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To the mythological period belong the stories of Eurydice and Orpheus. Perhaps the noblest and most beautiful of all the fairy tales of art, the building of Thebes and Cadmea by Amphion, who by his playing supposedly caused the stones and rocks to move spontaneously. The contest between the myth of the Sirens, Apollo and Marsyas, and numberless other stories and traditions with which the Hellenic mind loved to surround, as with many garlands, the art of music.

The poet Homer, provides us with a link between the traditional and historical periods, and in the “Iliad” and the “Odyssey” are to be found both legend and exact information.
Coming to the historical period proper of Greek music, we cannot fail to be impressed with the broadly moral significance which music possessed for the Greeks. Among the Assyrians, it is to be imagined, music was more or less emotional in character. Among the Egyptians, it apparently shared of the nature of an occult philosophy. Among the Israelites, music was primarily an act of worship; and it is, therefore, to the Greeks that the credit of being the first to recognise that music was highly valuable as an educational resource.

Although not yet an independent art, music probably gained very nearly as much as it lost in this respect, by being made an essential part of the literary and dramatic genius of Greece. Thus, the Greek play resembled more an opera than a play, however, with the music strictly subdued in favour of more dramatic interest. Perhaps the simplest way of making clear the musical aspect of the Greek drama would be to say that a Greek play was like an opera of which the composer wrote the libretto and the librettist wrote the music.

Sometimes the Greek dramatist, as in the case of GEschylus, composed the music to his own tragedies. Sophocles also accompanied the performance of one of his plays upon the cithara (an instrument of the harp kind).

Other than fragments of musical work, which it would be difficult to absolutely accept as authentic, there are no musical compositions of the ancient Greeks now known to be in existence. There has been preserved, however, a considerable amount of Greek literature about music, including the theoretical writings of Aristoxenus (B.C. 300), Euclid (B.C. 277), Nicho-machus (A.D. 60), Alypius (A.D. 115), Bacchius (A.D. 140), Aristides Quintilianus (A.D. no), and others.

Of these Aristoxenus wrote upon the Elements of Harmonics, Euclid wrote an Introduction, to Harmonics, Nichomachus an Introduction to Harmony, Alypius a work on musical notation, Bacchius, supposed to have been tutor to the Emperor Antoninus, was the author of a short Introduction to Music, in dialogue form. Aristides Quintilianus wrote a treatise, “De Musica,” in three books.

These writers, and others, have perpetuated the theoretical systems of the Greeks. Although they give us little or no hint of the practical application of the same, and it is upon their works that the earliest theorists of Europe based their further efforts towards the construction of a musical system at once logical, scientific, and capable of allowing the emotional side of man’s musical nature, free play.

Mike Shaw is an organist and music teacher who has produced a selection of downloadable music books for anyone who wishes to learn to play the piano, organ or keyboard. To find out more visit his websites http://www.mikesmusicroom.co.uk, http://www.keyboardsheetmusic.co.uk and http://musical-instruments-uk.mikesmusicroom.co.uk/

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Most of the sculpture work discovered at Nineveh is now in the British Museum, and reproductions of it are to be found in almost every book dealing with the history of music. Judging from the nature of the instruments represented, the music of the Assyrians must have been of a light yet somewhat subdued order, with no very pronounced effects of instrumental “colour,” no blaring of large wind instruments or banging of drums. They have also arrived at some idea of a proper combination of instruments and voices.

An interesting illustration, not only of the nature of the Assyrian musical instruments, but also of the manner in which these instruments were used in combination with voices, can be seen by a sculptural relief in the British Museum, representing a procession of musicians marching to meet a conqueror returning from battle. In front marches a man playing upon a harp, this instrument is approximately four feet high and fitted with ten strings. From the fact of his walking alone in front of his fellow musicians, this man was probably the head musician. In today’s terms, he could be a conductor or a musical director, or it might have been his turn to stand at the front. Nobody knows for sure. Behind him walk two men, one playing an instrument of the dulcimer kind, and the other a double flute.

The dulcimer player walks with his instrument resting against his breast in a horizontal position, possibly it was secured by a cord or strap passed round the player’s neck. The flute-player’s instrument is small, allowing him to have been a tall man; each pipe would be up to twelve inches long. Behind the flute and dulcimer-players come two more harpers, with instruments similar to that carried by the leader.

Then follow another couple, a harper and a flute-player, followed, in turn, by two other harpers, these last being followed by a harper and a drummer, the drum a very small one and apparently played with the finger-tips. This constitutes the orchestra. The rear of the procession is brought up by six adult and nine juvenile singers, the whole forming a band and chorus of twenty-six instrumentalists and singers divided as follows :-

2 Double flutes.

1 Small drum.

1 Dulcimer.

6 Singing men or women.

7 Harps.

9 Singing boys.

There is undoubtedly a strong sense of proportion and general fitness exhibited in this combination, so much so, that we can hardly imagine the disposition of this body of musicians to have been purely a matter of chance. The sharper sounding instruments, the flutes and the dulcimer, are carefully placed among the other less pronounced instruments, and considering the nature of the other instruments, the drum may be said to be sufficiently large and powerful for the purpose it had to serve.

The backbone of the band is in the harps, they represent the violins of the modern orchestra. The proportion of singers to instrumentalists, again, although somewhat unequal, according to modern ideas, is curiously like that of Handel’s time.

Besides the instruments just described, the Assyrians appear to have also made use of a variety of drums, cymbals, trumpets, bells and tambourines.

Michael Shaw is an organ and keyboard teacher and sells sheet music and tutor books at his websites http://www.mikesmusicroom.co.uk, http://www.keyboardsheetmusic.co.uk and http://musical-instruments-uk.mikesmusicroom.co.uk/

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There were also variety shows like the “Glen Campbell Goodtime Hour”. Glen commented that “It’s awesome when you think about the power of TV and movies. If I hadn’t had hit records, I wouldn’t have gotten TV and movies, but the Goodtime Hour made my career explode all over the world.” I loved these shows, especially their music. Television shows have always been a big influence on our enjoyment of rock music, even now.

I soon developed an interest in the history of rock and roll. The words “Rock and roll” were apparently first used in 1951 by a Cleveland disk jockey called Alan Freed, and were taken from the song “My Baby Rocks Me with a Steady Roll”. It was traditional in blues music, which evolved in the 1950′s from rhythm and blues, to use the terms “rock, roll, rock and roll, etc) to refer to sexual intercourse. Freed used the term to mean music with a raw, heavy, back beat in order to include whites in his audience.

He started a radio program called “Moondog Rock and Roll Party” that played black music for a white audience; his enthusiasm for black music became contagious. In 1952, Freed organized the first rock and roll concert. The record industry, aware that a new and popular music was being created by blacks, tried to exploit it.

In 1952 “Bill Haley and the Comets” became the first (black) rock and roll band, although at that time the US was still largely racially divided. When Sam Phillips founded Sun Records, he announced “If I could find a white man who sings with the Negro feel, I’d make a million dollars”.

In 1952 the “Bandstand” television program went on the air. In 1953, Bill Haley’s “Crazy Man Crazy” became the first rock song to enter the Billboard charts. “Crying in the Chapel” by the Orioles, became the first black hit to top the white pop charts. In 1954, doo-wop, a new kind of black vocal harmony emerged, with the Penguins’ Earth Angel (1954) and by the Platters’ Only You (1955).

Juke box machines were spreading in the early ’50′s and the first solid body electric guitars were brought onto the market. In 1954, record companies switched to “45′s, and the transistor radio was introduced. Record players became cheaper. Now teenagers could listen to their music anywhere they wanted.

“American Graffiti” was a great movie to highlight early rock and roll. Bill Haley’s “Rock around the Clock” was the first rock song used in a movie, and it became the national anthem of rock and roll; turning rock and roll into a nationwide success in 1954.

In 1955, Chuck Berry became the first major composer of rock and roll (instead of just an interpreter). He was the first one to have the guitar as the lead instrument and to have descending pentatonic double-stops (the essence of rock guitar). Unfortunately, being black, he didn’t get the same airplay as a white musician so he remained a cult figure. I remember him most for “Johnny Be Goode”

Elvis Presley’s recorded his first record was in 1954 and, since his first hits (such as Good Rocking Tonight) were all black ones, enabled white kids to play black music. With his huge success, white “rockers” were not only tolerated but even promoted by the major record producers. The music of black’s (such as “Shake, Rattle, and Roll”) was still more powerful and original however.

Slowly and steadily “white rockers” played more guitar than piano and singers began to sing their own songs (instead those of professional songwriters). “Black rockers” had always written their own songs and composed on the guitar. This is how rock and roll became guitar-based, utilized a small combo instead of an orchestra, and so emphasized the rhythm instead of the harmony. Rock musicians were expected to have a guitar in front of them even though most of the white ones didn’t know how to play the guitar.

The record industry boomed and independent labels flourished. By 1959, the market share of rock and roll was 42.7%. This, in spite of a bill proposed in Congress in 1955 to ban rock and roll in the U.S. Thank god, that didn’t happen!

The 1960′s saw a “British invasion” of rock bands. The Beatles were the most notable of these; they made rock the most popular music in America. Bob Dylan used rock and roll to protest war, poverty, and racism. Rock and roll continued to develop and change.

Although rock and roll is still around, it doesn’t mean the same thing as it did these first two decades. After the advent of disco in the “70′s, many people thought rock was losing its originality. It rebounded with hard rock and heavy metal in the 80′s. Rap, a black movement, became very popular. By the late 90′s people were complaining rock was too depressing. Then the very young group Hanson appeared with “MMM Bop” and took the world by storm. Other “boy bands” followed, along with shows on finding them and making them into stars. Even now we have shows like “American Idol” which are very popular.

Rock music seems to have its ebbs and flows, most of all evolving and changing with American culture. It has been the soundtrack of our lives.

Tracy Crowe loves listening to music and learning about it’s relationship to culture.

For great ways to make rock and roll music, or listen to it, visit

[http://www.i-found-it-here.com]

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Joining Twitter and Facebook is also one of the ways for website owners to tell their visitor that they also keep updating their website. For example, BangYouLater.com, which is known for its best services of providing free porn videos on the internet, has its own Twitter page at bang you later. By following this Twitter page, if there is any updated content from the site, you will be able to get the first news about that. You will be able to go directly to the website and watch the freshest porn video content that has been updated by the website. So, again, keep yourself updated! Join so many forum boards on the internet and follow some websites’ Twitter page. By keeping yourself updated, you will be able to see what is new in the world.

For those of you who are turned on by horns, I recommend a small watering place in Cleveland called the Lake Shore Club.

There, Ted Witt and his Forest City Jazz Band hold forth on Saturday nights with the best music this side of New Orleans.

Located through the courtyard of an old motel, it is not the kind of joint you would wander into cold turkey. But, take my word, the surroundings are pleasant, the drinks unadulterated, the prices average, the food good and the clientele well dressed without ostentation.

I was introduced to jazz while stationed at the U.S. Naval base in Key West during World War II. The best honky-tonk in town had a small jazz combo of venerable black players, but the soul jerking notes poured out on those Sunday afternoons after church when the “colored folks” (their term) conducted a funeral.

No matter what day of the week a black person might happen to meet his Maker, the funeral was held on Sunday. Then the fishermen would be home, no one would lose wages, and the mood of religious contemplation would be deepest.

After regular morning services, lengthened by a substantial eulogy to the deceased, the march to the grave yard began. The coffin rode in one mule-drawn wagon and an assembly of horn players in another. The mourners marched behind in swallow-tail suits, high hats and formal dresses.

The parade to the cemetery was somber and featured plaintive hymns such as “Just A Closer Walk With Thee,” “Old Rugged Cross,” “Amazing Grace,” and “Will the Circle Be Unbroken.” Now, 30 years later, these tunes nearly break me up as bittersweet memories flood back.

The return from the cemetery, however, was jubilant as the marchers asserted their faith that their departed companion was well on his way to a just reward in heaven. Of course there was “When The Saints Come Marching In,” “Washed In The Blood of Jesus,” and “Down By The Riverside.” But there was also a lot of high stepping to “Georgia Cakewalk,” “High Society” and “Muskrat Ramble.”

It was a meaningful blend of sorrow, reverence, and Christian faith in a better life here after.

Since those days – now gone I am told by travelers to the southern-most Florida Key – I have pursued the blue and golden notes in New Orleans, Nashville, St. Louis, Memphis, and Chicago. For there, in the Mississippi Valley, is the true home of American jazz.

Strangely however, I have found the most creative practitioners of this unique American music in Key West, Cleveland, New York, and San Francisco. One of the characteristics that has made jazz great is its ability to be exported, and to be assimilated by diverse cultural communities.

Where did it all start?

Stephen Longstreet, the jazz historian, says it is best to begin in New Orleans, where the black man became in time a little lighter, and the white man often a little darker.

The French and the Spanish, the African tribesmen often with royal chief’s blood under their heavy muscles – and even the Indian peering in – the long boats from Kentucky, and the Yankee mountain men in buckskin fringes – in for a big bust and swallowing of untaxed whiskey – all wanted music, and helped make it, said Longstreet.

New Orleans mixed it all up, and churned it around, and made it a part of a new nation – that was part of a New World where anything could happen.

Today we call it history. But then it was simple people, wild people, pioneers and men on their way up in a hurry. All sang a lot and stomped around to music.

Whether it was in the Congo jungle of Africa or in the tromped-down grass of Congo Square in New Orleans, it was rhythm that started it all.

Music and dancing, said the white slave masters, made the Negroes too tired to work hard, so the wild people from Africa just clapped their hands at first.

Then they made a drum on the sly and brought it out – when the Master was off somewhere else subduing the passions of his own wild country – to remind them of their native jungles.

An old horn was snitched from some white man’s junk heap, or maybe a rusty old banjo was given by a keel boatman from Ohio who didn’t give a damn about plantations and cotton anyway.

At last the Negro had become part of musical America. He was ready to add a sense of freedom and lusty beat that created a new musical art form peculiar to the United States.

In time, jazz evolved through a variety of forms – spirituals, marches, cake walks, ragtime, blues and swing. But the basic foundation was always twelve 4-4 bars of singable notes.

Louis “Satchmo” Armstrong was the last of the Golden Generation of jazz musicians. Today we rely on the artistry of Pete Fountain, Turk Murphy, Al Hirt and Ted Witt to carry on the glorious tradition of authentic jazz.

Ted Witt is great on the licorice stick and still belts out a few numbers on the “fish horn” soprano sax made famous by Sidney Bechet. Ted’s other front men, Emmett Wiley on the slip horn and Dick Petscher on trumpet, are ably supported by John Bittance on bass, Bert Smith at the piano, Al Gutheim on the skins, and Bill Morehead on banjo.

Somehow, when those guys cut loose, such things as the economy, Watergate, and Mideast wars don’t seem all that important.

September 18, 1974
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Click here to see this article on Lindsey Williams’s website

.

Lindsey Williams is a Sun columnist who can be contacted at:

LinWms@earthlink.net or LinWms@lindseywilliams.org

Website: http://www.lindseywilliams.org with over a thousand of Lin’s Editorial & At Large articles written over 40 years.

Also featured in its entirety is Lin’s groundbreaking book “Boldly Onward,” that critically analyzes and develops theories about the original Spanish explorers of America. (fully indexed/searchable)

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Historically the tambourine has been identified in many forms of music including Persian, classical, gospel and pop music. The tambourine can be traced back to most ancient civilizations including India, China, Rome, Egypt and Greece where it was usually used during periods of celebration. Frame drums such as the tambourine as some of the most ancient percussion instruments identified. They originated in the ancient Middle East and ultimately reached medieval Europe. In fact, the tambourine began appearing in operas, ballets, and compositions more and more often throughout the 18th and 19th centuries. Used as an accompaniment to other musical instruments, or dancers, the tambourine has developed a huge following for use in spiritual or ritual activities even now.

Different countries have small differences in the construction of the instrument, but the basics remain generally the same. For example, the tambourine is related closely to the Riq used in countries including Egypt, Iraq, Syria, and other Arab countries. In Russia, the Ukraine, Slovia, Czechoslovakia, and Poland, it is referred to as a Buben. In the Balkans, Persia and Central Asian countries, the instrument is referred to as a Dajre. In South Indian societies the instrument is referred to as a Kanjira. All are equally accepted as an acoustic percussion instrument which has the primary use of maintaining rhythm and timbre within the musical piece during which it is being played.

Mrs. Party… Gail Leino is the internet’s leading authority on selecting the best possible party supplies (http://partysupplieshut.com), using proper etiquette and manners while also teaching organizational skills and fun facts. The Party Supplies Hut has a huge selection of free party games, coloring pages, word find, word scramble, printable baby and bridal shower activities. Tons of Free Party Games (Party-Games-etc.com) for every occasion, birthday, holiday and party theme including free printable games and activities. Plus, over 1,000 free baby shower games, bridal shower games, birthday party games and printable party games for kids parties. All the games have easy instructions. Also, printable activities for kids parties, baby showers, holiday celebrations and bridal showers.

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All action production was now performed under one roof. Labor-intensive Manufacture The number of employees rose to 400 in the 1920s and 1930s, and the plant covered 5,000 square meters. A resident steam ¬turbine power plant produced 410 hp to light the plant and to power about 300 motors running the individual machines. The complexity of action production is particularly apparent when considering that 5,700 sections and small parts, springs and strips must be assembled for one single piano action. It is scarcely possible to enumerate the number of motions and work stages leading to the end product. Renner is a typical example of German precision industry as recognized throughout the industrial world. The most modern machinery ensures the highest possible standard of precision and the reliability of the individual sections. The Renner factory was almost completely destroyed in 1944. However, by 1948, the company was once again producing piano actions, initially for Germany and later internationally, as piano manufacturers abroad relied once again on Renner. Expansion was necessary in 1960 and again in 1974, when a new plant was opened in Odenheim, where the entire processing of raw wood, the hammer glue¬works and other pre-assembly sections are now located. The major wood storage yard at Renner holds more than 2,000 cubic meters of wood. In 1991 Renner opened a third plant in Zeitz near Leipzig where their upright action manufacturing plant stands today.

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Jazz came about due to the inevitable confluence of ragtime and the blues. Of course, one could make a semantic argument which would confuse what the salient characteristics of jazz are (much of what they presented on BET Jazz I wouldn’t call jazz, for example). Similarly, I would not call the Original Dixieland Jass Band’s barn animal and slide-whistle gimmicks jazz. (Many contemporaries called their stuff jive hokum.) Jazz didn’t really swing until Jelly Roll Morton and Louis Armstrong, and simply because Louis and Jelly played ragtime before they evolved their great jazz groups does not make what they played before that jazz.

Certainly the music had been gradually evolving towards jazz for quite some time, but because the ODJB first used the term Jass (not Jazz) in their title isn’t that much of a big deal to me. I’m sure they thought it would help with sales and popularity (and it worked for them, too), since these terms–and others–were already in the air. And musicians did not uniformly refer to whatever music they played at that time as jazz by any means; these were loose terms. Many scholars do, however, acknowledge that the ODJB was the first recorded jazz band, and that is where I differ with them.

I cringe when I hear about ODJB in this regard: Having played their recordings for many Jazz History classes over the years, and compared their music to Louis, Jelly, and many others, I think they are an embarrassment. To me they are insufferably corny and they couldn’t swing their way out of a paper bag! Worst of all, they are the recorded caricature of the less-talented whites stealing the black man’s music–and doing it poorly.

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In the beginning, hip hop wasn’t even regarded as hip hop. In the mid to late 70s young black and Latino youths from the Bronx were looking for a way to express themselves and started to have open microphones at house parties which they would use to perform a type of poetry over any song that was currently playing. This was the creation of rap music. Although rapping may seem easy to a novice the fact of the matter was not everyone had the talent to express themselves in this manner. So another form of self expression related to rap was born in the form of break dancing. People could be found not only at parties but on street corners with nothing more then a boom box and a piece of cardboard, dancing for self expression and even for money in some cases. The last form of expression is the most controversial one! Some youth couldn’t rap nor could they dance but they had to find an outlet or a way in which they can also be a part of this movement. What they did have was the ability to draw. This art form which to most is considered graffiti was now renamed “tagging” in the hip hop community. Whether you agree with the way in which they went about showing off their talent, no one can take away the fact that they truly were talented. Tagging was when the artist of one clique or crew would create a symbol or phrase that was now his group’s logo and spray paint this on subway trains. Why subway trains and not just walls? Well, the fact that the subway system ran throughout the city was advertisement of his crew to the other respective crews. It became a game in the sense that if you could place your tag over top another groups tag you would have essentially performed the hip hop version of a check mate!

So what is hip hop? Hip hop is the combination of all three of the above mentioned facets. Rapping, break dancing and graffiti art are all equal forms of the hip hop movement. Some may argue the message that some hip hop sends but the fact that these men and women are artists is not even debatable. Hip hop was a feeling much before it ever became a means of expression and it will stay a way of life long after all of the forms expression is gone!

Michael Russell Your Independent guide to Hip Hop [http://hip-hop-guides.com]

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