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59 Cards in this Set
- Front
- Back
Characteristics of British American Ballads |
• Narrative songs (songs that tell a story) • Many verses • Some ballads include refrains or choruses • Usually sung solo • Traditionally sung a cappella – Can have male or female voice • Strophic form - sa me melody used for every strophe (includes verses, verse and chorus) |
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"The House Carpenter" |
Lady leaves husband "House Carpenter", goes and sails the sea, but then she misses her baby, and then the boat sinks out at sea.
• Mostly third person narrative in “The House Carpenter” • Told in a straighporward manner • Economical approach to the details of the story (in other words, a minimalist approach to details)
Strophic Form |
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"Barbara Allen"
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A young man lies dying for the love of Barbara Allen; he has a servant summon her to his bedside for solace, but she does little but scorn him. Denied his true love, the hero succumbs to illness. Then when she hears he died, she experiences heartbreak and dies. "A warning young people marry"
Strophic Form |
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"Pretty Polly" Version 1: Pete Steele Version 2: E.C. Ball |
V1: Takes her out to the valleys and kills her then bury's her. 4 lines per verse
V2: Different lyrics, same idea. 3 lines per verse.
(In American versions of these ballads, no pregnancy or ghosts. Also "localization of events" from America"
Strophic Form |
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"The Two Sisters" |
Older sister pushes younger sister in water for jealousy of man, and when she gets out she offers "The Miller" 5 gold rings to push her back and and he does. Then he is hung for it.
Strophic Form (verse refrain) |
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Cultural Values Communicated through Ballads |
• Restrained attitude towards sexuality and humans as sexual beings – Adultery is a sin • Sense of austerity – Sense of God’s will via nature and/or justice served in some way |
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Changes to British Ballads as sung in America |
• omission of details that explicitly state a woman has either had a baby or become impregnated outside of wedlock
• Often omission to references of ghosts – E.g., omission of interactions between humans and ghosts – Reflects a different attitude towards the supernatural world |
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"Old Kimball" |
Was derived from a ballad about a racehorse named Skewball and a race in the British Isles
– This ballad about Skewball made its way to New England and the South
• Was also sung by African Americans in the South – horse known as Stewball or Kimball
Strophic Form (verse chorus) Also Uses 1st person narrative (diff. than british ballads-usually 3rd person) |
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"John Henry" |
African American Ballad. Emerged in 1870 from West Virginia
Like British American ballads, “John Henry” – Tells a story – Uses third person narrative voice (mostly) • Can hear a connecBon with African American work songs, too, with the tapping sound – Synthesis of British American and African American culture |
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Dynamics/ Timbre/Ornamentation |
D: How loud/soft the music is. Volume
T: The tone quality of the Music.
O: The way the note is decorated. |
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Sacred Harp Singing |
Sacred Harp singing as another tradition of British American folk music • Type of communal, participatory singing – Participants sit in a square formation Sing religious music (Christian) Usually sing at "gatherings" or conventions "The Sacred Harp" is the name of the tune book that they sing out of. (published 1844) Led to "Singing Schools", to enhance singing in church. The "Four shape note system" used in The Sacred Harp originated in 1800 (fa so la) often starts with fasola symbols to warm up |
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Comparison of Ballads/Sacred Harp |
Connections: “Captain Kidd” • Both have connections to Europe
Differences: |
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Spirituals |
“Spiritual: Religious music of African Americans during slavery”
“Folk spiritual: The earliest form of indigenous a cappella religious music created by African Americans during slavery” (Burnim 2006: 52).
– Late 18th century crea&on (ibid) – Created by and for black people – Prominent from late 18th century through Civil War era |
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Ring Shout |
“A form of folk spiritual which incorporates highly stylized religious dance as par&cipants move in a counterclockwise circle” (Burnim 2006: 55).
– Also called a “shout” – Earliest on record dates from 1845, though prac&ce predates that record (Floyd, Jr. 2002: 50) Photo from c. 1930
• Have evidence of ring shouts performed in the South and in the North • Emerged as a form of Christian worship or ritual strongly influenced by African approaches • But also became something African American Didn't cross feet |
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"Run Old Jeremiah"
unit 3 |
Form: Call and Response
Heterogeneous sound ideal – contrasting timbres
Tendency to fill up musical space— “high density of musical events
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"Sign of the Judgement"
Unit 3 |
Ring Shout
African and African American conceptual approaches to music, including: – Body mo&on as an integral part of music making
– Polyrhythm – Polyrhythm – “More than one rhythmic pabern played simultaneously”
– Wilson emphasizes idea of rhythmic contrast/clash |
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General Concepts of African American Music |
– Call and response – Heterogeneous sound ideal (use of a variety of timbres) – High density of musical events (filling all the space) – Use of the body – Polyrhythm (rhythmic contrast/clash) • Strategies of surviving and musically thriving, of forging a distinctive African American culture Percussive approach to singing |
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"Trouble So Hard"
Unit 3 |
• Example of a folk spiritual (not performed as a ring shout) • Note call and response approach as an African/ African American conceptual approach
Listening also for characteristics that are shared with European music • Verse-chorus strophic form |
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Arranged/Concert Spiritual |
• “The post-Civil War form of spirituals, which evolved in schools created to educate emancipated slaves” • Emerges in the 1870s
These types of spirituals adapted to audiences who were more comfortable with european style of music.
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The Fisk Jubilee Singers |
The Fisk Jubilee Singers • Go on tour to raise money for the college "Arranged Spirituals" |
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"Wade in the Water"
Unit 3
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• Listen for approaches associated with European art music: – Homogeneous sound ideal – voices blend European art music – Pronunciation of text
"Arranged Spiritual" |
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"Oh Freedom"
Unit 3 |
Concert/Arranged Spiritual
* |
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“The New Buryin’ Ground”
Unit 3 |
– Heterogeneous sound ideal, call and response – But have rich harmonies in the chorus – So for this class, will call this example simply a spiritual |
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Spirituals as a form of resistance. |
Mental resistance to oppression: themes in the texts
"Run Mary Run, You Got a Right to the Tree of Life"
Could be code for escaping. |
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“Am I a Soldier of the Cross?”
(E-reserves Unit 3) |
Notice technique of lining out
• But lined hymns called “Dr. Watts songs” by some older African Americans whether wriHen by Watts or not; and, • Tradition of lined hymn singing called “Dr. Watts singing” (Reagon and Brevard 1994) • Note the slow tempo, is characteristic of Dr. Watts songs/singing |
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Work Songs |
Examples: Go Down, Old Hannah Mighty Bright Light * |
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Minstrelsy |
“Full-length theatrical entertainment featuring performers in blackface who performed songs, dances, and comic skits based on parodies and stereotypes of African American life and manners”
• Considered to be the first distinctly American form of popular culture (Starr and Waterman 2010: 20) • 1840s – 1880s – predominant form of popular culture in the U.S. George Washington Dixon Thomas Dartmouth Rice
“Jim Crow” - Caricature of the plantation slave “Zip Coon” - Caricature of the urban black male
* The banjo, fiddle, tambourine and bones were typical instruments used in minstrel shows
*Watch a little of clip "Ethnic Notions" about the Minstrel show. |
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Appeal of Minstrel Show for Whites |
• During slavery, justified slavery • After slavery, justified racial violence against blacks • Expression of fear and anxiety about blacks • A means to show “whiteness” • Expression of a fascination for blacks, on some level a desire to be black • A way of identifying with African Americans? |
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Appeal of Minstrel Show for Blacks |
• Earn money relations • Travel • Assert their authenticity |
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“Old Uncle Ned”
(E-reserves Unit 5) |
Very Racist Minstrelsy song written by Stephen Foster
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Race Records |
“[R]ecordings of performances by African American musicians produced mainly for sale to African American listeners”
How did race records start?
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Country Blues |
Referred to as "The Devils Music"
Sings about a variety of topics/emotions (not always sad)
Often AAB Form |
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“That Black Snake Moan”
(E-reserves Unit 6) |
* Guitar/Voice. Guitar acts as second voice. Call/Response with voice and guitar
Descending "Melodic Contour" in vocal parts |
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“My Butcher Man”
(E-reserves Unit 6) |
– Example of a country blues song by a female singer and guitarist • Recorded 1933 • Notice relationship between voice and guitar, AAB form, and double meanings (more sexual innuendo) |
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"Tom Rushen Blues"
E-Reserves Unit 6 |
Written and performed by Charley (or Charlie) Padon (b.1880s-91? d.1934) • Recorded in 1929 • Note the frank, personal dimension of the way the story is being told much like ballads. |
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“Come On In My Kitchen”
(E-reserves Unit 6) |
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Early Country Music |
Marketed as "Hillbilly Records" from 1920's-40's.
Developed mostly out of folk songs (including traditional ballads) and dance music of immigrants from the British Isles
Early hits were “Barbara Allen” (E-reserves Unit 7) by Bradley Kincaid and "The Prisoners Song" (E-reserves Unit 7) by Vernon Dalhart |
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Radio |
• Also important in the disseminaUon of early country • 1920s – rise of commercial radio staUons and network radio • Many who could not afford new records could purchase a radio on a monthly installment plan • Programming on the radio was affected by issues of race |
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The Carter Family |
A.P. (“Doc”) Carter (1891-1960) • leader, sang bass Sara Carter (c. 1899-1979) • sang most lead vocal parts • played autoharp or guitar Maybelle Carter (1909-78)
• sang supporUng parts • played guitar and autoharp • Image of conservatism, “wholesome values” • Issue of cultural ownership
– A.P. Carter collected folk songs – Copyrighted arrangements – Who owns “traditional” songs?
"Carter Picking" Influential guitar playing technique – pick melody on the lower strings, brush or strum accompaniment on the upper strings – Developed by Maybelle Carter
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“St. James Infirmary”
(E-reserves Unit 8) |
• Ballad • Performed by an African American singer • Voice and guitar • 1950s recording • Derived from a British ballad “The Unfortunate Rake” |
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“Gallis Pole”
(E-reserves Unit 8) |
• Ballad • Performed by Leadbelly • Voice and guitar • From a 1948 radio broadcast • Elements of call and response • Exploitation of speech-song continuum • Role of the guitar • How do these aspects affect the telling of the story? |
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Jimmie Rodgers |
• Image contrasts with that of the Carter Family – Image is more of a footloose wanderer • Can hear the influence of white and black musics
Famous for his Yodel. Can hear in his song "Blue Yodel No. 1"
AAB structure of the text of the verses |
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“John Hardy”
(E-reserves Unit 8) |
Performed by Lead Belly or Leadbelly (Huddie LedbeLer; 1888-1949) – Voice and accordion Tells the story of a man, John Hardy, who was hanged for murder in 1894
Instrumental roles • Active role of the accordion • Call and response relationship • Accordion “talks” (much like guitar in country blues) |
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Waves of Immigration |
• 1840s-1880s – First Wave • 1940s-1950s – “Intermitient Ripple” • Since 1965– Second Wave |
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First Wave |
possibly there for Gold Rush/Railroads
Formed Settlements, including chinatowns First Opera/theatre in SF (1850)
Hit with a series of exclusionary laws Naturalization law (1790)/Anti-Chinese Legislation. Also Chinese Exclusion Acts.
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Social Impact of Exclusionary Laws |
• Social and cultural isolation – Chinatowns • Jobs – “Chinese laundryman” • Absence of women – “Bachelor society” • Chinese Americans (including immigrants) establish a sense of community via music, including Chinese opera |
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Characteristics of Chinese Opera |
• Emphasis on visual splendor – Make-up, elaborate costumes • Combine acting, dancing, singing • Stories drawn from legends, myths, and historical and semi-historical narratives • Different regional styles |
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Cantonese Opera |
One type of Chinese Opera
Accompanying ensemble divided into sections: – Percussion
-Melodic section of the accompanying ensemble – Accompanies singing and dancing or gesturing – Characterized by a variety of stringed instruments; sometimes have winds, too |
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Second Wave |
In second wave, see diversity – Cantonese and Mandarin speakers – Working as well as professional classes – Includes students, professionals – Mostly come from urban areas • Contributes to different experiences in U.S. • Families • Some live in Chinatowns, others do not • Find more interac5on and feelings of acceptance in “mainstream” American society |
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Second Wave music implications |
• Contributed to emergence of Peking opera clubs • More interaction with American mainstream with Peking opera clubs • Cantonese opera clubs, too, but largely separate from Peking opera clubs
Chinese ensemble music • Have had Chinese ensembles in the U.S. since the 19th century • “Purple Bamboo” (E-reserves Unit 9) • Example of Chinese ensemble music • From a 1997 album |
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Chinese Instruments |
Erhu: like a violin but less strings
Pipa: looks like a small banjo
Dizi: like a flute
Yangqin: Table looking thing of strings |
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Japanese First Wave |
• Young men - Educated - Farming class - Select group • Young women
Same Exclusionary Laws as the Chinese faced. Response? * |
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Impact of Japanese on Music |
During war: some tried to emulate American culture- Big Jazz Bands in camps
After War: After WWII see more celebration of Japanese culture |
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Taiko |
• 1950s – • Late 1960s – Starts in America Emphasis on strength and movement New sound emerges "spirit sounds" Look it up. |
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Remembering Cambodia and Cambodian Music |
-surviving the reign of the Khmer Rouge (1975-1979)
"The Flute Player" documentary
Arn Chorn-Pond came to America as a refugee to a eastern state. He deals with the guilt of leaving behind cambodians by trying to teach people traditional cambodian music. Helps him to feel like their traditions and history will never die. |
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Reasons for coming to America |
Economic reasons- European and Asian
Religious Motivations- for some of the earliest europeans who came to colonies
People sold into slavery- for Africans (Chinese women sold into prostitution)
People pushed or forced to leave their homeland. |
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De Boatmans Song |
• “De Boatmen’s Dance” (1843) (E-reserves Unit 5) • Music and lyrics credited to Dan Emme^ (1815-1904)
Note the instrumentation (instruments used): • Male voices • Banjo * The banjo, fiddle, tambourine and bones were typical instruments used in minstrel shows |
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"Shau See Yuen" |
Example of music thriving in more isolated communities (Chinese Opera)
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Time Periods |
Ballads 17th-19th Century
Sacred Harp: Book published in 1844
Folk Spirituals: Late 18th Century through Civil War (1865)
Arranged Spirituals: Emerge in 1870
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