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159 Cards in this Set
- Front
- Back
Father Pedro de GANTE |
Earliest documented musical missionary (Spain and the spread of Catholic doctrine and music) |
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Francisco Juan de Padilla |
-Friar who explored with Francisco Coronado -Set up mission in present day KANSAS (1542- was killed by Indians there). -Taught natives plainchant. |
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Hernando Franco (1532-1585) |
-Born and educated in the Segovia region of Spain.
-1st Kappellmeister at the (then unfinished) Mexico City, Basilica of Guadalupe. |
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Salve Regina (Hernando Franco) |
Chant texts come from a treatise by Luys de Villafranca, published in 1565.
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Luys de Villafranca |
Salve Regina – chant texts come from a treatise by Luys de Villafranca, published in 1565.
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Juan Guttierez de Padilla |
-Considered the most gifted Mexican composer of New Spain’s colonial era.
-Born and educated in the choir school in Málaga, Spain. -Emigrated to Mexico (1620-22): became Kappellmeister at Cathedral in Puebla (De Los Ángeles) in 1629. -Puebla was THE center for sacred music in Mexico |
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Miribilia testimonia (by Juan Guttierez de Padilla).
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Text taken from Psalm 119: 129-144 (the “pe” and“tzaddi” sections
Pe:“Thy testimonies are wonderful...” Tzaddi: “Thy law is righteous”) Instrumental accompaniment typical of Padilla’s choralworks. One or more organs. Bass lines doubled by bajón (bass dulcian). |
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Father Junipero Serra (1713-1784)
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-21 missions in “Alta California”established by Junipero Serra in 18th century.
-Serra was a trained musician, and taught music to his converts. |
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O que suave (Junpiero Serra?) |
“¡O qué suave!” – stylistically more typical of the 18th century.
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New France |
New France: Great Lakes Region, St. Lawrence Valley, Mississippi River area from Lake Michigan to Louisiana.
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New France - continued |
-More commercially oriented: fur trade.
-Writings about “First Nation” peoples music reflects European prejudice (natives are inferior). -Natives sing about everything, but their music is “heavy, somber, and unpleasant”. -Description of drums: about tamborine size, skins stretched over both sides. |
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Protestant views |
Protestant-Anglicans and Lutherans: Some ritual is goodRetained some liturgical practices and traditions from Catholicism- Calvinists: few to no rituals- Services conducted in vernacular languages- “Priesthood of all believers” – each congregationshould choose liturgy- Allegiance to the Bible, not the church itself- Church members read and study scriptures forthemselves- Anglicans and Lutherans agree- Calvinists: music should only be made bycongregation itself, with no help from musicprofessionals. Texts should be biblical only.- Congregation sings in unison, unaccompanied
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Catholic views |
Protestant views (vs. Catholic)Catholic-Prescribed riturals foster true piety- Services in Latin – to emphasize universality- Organized liturgy – universal liturgical calendarand practices- Loyalty to church and pope- Priests read and interpret scritpture formembership- God is best praised through sacred expression thatpleases the sense
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Psalters |
Psalms rewritten in metered texts—versified poetry.
Easier to sing the texts to simple melodies. |
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Whole Booke of Psalms (Sternhold and Hopkins, 1562).
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lala |
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New Version of the Psalms of David (Brady and Tate, 1696).
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lalala |
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Ainsworth Psalter (translated from Dutch by Reverent Henry Ainsworth,1612).
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-Preferred by Puritans in the Massachussets colony.
-Unusual: included music for psalm tunes (most psalters did not). -Old hundred. |
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The Bay Psalm Book (1640)
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-Attempt to get rid of nonliteral translations of psalms when put in metered verse.
-Most psalms versified in common meter (8.6.8.6) rather than long (8.8.8.8) or short (6.6.8.6) meter. -Meant there were fewer psalm tunes used or needed. -Good thing for congregations who knew few psalm tunes. -Simpler tunes because older ones had become to hard to |
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Church Music Reform
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Began around 1720. |
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Cotton Mather: 1721 treatise on Puritan values of sacred music making.
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-Biblical texts (esp. psalms) more important than currently written hymn texts.
-Regular singing is a form of prayer and should be treated as such. |
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John Tufts: An Introduction to the Singing of Psalm Tunes.
First American music textbook |
Instructional textbook on hymn singing. |
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Thomas Walter: The Grounds and Rules of Musick, Explained
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Instructional textbook on hymn singing. |
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Urania, or, A Choice Collection of Psalm-Tunes, Anthems and Hymns (James Lyon, 1761)
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-Published by subscription in Philadelphia.
-Most ambitious tunebook published in the colonies up to that time. -Includes music by American-born composers (including Lyon and Francis Hopkinson). Set primarily for 4 voices Includes fuguing tunes Contains music other than psalm tunes: 32 psalm tunes, 52 hymns, 12 anthems. Melody assigned to tenor. Aimed to please both choirs and congregations |
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William Billings (1746-1800)
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Tanner (by trade) and singing master
Two important publications• The New-England Psalm-Singer, or American Chorister (1770) The Singing Master’s Assistant (1778) Left around 300 compositions, published in 6 majorcollections |
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The New-England Psalm-Singer, or American Chorister (1770)/ William Billings
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William Billings (two important publications) |
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The Singing Master’s Assistant (1778)
William Billings |
William Billings (two important publications) |
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Billings’s influential style (closer to Renaissance thinking than Baroque).
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-Melody in tenor line.
-Voice leading closer to 16th century counterpoint, particularly avoidance of 7th chords. -Doublings and voice leading often results in parallel fifths and octaves. -“Open” sounds at cadence points (chords without thirds). -Fuging tunes. -Each voice written in counterpoint to the tenor only, not to each other. |
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"Chester” (New-England Psalm-Singer)
(America's first national anthem). |
-America’s first national anthem?
-Sung by patriots in the earliest days of the American Revolution (When it was centered in New England). -Became a marching song for the Continental Armies (commanded by George Washington). |
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Protestant Music Outside Calvinism
Anglicans |
-Supported the regular church liturgical calendar.
-Favored organ music (organs had to be shipped overseas until organ builders emigrated to colonies in 1740s). |
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Protestant music outside of Calvinism Ephrata cloister |
-Utopian community led by Conrad Beissel.
-Gave rise to a unique musical style. |
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Moravians
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Emigrated from Germany, established settlements in Pennsylvania and North Carolina.
Beliefs encouraged singing of elaborate anthems and congregational hymns. Encouraged accompaniment with organ and other instruments. Were among the first organ builders to live in the English colonies. |
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English Folk Ballads |
Narrative songs in strophic form•
Sung in a detached manner; singer is the story teller Music is shaped and varied by oral tradition Come out of the illiterate tradition of the lower classes ofEngland and Ireland Common themes: humor, war, death, intrigue Also used for teaching children and as lullabies Passed from one generation to another by oral traditionThe Farmer’s Curst Wife” |
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Broadside Ballads |
Newer texts often sung tofamiliar tunes
Could be newer, printed versions ofolder oral tradition ballads Printed on sheets and sold likesheet music•Could be on any subject Sometimes full of political and/orsocial commentary Valuable to historians – providea window on what the commonfolk were thinking“The Liberty Song” |
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Dance Music |
Newer texts often sung to familiar tunes•Could be newer, printed versions of older oral tradition ballads
Printed on sheets and sold like sheet music Could be on any subject•Sometimes full of political and/or social commentary Valuable to historians – provide a window on what the commonfolk were thinking“The Liberty Song” |
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Amateur music making |
Colonists owned instruments• Lessons taught by “music masters”
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Skilled amateurs included many of the nation’s “founding fathers”
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George Washington – flute Patrick Henry - violin• Thomas Jefferson – violin Gov. John Penn – violin
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Benjamin Franklin
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guitar, and also invented the glass armonica
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MUSIC AT MONTICELLO(THOMAS JEFFERSON’S ESTATE)
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Spent many years in Europe as anambassador, and enjoyed themusical life there
Jefferson was a fairly accomplishedviolinist Enjoyed playing chamber music Kept and maintained 2-3 harpsichordsand other keyboard instruments atMonticello His library included a sizeable musiccollection |
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Wenceslaus Wodiczka (1715?-1774)Sonata for Violin and Continuo in D minor• In Jefferson’s library at Monticello
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Jefferson |
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FRANCIS HOPKINSON (1737-91)
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Philadelphia – lawyer, judge, statesman•
Represented New Jersey at the 1776 ContinentalCongress• Signer of the Declaration of Independence First Secretary of the Navy Musician and Inventor Harpsichordist and organist Devised a more efficient string-plucking system forthe harpsichord |
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FRANCIS HOPKINSON (1737-91)
Text by Thomas Parnell |
My Days Have Been so Wondrous Free (1759)
Earliest surviving American secular composition• Text by Thomas Parnell |
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COLONIAL MILITARY MUSIC
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Important – foundation of the American wind band tradition
Favored the louder (haut) instruments to softer (bas) ones |
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Field Music
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Utilitarian, paid as part of the army
Used for morale building, signaling, ceremonies and parades Early field music ensembles usually fifes and drums |
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Harmoniemusick (band of music)
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Ensembles made of pairs of woodwinds
oboes, horns, bassoons, occasionally flutes and/or clarinets Hired privately by officers for entertainment purposes |
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"Yankee Doodle”
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Popular broadside, became a rallying marching and morale-buildingsong during American Revolution
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Philip Phile – “Hail Columbia”
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Also known as the “Presidential March”
Lyrics by Francis Hopkinson Popular into the early 20th century (often quoted in Charles Ives’smusic) |
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Francis Hopkinson |
Lyrics for Philip Phile "Hail Columbia" |
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Public concerts – casual affairs (concert life)
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Venues rather “tricky”
Presented by immigrant or touringprofessional |
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Types of Concerts
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Benefit
Subscription |
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TYPICAL CONCERT PROGRAM
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Separated into parts, called “acts”
Each Act framed by larger instrumental ensemble pieces Middles pieces were lighter Poplar parlor songs• Opera arias• Chamber works Average length: 3 or more hours Generally followed by a ball Audience: middle and what upper class therewas |
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MUSICAL THEATER
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Very popular in colonies and new republic
Most popular forms of entertainment: Ballad opera, pastiche, and comic opera Shakespeare plays Parodies on Shakespeare plays Largely an extension of the London stage until after1800 Controversial, especially to Puritans |
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Ballad opera
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Progenitor of German Singspiel
Spoken dialogue with musical numbers Songs more accessible to public |
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Andrew Barton: The Disappointment (1767) – first Americanballad opera written and produced
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Ballad opera |
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Pastiche
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New words set to familiar tunes
Greater emphasis on music than in ballad opera British opera composer Thomas Arne’s Love In A Village (1762)was a huge hit in America Arne was the arranger of the music—selected music from pre-existingpopular tunes and other sources Political in nature – focused on words and ideas• Place where ideology of “independence” was freely debated |
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AMERICA INDEPENDENT: OR,THE TEMPLE OF MINERVA (1781)
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Pastiche (or “oratorial entertainment) put together by Francis Hopkinson, produced in Philadelphia
Included new words to music by George Frideric Handel Minerva – the Roman goddess of wisdom Included a toast to George Washington |
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TEMPLE OF MINERVA |
Parodied by Loyalists immediately after the show closed– called The Temple of Cloacina
Cloaca = sewer or privy Cloacina – the goddess of excrement? Began with an “overturd” rather than an overture |
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COMIC OPERA |
Referred to as just plain “opera” in America
Spoken play with A LOT of originally composed music. By 1790, most large cities in the U.S. had professionalopera companies, staffed by professional actors Old American Company – professional opera company basedin New York and Philadelphia |
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British comic operas, such as Arne’s Love in a Village,were often transformed into American works.
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blalba |
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Favorite comic opera of the time: The Children in theWood – libretto by Thomas Morton, music by SamuelArnold.
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Originally a British work, but “Americanized” when produced in Philadelphia in 1793.
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Musical societies set up that promoted the arts•Prototype - 1782: St. Caecilia Society of Charleston
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Private organization dedicated to performance of classicalmusic
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Urania Society (Philadelphia) - 1784• Provided vocal instruction and staged oratorio performances
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blabla |
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New York Musical Society – 1791
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blabla |
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Philharmonic Society of New York – 1799
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Merged NY’s St. Caecilia and Harmonical societies
1st concert: Dec 23, 1800 |
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Boston Handel and Haydn Society – 1815
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Largest and most influential of all musical societies
Gave regular performances of oratorios by Handel, Haydn, andother European masters 1817 - First complete performance of Handel’s Messiah |
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Benjamin Carr (1768-1831)
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Singer/organist - Born in England• Emigrated to U.S. in 1793
Sang with and composed for Old American Company in NY and Philadelphia |
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Benjamin Carr |
Settled in Philadelphia – became known as the“Father of Philadelphia’s music.”
One of the founders of Philadelphia’s Musical Fund Society |
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Benjamin Carr |
Wrote a wide variety of music, including a concert overture,chamber music, vocal music, and musical theater.
Published the original sheet music arrangement of “The StarSpangled Banner” |
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Other Federal Era composers
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Francis Hopkinson, Samuel Holyoke, Raynor Taylor, Charles Gilfert, Oliver Shaw, Philip Phile
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SIDEBAR #1: MUSIC WRITTEN IN HONOR OF GEORGE WASHINGTON
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After Revolutionary War, musicwritten in honor of its heroes
Practice – comes from European courts;music written for kinds |
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Why was George Washington such a great hero?
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Unified the militia into one continentalarmy
He didn’t make himself a king or dictatorwhen he could have |
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SIDEBAR #2: ORIGINS OF“THE STAR-SPANGLED BANNER”
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Text by Francis Scott Key – written during the War of 1812
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SIDEBAR #2: ORIGINS OF“THE STAR-SPANGLED BANNER”
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Music: An adapted version of a “hymn” written forthe Anacreontic Society (of Britain and Scotland)
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SIDEBAR #2: ORIGINS OF“THE STAR-SPANGLED BANNER”
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Tune was already popular when Key wrote the text
Popular in America before the Revolutionary War•Went from “drinking song” to patriotic song via a text byThomas Paine: “Adams and Liberty” (1798) Key used the tune for a previous song written for a hero ofthe Barbary Wars, including some key lyric phrases andwords Initially published as a broadside celebrating theU.S. “victory” at Baltimore’s Ft. McHenry |
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Periods of fervent Christian evangelism
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Great Awakening (1730-40)
Second Great Awakening (1780-1830) |
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GREAT AWAKENINGS |
Took place largely in rural areas on the American frontier in all colonies and states
Protestant, but not Calvinist Calvinists believed that only an elect few would have salvation New belief: anyone could attain salvation via repentance and strong beliefin and living of Christian values |
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Evangelism took place largely in camp meetings (revivals)
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People would come and camp for several days, sing, worship, and hearpreaching from itinerant clergy
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HYMN/PSALM REFORM |
Began in earnest after Revolutionary War
Realization that American-composed psalms and hymnswere not the same quality as those produced in Europe |
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Andrew Law (1749-1821) *HYMN/PSALM REFORM!
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Select Harmony (1789) – included music by Americancomposers
The Art of Singing (1794) Hymnal plus treatise (“The Musical Primer”) on the state ofAmerican church music Too many “perfect chords” (with open 5ths) occur |
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ANDREW LAW (1749-1821) |
Innovations:Called for moving melody from tenor to soprano line
Simplified musical notation – invention of a shape-notesystem without staff: Didn’t catch on because one was already in use |
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Virtues of “ancient” music
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General feeling among reformers: Music written by American composers is “profane”
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Nathaniel D. Gould
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William Billings ushered in a “dark age” of hymn singing
Example of one who honed skills for his own sake, wresting control of singing away from clergy andpeople “Ancient music” (music written by Europeans) is superior• Stood the test of time – American music can’t Product of European (“scientific”) training Has gravity more suitable for public worship |
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Samuel Holyoke: Fuging tunes result in “jargon [jumble] of words”
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blabla |
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Oliver Holden: Hymns should be slow, solemn, and soft
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blabla |
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William Cooper: “Good” compositions promote good taste
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blabla |
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Shift in church music’s purpose
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Before late 1700s:• God is the audience, praise the intent• Acceptance of current (popular) musical practices andtastes• Praise needs no explanation or rationale• Praise is part of everyday life• God cares more about the hearts of worshippers than theperceived piety of the music• All praise is “worthy” and “worshipful,” no matter the style
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After late 1700s:
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Congregation is intended audience, edification is theintent• Worship is a solemn affair• Separate music for worship is more appropriate thanpopular or current fashion• Clergy: the authorities who decide what is “worshipful”• A more “top-down” approach to church music
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Ideologies and practices divide by North and South
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Edification – North (the congregation is the audience)• Music should be pleasant and uplifting to all who hear it.
North - follows Lowell Mason and more “European”style hymnody |
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Ideologies and practices divide by North and South
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Praise – South (God is the audience)• Sound quality doesn’t matter, but energy does!
South - continues with shape note system |
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Shape-note collections
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All published in the North – that’s where the publishers were
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SHAPE NOTE COLLECTIONS Jeremiah Ingalls – The Christian Harmony (1805) |
Ananias Davisson - Kentucky Harmony (1816)
William Walker – The Southern Harmony (1835) |
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Benjamin Franklin White and Elisha J. King –The Sacred Harp (1844)
The Shape note collections |
Sacred Harp is still in publication and use
Now includes hymns written by more modern composers |
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Shape-note use
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Invented in New England, but didn’t catch on there
Deemed “un-scientific” (European) Considered a “crutch” among reformers rather than a goodpedagogical tool Embraced more in the South, frontier and in the hillcountries (Appalachia, Great Smokies, Ozarks)• Still used in certain congregations in rural areas |
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Shape-note practice
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Melody is in the tenor line
Singers can choose to sing any part they wish Everything sung in full voice, so God can hear and feel the fervor Notes often bent in key places |
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Singings (Shape - note practice)
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People gather and sing for hours on end
Seated in a square, facing one another Individuals in the group take turns leading Unique style of “conducting” |
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Lowell Mason (1792-1872)
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Had formal musical training beyond that in singing schools.
Advocated hymns written according to“scientific” principle Follow European common-practice rules Should be modeled on the pattern set in theLutheran chorales and the music of Handel andBach |
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Mason’s accomplishments
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Frst tunebook: Sacred Melodies from Haydn, Mozart, and Beethoven(1821)
Boston Handel and Haydn Society sponsored publishing of the book• Was a best-seller! |
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Mason's accomplishements |
President of Handel & Haydn Society – 1827
Created a new type of American hymn Combined characteristics of European and American psalmod European-style harmony American fuging tune principles |
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3 Well-known Mason hymnsettings
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Nearer, My god to thee Joy to the world |
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Mason as educator
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Teaching philosophies:• Improve the singers intellectually, morally, spiritually
Music education: a force for freedom because it breaks the bonds of ignorance Teach children how to learn so they can teach themselves Involves more than memorization without comprehension |
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Mason as an educator |
Six principles (patterned after theories of Heinrich Pestalozzi):
- Learning is a gradual process: teach in small increments -Interest encourages learning - Pupils need to learn to think for themselves• Leave the mind “unfettered by dogmas” and free to pursue further knowledge -The thing itself is more important than its name -Teaching is oral – written information must be discussed |
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Mason’s educational vehicles
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First secular singing school formed 1830
-Boston Academy of Music – 1832 -Founded with George James Webb• Taught both sacred and secular singing -Offered courses for teachers• 3-month course• 1-3 day teaching seminars• Introduced music education to public schools• Music curriculum adopted by Boston public schools in 1838 |
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Mason’s economics
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Musician / entrepreneur: did every aspect of music except instrument manufacturing
His son, Henry, founded Mason and Hamlin Piano Company in 185 Worked as church music director• Lived on royalties from compositions, performing, publications, tuition fromteacher’s courses and conventions Tunebooks• Music education method books. Teaching almost a corporate venture Assistants taught his methods in public schools, using his method books• Mason supervised the teachers, but they were paid by school system Large public seminars for teachers on music educatio |
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Mason’s Rivals and Collaborators
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Thomas Hastings (1784-1872)
Hymn reformer long before Mason Promoted “scientific” sacred music in 1810s and ‘20s Came to resent Mason’s financial success Well-known hymn tunes: Toplady (“Rock of Ages”),Brightness (“Hail to the Brightness of Zion’s Glad Morning”) |
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William B. Bradbury |
William B. Bradbury (1816-1868)
-Student of Mason’s, based in New York• Published tune books – first was The Young Choir (1841) -Most popular hymn tune: China (“Jesus Loves Me”), SweetHour (“Sweet Hour of Prayer”) |
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George F. Root (1820-1895)
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Began teaching when he was a rank beginner himself
Mentored by Mason 1838 - Sang in Boston Academy Chorus 1840 – Teaching assistant to Mason in Boston public schools 1841 – Instructor in Mason’s teacher-training conventions 1844 – Moved to New York, taught music in various schools,“young ladies academies,” and the New York State Institution for the Blind 1853 – Became one of Mason’s collaborators in 3-month courses for training teachers in new York City Began composing in early 1850s – wrote songs popular during theCivil War era, including “The Battle Cry of Freedom” |
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Slavery and its outcomes |
-Slaves seen as an economic necessity, especially for rural South
-Brought to U.S. from West Indies, but originated from all over Africa -Multiplicity of tribes, hundreds of languages, variety of native cultures -For representational and taxation purposes, any population without full civil rights(slaves, women, children) were only counted at 3/5 of the total -Made for more even Congressional representation and lower taxes for plantation owners -Constant fear of slave rebellions among owners -Sparked by Hatian revolution 1781-1803– ---Families and tribes purposely broken up -Drums forbidden – fear of coded messages -By 1850, 1 in 6 Americans was of African descent |
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Musical expectations during slavery |
-Slaves were expected to sing (so masters could locate them, gauge moods, etc.)
-Masters misinterpreted their music as an indication of contentment, when it was often coded communication. -Some slaves learned to play European musical instruments as part of their domestic duties |
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Why were African traditions preserved
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-Preserved and passed on by oral tradition for 3 reasons:Preference (an act of defiance?)– Exclusion from Euro-American life– Illiteracy
-Mixing of African and Christian religions, as well as African andEuro-American culture |
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ACCULTURATION |
Going to a foreign place and absorbing the new culture as your own – but it’s a mixture of old and new (1st generation)
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ENCULTURATION |
The 2nd generation passes the mixture on to their children and grandchildren, with further cultural alterations.
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Commonalities between African andAfrican American musics
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Music and dancing a vital part of their culture
-Easy for many slaves to learn to play European instruments and music -History and culture passed on through singing and dancing – Spiritual connection to dancing lose interaction between performers and spectators -Emphasis on voice and percussion instruments - Voice used in “percussive” manner– a blend of music and language -Call and Response elements -Polyrhythmic / heterogenous sound ideal |
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Musical Characteristics |
Oral transmission
-Vocal music a combo of solo singer and multi-voiced strains: call and response -Ostinato figures -Vocal music accompanied by drums or “human percussion” -Built on reiteration of brief rhythmic and melodic patterns |
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Musical instruments
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Drums– Percussion from xylophone family–
- Plucked string instruments of flute or harp variety (e.g. banjo – Blown woodwind instruments such as flutes, reeds, and quills(pan pipes) |
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The field holler
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Sung on cotton plantations, as well as sugar and rice fields
-Sung by solo singers, rather than by a group -Monophonic texture -A long shout consisting of an ascending and descending line -Loud volume, in order to carry across the fields -May contain text, but may instead be a vocalise (i.e., a wordless vocal melody) -Rhythmically loose May move into falsetto Field holler, mixed with a chantfrom Senegal |
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Work songs
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Any song synchronizing the rhythm of group tasks
-Helps workers fulfill tasks by1. Pacing the activity2. Coordinating movement3. Rallying spirits4. Needling their masters/bosses -For African Americans, the tradition started on the plantations during the slave era; it continued afterwards for railroads,mining, chain gangs, etc. -Imparted call and response, improvisation, blue notes, etc. to a number of later African-American genres |
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CAMP MEETINGS |
Venue most hospitable to a mixing of white and black participants
-Black and white met together, although eachon their own “shouting ground” -Interdenominational, although often set up and run by Baptists or Methodists -Hymn texts written to fit already familiar tunes– Easier for illiterate participants to learn and remember -Included physical movements and call-and-response elements |
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Black Churches and Religious Music Making
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Was evangelizing blacks a good thing?
-Desire to convert perceived “heathens” -Might help slaves be reconciled or resigned to their fate -Another aspect of the master’s control 1770s: Black Baptist churches established in South– Elements of voodoo and other African religious practices combined with Christianity |
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Black churches in the North
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Slavery abolished in late 18th century
-Some intermingling between races, but churches separated for the most part -1784 – Philadelphia– Methodist church licensed two black ministers:– Absalom Jones– Richard Alle -White Methodists uncomfortable with black congregants -Blacks split from whites 1784– Jones: African EpiscopalChurch of St. Thomas– Allen: African MethodistEpiscopal Church |
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Reverend Richard Allen(1760-1831)
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Former slave – turned clergyman
-1794: formed African Methodist Episcopal (AME) church– uncomfortable with non-Methodist doctrine and practice -1801 - Compiled Collection of Spiritual Songs and Hymns– the first black hymnal published in North America– Patterned after Bay Psalm Book– Includes 20 uncredited texts, probably written by Allen– Also includes several hymn tunes with refrains -1816 – Set up AME congregation in Philadelphia |
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REGIONAL CHURCH MUSIC DIFFERENCES: THE NORTH |
Religious holidays observed –quite “African” in nature
Pinkster Celebration– Marked Pentecost (7th Sunday after Easter Drew on both African and Dutch traditions– Could go on for several days Featured practices more African in nature Music – call and response between a drummer and female participants Percussive vocal effects Lengthy dances – went for 12 or morehours Music heterogenous in nature |
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REGIONAL DIFFERENCES: VIRGINIA/CAROLINAS |
Blacks evangelized in Virginia during the first Great Awakening (1730s) -Sunday celebrations quite secular in nature -Dances and other merry making common on Sunday afternoons/evenings, or after a long day of work |
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CAROLINAS |
Carolinas: fewer converts to Christianity– Slaves more isolated and repressed due to the Stono Rebellion in 1739
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SPIRITUALS |
Sacred songs rooted in the experience of slavery
-Themes of oppression symbolically linked to Israelite slavery inEgypt (Moses) and Babylon (Daniel) |
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SHOUTS |
The “holy dance” – done in a circle that rotates counterclockwise
-Songster (leader) – calls the steps of the dance– -Basers (responders) – sing and dance as directed by songster - Sticker – beats out rhythm with a broom handle or stick on thefloor or ground |
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SPIRITUALS (MUSICAL CHAR.) |
Use of blue notes, frequently achieved by bending notes, esp.on long syllables•Use of syncopation, or conversely, can have very free rhythm
-Textual accentuation is often warped to fit a musical rhythm(rather than the reverse)•Often involves polyrhythm, produced by the addition of clapping -Frequent use of call and response organization•Use of a variety of vocal timbres |
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Spiritual texts
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Often come from the Book of Revelations–Spirituals include phrases extracted from the Bible, as well as interpretations of metaphoric Biblical texts–Daniel and Moses frequently referred to because both overcame captivity and oppression
-Many are suffused with melancholy and have been called“sorrow songs,”though other spirituals (often called“Jubilees”) involve more positive, optimistic texts -Often viewed as codified songs of protest |
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REGIONAL DIFFERENCES: NEW ORLEANS |
Culturally different than rest of theU.S. due to French rule•Not all blacks were slaves•Two “creole” groups (creole = mixed ethnicity or race):
-White Creoles– Creoles of color -Varied social tiers, even among people of color (creoles of color vs. slaves or former slaves) -Sunday afternoon dances and festival sat Congo Square -One of the few freely attended black social events for slaves and free black |
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Recreation music and dance for slaves in the US
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Encouraged (usually to raise morale)1. On slave ships.
On plantations at holiday celebrations3. Occasionally during weekends on plantations |
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The Buzzard Lope”The Georgia Sea Island Singers
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Concerns the practice of dumping the bodies of deceased slaves in the fields to be consumed by buzzards
-Dancers imitate buzzards, “pecking”at a piece of cloth (symbolically representing the deceased) -The text defies the situation, suggesting eternal salvation despite a miserable life on earth -Music exhibits numerous African traits:1. Lots of repetition, though the piece still has spontaneity due to improvisation2. Call and response |
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AMERICAN TASTES, HOME AND ARTS MUSIC BEFORE THE CIVIL WAR |
ALWAYS BEEN MORE DRIVEN BY THE MASSES AND “COMMERCE”
ABSENCE OF COURT LIFE, FEW CATHEDRALS TO COMMISSION MUSIC “CLASSICAL,” “CULTIVATED,” OR “ART” MUSIC TERMINOLOGY DENOTES ELITISM UNATTRACTIVE TO MANY AMERICANS TIME-HONORED “HIGHBROW/LOWBROW” DIVISION IN MUSIC THAT MAY NOT IN EUROPE THREE MUSICAL SPHERES: CLASSICAL, POPULAR, TRADITIONAL |
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MUSIC PUBLISHING AND ENTREPRENEURSHIP
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N FORCE ON BOTH SIDES OF THE ATLANTIC IN EARLY 19TH CENTURY
US: LOWELL MASON (INVOLVED IN EVERY ASPECTOF MUSIC MAKING EXCEPT INSTRUMENTMANUFACTUREENGLAND: MUZIO CLEMENTI: PUBLISHING,COMPOSING, PIANO MANUFACTURING |
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PUBLISHING: DRIVES A LOT OF MUSIC MAKING
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SHEET MUSIC INEXPENSIVE FOR THE AVERAG E PERSON TO BUY
GEARED TOWARD THE PERFORMANCE ABILITY OFTHE “AVERAGE” PERSON |
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PIANO MANUFACTURING
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EARLY 19TH CENTURY: MASS PRODUCTION OFPIANOS FOR MIDDLE-CLASS MARKET
METAL STRING FRAME DEVELOPED: MORE DURABLE ENGLAND: BROADWOOD, CLEMENTI•FRANCE: PLEYEL•GERMANY: STEINWEG (LATER STEINWAY) U.S.: CHICKERING (1823), STEINWAY (1860) |
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AleXANDER REINAGLE |
MOST GIFTED COMPOSER OF FEDERAL ERA
BORN AND EDUCATED IN SCOTLAND•SOME STUDY IN EUROPE MET AND CORRESPONDED WITH C.P.E. BACH PERFORMED IN PORTUGUESE COURT IN MID-1780’S EMIGRATED TO U.S. IN 1786 – SETTLED IN PHILADELPHIA TAUGHT GEORGE WASHINGTON’S GRANDDAUGHTER MUSIC DIRECTOR OF CITY CONCERT SERIES |
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THE RISE OF ITALIAN OPERA
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1825, PARK THEATRE, NEW YORK:
FIRST OPERA PERFORMED IN ITALIAN: ROSSINI’S IL BARBIERE DISIVIGLI PERFORMED BY MANUEL GARCIA TROUPE• FEATURED GARCIA’S DAUGHTER MARIA AS ROSINA RAISED QUESTIONS CONNECTED TO ELITISM:• IS OPERA ONLY FOR THE WEALTHY? OPERA PLOTS AND MUSIC VERY POPULAR• KNOWN IN ORAL TRADITION SPOOFS SUCH AS THE ROOF SCRAMBLER (LA SONNAMBULA) AND FRIED SHOTS (DER FREISCHÜTZ) VERY POPULAR |
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NEW ORLEANS |
THÉÂTRE D’ORLÉANS – PRODUCED THE LARGEST NUMBER OF NON-ENGLISH OPERAS IN THE U.S. BETWEEN 1827-1833• MANAGER – JOHN DAVIS•
BROUGHT IN FRENCH ACTORS AND DANCERS NEEDED FOR THE BALLETS IN FRENCH OPERA• KNOWN FOR ITS LAVISH PRODUCTIONS AND AFTER-OPERA BALLS HELD IN ITS BALLROOM SUMMER TOURS – TOOK FRENCH OPERAS TO NORTHERN CITIES•CAMP STREET THEATER STARTED IN 1824 BY AMERICAN ACTOR/ENTREPRENEUR JAMES CALDWELL SPECIALIZED IN ENGLISH-LANGUAGE OPERA, OR ITALIAN OPERAS TRANSLATED INTO ENGLISH |
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SAN FRANCISCO
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GREW FROM A VILLAGE OF 500 IN 1848 TO A CITY OF 30,000 IN 1851•FIRST THEATER OPENED IN OCTOBER 1850 – HAD 4 THEATERS BY 1853•THOMAS MAGUIRE – FIRST THEATER IMPRESARIO• SET UP SEVERAL THEATERS, BEGINNING WITH THE JENNY LIND, IN AN UPPER FLOOR OF HIS SALOON
1856 – MAGUIRE’S OPERA HOUSE (JENNY LIND THEATER NO. 3) OPENED SEATED 1700 IN AUDIENCE FEATURED RESIDENT ITALIAN OPERA TROUPE 1860 – REPLACED WITH THE MAGUIRE-LYSTER COMPANY – WITH BOTH ITALIAN AND ENGLISH SINGERS MORE INTERESTED IN ART THAN BUSINESS, SO LOST MONEY ON MOST OF HIS VENTURES• FEATURED LOW, AFFORDABLE TICKET PRICES BRANCHED OUT IN OPENING OTHER THEATERS IN SF AND OTHER CITIES BEFORE THE FIRST ONES COULD PAY FOR THEMSELVES• SENT TOURING TROUPES ALL OVER THE WEST |
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AMERICA’S “DIVA ADORATION
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BEGAN WITH MARIA MALIBRAN, BUT EXTENDE DLATER INTO THE CENTURY
MOST FAMOUS TOURING ARTIST: SWEDISH SOPRANO JENNY LIND IN 1850-52 TOUR ARRANGED BY P.T. BARNUM – FULL OF SPIN AND HYPE PAID $187,000 ($5.7 MILLION IN TODAY’S CURRENCY) IN ADVANCE FOR THE TOUR ONE OF THE FIRST INSTANCES OF ARTISTCOMMODIFICATION (THE ARTIST AS ACOMMERCIAL PRODUCT) |
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WILLIAM HENRY FRY (1813-1864)
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TRANSLATED BELLINI’S NORMA INTO ENGLISH, AND WELL ENOUGH THAT IT COULD BE SUNG EFFECTIVELY TO BELLINI’SMUSIC WITH VERY LITTLE MODIFICATION LEONORA (1845) – FIRST AMERICAN OPERA WITH SUNG RECITS WRITTEN AND PERFORMED IN THE U.S.
PRODUCED IN PHILADEPHIA CONDUCTED BY THEODORE THOMAS |
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FRY’S CRITICAL WRITINGS ON MUSIC
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WO PRINCIPAL PROBLEMS IN US:•AUDIENCE IGNORANT•TOO EASILY PLEASED WITH LOW-QUALITY MUSIC•AMERICAN COMPOSERS GO UNRECOGNIZED AND UNAPPRECIATED•NO FINANCIAL BACKING FOR GREAT COMPOSITIONS – COMPOSERS CANNOT MAKEA LIVING•ORCHESTRAS AND MUSICAL SOCIETIES FOUNDED ON BASIS OF “SCIENTIFIC” MUSIC,WHICH HOLDS AMERICAN MUSIC TO BE “INFERIOR
CALLS FOR A NATIONALIST MOVEMENT IN MUSIC ORCHESTRAS WILL ONLY PERFORM MUSIC BY GERMAN COMPOSERS, AND THAT HAS TO CHANGE |
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FRY’S COMPOSITIONAL OUTPUT
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FRY’S COMPOSITIONAL OUTPUT
ORCHESTRAL WORKS 4 CONCERT OVERTURES•6 PROGRAMMATIC SYMPHONIES:• CHILDE HAROLD• A DAY IN THE COUNTRY• THE BREAKING HEART• SANTA CLAUS• NIAGARA• HAGAR IN THE WILDERNESS• 3 FINISHED OPERAS•AURELIA THE VESTAL (UNPERFORMED)•LEONORA•NOTRE DAME OF PARIS•3 WORKS FOR CHORUS AND ORCHESTRA•ODE•STABAT MATER•MASS IN E-FLAT |
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BAND MUSIC
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THE “BACKBONE” OF U.S. INSTRUMENTAL MUSIC IN THE19TH CENTURY
EMERGES FROM A STRONG MILITARY BAND TRADITIONDATING BACK TO THE BRITISH ARMY FIFE AND DRUM CORPS IN BOTH BRITISH AND CONTINENTAL ARMIES U.S. MARINE BAND FOUNDED 1798 EVOLVES INTO THE BRASS BAND – HIGHLY ADAPTABLE AND PORTABLE INFLUENCED BY THE DEVELOPMENT OF NEW INSTRUMENTS |
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JANISSARY INSTRUMENTS
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REFERS TO BASS DRUMS, CYMBALS,AND TRIANGLES
REPUTEDLY OF TURKISH ORIGIN FIRST APPEAR ORCHESTRALLY IN BEETHOVEN’S 9TH SYMPHONY |
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OPHECLEIDES AND VALVEDBRASS INSTRUMENTS
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Ophecleides most famouslyappear in Hector Berlioz’sSymphonie Fantastique
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SAXHORNS
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SAXHORNS
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MID-19TH CENTURY: DEMAND FOR ARRANGEMENTS AND TRANSCRIPTIONS OFMUSIC FOR WIND BAND• DANCING
PARADES• CONCERT MUSIC• POPULAR TUNES•SOME PRE-CIVIL WAR ARRANGERS AND COMPOSERS:• G.W.E. FRIEDRICH – DID ARRANGEMENTS FOR FIRTH, POND, & CO.’S BRASS BAND JOURNAL• “MAGGIE BY MY SIDE” – POPULAR TUNE BY STEPHEN FOSTER• WALTER DIGNAM – DIRECTED AND WROTE MUSIC FOR THE MANCHESTER NH BRASS BANDHelene Schottishe |
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INSTRUMENTAL / ORCHESTRAL MUSIC
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AFTER 1830, A GROWING DESIRE TO CREATE AUDIENCES FOR EUROPEAN ART MUSIC
INSPIRED BY A LOVE OF THE MUSIC OF BEETHOVEN AND OTHER GERMAN MASTERS AUDIENCES INTRODUCED TO GREAT CHORAL WORKS THROUGH ORGANIZATIONS SUCH AS BOSTON’S HANDEL AND HAYDN SOCIETY |
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JOHN SULLIVAN DWIGHT(1813-1893)
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ORDAINED MINISTER, BECAME DEVOTED TO MUSIC, ESPECIALLY BEETHOVEN
MUSIC JOURNALIST AND CRITIC FOUNDER AND EDITOR OF DWIGHT’S JOURNAL OF MUSIC IN PUBLICATION 1852-1881 AVID TRANSCENDENTALIST – APPLIED PRINCIPLES OF TRANSCENDENTALISM TO MUSICAL TASTE BELIEVED DEEPLY IN THE SPIRITUAL POWERS OF MUSIC• STRONGEST ADVOCATE OF ABSOLUTE MUSIC WRITTEN BY GERMAN COMPOSERS DEEP DISDAIN FOR NON-GERMANMUSIC, BUT MORE PARTICULARLY FOR MUSICWRITTEN BY AMERICAN COMPOSERS•DEDICATED TO CREATING AN AUDIENCE DEMAND FOR “GREAT MUSIC” |
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ANTHONY PHILIP HEINRICH(1781-1861)
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FIRST AMERICAN SYMPHONIST
AUSTRIAN MERCHANT – CAME TO U.S. IN 1805 TO SET UP BUSINESS• RETURNED IN 1810 – STRANDED BY LOSS OF FORTUNE – WIPED OUT BY NAPOLEONIC WARS• DECIDED TO BECOME A MUSICIAN – MOVED TO KENTUCKY IN 1817 LIVED IN A LOG HOUSE AND BEGAN COMPOSING 1817 ARRANGED FOR AND CONDUCTED THE FIRST PERFORMANCE OF A COMPLETEBEETHOVEN SYMPHONY IN THE U.S.: EROICA, FRANKFORT KENTUCKY |
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HEINRICH – THE “BEETHOVEN OF AMERICA”
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EMBRACED THE ROMANTIC NOTIONS EMBODIED IN BEETHOVEN:
ISOLATED, AND BRAVELY COMPOSED MUSIC IN THE ISOLATION OF KENTUCKY HAD A PREFERENCE FOR THE ORIGINAL, UNIQUE, AND EXTREME LIKED RICH HARMONIES AND TEXTURES•WAS AN EARLY PROPONENT OF LARGE ORCHESTRAS HE TOOK A MAVERICK APPROACH TO COMPOSING THAT “SEEMED TOANTICIPATE A FUTURE AG |
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HEINRICH’S MUSICAL STYLE
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ESSENTIALLY GERMAN IN CHARACTER, A BIT REMINISCENT OF MENDELSSOHN(WHOM HEINRICH KNEW)
NON-GERMANIC CHARACTERISTICS:•EXTRAORDINARY CHROMATIC PASSAGES•UNEXPECTED MODULATIONS•UNEXPLAINED DISSONANCES•FORMS ARE EPISODIC AND FRAGMENTARY RATHER THAN SYMMETRICAL•ARTISTIC AIM: TO CAPTURE THE GRANDEUR AND SPLENDOR OF AMERICA |
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HE ORNITHOLOGICAL COMBAT OF KINGS; OR,THE CONDOR OF THE ANDES AND THE EAGLE OFTHE CORDILLERAS (1847)
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A 4-movement symphony thought to havebeen inspired by John James Audubon’sdescription of eagles and California condorsin flight. Heinrich and Audubon were goodfriends.
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NEW YORK PHILHARMONIC SOCIETY
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OUNDED 1842 –• ANTHONY P. HEINRICH WAS ONE OF THE FOUNDING MEMBRERS•FIRST CONCERT: BEETHOVEN’S 5TH SYMPHONY•A COLLABORATIVE VENTURE BETWEEN PROFESSIONAL MUSICIANS AND MUSICENTHUSIASTS• EARLY SEASONS: ONLY FOUR CONCERTS•ORCHESTRA BEGAN AS MORE OF A COMMUNITY GROUP• HAD THE VISION OF BECOMING MORE•DEDICATED TO THE PERFORMANCE OF GREAT ORCHESTRAL LITERATURE• PERFORMED MASTERWORKS BY EUROPEAN COMPOSERS
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GEORGE F. BRISTOW (1825-1898)
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1843-79 - VIOLINIST IN THE NEW YORKPHILHARMONIC•CHORAL CONDUCTOR: NEW YORK HARMONIC SOCIETYAND THE MENDELSSOHN UNION• BETTER KNOWN DURING HIS LIFE FOR HIS CHORAL COMPOSITIONS•WROTE AT LEAST 2 SYMPHONIES• NY PHILHARMONIC WOULDN’T PERFORM HIS WORKS
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LOUIS JULLIEN (1812-1860)
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PROMINENT ORCHESTRAL CONDUCTORIN EUROPE•CAME TO THE US IN 1853•HAD HIS OWN PRIVATE ORCHESTRA•WAS WILLING TO PREMIERE WORKSBY AMERICAN COMPOSERS•PREMIERED FRY’S SANTA CLAUSSYMPHONY•MISSIONED A SYMPHONY FROM GEORGEBRISTOW (SYMPHONY #2 OR JULLIENSYMPHONY)
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LOUIS MOREAU GOTTSCHALK(1829-1869)
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CREOLE (ENGLISH-JEWISH FATHER, FRENCH MOTHER)•BORN AND RAISED IN NEW ORLEANS (UNTIL AGE 13)•UPBRINGING DEEPLY AFFECTED AND INFORMED HIS MUSIC AND WORLD VIEW•EDUCATED IN FRANCE FROM AGE 13 – PREFERRED SPEAKING FRENCH TOENGLISH•MINGLED WITH THE “SALON CROWD”•CONSIDERED AN “EXOTIC” – AND WAS THEREFORE DESIRABLE TO FRENCHAUDIENCES•RETURNED TO US IN 1852 (AGE 26) AND BEGAN A CONCERT CAREER•SPENT MOST OF HIS LATTER YEARS CONCERTIZING IN THE CARIBBEANAND LATIN AMERICA, WHERE HE WAS MUCH BETTER RECEIVED
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GOTTSCHALK’S MUSICAL STYL
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VERY PIANO-CENTRIC (TO BE EXPECTED, GIVEN HIS EDUCATION)•PRIMARILY PROGRAMMATIC• NOT RECEIVED WELL IN U.S. BY CRITICS SUCH AS JOHN SULLIVAN DWIGHT, WHO FAVOREDABSOLUTE MUSIC•DEEPLY INFORMED BY LATIN AND CARIBBEAN HARMONY AND RHYTHMS• EX: SOUVENIR DE LA HAVANE EMPLOYS HABAÑERA RHYTHMS•CAPITALIZED ON THE PERCEIVED “EXOTIC” NATURE OF THAT MUSIC• PIECES SUCH AS BAMBOULA (A DANCE DONE BY NEGROES IN CONGO SQUARE), LE BANANIER (THEBANANA TREE), AND NIGHT IN THE TROPIC
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GOTTSCHALK’S MUSICAL SENSIBILITIES
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VERY SIMILAR TO THOSE OF THE SO-CALLED “CULT OFTHE VIRTUOSI”•IMPORTANCE OF TIMBRE – FAVORED CHICKERING PIANOSFOR THIS REASON•VIRTUOSITY AND TONE COLOR MORE IMPORTANT THANLOGIC AND FORM•GOAL: EMOTIONAL CONNECTION WITH AUDIENCE•SPURRED DEBATE WITH DWIGHT IN PRESS ANDONSTAGE
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