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45 Cards in this Set
- Front
- Back
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metrical psalm
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-18th century music
-only appropriate thing to be sung in church -MUST come from the Bible -4-Line stanzas in iambic pentameter -long, short, or common meter |
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common meter
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-alternating 8 and 6 syllable lines (8,6,8,6)
-Fits most songs -i.e. Amazing Grace |
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long meter
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-8,8,8,8
-i.e. Old Hundred |
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short meter
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-6,6,8,6
-most folk songs |
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psalmbook/ psalter
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Book of translated psalms and tunes
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Lining out/ lined hymn
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Deacon sets pitch for first note and feeds words to the congregation
-characterized Old Way singing |
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Old Way singing
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-use of lined hymn
-slow, elastic tempo -small number of melodies -outside of preacher's control |
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Regular singing
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-Notated music- need musical literacy
-More control for preacher |
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singing school
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improve musical literacy by teaching men and women (generally teens/early 20s) how to sing from sight using solfege
-occured in taverns during the winter -motivation: men and women can be together |
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tunebook
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Book used in singing school
-Starts with instructional introduction then pieces graded in order of difficulty -Comprised of psalm tunes, fuguing tunes, and anthems |
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psalm tune
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Texture: homophonic
Form: simple strophic (repetition of verses) Length: short (10-20mm) Text: metrical psalm or hymn |
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fuguing tune
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4 parts, starting at different times
Texture: mixture of homophonic and polyphonic Form: 2-part strophic: short homophonic section then longer polyphonic section Length: longer (20-40mm) Text: metrical psalm or hymn |
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anthem
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Texture: mixture of homophonic and polyphonic
Form: Thoroughly composed Length: variable, some very long Text: Biblical paraphrase, either verse or prose |
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solmization (solfa/ fasola)
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fa,sol, la, fa, sol, la mi, fa
half step- upper note= fa -syllables have different shapes -used in singing school |
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shape notes
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-New way of teaching pitch in early 1800s
-Notes replaced with shapes -Sol = circle -Fa = triangle -La = square -Mi = diamond |
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"ancient music"
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-Republishing of old European tunes and introduction of new tunes with a similar style
-Promoted in early 1800s to regulate and desecularize singing in worship services -Considered good because it had stood the test of time, was composed by talented Europeans, and moved with a gravity better suited to worship |
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Musical texture: monophony
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-one note at a time, one after another, same melody at same time (ex happy birthday)
-characteristic of western classical music |
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Musical texture: homophony
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-similar melodic lines
-melody and accompaniment -"hymn style" or "block chords" -characteristic of western classical music -4 part chior harmonizing with chords but singing same lines at same time and same rhythm |
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Musical texture: polyphony
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-multiple independent melodic lines
-ex: a round (row row row your boat) -moving different directions at different times -like fuging tunes (2nd half) -characteristic of western classical music |
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Musical texture: heterophony
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-slightly diverging versions of same thing
-same melody, different pitches/rhythms -Ex: happy birthday in reality -central to west-african music |
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Musical texture: antiphony
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-opposition of two different performing forces (call and response)
-ex: lined hymn singing -response same, soloist improvise -different than lines hymnody b/c presence of a beat (clapping, stomping) -central to west-african music |
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Syncretism
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-attempt to blend two contradictory religions/cultural practices
-focus of being filled with the spirit -blending west-african traditions and catholicism |
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African Methodist Episcopal church
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-black congregation with black preacher started in south during 2nd great awakening
-adapted white hymnody -old way of singing (no steady beat, but drawn out line-by-line process |
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The First Great Awakening
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-1760s, spirit-feeled preaching
-beginning of reaching out to conversion of African Americans |
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Second Great Awakening
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-1790s-1830s, much larger movement to convert african americans
-first black congregations with black preachers -started in south, baptists churches -Amercan Methodist Episcopal church |
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Congo Square
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-open space in New Orleans where slaves were allowed to gather on Sundays to sing, dance, and play music
-visitors and onlookers were amazed at the african style of music |
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camp meeting
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-gatherings at which frontier farmers and their families camped out for a few days of prayer and singing in an atmosphere of evangelical renewal
-more hospitable than most white forums to blacks and their habits of expression |
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juba
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-a unique kind of accompaniment that slaves danced to
-done by placing one foot a little before the other, rising the ball of the foot from the ground, and striking it in regular time while hands clap together and then against thighs |
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spiritual (noun)
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-Indigenous form of music making in which african americans explored the depths of the massive contradiction between slaves' behaviors and feelings
-Intersection of African cultural memory and Euroamerican written traditions |
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ring shout
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-dance ritual practiced by african slaves in which worshippers move in a circle shuffling feet and clapping hands
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Fisk Jubilee Singers
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-group of singers created as a fundraiser for the black Fisk University
-met with racism but grew to be a sensation in new york and new england turning a good profit |
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Ethiopian delineators
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around 1820; general marker for african americans (actors who take on these characters); denotes slaves. two types: Jim Cros and Zip Coon
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Blackface Minstrelsy
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Began in 1840s and 1850s and continued to 20th c.=; white peaople wear dark makeup to look like blacks; done in ludicrous/exaggerated way; AA (african american) music filtered through white sensibility; takes on appearance of archetype of Americna racism.
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Blackface Minstrelsy
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-began in 1840s and continued to 20th c
-white people wearing dark makeup to look like blacks -done in exaggerated/ludicrous way 0black music filtered through white sensibility -form of American racism |
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Jim Crow
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-archetypal african american portrayed in minstrelsy
-1820s -white actor Daddy Rice famous for playing him and dancing and singing like an African American -southern black that is a slave and happy in slavery |
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Zip Coon
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-archetypal african american character in blackface minstrelsy
-1920s -northern black who is free but dissatisfied and expresses it through attempting to be something he is not (empty boasting, wearing fancy clothes) -suggests that slavery is the proper place for blacks |
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Virginia Minstrels
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-4 Ethiopian delineators
-led by Dan Emmett -First performance in 1843 in NYC in Bowery -mixed African American and Irish instruments (banjo, tambourine and fiddle, bones) |
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Christy Minstrels
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-founded by E.P Christy in Buffalo in early 1940s
-put more emphasis on polished musical sound than unruly antics -most successful minstrel band in America -6-7 man troupe -3 part structure shows: 1. group of songs 2. hodgepodge section with speeches 3. large-scale burlesque skit -wide range of vocal music: high-spirited numbers + sentimental songs |
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The parlor; the parlor song
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-type of popular music which is intended to be performed in the parlours of middle class homes by amateur singers and pianists
-disseminated as sheet music -popular in 19th c as a result of a steady increase in the number of households with enough surplus cash to purchase musical instruments and instruction in music, and with the leisure time and cultural motivation to engage in recreational music-making -features melodies which are harmonically-independent -Many of the earliest parlour songs were transcriptions for voice and keyboard of other music. Included arias from Italian operas and excerpts from blackface minstrel shows, arranged for voice and keyboard. -The high point of the parlour song came in the late 19th and early 20th centuries, during the Victorian era in North America and the British Isles. Songs became more complex and sophisticated in their melodic and harmonic vocabulary, and in addition to their continuing use in the parlour, they were also often sung in public recitals by professional singers |
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Sheet Music
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-cheap and could be sold to lots of people
-characteristic of 19th c popular music industry -2 main sources in sheet music industry: 1. minstrel songs (African and Anglo origins) 2. Italian opera (detachable operas called arias)that can be sold separately and sung outside of opera |
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Courtly Love song/ Courtship song
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-began to appear in early 1800s and increased through next 2 decades
-songs based on lore of medieval chivalry -their popularity due to British writers whose medieval romances kindled fascination for picturesque way of life -sheet music covers picturing medieval scenes -composers set texts of chivalrous courtship to music -why courtship songs? in this time in America, men and women found themselves more and more seperated (work, females at home): this distancing of m/f made an impact on language and decorum of romance -almost all these songs take man's point of view and dwell on emotional fallout of separation -elevated speech, Italinate melody, image of pure, nonfleshly love (never shows lovers coming tog |
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Tin Pan Alley
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-the name given to the publishing district that took shape in NY in 1890
-metaphor for an approach to the music trade for popular music: unelevated in tone, noisy with sound of song pluggers vying to sell songs, and shameless in the pursuit of commercial advantage -its economics, like its ethos, differed from that of older publishing firms |
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Vaudeville
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-around 1900
-combined a wide range of performers: comedians, jugglers, acrobats, actors, animal trainers, singers, of every nationality into an evening's entertainment at cheap prices -standard format: 9 acts each ~15 mins -vaudeville 'czars' held power over performers who played their circuits and the influence of big-time organizations was esp strong. -effective booster to sheet-music sales |
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"Coon Song"
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-name based on black character, the "coon" who was a shiftless, sometimes dangerous, black male
-lyrics of songs feature references to watermelon, chicken, ham, alcohol, gambling, demeaning stereotypes of blacks -part of legacy that black artists inherited when entering show biz -blacks felt increasinglyu under political siege -blacks in show biz had to face conflict btw pleasing audience and knowing that standard crowd-pleasing devices reinforced racial divide |
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Cakewalk
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-a dance--or a style of moving onstage--of singular, unforgettable vigor.
-rooted in african tradition, it originated in a contest held during slavery times in which couples competed to show the fanciest strutting and the winners received a cake -long parodied in minstrel shows, and now at turn of century being performed to music with a strong rhythm that made syncopation the norm. During 1890s the music that accompanied cakewalks was "ragtime" |
