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    Music: Then and Now
    Music: Then and Now
    Music: Then and Now
    Ebook183 pages2 hours

    Music: Then and Now

    By Bernie Keating

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    We tap our foot to a beat or love a favorite melody. It has been a part of human life since earliest times.

    Why music? It is the most direct means we have to communicate. Today it blares or whispers at us from a thousand venues: we have Tchaikovsky, Tony Bennett, the Beetles, Elvis, and Carry Underwood.

    What will be the mainstay of musical taste in fifty years -- or even another ten?

    This is my seventh book. In ten years I will be writing another book, and I will bring you up-to-date on the latest musical tastes. See you then!

    Bernie Keating

    LanguageEnglish
    PublisherAuthorHouse
    Release dateNov 4, 2011
    ISBN9781467040389
    Music: Then and Now
    Author

    Bernie Keating

    Bernie Keating’s was raised in Buffalo Gap, South Dakota, served as a naval officer during the Korean War, completed graduate school at U.C. Berkeley, and then began a fifty-year career as executive, becoming Manager of Quality Assurance for the world’s largest packaging company. As an avocation during his long working career, he also wrote books and the current one is his twenty-second. He and his wife live on a ranch in the Sierra Mountains near Sonora, California.

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      Book preview

      Music - Bernie Keating

      MUSIC

      Then and Now

      Bernie Keating

      US%26UKLogoB%26Wnew.ai

      AuthorHouse™

      1663 Liberty Drive

      Bloomington, IN 47403

      www.authorhouse.com

      Phone: 1-800-839-8640

      © 2011 Bernie Keating. All rights reserved.

      No part of this book may be reproduced, stored in a retrieval system, or transmitted by any means without the written permission of the author.

      First published by AuthorHouse 11/1/2011

      ISBN: 978-1-4670-4040-2 (sc)

      ISBN: 978-1-4670-4039-6 (hc)

      ISBN: 978-1-4670-4038-9 (e)

      Library of Congress Control Number: 2011917242

      Printed in the United States of America

      Any people depicted in stock imagery provided by Thinkstock are models,

      and such images are being used for illustrative purposes only.

      Certain stock imagery © Thinkstock.

      Because of the dynamic nature of the Internet, any web addresses or links contained in this book may have changed since publication and may no longer be valid. The views expressed in this work are solely those of the author and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them.

      Contents

      PREFACE

      ONE: WHY MUSIC?

      TWO: EARLY HISTORY OF MUSIC

      AND ART

      THREE: THE GREEK CULTURE OF ART AND MUSIC

      FOUR: HOMER

      FIVE: ROMAN CULTURE OF

      ART AND MUSIC

      SIX: ROMANESQUE PERIOD

      SEVEN: GOTHIC PERIOD

      EIGHT: BYZANTINE ART AND ARCHECTURE

      NINE: THE RENAISSANCE:

      TEN: RENAISSANCE ART

      ELEVEN: RENAISSANCE MUSIC

      TWELVE: BAROQUE PERIOD

      THIRTEEN: CLASSICAL PERIOD OF MUSIC

      FOURTEEN: WOLFGANG AMADEUS MOZART

      FIFTEEN: BEETHOVEN

      SIXTEEN: ROMANTIC PERIOD OF MUSIC

      SEVENTEEN: PYOTR ILYICH TCHAIKOVSKY

      EIGHTEEN: GICCOMO PUCCINI

      NINETEEN: MODERN MUSIC

      TWENTY: JAZZ

      TWENTY ONE: LOUIS (LOUIE) ARMSTRONG

      TWENTY TWO: BOOGIE WOOGIE

      TWENTY THREE: SWING

      TWENTY FOUR: BIG BANDS

      TWENTY FIVE: GLENN MILLER

      TWENTY SIX: LAWRENCE WELK

      TWENTY SEVEN: BEBOP

      TWENTY EIGHT: RHYTHM & BLUES

      TWENTY NINE: JITTERBUG MUSIC

      THIRTY: CONTEMPORARY FOLK MUSIC

      THIRTY ONE: MARCHING BAND

      THIRTY TWO: ROCK’N’ROLL

      THIRTY THREE: ELVIS PRESLEY

      THIRTY FOUR: COUNTRY MUSIC

      THIRTY FIVE: CARRY UNDERWOOD

      THIRTY SIX: MUSICAL THEATRE

      THIRTY SEVEN: JACKIE EVANCHO

      THIRTY EIGHT: OPERA

      THIRTY NINE: THE DOWN-SIDE OF GENIUS

      FORTY: DENOUMENT

      APPENDIX: TCHAIKOVSKY AND I

      ENDNOTES

      ALSO BY BERNIE KEATING:

      When America Does It Right.

      AIIE Press, Atlanta, GA, 1978

      Riding the Fence Lines: Riding the Fences That Define the Margins of Religious Tolerance.

      BWD Publishing LLC, Toledo, OH, 2003

      Buffalo Gap Frontier: Crazy Horse to NoWater to the Roundup.

      Pine Hills Press, Sioux Falls, SD, 2008

      1960’s Decade of Dissent: The Way We Were.

      Author House, Bloomington, IN, 2009

      Songs and Recipes: For Macho Men Only.

      Author House, Bloomington, IN, 2010

      Rational Market Economics: A Compass for the Beginning Investor.

      Author House Publishing, Bloomington, IN, 2010

      PREFACE

      This will be my seventh book with previous ones on economics, religion, and frontier history, plus a novel. I do not claim expertise on any of these subjects, but that did not prevent me from writing about them based on research and my own insights. This new book will be about music — among other things such as art and architecture.

      I am not a musician; however, as a young boy during the Great Depression, my favorite hour of the week was when John Charles Thomas sang on KOBH, the only radio station we received in Buffalo Gap. Music has always lifted me up to the best-of-times.

      When listening to Elton John’s music in the Lion King, I feel re-connected to my aboriginal roots. A rhythmic beat has remained the same whether it was early man striking two sticks together, a Mozart symphony, or Mick Jagger on center stage at a rock concert. Music moved from a lyre in Ancient Greece to a motet in the 13th century, and eight hundred years later to Glen Miller’s swing in the 20th.

      As we look at the music of an era, we must consider the conditions under which the people lived; music reflects the environment. That was true a thousand years ago and remains the same today.

      It is not fair to compare people from different eras — but I will anyway. Beethoven could not have composed a masterpiece any better than George Gershwin’s Rhapsody in Blue. Yes, they are from different eras with different tastes, but Gershwin was also a genius. Has any music been more relevant to our generation than that of Frank Sinatra, Ray Charles, the Beatles, Elvis, and Carry Underwood? We have jazz, swing, rock’n’roll, and country; each loved by their own sub-culture. What will be the mainstay of musical taste in fifty years — or even another ten?

      Please join me as I travel through time with Wolfgang Amadeus Mozart, George Gershwin, the Beatles, Elvis, and Elton John. I had fun doing the research and writing the book, and I hope you enjoy it.

      Bernie Keating

      ONE: WHY MUSIC?

      Elton John is a superstar; I got wondering how he compares to Wolfgang Amadeus Mozart, a superstar of his era. Or how about the comparison of my favorite musical, The Music Man, with my favorite opera, La boheme, composed by Giacomo Puccini over a hundred years ago?

      What is the pull of music? Why do we tap our foot to a beat or love a favorite melody? It goes way back; music has been a part of the human experience since earliest times. Native people danced to a rhythm and millenniums later this grew into the ballets of Tchaikovsky, swing of Glenn Miller, and rock’n’roll of Elvis.

      Why music? Even though it is elusive, music is the most direct means we have to communicate — a force since the first person raised their voice in song. Today, it blares or whispers at us from a thousand venues. Music is puzzling even to those who create it; rhythm seems to control the speed of life and melody has been dissected, but nobody has unraveled the secret of its impact — all we can say is a melody is a row of notes tautly and loosely related, depending on the width of intervals and its speed, whether by instrument or the human voice. ¹

      Psychologists cannot explain why we love — or dislike — a particular genre or why it has such an impact on our psyche — those things we hear such as melody, phrasing, harmony, rhythm, or quasi-linguistic elements such as syntax. ² Psychology comes into play: tugging at the heart, music first tickles the neurons. The following is an interview with Paul Simon. He was rehearsing his song, Darling Lorraine, which is about a love that starts hot but turns very cold. He found himself thinking about a three-note rhythmic pattern near the end, and said:

      The song has this Tripler going on underneath that pushes it along, and at a certain point I want it to stop because the story suddenly turns very serious. The stopping of sounds and rhythms, it’s really important, because how can I miss you unless you’re gone? If you just keep the thing going like a loop, eventually it loses its power. 3

      I’m not sure I understood what he was talking about, but apparently it worked, because he created a great song.

      Some basics have remained the same from Bach to the Beatles; yet we have also seen enormous change as one style of music changed to another. Let’s take a brief look at our modern music that began with jazz.

      Jazz started with Black slaves who brought their musical heritage from Africa that found expression in work songs and field hollars of the American South. Then it moved into the saloons and bordellos of New Orleans. Louis Armstrong was a pioneer in the 1920’s; Paul Whiteman’s orchestra performed George Gershwin’s Rhapsody in Blue, a sophisticated composition of jazz; and Duke Ellington opened in 1927 at New York City’s Cotton Club — and jazz became a new musical genre. Later in the 1930’s, a sub-genre called swing developed that had a smoother rhythm and more sophisticated melodies. Big Bands reigned supreme with bandleaders:

      Benny Goodman, Duke Ellington, Count Basie, Glenn Miller, Harry James, Louis Armstrong, Artie Shaw, Cab Calloway, Tom and Jimmy Dorsey, Fletcher Henderson, Gene Krupa, Gloria Parker and her All Girl Orchestra, Louis Prima, Les Brown, Dave Brubeck, Stan Kenton, Woody Herman, Fats Waller, Tex Beneke, and Lawrence Welk.

      In following decades, other sub -genre appeared including boogie woogie, and the jitterbug. Vocalists became popular:

      Bing Crosby, Ella Fitzgerald, Nat King Cole, Rosemary Clooney, Frank Sinatra, Tony Bennett, Neil Diamond, Doris Day, Aretha Franklin, the Andrew Sisters, Patti Page, the McGuire Sisters, and a host of others who filled the airways of radio and TV.

      The times saw rock’n’roll and rhythm & blues. They grew with synergy: rock’n’roll was influenced by rhythm & blues and drew on jazz and classical. Elvis Presley opened the door in 1954 with his single That’s All Right (Mama), followed by Shake, Rattle, and Roll. Other artists included Little Richard and Jerry Lee Lewis, soon followed by Eddie Fisher, Perry Como, and Patti Page.

      The Beach Boys started in Southern California with Fun, Fun, Fun and followed with California Girls. The Beatles made an appearance on the Ed Sullivan TV show, and their hit song I Want to Hold Your Hand was on Billboard for months. Superstars such as Mick Jagger, Bruce Springsteen, Elton John, Barry Manilow, Stevie Wonder, and Sting toured world-wide filling stadiums with concerts. Country music came principally from the Grand Ole Opera in Nashville, and sacred music from the Bible Belt.

      Why Music? Humans have pursued it from earliest times. Let’s start at the beginning and follow music through its long evolution.

      TWO: EARLY HISTORY OF MUSIC

      AND ART

      We can only surmise the nature and sound of music by early man, but during my youth I witnessed how it might have sounded when Sioux Indians from a nearby reservation performed their traditional native dances in Buffalo Gap. Beating on rawhide leather drums, the men chanted hi yaw, hi yaw, hi yaw, while other warriors brandishing spears, pranced around a fire while their women danced with a heel-toe beat. All wore colorful costumes and jewelry crafted from animals in their local environment. That scene during my youth in the 1930’s could, perhaps, be symbolic of how man celebrated music and the arts during the early times.

      No one is certain what earliest music was like. We are not even sure how Bach’s orchestra sounded, only ten generations ago. But we can be sure that primitive man discovered rhythms from the movements of their bodies and melody from the changing pitch of their own voices. When they recognized the power of these elements of music, they them made them tools of communication, incantation, sorcery and enjoyment. ⁴

      Music is found in every known culture, past and present. Around 50,000 years ago, early humans began to disperse from Africa, reaching all the habitable continents. Since all people have some form of music, scientists conclude that it is likely to have been present in the ancestral population prior to the dispersal of humans around the world. Consequently, it has been in existence for a long time and the first music evolved to become a fundamental constituent of human life. ⁵

      In the 10th millennium B.C., the Neolithic ⁶ man learned to produce food rather than collect it — the beginning of agriculture; communities come into being, laying the foundation for civilizations that will follow. Art objects date from the 7th millennium B.C. that are figurines of animals and humans made from finely carved bone or ivory. Reliefs of humans or animals are carved on rock walls and the most spectacular are the paintings dominated by large animals such as mammoth, horse, or bison; the precise meaning is impossible to recover, but appears to have played a part in group ceremonial activity. Human developments during the Ice Age included an increased awareness of individual and group identity and a new field of artistic activity. ⁷

      During our travels, my wife and I visited Neolithic ruins near Rahal Gdid in Ireland, the Stonehedges of England, and other ruins on Malta. Anthropologists know from artifacts and construction at these sites that early man was inspired by religion and were artists, architects and astronomers. It is almost certain that they also developed their own form of primitive music — civilization moved

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