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21 Cards in this Set
- Front
- Back
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Word-Music relationships in psalmody
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In psalmody, rhyme and meter is more important than the meaning involved in the words. Thus, there is a loss of meaning when translating the psalms in order to make it iambic so it can fit to many tunes and sung strophically. Consequently, early New Englanders were troubled by the psalter's faulty translation of the texts and their use as a musical vehicle rather than retain the underlying meaning
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Conflict between the Old Way and Regular Singing: what, who, when, why?
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By 1720, New Englanders were complaining about "the Old Way" in terms of the lined-out style of singing. Thomas Symmes advocated Regular Singing in order to give clergy more control and to develop musical literacy among singers. It was generally a one-sided battle as those committed to the Old Way of singing made no attempt to justify themselves in writing but they simply continued to sing their usual way. By the 1780s, Regular Singing predominated, but the Old Way survived, but chiefly in the hinterlands. The movement towards Regular Singing brought about the formation of singing schools
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Controversy over church choirs in late 1700s
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Singing schools sparked desire to sing in choir. Choirs brought new energy and musical diversity to the meeting house, but were the target of complaints due to secular and obnoxious attitude of choir members. Nathaniel Gould pointed out that choirs only allowed people to gain status through musical ability and through social climbing. He believed the human display involved in choirs drained psalmody of sacred content. Tunebook produced to address the needs of the choir and congregation
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Tunebooks: their organization and purpose
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Organization: Starts off with an instructional introduction followed by the pieces in graded order of difficulty. The first section was composed of psalm tunes, then fuguing tunes, and then anthems.
One of the advantages of tunebooks was that they provided something for all kinds of sacred singers: standard psalm tunes, left textless so that worshipers of all denominations ca sing them to their preferred psalter; lots of choir music, and some hymn tunes with full texts (geared to home performance) Purpose: To be used in singing school to promote regular singing. There was also an economic benefit, however, as there was much advertisement and commercial selling of tunebooks |
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Crawford's distinction between edification and praise
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Edification means intellectual, moral, or spiritual improvement. While praise, which is based on faith, avoids explanation; edification, which is based on reason, thrived on explanation. While praise tended to accept the current practice as its starting point; edification was associated with reform thus justifying changes by appealing to outside authorities. Those that made edification their ideal believed that worship deserved its own kind of music, separate from secular. Christians that held praise as their ideal, however, saw music as an extension of everyday life. Thus, the New England sacred music reform was characterized by a shift from praise toward edification through pursuing that edification through a musical style.
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Conflict between Regular Singing and reform hymnody
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By 1800, public worship was plagued by non-singing congregations , outspoken choir members. Many Christians realized that they needed to regulate and desecularize the singing in worship services. Thus, many Clergymen and other community leaders advocated "ancient music" which they found ideal for creating religious spirit among congregations. Ancient music referred to the republishing of European tunes and the introduction of newer tunes resembling older favorites. The two spearhead books of reform were The Salem Collection of Sacred Musick (1805) and The Middlesex Collection of Church Music (1807). "Old Hundred" was the quintessential piece of ancient music. Reformers believed that ancient music was better suited to public worship rather than the rythmnic snap of Regular singing. Eventually, many churches and meeting houses saw the appeal of such sacred music reform and it was eventually widely adopted especially with the influence of Lowell Mason
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Music in evangelical congregations
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This type of music was observed by George Pullen Jackson in 1933 in which some 200 men, women, and children would come together to sing in order to glorify God who he observed as being moved by the sacred cause that brought them all together. They sing Sacred Harp music, the purpose being to be sung and not be listened to. Thus, this type of music is characterized by praise rather than edification as the music and the concentration they put into it made it worthy of the recipient (God) no matter how it sounded.
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The format of the minstrel show, as set by Christy's minstrels
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Christy's minstrels presented their show in a three-part structure: first a group of songs, often featuring the character of the Northern black dandy; then an "olio" (hodgepodge) section including stump speeches and other novelties; finally, a large-scale burlesque skit set in the South. Programs opened with an overture for full band, which also played marches and dances through the evening.
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Crawford's concept of composer's music and performer's music, and the related concepts of transcendence, accessibilty, and continuity
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The composing profession's ideal is tied not to economic outcome but to intellectual control, including a composer's right to control performances through written scores. Performer's songs are aimed to please customers and appeal to amateur performers at home and at the keyboard. Performance music, while offering composers little control over performances, gave them access to customers in the marketplace. Composers' music offered artistic control but few if any customers. Early American writers of composers music were on their own, while performance music writers worked at the behest of theater managers and publishers. Accessibility: utilize adaptation in order to tailor music to suit particular audiences and circumstances and make original music accessible to English-speaking audiences. Had to keep the marketplace in mind if you are in search of accessibility. Until after the civil war, teh ethos of accessibility dominated public performance of all music. In contrast to accessibility is authenticiy. Performers music connected with accessibility; composers with authenticity. Transcendence: the belief that music works, like poems, plays, paintings, can achieve a permanent artistic stature, that such works form the basis for a worthwhile, healthy musical life, and that performers have a duty to sing and play them in a way that reveals their superior traits--ie by following the composer's notation closely (base of composers music). Continuity: in its drive to preserve linguistic, cultural, and musical practices, the "traditional" sphere (invention, circulation, preservation of folk music of foreign origins connected with particular customs) is ruled most of all by a commitment to continuity.
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The role of the piano in home making music in the 19th century
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-songs such as Old Dan Tucker were arranged for piano which was equivalent to home use.
-Foster, for example, aimed his music at singers and players that could be family members -sheet music and the piano trade strove to serve the parlor's refined ethos. -piano music published from 1840s on may be seen as music for a feminine instrument -music's purpose was more social than artistic, and composers were far more concerned with the feelings of the players than with concept of originatlity. -dance music, the second large category of piano composition, stressed rhythm over melody. In order to package the polka for parlor consomuption, the sheet-music trade gave fanciful titles to pieces, in hope of turning routine musical material into something picturesque. -With the help of the piano industry, publishers tailored a growing repertory of piano sheet music for what they took to be the taste of mostly female amateur pianists to play in the parlor. Yet for all the piano's prominence, it was merely an adjunct to the singing voice, the favorite home instrument of all. For in the 19th c, the heart of the sheet-music trade lay in the solo song with keyboard accompaniement. |
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The role of the piano in home making music in the 19th century
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-songs such as Old Dan Tucker were arranged for piano which was equivalent to home use.
-Foster, for example, aimed his music at singers and players that could be family members -sheet music and the piano trade strove to serve the parlor's refined ethos. -piano music published from 1840s on may be seen as music for a feminine instrument -music's purpose was more social than artistic, and composers were far more concerned with the feelings of the players than with concept of originatlity. -dance music, the second large category of piano composition, stressed rhythm over melody. In order to package the polka for parlor consomuption, the sheet-music trade gave fanciful titles to pieces, in hope of turning routine musical material into something picturesque. -With the help of the piano industry, publishers tailored a growing repertory of piano sheet music for what they took to be the taste of mostly female amateur pianists to play in the parlor. Yet for all the piano's prominence, it was merely an adjunct to the singing voice, the favorite home instrument of all. For in the 19th c, the heart of the sheet-music trade lay in the solo song with keyboard accompaniement. -By the 1820s, the pianoforte had come into wider use, capable of playing melody and harmony at the same time. This incarnation of the keyboard became teh parlor instrumnet, asssuming all shapes and sizes that fit different spaces. At first an import and luxury for few, by the 1840s they became accessible to most people. As well as accompaniment, pianos were also solo instruments and a lot of music was published for pianos alone. Three types of piano pieces: 1. variation sets 2. dances 3. abstract music. |
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The role of gender in shaping the early sheet music industry
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HTer was a shift of location of commerce and industry to office buildings, so the home became a center for family and cultural activity. Husbands left home in the morning and returned in teh evening to domestic houses prepared by wives, giving up their involvement in the home...home music making deeply influenced by this change. Males dominated society and women depended on men for money. But in the new situation, women in domestic settings were no longer neglected but given responsibilities (decorating, kids, house). It became assumed that parlor music was a female activity since females spent time in that room and decorated it. Females especially loved piano sheet music's power to evoke feelings and make associations. Music publishers sought to capitalize on such sensitivities, esp byh issuing piano music based on familiar melodies, utilizing the emotional and associative power of melody (repackaging familiar tunes was way to create communities of feeling among women).
Sheet music trade packaged the polka for females in terms of the polka's celebration of every conceivable floral blossom for their titles |
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Changes in depiction of courtship in popular songs of the mid-1800s and late 1800s.
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(see description of "courtly love" in terms section) +
as sheet-music business reached into more middle-class homes, chivalric courtship song faded, though still left a mark. songwriters adapted courship songs for democratic customers, taking separation, not medieval romance, as their main subject. characters in song content without touching. searched for subjects that would trigger yearning. Late 1890s: songs like After the Ball, with covers showing displays of personal charms in a competitive public arena (gossip and flirtation), separates these songs from earlier songs of courtship and love. Moreover, it is a waltz, which is a dnace that called for partners to embrace and ould carry lustful overtones. ERotic overtones of courtship are made public. The darker side of romance, with themes such as parted-lovers.My Gal Sal overturns the romantic vonentions that ruled the day's songs about women. |
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Developments in music publishing in the 1890s.
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Tin Pan Alley's economics differed from taht of older publishing firms. The flagship American music publisher, Oliver Ditson and Co, had bought the catalogues of more than 50 other publishers and taken a hand in setting up new firms in other cities. Ditson published all varieites of songs, shiping them as well (it would eventually collapse under lofty goals).
M Witmark and Sons of NYC demonstrate how songs are promoted in Tin Pan Alley. First, theatrical troupe is in NY recruiting new material, then NY music publisher enlists a troupe member to plug one of his songs, then song becomes a hit, then publisher reaps rewards from sales. DIfferences btw this approach to music publishing and that of old-line firm like Ditson are that Ditson tended to let natural workings of markeptlbace decide fate of songs, while Tin Pan Alley firms published only popular songs and promoted them. Before 1900, songs were plugged effectively by blackface minstrles, but afterwards, music comedy and vaudville took bigger roles in popular son'gs economic success. IN pre-Tin Pan Alley years, publishers were old-school gentlemen. Then in 1890s, they had to come to trade through songwriting or performing. |
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Southern Hymnody
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Many southern tunebooks used shape notes introduced in The Easy Instructor. The singing style revolves around whole note consonances into which the voices are invited to lock. Such a style was emphasized by Ananias Davisson's Kentucky Harmony. Davisson implored the emphasis of the downbeat, leaving the upbeat weak in comparison. Walker's The Southern Harmony and White and King's Sacred Harp brought shape-note hymnody to the deep south.
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Black assimilation of white musical practices and vice versa
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Black assimilation to white: African traditions compromised! The African-Americans came to this country and had to learn a new language and were generally converted to christianity so they had to learn a new religion too, thus their musical practices were altered. In addition, slave owners prohibited the use of drums so they had to find other ways of making a beat. Instead of drums they used brooms against the floor and clapping. The founding of the AME church allowed Blacks to carry on with their music in their own setting. The second great awakening provided the groundwork for camp meetings. Camp meetings were GREAT. They helped white Protestants learn about the spiritual renewal of black music. Camp meetings allowed blacks to infuse European practices with African influence and whites were able to draw on black adaptations to vitalize their own traditions of music making.
Black influence on white- Black spirituals! intersection of european written traditons and african cultural memory. written by blacks AND whites. Also Fisk Jubilee Singers, very popular! |
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The role of the mask in minstrelsy
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Minstrels darkened their faces for "Ethiopean" impersonation. On one level, the mask enabled white stage minstrels to amuse audiences by imitating characteristic black ways of talking, moving, dancing, laughing, singing, and playing musical instruments. One another level, white minstrels learned that blacking up freed them to shed conventional manners and behave onstage in ways that polite society found uncivilized. They could also comment critically not on just black-white interactions but on society in general: on politics, culture, and social class
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The minstrel band: types, techniques, and origins of instruments
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Original minstrel band: violin, banjo, tambourine, and bones. The violin was a European instrument- possible that standard violin technique and sound were themseleves target of the minstrel's parody . African americans were fiddling long before minstrel shows, but it is hard to know how much their playing styles influenced white minstrel fiddlers. Banjo- whites clearly followed blacks which originated in Africa.
Two of the band's members played small, portable percussion instruments- testifies to the groups emphasis on rhythm sound and body movement over melody and harmony. Bones- resembles castanets-clicked together with fingers- first made from animal rib bones- history reaching back to 3000 BC Egypt Tambourine- ancient percussion instrument of Near Eastern origins- struck w/ fingers for accents and also shaken to provide layer of shimmering sound |
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The Role of Music Literacy in the 18th and 19th centuries
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-Early 1700s, lining out method used because not everyone could read/read music; only a small # of tunes were available
-"Old Way" critisized for its unruly nature that had fallen from pslamody and regular singing comes into practice -Regular singing required everyone to be musically literate so that singing was more regulated -Singing schools implemented, using sol fa -then, NEW WAY of teaching sol fa by using shape notes -Early 1800s, reform movement: eliminating shape notes; music for "sophisticated people" |
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"Love and theft" in minstrelsy
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In the 1990s, Richard Crawford among others re-examined the racism around the minstrel show. He found that, although the racism is undeniable, it is also evident that the white audiences and performers were attracted to the African American style of music. The shows were obviously offensive but that doesn't necessarily mean that it was done out of hatred. In that way, the shows are an act of love and hate, or love and theft.
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folk spirituals and concert spirituals: musical and social aspects
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folk spirituals: social aspects: excellent example of how african cultural memory and euroamerican written traditions intersected to create a new American form.
-made songs out of their life experiences Musical aspects- instead of drums, used brooms against floor- singing is more rhthymic than melodic ring-shouts- stomped and clapped in churches, calls and hollers, additive rhythms, blue notes, bent notes -example= fisk jubilee singers concert spirituals- examples= go down moses, deep river -resemble white hymnody in overall form- strophic with a refrain, but lyrics describe the suffering of slaves, "slave songs of the united states" - anthology of black spiritual -conservatory- late 1800s, early 1900s- Dvorak and Harry T. Burleigh social aspects- signaled the involvment of southern black people in a long campaign for equality, racism prevents it from "taking off" |
