Untitled Flashcards Set

INTRODUCTION 

Culture: a set of beliefs and practices that define a group of people

Music culture: a set of musical  practices that define a group of people 

Enculturation: the way infants learn culture

Acculturation: two or more cultures meet and exchange ideas

Appropriation: the way we pick up ideas in life and incorporate them into who we are

Cultural exchange

Intra-cultural

Inter-cultural

Eurocentric bias

Organology: the study of musical instrument 

Aerophones: wind instruments

Chordophones: string instruments

Membranophones: percussion 

Idiophones: mallet instruments

Electronophones & mechanical instruments: electronic means of creating the sound

Sound & perception: the scientific definition of a sound

Frequency =  pitch

Amplitude = volume

Spectrum = timbre

Rhythm: a set of patterns 

Meter: time signatures

Rubato: the lack of a steady beat, out-of-time moments

Melody: what we hear on the top of the music

Scale: a set of notes

Ornamentation: different styles

Syllabic, melismatic singing

Harmony: what happens underneath the melody, gives music its richness, notes sounding at the same time

Chord: three or more harmonies

Texture: the relationship between the different instruments

Monophony: single-voice

Heterophony: two or more voices playing the same thing

Polyphony: two or more separate parts going on 

Form: how the music is constructed

AMERICAN INDIAN MUSIC

European contact and its effect on Indian culture: devastating impact through several waves, cultural exchange

Difficulties of Studying Early Indian Music

Oral culture: no written records

Disease: American diseases killed american indians

Evangelism: forced them to accept Western life

Pan-Indian movements: Trial of Tears, Pow Wows

The allure of modern ways: many Native Americans abandoned their culture

European bias: often thought of them as savages or pure and noble 

Role of music in native culture

Link to ritual: always linked to a specific ceremony or ritual

Ownership of songs: songs were owned by a particular person and other people would need permission to sing it

Vision quest: how different songs would come to someone

Spiritual power: performed to carry out certain tasks (such as healing)

Efficacy: songs were judged by whether they were able to carry out their spiritual talk

Musical characteristics

Song Form 

Vocables: different vocals used 

    Scales

Musical instruments

Drums, rattles, flutes

Regional differences

Plains style: Pow Wow style, where reservations were, many drums playing out with high yodeling

Southwest style: double-headed drum with a long-short beats

Northwest Pacific: totem poles with potlatches

Pan-Indian movements

Trail of tears: forced into reservations and many died while traveling and a forced exchange 

Ghost dance: the idea that there was a resurrection was coming and that white people would disappear  

Pow wow: pan-cultural gatherings where people would get around and dance as a way to relive traditional practices

Early Sacred Music

Plainsong: singing out of songbooks, simple and easy songs

Psalm books: songs based on scripture 

Bay Psalm Book: mostly texts with only a few melodies

Psalm meter: different notes that worked with the same meter

Common, Long, and short meters

Divergent themes

Praise: associated with southern congregations, everybody sang with easy arrangments

Edification: the idea that music should lift you and fill you with the spirit

Lining out: where a song leader would recite a line then the congregation would say it back 

Shape Notes: where different shapes would indicate different notes

Sacred Harp: one of the most popular songs from shape note singing when one person would come up and lead

Singing schools: when a singing master would come to town and advertise singing lessons

William Billings: first composer of notes in the US

New England Psalm-Singer: the first book of all American-composed hymns by a single author

Subscription sales: advertised his music to the public through pre-sales (like a go fund me) 

Lowell Mason: grew up in singing schools and founded the first public music school 

Influence on music education: founded the Boston City schools for singing, taught music by actually doing it then learning about the theory 

19th-century urban gospel: preaching music used to share the gospel

Dwight L. Moody & Ira Sankey: arranged popular tunes and hymns that filled them with the spirit

AFRICAN AMERICAN ROOTS

Slave trade: bringing slaves into the New World for trade, drove the US economy in the early days

African musical traits

Percussion: emphasis on percussion instruments

Polyrhythms & Interlocking Parts: percussion parts that would fit together to make music

Call and response: The lead person calls and the ensemble responds through music 

Heterogeneous sound ideal: different sounding instruments and voices  

Vocal style: the expressive way of singing with a rougher voice

Dance: bells and rattles attached to bodies when dancing

Music in daily life: music happens all day, every day 

Regional differences in slavery (north/south): slavery was not as common in the North, but was heavily present in the South

African holiday festivals: music was allowed during festivals when they were allowed to gather

Work Songs, Field hollers: music used while they were working to pass the time

Evangelism among African Americans: thought that they were souls that needed saving

Controversy over conversion: thought that since they needed to be saved, it meant they were ‘humans’ and felt that they would rebel 

The Great Awakenings: outdoor camp meetings and church services with gatherings, praying, and sermons 

Spirituals: different hymns that were used by African Americans

Richard Allen: appointed preacher at the Methodist church in Philidelphia 

African Methodist Episcopal Church (AME): the first and oldest church controlled by African Americans

Wandering refrains: two lined refrains that could be used in a call and response that could be inserted into any song

Ring Shout: developed in isolated areas that was a dance step that would use hand claps and other body parts as music

Georgia Sea Islands: an isolated area in which African Americans stayed and developed the Ring Shout

Cloaked meanings in spiritual texts: used to signal different things that would go on, coded messages

Ballads & Folk Music

Ballads: narrative songs that go back to the Middle Ages in England and Ireland used to tell a story 

Ballad form

Stanza: 4-5 lines long

Strophic text: music kept repeating but with a different text each time 

Emotional core: help deep emotions, the main message or idea of the song

Oral tradition: passed down from friends and family 

Ballad variations: many variations of different ballads and can remember them in different ways

Ballad types

Imported: ballads from the isles that remained pretty much the same 

“Barbara Allen”

Naturalized: ballads changed to represent America by using American characters and keeping the same meaning.

Native: ballads used in the Native world 

Broadside ballads: where the text is printed on a sheet of paper and set to a song everyone knew

Murder ballads: ballads about killing people

Colonial dance & musical activities: dance was controversial because of the use of music associated with sexuality, hierarchy, people owning instruments 

Folk Song Collecting & research

Francis James Child: traveled and collected songs 

Child Ballads: the collection of different songs collected

The English and Scottish Popular Ballads

Influence of English Ballads in America

Cecil Sharp

Olive Campbell

Folk Songs of the Southern Appalachians: did research in the Appalachians and showed folk and ballad music as a living tradition and felt that it was slowly disappearing, worked to preserve ballad and folk music

Archive of American Folk Song: the idea of preserving folk and ballad songs

John and Alan Lomax: worked to preserve folk and ballad music 

Urban Folk song movement

Social Advocacy: unionize coal miners and discover new songs

Woody Guthrie: performer 

Pete Seeger: performer

1960s Folk Revival 

Protest Song: songs used to protest and share a message

Bob Dylan: became the voice of folk music in NYC, and broke down barriers when he created folk rock

Folk Rock: using power and important messages with the freedom of rock 

Minstrelsy & Popular song

Folk Culture and High Culture: folk culture is participatory and simple, and high culture is associated with the elites and trained musicians 

Popular culture: draws from both high and folk culture

Minstrelsy: a form of entertainment dealing with blackface and theater

Thomas “Daddy” Rice: dresses up as a character

Blackface / “blacking up”: does blackface and performs 

Ethiopian melodies, plantation songs: different songs used by the character to sing the songs

Jim Crow: a character used to portray African Americans

Zip Coon: sings the song Zip-a-dee-do-da, similar to Jim Crow

Virginia Minstrels: four Irishmen who established a minstrel ensemble

Dan Emmett: the lead person 

Minstrel ensemble

fiddle, banjo, tambourine, bones

Sources of minstrel material: African Americans and stereotypes

Influence on the public image of African Americans: some people thought that they were real black people, and this influenced the way they were thought of we even see some of these images today

Minstrel show

Minstrel Line: performers would come out

  Interlocuter: banter back and forth

Olio: specialty acts

Walk Around Finale: one-act play on Southern life

  Cakewalk: a high-stepping dance that was based on how black people saw white people ballroom dancing 

Black minstrel performers

Master Juba (William Henry Lane): successful dancer and percussionist

Georgia Minstrels: a black minstrel group

James Bland: singer/songwriter then toured solo as a banjoist

“Carry Me Back to Old Virginny”: Bland’s most popular song

Legacy of Minstrelsy: exposed many to new songs, dances, stereotypes, and circular parodies

Stephen Foster: first American musician to be a popular songwriter

Parlor songs: worte parlor songs 

Minstrel songs: wrote many minstrel songs

George Christy: the person who advertised Foster’s songs as his own, but then Foster got his songs back

Hutchinson Family: a family that sang about popular causes during the time

Musical advocates for social causes: Hutchinson Family

19^th Century Classical Music

Nation and nationalism: a nation is an imagined thing that creates a bond and community

Nativists vs. expatriates: nativists looked for something that is solely American, while expatriates saw that they should go beyond America 

Influence of German music: Mozart and similar music dominated the musical taste

New York Philharmonic: the oldest performing orchestra in the US that is based on German music and taste

Theodore Thomas: the first great conductor in the US and wanted to bring great music to the people, turned it into a full-time orchestra

Louis Moreau Gottschalk: New Orleans composer who used that style of music in his work

The Boston Group: a set of composers who all lived in Boston

Amy Beach: the first generation of female professional musicians in the US

Woman of firsts

Edward MacDowell: most well-known composer that studied in Europe, and wanted to make music stand on its own  

Antonin Dvorak: a mover of nationalism in Europe who was brought to the US to inspire American composers to find their voice.

The “Music in America” article: talked about how music made you feel stuff in America by the influence of African American stuff

Military Bands & Vaudeville

Revolutionary war bands

Fife and Drum: three members with a flute and two drums

Harmoniemusik: wind ensemble that has doubled on each instrument 

The function of military bands: used for patriotism 

Civil War bands & music

19th-century bands: fife and drum corps, brass bands

Repertoire: classical and popular repertoire 

Patrick Gilmore: organized large concerts (National Peace Jubilee of 1869) 

John Philip Sousa: joined the Marine band at 13, conducted, and composed music 

U.S. Marine Band

Sousa Band: founded in 1892 and conducted by Sousa himself

The Stars and Stripes Forever

March form: Strain, Trio

Early recording industry

Edison phonograph, Gramophone: used to produce sounds and was a flat disc used to produce sound and vinyl. 

African American Band traditions

Francis Johnson

Military bands

New Orleans brass bands: young men's brass bands with powerful sounds and culture

Sacred instrumental bands: bands used for religious purposes 

20th-century bands

college marching bands

wind ensemble

Vaudeville

Theater booking syndicates

TOBA

Vaudeville format 

 LISTENING EXAMPLES

– Adam in the Garden (ring shout - Georgia Sea Island Singers)

– The Banjo (Louis Moreau Gottschalk)

– Barbara Allen (Pete Seeger)

– Chester (William Billings)

– De Boatman’s Dance (Dan Emmett)

– Gaelic Symphony (Amy Beach)

– George Washington Bridge (William Schuman)

– Guide Me, O Thou Great Jehovah (Lining out)

– I Don’t Mind the Weather (field holler)

– I Dream of Jeanie with the Light Brown Hair (Stephen Foster)

– Lady Hope’s Reel (Fife & Drum ensemble)

– Only a Pawn in Their Game (Bob Dylan)

– So Long, It’s Been Good to Know You (Woody Guthrie)

– The Stars and Stripes Forever (John Philip Sousa)

– War Dance Song (Plains Indian / pow wow style)