America's Musical Life: A HistoryW. W. Norton & Company, 2001 - 976 páginas This book tells the fascinating story of music in the United States, from the sacred music of its earliest days to the jazz and rock that enliven the turn of the millennium. Beginning with the music of Native Americans and continuing with traditions introduced by European colonizers and Africans brought here as slaves, the book reveals how this bountiful heritage was developed and enhanced in the nineteenth and twentieth centuries to produce the music we hear today. As the author points out, American musical activity has taken place in three spheres: the traditional (folk music), which emphasizes continuity and the preservation of community custom; the popular, which seeks most of all to find paying audiences; and the classical (Western art music), which places priority on the musical works themselves. We observe American music making in each of these spheres and see, for the first time, how they have continually crossed over, interacted, and combined to shape the rich tapestry of sounds of the twenty-first century. Most important, the narrative is always set in its proper historical context--we cannot, for instance, truly understand Civil War music without knowing the social and political factors that precipitated the conflict. In juggling political, social, and musical history, the author strikes a happy balance between general background and specific accounts of individual composers, performers, and pieces of music. For the earliest period, this book records activity in all domains of music. We learn of attempts by Europeans to describe the songs they heard Native Americans perform, of sacred music making among the colonists that existed side by side with secular song and dance, of Spanish Catholic missionaries who brought their own music to the New World a full century before the Pilgrims landed, of the first book printed in New England, and of the robust theater and concert life that Colonial America nourished. The nineteenth century saw commercial interests gain a strong foothold, with parlor music making money for performers and publishers, though not always for the composer. Stephen Foster wrote songs that became wildly popular while he himself was scratching out a meager living. There were idealists, such as the quirky Anthony Philip Heinrich, who moved to the "wilds" of Kentucky; show-offs, such as the enormously talented pianist Louis Moreau Gottschalk; "serious" academic composers, including John Knowles Paine at Harvard and Horatio Parker at Yale; and talented women composer/performers, including Amy Marcy Cheney, who performed and published as Mrs. H. H. A. Beach. Thrown into the mix are ethnic musics, slave songs, American musical nationalism, band music, the advent of the phonograph, Tin Pan Alley, and a host of other influences. However wide American tastes ranged before 1900, the twentieth century offered an even broader array of musical genres, encompassing blues, jazz, musicals, movie soundtracks, folk-revival music, swing, classical music, and rock, to name just a few. Musicians discussed in this section include Charles Ives, George Gershwin, Duke Ellington, the Beatles, the Roberta Martin Singers, Philip Glass--the list is almost endless. Bringing order to this cacophony, this book gives us a highly readable and informative account of this country's rich musical traditions. --Adapted from dust jacket. |
Dentro del libro
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Página vii
... Music Making and the Publishing Industry 221 13. From Ramparts to Romance : Parlor Songs , 1800-1865 240 14. Of Yankee Doodle and Ophicleides : Bands and Orchestras , 1800 to the 1870s 272 15. From Church to Concert Hall : The Rise of ...
... Music Making and the Publishing Industry 221 13. From Ramparts to Romance : Parlor Songs , 1800-1865 240 14. Of Yankee Doodle and Ophicleides : Bands and Orchestras , 1800 to the 1870s 272 15. From Church to Concert Hall : The Rise of ...
Página xi
... Music answered with a chronicle of music composed in the United States . For Howard , the en- counter between democracy and Old World traditions had produced a wealth of composers and an outpouring of American works for the concert . hall ...
... Music answered with a chronicle of music composed in the United States . For Howard , the en- counter between democracy and Old World traditions had produced a wealth of composers and an outpouring of American works for the concert . hall ...
Página xii
... concert hall existed . My account also follows Chase's connec- tion between America's democratic heritage and the diversity of its musical life . America's music history was diverse , Chase believed , not only because its composers were ...
... concert hall existed . My account also follows Chase's connec- tion between America's democratic heritage and the diversity of its musical life . America's music history was diverse , Chase believed , not only because its composers were ...
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Contenido
The First Song Native American Music | 3 |
European Inroads Early Christian Music Making | 15 |
From Ritual to Art The Flowering of Sacred Music | 29 |
Old Simple Ditties Colonial Song Dance and Home Music Making | 56 |
Performing By Particular Desire Colonial Military Concert and Theater Music | 83 |
Maintaining Oral Traditions African Music in Early America | 102 |
Correcting the Harshness of Our Singing New England Psalmody Reformed | 125 |
The Nineteenth Century | 137 |
After the Ball The Rise of Tin Pan Alley | 471 |
The Twentieth Century | 493 |
To Stretch Our Ears The Music of Charles Ives | 495 |
Come On and Hear The Early Twentieth Century | 524 |
The Jazz Age Dawns Blues Jazz and a Rhapsody | 557 |
The Birthright of All of Us Classical Music the Mass Media and the Depression | 580 |
All That Is Native and Fine American Folk Song and Its Collectors | 597 |
From New Orleans to Chicago Jazz Goes National | 619 |
Edification and Economics The Career of Lowell Mason | 139 |
Singing Praises Southern and Frontier Devotional Music | 156 |
Be It Ever So Humble Theater and Opera 18001860 | 173 |
Blacks Whites and the Minstrel Stage | 196 |
Home Music Making and the Publishing Industry | 221 |
From Ramparts to Romance Parlor Songs 18001865 | 240 |
Of Yankee Doodle and Ophicleides Bands and Orchestras 1800 to the 1870s | 272 |
From Church to Concert Hall The Rise of Classical Music | 293 |
From Log House to Opera House Anthony Philip Heinrich and William Henry Fry | 314 |
A New Orleans Original Gottschalk of Louisiana | 331 |
Two Classic Bostonians George W Chadwick and Amy Beach | 351 |
Edward MacDowell and Musical Nationalism | 372 |
Travel in the Winds Native American Music from 1820 | 387 |
Make a Noise Slave Songs and Other Black Music to the 1880s | 407 |
Songs of the Later Nineteenth Century | 430 |
Stars Stripes and Cylinders Sousa the Band and the Phonograph | 453 |
Crescendo in Blue Ellington Basie and the Swing Band | 641 |
The Golden Age of the American Musical | 664 |
Classical Music in the Postwar Years | 689 |
Rock Around the Clock The Rise of Rock and Roll | 714 |
Songs of Loneliness and Praise Postwar Vernacular Trends | 736 |
Jazz Broadway and Musical Permanence | 755 |
Melting Pot or Pluralism? Popular Music and Ethnicity | 778 |
From Accessibility to Transcendence The Beatles Rock and Popular Music | 799 |
Trouble Girls Minimalists and The Gap The 1960s to the 1980s | 813 |
Black Music and American Identity | 837 |
Epilogue | 853 |
Notes | 861 |
Bibliography | 897 |
Credits | 925 |
931 | |
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Términos y frases comunes
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