By Richard Crawford, Larry Hamberlin
An ear-opening exploration of music’s New international, from Puritan psalmody to mash-ups.
Richard Crawford and Larry Hamberlin express how the energetic interactions among the folks, well known, and classical spheres have made American track resonate with audiences all over the world. scholars will the way to pay attention seriously to eighty-eight items in all of the significant kinds and genres, whereas gaining a clearer realizing of music's position within the historical past of yankee society, enterprise, and expertise.
Read Online or Download An Introduction to America's Music (2nd Edition) PDF
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Extra info for An Introduction to America's Music (2nd Edition)
American history is not something that all happened west of the Atlantic Ocean; the territory that is now the United States was in reality an extension of European empires. Entrepreneurs in those nations, needing a labor force to extract the “new” continent’s riches, encouraged their own people to settle there. They also brought slaves from Africa to enhance production and promote the increase in farming. Though geographically separated from Europe, America has for more than four centuries been tied economically, politically, and culturally to the Old World, forming a vast transatlantic arena in which the drama of western expansion has been played out.
With this insight, we can take a closer look at the art of combining pitches. PITCHES IN COMBINATION: SCALES, KEYS, HARMONY Scales If we take all the pitches in a melody and arrange them in sequence from the lowest to the highest (or vice versa), the resulting pitch collection is called a scale. The term comes from the Italian word scala, a ladder or staircase, and the analogy is apt: each pitch may be visualized as a rung in the ladder, and a melody’s rising and falling contour as climbing up and down the ladder.
This style, eventually labeled the Old Way of singing, won favor with many New England worshipers. Although lining out eventually disappeared from New England churches, the practice has continued to the present day among a few extremely conservative religious groups. A recording from mid-twentieth-century rural Kentucky demonstrates a vocal practice that resembles the Old Way in some respects, though we should not assume that it matches exactly the singing of colonial New England congregations.