 11-12
Soul and
Mid-term
Review
Housekeeping Items
 I don’t think there are any presentations today. We will
review soul, then review for mid-term on Thursday (will
not include soul).
 But first I wanted to share with you some excepts from the
views of Nazis and Stalinists on jazz (their views were
similar in some respects in that they were threatened by
its liberatory spirit). The Nazis:
 Pieces in foxtrot rhythm (so-called swing) are not to
exceed 20% of the repertoires of light orchestras and
dance bands;
 “In this so-called jazz type repertoire, preference is to be
given to compositions in a major key and to lyrics
expressing joy in life rather than Jewishly gloomy lyrics;
Housekeeping Items
 As to tempo, preference is also to be given to brisk compositions
over slow ones so-called blues); however, the pace must not exceed a
certain degree of allegro, commensurate with the Aryan sense of
discipline and moderation. On no account will Negroid excesses in
tempo (so-called hot jazz) or in solo performances (so-called
breaks) be tolerated;
 So-called jazz compositions may contain at most 10% syncopation;
the remainder must consist of a natural legato movement devoid of
the hysterical rhythmic reverses characteristic of the barbarian races
and conductive to dark instincts alien to the German people (socalled riffs);
 Strictly prohibited is the use of instruments alien to the German
spirit (so-called cowbells, flexatone, brushes, etc.) as well as all
mutes which turn the noble sound of wind and brass instruments
into a Jewish-Freemasonic yowl (so-called wa-wa, hat, etc.);
Housekeeping Items
 Also prohibited are so-called drum breaks longer than half a bar in
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four-quarter beat (except in stylized military marches);
The double bass must be played solely with the bow in so-called jazz
compositions;
Plucking of the strings is prohibited, since it is damaging to the
instrument and detrimental to Aryan musicality; if a so-called
pizzicato effect is absolutely desirable for the character of the
composition, strict care must be taken lest the string be allowed to
patter on the sordine, which is henceforth forbidden;
Musicians are likewise forbidden to make vocal improvisations (socalled scat);
All light orchestras and dance bands are advised to restrict the use of
saxophones of all keys and to substitute for them the violin-cello,
the viola or possibly a suitable folk instrument.”
Housekeeping Items
 The Stalinists:
 “The dry knock of an idiotic hammer penetrates the utter stillness.
One, two, three, ten, twenty strikes, and afterwards a wild whistling
and squeaking as if a ball of mud was falling into clear water; then
follows a rattling, howling and screaming like the clamor of a metal
pig, the cry of a donkey or the amorous croaking of a monstrous
frog.
 The offensive chaos of this insanity combines into a pulsing rhythm.
Listen to this screaming for only a view minutes, and one
involuntarily pictures an orchestra of sexually wound-up madmen,
conducted by a Stallion-like creature who is swinging his giant
genitals.” – Maxim Gorky
 There were many other insults directed against jazz: “the moaning
in the throat of a camel,” the hiccupping of a drunk,” etc.
Soul Music
• As with rock n' roll, soul largely – though not exclusively –
originated in the south. Though rock was originally a
multi-racial music, blacks were increasingly forced to the
margin and the new “race music” of the 1950s and 60s
became “soul,” a not-too-subtle reference to the soul
brothers and soul sisters who produced it.
• It emerged from rhythm and blues and gospel, especially
the latter and, as Palmer says, it “came to represent a selfconsciously 'black' idiom, proudly displaying its roots in
gospel singing and in the rhythm and dynamics of the
holy dance or shout.”
• In the '50s, gospel singers, like Sam Cooke, experimented
with bringing more of a pop feel to their music, and pop
music borrowed more from gospel. As Palmer notes, Ray
Charles took known gospel tunes and changed them from
being about Jesus to being about women and sex....
Soul Music
• This scandalized some who saw in this an attempt to turn
God's music into the “devil's music.” Charles was an early
practitioner of soul, which he fused from gospel, rhythm
and blues, jazz and even country.
• Others came out of the gospel tradition as well. An early
feeder stream was doo wop music – with a strong emphasis
on vocal harmonies – which emerged on the East Coast and
California. And Aretha Franklin – considered by many to be
one of the greatest singers of all times – grew up singing in
her father's church in Detroit.
• Just as rock n' roll had been the soundtrack of teenage
rebellion in the '50s, soul was partly the soundtrack – along
with protest songs like those of Bob Dylan – for the
'freedom riders' and civil rights marchers of the early to
mid-60s who sought to desegregate southern society.
Although most soul was not overtly political, there were a
few exceptions, like Curtis Mayfield with songs such as
“Keep on Pushing” and “People Get Ready,” which had a
strong influence on Bob Marley and other reggae artists.
Soul Music
• Despite the vast majority of soul artists being black,
whites played a strong role through such studios and
companies as Stax/Volt in Memphis and Fame in Muscle
Shoals (Palmer describes how white producer, Rick Hall
was assigned to produce music by Wilson Pickett, and
with an all-white band!).
• And, at Stax/Volt in Memphis, the house band was Booker
T and the MGs – two white and two black musicians –
who not only backed some of the best known soul artists,
like Otis Redding, but were also very successful as an
instrumental band in their right, releasing a string of hits
beginning with “Green Onions.”
• Atlantic Records, with Jerry Wexler as producer, also
played a major role in nurturing Aretha Franklin's career.
Soul Music
• After the assassination of
Martin Luther King, the
racial politics changed, and
blacks began to elect to work
with their own. In the wider
society, black militance and
separatism became more
prevalent.
• James Brown, “the godfather
of soul,” began to come out
with songs like “Say It Loud
(I'm Black, I'm Proud).” He
also started to encouraged
black entrepreneurialism
and black support for black
businesses.
source: Google Images
James Brown also inspired African musicians, thus leading to the
emergence of “Afrobeat,” which migrated back across the ocean
in the form of bands like Antibalas.
Soul Music
• Unlike in the past, black
businessmen began to try to
control the production and
distribution of some of the
music – for instance, singer
Sam Cooke (who was
murdered in 1964) and
musician and songwriter,
Curtis Mayfield.
• But the most successful
music mogul of all was Berry
Gordy, founder of Motown
(short for Motor City).
• There were at least two
distinguishing
characteristics of Gordy's
approach.
Source: Google Images
Soul Music
• First, he used 'assembly-line' techniques – learned from his
experiences working at an auto plant – to produce records at
“Hitsville USA”. There was an intense division of labour with one
backing band (the Funk Brothers), several song-writing and
production teams, and different artists. Different teams were
encouraged to compete with one another. 'Quality control'
meetings were held every week, and only the cream of the crop of
the material recorded was released.
• Berry not only recorded his artists, he also handled the distribution
of the resulting records which, for the small firm he was in the
beginning, was quite unusual.
• A second defining characteristic was that, while all his artists were
black, with one token exception – the band Rare Earth – he
intended his music to appeal to people of all races (“The Sounds of
Young America” was how he characterized it), and it did. It had
huge appeal and it still does. Even the Beatles were influenced,
recording at least two Motown songs.
Soul Music
• As the '60s passed into the 70s, soul began to evolve into
funk, sometimes with rock elements (for instance, Sly and
the Family Stone). Artists like James Brown led the shift and
were joined by new bands like the Ohio Players and Earth,
Wind and Fire. Even jazz artists, like Herbie Hancock,
jumped on the funk bandwagon.
• Gradually, funk became increasingly blended with pop and
became disco. Although largely a black idiom, disco was
successfully cashed in on by white artists such as the Bee
Gees and KC and the Sunshine Band.
• Disco was noteworthy for its apoliticism, its commitment to
partying (including sex and drugs), and its emphasis on
narcissistic self-presentation. It eventually evoked a
reaction, part of it based on racial politics, and partly based
on a genuine distaste for the values expressed by the music.
• Soul and rhythm & blues live on, but in fairly formulaic
forms.
Review of Material We Have Covered So Far
 Music is universal in human society (specifics?), and
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serves a variety of functions. Some may be emphasized
more than others from one society to another, but what
are they are?
Why do ethnomusicologists take a relativistic approach
to music and what does this mean?
What is the difference between a “maestro” approach to
music vs. music as a participation sport, and how are the
behaviours associated with each different?
Nettl divides music into three aspects: sound, behaviour,
and the ideas cultures have about music. Use a couple of
examples to elaborate on these concepts.
While we often associate music with pleasant sounds,
need this always be the case? And, if not, why not?
How people respond to, and evaluate, music often
depends on the context. Examples?
Review of Material We Have Covered So Far
 How does the notion of diaspora apply to music – for
instance, with Romany music?
 What is the role of music in fostering cultural
cohesion and identity?
 What is cross-fertilization in music?
 What were some of the key historical context factors
that provided the backdrop for the emergence and
popularization of jazz?
 What are thought to be some of the reasons for the
emergence of bebop?
 How did changes in the blues mirror changes in Black
life more broadly?
Review of Material We Have Covered So Far
 What was the role of New Orleans' Creoles in
the emergence of jazz, and what were of some of
its precedents? Why did New Orleans emerge as
probably the most important hearth for jazz.
What were some of the key sub-hearths?
 What tends to distinguish jazz from other forms
of music?
 Name key technical innovations that have had
significant impacts on music in North America
over the last 100+ years?
 In what way has jazz become a world music?
Review of Material We Have Covered So Far
 What factors helped induce the major migration
waves of southern blacks to the north?
 What relation did r & b have to rock n' roll?
 Why was the south the initial main hearth for rock n’
roll?
 What role did small, regional studios and record
companies play in the emergence of rock, and what
was the response of the majors?
 What are some of the similarities in the cultural
backlash generated by both jazz and rock n'roll?
 How has cultural appropriation played itself out in
jazz and rock n' roll?
Review of Material We Have Covered So Far
 How was rock n’ roll, and its associated culture, related
to the emergence of adolescence as a distinct life stage?
 What factors helped it emerge as the dominant sound
for youth (apart from hip hop – to be discussed)?
 What was the process whereby British rock emerged
from American influences, and how did it in turn recross the Atlantic to revolutionize the way American
musicians approached the genre? What was the role of
the blues in all of this?
 In what ways has rock become an international genre?
 What factors have contributed to its diffusion
throughout the world?
 What accounts for its staying power (60 years and
continuing strong)?