Introduction to 50s Rock’n’Roll

INTRODUCTION:
1950’S ROCK AND ROLL

It is heavily to believe, but there was once a time when there was no rock music. Most historians trace the begin rock candy back to the year 1954, when a new type of music, then called Rock and Roll, appeared and revolutionized melodious tastes, at least among young people, and reasonably much changed the global .
This new music, of course did not develop in a vacuum, but resulted from the convergence of two musical styles, Rhythm and Blues and Country, a well as a series of technological developments that created a new market for music .
Rhythm and Blues developed from the music called the Blues. The Blues, to review what you have already learned in the Jazz whole, “ grew out of african spirituals and work songs sung by African-Americans in the South. Many of these people had been brought to the United States as slaves, and before the Civil war they labored in difficult situations on the southerly plantations. ‘Call and response ‘ was often used as a means of communication by the workers in the fields, who fooled the plantation owners into thinking that their music was the ‘happy ‘ music of hard working slaves. ”
Rhythm and Blues developed from the Blues, and Rock and Roll developed from Rhythm and Blues ( R & B ). small Richard, one of the great innovators in 1950 ‘s rock music, has much said that “ Rhythm and Blues had a baby and person named it rock and roll. ” He, of course is absolutely right, and a number of significant R & B artists were separate of the beginning of Rock and Roll. Among them were Muddy Waters, Willie Mae Thornton, Joe Turner and Ray Charles.

While music was developing, technology was besides changing. In the late 1940 ‘s and early 1950 ‘s, record player records were large and heavy and easily damaged. These records played at 78 rpm’s ( 78 revolutions per hour ) and were played on preferably awkward record players that were normally separate of a big piece of furniture ( cabinet ), which much was located in the living board. Stereo had not yet been invented. In many homes, the stallion kin would sit around the living room listening to bands like Glen Miller, Tommy Dorsey and Benny Goodman, and soloists like Frank Sinatra, Patti Paige, Doris Day, and Eddie Fisher. record companies marketed music to adults and radio stations played music that would appeal to the entire family .
In the 1950 ‘s, records began to change with the exploitation of new engineering that led to both the 33 revolutions per minute record and the 45 revolutions per minute record. The advantage of the new technology was that more musical data could be put on a record, and it was of higher technical choice. thus, the 33 became democratic because more music could be put on a 33 than respective 78 ‘s and it sounded much better. The 45 ‘s were much smaller in size and contained one song on each side. These, as you might guess, were called singles. not lone were 45 ‘s much cheaper to buy than the erstwhile 78 ‘s and the larger 33 ‘s, but they could be played on a minor record actor that could be purchased cheaply by a adolescent and keep in his or her board .
This mean that there were now two markets for music, one for adults who bought largely 33 revolutions per minute records and continued to play them on cabinet record player and the other for young people, who bought by and large 45 ‘s and played them on minor phonos in their rooms.

besides during this menstruation, the “ transistor radio ” was invented and became democratic. This intend that radios became much smaller and much less expensive, and like the small record player soon found their way to young people ‘s rooms. Car radios were besides becoming more popular, and more people were listening to the radio while driving. For a long clock time, the radio was an expensive option in a car. It is hard to imagine a car without a radio today, fair as sometime in the not to distant future, it will be hard to imagine a car without a telephone. But in the 1950 ‘s radios were precisely beginning to become standard equipment in cars .
Pioneer DJ Alan Freed Radio stations began to program their music to fit the demographics of a new hearing. The hearing, which until the early 1950 ‘s was a pretty homogeneous audience, immediately was divided into segments with different interests and people listened to music in a issue of places, including their cars. This all meant that some radio stations played music for adults and some stations played music for the teens .
not amazingly, young people were tired of the music their parents listened to and they started to look for something newly. The white teens of the major metropolitan areas such as New York, Chicago, Detroit and Los Angeles began to turn to the stations that played music they had never heard before. It turned out that the music being played on the “ black ” radio stations in those cities was Rhythm and Blues ( R & B ). This music, was of course, familiar to the black population in America, but was brand new for many whites. Since the white audience was so much larger than the black hearing, radio stations and record companies released that a major shift in listening patterns was about to occur, and in order to keep the white consultation, ampere well as to appeal to the black consultation, they needed to broadcast and promote R & B, or something like R & B.

bad Joe Turner ‘s sung “ Shake, Rattle and Roll ” began to be played on the white stations. The white commemorate companies started looking for whiten acts ( in the foolish impression, soon to be proved amiss, that white kids wouldn’t buy records by blacken performers ) that played something resembling R & B. Groups like Bill Haley and His Comets ( in the first place a state dance band called the Saddlemen ) and soloists like Elvis Presley brought a potent country background to the music, and this combination of R & B and Country became Rock and Roll .
These influences combined in a simple, blues-based song structure that was fast, sexy, catchy and could be danced to well and with exhilaration. These qualities, along with the fact that it horrified adults in general and parents in particular, caused Rock and Roll to become vastly democratic with teenagers, who then, for the first fourth dimension had their own music .
Among the authoritative bands and soloists in 1950 ‘s Rock and Roll were Willie Mae Thornton, Big Joe Turner, Bill Haley and His Comets, Chuck Berry, Elvis Presley, Little Richard, Jerry Lee Lewis, Buddy Holly and the Crickets, Fats Domino, Bo Diddley, Gene Vincent, the Everly Brothers, and Carl Perkins. unfortunately, we ca n’t cover all of them in this course, but we try to give you a congressman group .

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