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American music : a panorama
This concise, accessible book describes American music as a panorama of distinct yet parallel streams--hip-hop and Latin; folk and country; gospel and classical; jazz, blues, and rock--that reflect the uniquely diverse character of the United States. Comparing and contrasting musical styles across regions and time, the author delivers a vision of American music both exuberant and inventive--a music that arises out of the history and musical traditions of the many immigrants to America's shores.
დამატებითი ინფორმაცია
- ISBN: 0-495-12839-2
- ფიზიკური აღწერილობა: 338
- გამომცემლობა: USA Cengage Learning 2014
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| მდებარეობა | ინვენტარის ნომერი / ასლის შენიშვნები | შტრიხკოდი | თაროზე განთავსების ადგილი | სტატუსი | დასაბრუნებელია |
|---|---|---|---|---|---|
| თამარ შიოშვილის ბიბლიოთეკა | IBSU 780.973 K-46 064 | IBSU100674064 | Stacks | Available | - |
| Author's guide to the Panorama of American music | ||
| pt. I. Folk and ethnic musics | ||
| 1. The Anglo-Celtic-American tradition | ||
| Imported ballads | ||
| "Barbara Allen" (H.J. Beeker) | ||
| Features common to most ballads | ||
| Naturalized ballads | ||
| "Gypsy Davy" (Woody Guthrie) | ||
| Native ballads | ||
| "John Hardy" (The Carter Family) | ||
| Print and the ballad | ||
| Fiddle tunes | ||
| "Soldier's joy" (Marion Sumner) | ||
| Print and the fiddle tune | ||
| Play-party songs | ||
| "Old man at the mill" (Clint Howard, Fred Price, Doc Watson) | ||
| Projects | ||
| Additional listening | ||
| 2. The African American tradition | ||
| African music and its relation to black music in America | ||
| "Music in praise of a Yoruba Chief" (Nigeria) | ||
| Religious folk music : the spiritual | ||
| "Sheep, sheep, don't you know the road" (Bessie Jones, Sea Island Singers) | ||
| "Jacob's ladder" (Paul Robeson) | ||
| Secular folk music | ||
| "Quittin' time song" (Samuel Brooks) | ||
| "John Henry" (Arthur Bell) | ||
| Projects | ||
| Additional listening | ||
| 3. The American Indian tradition | ||
| Music in Indian life | ||
| The existential quality of songs | ||
| Types of songs according to purpose | ||
| "Pigeon's dream song" (Louis Pigeon, vocal ; Menominee, Northern Plains) | ||
| "Cherokee/creek stomp dance" (Eastern Woodlands) | ||
| "Butterfly dance" (an Juan Pueblo, New Mexico) | ||
| "Sioux love song" ( John Coloff, flute & vocal ; Lakota Plains) | ||
| Characteristics of Indian music | ||
| Indian Music and acculturation | ||
| "Ghost dance song" (Pawnee Plains) | ||
| "Rabbit dance" (Los Angeles Northern Singers) | ||
| Projects | ||
| Additional listening | ||
| 4. Latino traditions | ||
| The legacy of the Spanish conquest | ||
| Sacred music from Mexico | ||
| "Al Pie de Este Santo Altar" (Luis Montoya, vocal ; Vincente Padilla, pito) | ||
| "Los Pastores" from Las Posadas (Franquilino Miranda and group) | ||
| Secular music from Mexico | ||
| "Las Abajeñas" (Mariachi Cobre) | ||
| "El Corrido de Gregorio Cortéz" (Los Hermanos Banda) | ||
| "Mal Hombre" (Lydia Mendoza) | ||
| The Caribbean and South America | ||
| "Para los Rumberos" (Tito Puente) | ||
| Projects | ||
| Additional listening | ||
| 5. Diverse traditions : French, Scandinavian, Arab, and Asian | ||
| The French influence in Louisiana | ||
| "Midland two-step" (Michael Doucet, Beausoleil) | ||
| "Zydeco sont pas salé" (Clifton Chenier) | ||
| The Scandinavian influence in the upper Midwest | ||
| "Banjo, old time" (LeRoy Larson, Minnesota Scandinavian Ensemble) | ||
| Arab American traditions | ||
| "Zaffat al-Hilu" (Majid Kakka, Bells Band) | ||
| The Asian influence | ||
| "Tampopo" (Nobuko Miyamoto) | ||
| Projects | ||
| Additional listening | ||
| 6. Folk music as an instrument of advocacy | ||
| "The farmer is the man that feeds them all" (Fiddlin' John Carson) | ||
| The urban folk song movement of the 1930s and 1940s | ||
| "I am a union woman" (Aunt Molly Jackson) | ||
| Protest and folk song in the 1960s | ||
| "Masters of war" (Bob Dylan) | ||
| Freedom songs and the civil rights movement in the South | ||
| "We shall overcome" (SNCC) | ||
| Projects | ||
| Additional listening | ||
| pt. II. Three offspring of the rural South | ||
| 7. Country music | ||
| Enduring themes | ||
| The "country sound" | ||
| Commercial beginnings : early recordings, radio, and the first stars | ||
| Jimmy Rodgers : the father of country music | ||
| "Muleskinner blues" (Jimmy Rodgers) | ||
| The West : cowboys, honky-tonks, and Western swing | ||
| "Cotton-eyed Joe" (Bob Willis and His Texas Playboys) | ||
| Postwar dissemination and full-scale commercialization | ||
| "I'm so lonesome I could cry" (Hank Williams) | ||
| "I'm blue again" (Patsy Cline) | ||
| "Blue eyes crying in the rain" (Willie Nelson) | ||
| The persistence and revival of traditional styles | ||
| "Muleskinner blues" (Bill Monroe and His Blue Grass Boys) | ||
| "John Henry" (The Lilly Brothers) | ||
| Projects | ||
| Additional listening | ||
| 8. The blues | ||
| Characteristics of the blues | ||
| "Countin' the blues" (Ma Rainey and Her Georgia Jazz Band) | ||
| "Prison cell blues" (Blind Lemon Jefferson) | ||
| "Preachin' blues (Up jumped the devil)" (Robert Johnson) | ||
| Early published blues | ||
| Classic blues | ||
| Blues and jazz | ||
| Boogie-woogie | ||
| "Mr. Freddie Blues" (Meade "Lux" Lewis) | ||
| Selling the country blues | ||
| Urban blues | ||
| Blues at the turn of the century | ||
| "Texas flood" (Stevie Ray Vaughn) | ||
| Projects | ||
| Additional listening | ||
| 9. Rock music | ||
| Rock's ties to rhythm and blues | ||
| "Good rockin' tonight" (Wynonie Harris) | ||
| "Rock around the clock" (Bill Haley and His Comets) | ||
| Reaching white audiences | ||
| The influence of country music | ||
| "That's all right" (Elvis Presley) | ||
| Trends from the 1960s to the present | ||
| "Good vibrations" (The Beach Boys) | ||
| "The star-spangled banner (Live at Woodstock)" (Jimi Hendrix) | ||
| "Eruption" (Van Halen) | ||
| "Sheena is a punk rocker" (The Ramones) | ||
| Projects | ||
| Additional listening | ||
| pt. III. Popular sacred music | ||
| 10. From psalm tune to rural revivalism | ||
| Psalmody in America | ||
| "Amazing grace" (Congregation of the Old Regular Baptist Church) | ||
| The singing-school tradition | ||
| "Chester" (The Old Sturbridge Singers) | ||
| "Amity" (the Old Sturbridge Singers) | ||
| The frontier and rural America in the nineteenth century | ||
| "Wondrous love" (anonymous) | ||
| Music among smaller independent American sects | ||
| "'Tis the gift to be simple" (The United States of Shakers) | ||
| Projects | ||
| Additional listening | ||
| 11. Urban revivalism and gospel music | ||
| Urban revivalism after the Civil War : the Moody-Sankey era of gospel hymns | ||
| "In the sweet by-and-by" (The Harmoneion Singers) | ||
| The Billy Sunday-Homer Rodeheaver era : further popularization | ||
| "Brighten the corner where you are" (Homer Rodeheaver) | ||
| Gospel music after the advent of radio and recordings | ||
| "Give the world a smile" (The Stamps Quartet) | ||
| "He got better things for you" (Memphis Sanctified Singers) | ||
| "Swing down, chariot" (Golden Gate Quartet) | ||
| Projects | ||
| Additional listening | ||
| pt. IV. Popular secular music | ||
| 12. Secular music in the cities from colonial times to the age of Andrew Jackson | ||
| Concerts and dances | ||
| "The college hornpipe" (Rodney Miller) | ||
| Bands and military music | ||
| "Lady Hope's reel" (American Fife Ensemble) | ||
| "Washington's march" (The Liberty Tree Wind Players) | ||
| Musical theater | ||
| "Chorus of adventurers" from the Indian princess (Federal Music Society Opera) | ||
| Popular song | ||
| "Junto song" (Seth McCoy) | ||
| Projects | ||
| Additional listening | ||
| 13. Popular musical theater and opera from the Jacksonian era to the present | ||
| Minstrelsy and musical entertainment before the Civil War | ||
| "De boatman's dance" (Ensemble) | ||
| From the Civil War through the turn of the century | ||
| "The Yankee doodle boy" (Richard Perry) | ||
| The first half of the twentieth century | ||
| The musical in its maturity : Show boat to West side story | ||
| "Cool" West side story (original Broadway cast) | ||
| The musical since West side story | ||
| Opera in America | ||
| "It ain't necessarily so" (Lawrence Tibbett) | ||
| Projects | ||
| Additional listening | ||
| 14. Popular song, dance, and march music from the Jacksonian era to the advent of rock | ||
| Popular song from the 1830s through the Civil War | ||
| "Get off the track" (The Hutchinson Family Singers) | ||
| "Hard times come again no more" (The Hutchinson Family Singers) | ||
| "The battle cry of freedom" (George Shirley) | ||
| Popular song from the Civil War through the ragtime era | ||
| The band in America after the Jacksonian era | ||
| "The Washington Post march" (Advocate Brass Band) | ||
| Popular song from ragtime to rock | ||
| "Brother, can you spare a dime?" (Bing Crosby) | ||
| Tin Pan Alley and its relation to jazz and black vernacular music | ||
| The decline of Tin Pan Alley and the dispersion of the popular music industry | ||
| Projects | ||
| Additional listening | ||
| pt. V. Jazz and its forerunners | ||
| 15. Ragtime and precursors of jazz | ||
| The context of ragtime from its origins to its zenith | ||
| "Hello! My baby" (Don Meehan, Dave Corey) | ||
| The musical characteristics of ragtime | ||
| "Maple leaf rag" (Scott Joplin) | ||
| The decline and dispersion of ragtime | ||
| "If dreams come true" (James P. Johnson) | ||
| The ragtime revival | ||
| Precursors of jazz | ||
| "Eternity" (Eureka Brass Band) | ||
| "Just a little while to stay here" (Eureka Brass Band) | ||
| Projects | ||
| Additional listening | ||
| 16. Jazz | ||
| The New Orleans style : the traditional jazz of the early recordings | ||
| "Dippermouth blues" (King Oliver's Creole Jazz Band) | ||
| "Hotter than that" (Louis Armstrong and His Hot Five) | ||
| Dissemination and change : before the swing era | ||
| The swing era and the big bands | ||
| "Ko-ko" (Duke Ellington and His Orchestra) | ||
| The emergence of modern jazz : bop as a turning point | ||
| "Koko" (Charlie Parker) | ||
| "Out of this world" (John Coltrane) | ||
| The pluralism of the last quarter-century | ||
| "Bitches brew" (Miles Davis) | ||
| Projects | ||
| Additional listening | ||
| pt. VI. Classical music | ||
| 17. The search for an American identity | ||
| Music education before the Civil War | ||
| Music education and culture after the mid-nineteenth century | ||
| "Pawnee horses," Arthur Farwell (Dario Müller) | ||
| American music and American life | ||
| Rhapsody in blue, George Gershwin (Oscar Levant) | ||
| Afro-American symphony, William Grant Still (Fort Smith Symphony) | ||
| Appalachian spring, Aaron Copland (New York Philharmonic) | ||
| America's virtuoso cult | ||
| "The banjo," Louis Gottschalk (Eugene List) | ||
| "The battle of Manassas," Thomas Wiggins (John Davis) | ||
| Projects | ||
| Additional listening | ||
| 18. Twentieth-century innovation and the contemporary world | ||
| Charles Ives : American innovator in music | ||
| Four New England holidays, Charles Ives (Chicago Symphony Orchestra) | ||
| New York and Europe-related "modernism" | ||
| Hyperprism, Edgard Varese (Columbia Symphony Orchestra) | ||
| Midcentury modernism | ||
| The West coast : Cowell, Harrison, and Partch | ||
| "The Banshee" (Henry Cowell) | ||
| New technology and the new music | ||
| Minimalism | ||
| Piano phase (Steve Reich) | ||
| Multimedia art and concept music | ||
| Classical music and the contemporary world | ||
| The bushy wushy rag, Philip Bimstein (Equinox Chamber Players) | ||
| Projects | ||
| Additional listening | ||
| 19. Film music | ||
| A realistic film of the American west | ||
| Two films about the small town and the big city | ||
| Three career film composers | ||
| "The murder" Psycho, Bernard Herrmann (Los Angeles Philharmonic) | ||
| "The imperial march" Star Wars, John Williams (London Symphony Orchestra) | ||
| Epilogue | ||
| Projects | ||
| Additional listening | ||
| pt. VII. Music in your own backyard | ||
| 20. Tales of two cities : Austin, Texas, and Sacramento, California | ||
| Classical music in Austin, Texas : aspects from the 1930s to World War I | ||
| The Sacramento Valley : a rich mix of cultures | ||
| Projects | ||
| References | ||
| Glossary | ||
| Photo credits | ||
| Index. |
