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Midterm 2/23
| Question | Answer |
|---|---|
| Colonization motivations of Commerce and Religion | Evangelizing + conversion of Native American populations, Protestanism advanced further in 1620 with the arrival of pilgrims |
| Top-down History | An approach that focuses on the actions, decisions, and influence of political leaders, elite individuals, and institutions in shaping historical events (the winners write history) |
| Times for Slaving Music-making | Typically tied to events when they could make music (on Sundays-work song + field holler) |
| Stealing Away | Multiple meanings of this (the slaves would steal back time from their lives) by doing frolics (they would steal food over time from slave owners to bring to these parties) |
| Characteristics of Slave Performance | Call and response, timbral variations, bent or "blue" notes, retains African American cultural practices, ring shout as space for transmission of these ideas |
| Old Way vs. Regular Way Singing | 1. Lining out, one or few require literacy, interpretation/individuality matter 2. Notated, discipline, order and solemnity, and rise of singing schools (2-3 months of training) |
| Importance of Music rather than verses 18th century | Performance of the notes + its accuracy becomes central focus |
| Shape Note Notation | Fa: square Sol: oval Triangle: la Diamond: mi |
| Public School Music Education 19th century | Focus on nation building through exclusion and slavery |
| Domestic Piano Production in 1825 | Having a piano becomes a sign of middle class status |
| Reform causes of Hutchinson Family | Interested in temperance movements, disband in 1848 when Abby marries, song for emancipation (shares tune with minstrel blackface) |
| Ainsworth Psalter | Brought to the new world from Amsterdam (first religious text used in the New World) |
| Bay Psalm Book | Errors in the Psalter led to this (first printed book in English colonies |
| Transatlantic Slave trade | Ongoing from 1600s-1800s |
| Stono Rebellion of 1739 | Happened on mainland colonies onSeptember 9, 1739, near Charleston, South Carolina. Led by Jemmy, the rebellion was suppressed, resulting in nearly 40-50 enslaved deaths and strict new slave codes. |
| William Billings | Tanner, writes "The New England Psalm Singer" and "The Singing Master's Assistant or Key to Practical Music" |
| The New England Psalm Singer (American Chorister) | It doesn't follow renaissance writing rules, is used as a way to engage with and represent America |
| The Easy Instructor (1801) | A new method of teaching sacred harmony : containing the rudiments of music on an improved plan and a choice selection of psalm tunes. |
| Lowell Mason | An American music director and banker who was a leading figure in 19th-century American church music |
| Thomas Dartmouth "T.D" Rice | Thomas Dartmouth Rice performed in blackface and used African American vernacular speech, song and dance to become one of the most popular minstrel show entertainers of his time. He is considered the "father of blackface minstrelsy" |
| Jim Crow | White actor Thomas D. Rice created the character around 1830, reportedly after observing an elderly Black man singing and dancing in either Kentucky or Ohio. |
| Zip Coon | Caricature of a well dressed black guy who speaks poorly |
| Lucy Long | Caricature of a black woman who never speaks for herself |
| Stephen C. Foster | Known as the "father of American music" who wrote romanticized songs of black american's struggles |
| Hutchinson Family Singers | An American family singing group who became the most popular American entertainers of the 1840s. |
| Negro Spirituals | Profound folk songs created by enslaved African Americans (1619–1860s) that merged African musical traditions with Christianity, serving as expressions of deep emotional, social, and spiritual resilience |
| Fisk Jubilee Singers | Fisk University, opened January 9, 1866, funding from American Missionary Association, Liberal Arts basis, Industrial education, George Leonard white "don't integrate" |
| Ragtime | Composed across racial boundaries, mostly piano, becomes popular music (dance music), Rayford Logan calls 1965 the "nadir" for Blacks |
| Scott Joplin | Most famous composer of Ragtime, born Texas (Arkansas Border), publishes maple leaf rag in 1899, ragtime revival 1970s |
| John Philip Sousa | Born 1854 Washington D.C, plays music in youth + joins marine apprenticeship 1868, returns as leader of Marine Band 1880, forms band in 1892 (follows audience interest using cue card system) |
| Second New England School | Group of composers writing for concert hall (most professors teaching composition + sharing their music were Ivy League college educated) |
| Colonization motivations of Commerce and Religion | Some religious leaders and missionaries saw in colonialism the opportunity to convert hundreds of millions of people to Christianity (specifically marginalized people to make them "like" the white Christians |
| Financial Music | Popular songs, virtuoso performers, shorter pieces (more variety) |
| Sacralization of Culture | After civil war, art, folk, pop, American audiences become more like European audiences (more behaved) |
| Dvořák Residency (1892-95) | Calls for attention to Native American and African American music |
| Phonograph Effect | Coined by Mark Katz, it describes how the ability to record and repeat sound transformed music from a transient, social event into a permanent, often solitary experience. |
| Phonograph | Invented by Thomas Edison in 1877 was the first machine capable of both recording and reproducing sound |
| Gramophone | An early 20th-century analog record player that uses a hand-cranked motor and a large horn to amplify sound from shellac discs. Invented by Emile Berliner |
| Charles Ives | American modernist composer, actuary and businessman |
| “Crazy Blues” | A song written by Perry Bradford in 1918 under its original title, "Harlem Blues".[1] Mamie Smith and Her Jazz Hounds recorded it 2 years later |
| Race Records Industry | 78-rpm recordings produced between the 1920s and 1940s, marketed specifically to African American audiences, featuring blues, jazz, and gospel artists like Bessie Smith and Mamie Smith |
| Texas Blues | A guitar-driven subgenre known for its swing, shuffle, and, later, blues-rock sound, characterized by heavy, aggressive licks, often tuned down to E-flat. |
| Piedmont Blues | A ragtime-influenced, uptempo blues style that originated in the Southeastern US (Virginia to Georgia) during the 1920s-30s |
| Mississippi Delta Blues | A raw, acoustic, and guitar-driven form of early country blues |
| Ralph Peer | An American talent scout, recording engineer, record producer and music publisher in the 1920s and 1930s. |
| Jimmie Rodgers | Widely regarded as the "Father of Country Music", he is best known for his distinctive yodeling. |
| New Orleans Jazz | Originated in the early 20th century, blending blues, ragtime, and brass band traditions into a unique, collectively improvised sound |
| Original Dixieland Jazz Band | A Dixieland jazz band that made the first jazz recordings in early 1917. Their "Livery Stable Blues" became the first jazz record ever issued. |
| Ferdinand “Jelly Roll” Morton | American blues and jazz pianist, bandleader, and composer of Louisiana Creole |
| Louis Armstrong | Armstrong was born and raised in New Orleans. Coming to prominence in the 1920s as an inventive trumpet and cornet player, he was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance |
| “West End Blues” | A multi-strain twelve-bar blues composition by Joe "King" Oliver. It is most commonly performed as an instrumental, although it has lyrics added by Clarence Williams. |
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