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Transcript of Part 2 The Tumultuous Nineteenth Century Chapter 7: Concert Music America’s Musical Landscape 6th...
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Part 2The Tumultuous Nineteenth
CenturyChapter 7: Concert Music
America’s Musical Landscape 6th edition
© 2010 The McGraw-Hill Companies, Inc. All rights reserved
2© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 2
Chapter 7: Concert Music Differences between popular and classical music assumed more
significance in America as the nineteenth century progressed
Those differences were less distinct than the subjective lines drawn today between vernacular music (“for the people”) and art or concert music (for an audience viewed as somewhat select)
During the decades before and after the Civil War
household music and religious songs remained vital
Interest grew among composers, performers, and listeners in music for the concert hall
3© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 3
Orchestral Music in the Late Nineteenth Century: Background Music activity increased greatly across America, including
Outstanding conservatories=professional music schools Concert halls Opera houses
1882: Metropolitan Opera House, New York City 1891: Carnegie Hall, New York City
Americans enjoyed access to more concert music of greater variety and finer quality than ever before
Choral and chamber societies presented programs Serious and light opera became popular Great virtuosos continued to attract an appreciative audience
4© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 4
Orchestral Music Americans preferred the German Romantic
style in orchestral music
Romantics (Germans and others) approached the elements of music differently from their classical forbears
5© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 5
Characteristics of Romantic Music Long and lyrical melodies Asymmetrical phrases Repeated songlike melodies with variation or embellishment Chordal harmony became fuller and steadily more dissonant
Dissonant = less harmonically stable Expansion of tonal harmony through addition of new tones to
familiar chords Newly varied and colorful effects
Freer treatment of rhythms Sometimes avoiding regularly recurring patterns of a certain
number of beats per measure; phrases of irregular length
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 6
Romantic Music and the Exploration of Timbres Timbre = color (of sound)
Nineteenth-century music includes increasingly rich and imaginative instrumental effects Technological changes increasing capabilities of woodwind and
brass instruments encouraged their wider use in the orchestra A greatly expanded percussion section added variety in timbre Additional strings added to balance the increased winds and
percussion
The Romantic orchestra was larger than that of the Baroque or Classical period, with a richer variety of timbres
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 7
European Orchestras in America Performed European works The visiting orchestra led by French
conductor and showman Louis-Antoine Jullien (1812-1860) was The first ensemble to give American
orchestral music serious attention Jullien gave a flashy looking concert
1853: Added American musicians to his orchestra
Started to program works by American composers
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 8
Orchestras Throughout the Nineteenth Century Large orchestras held little interest for the young republic
Few orchestras existed Professional and amateur musicians tried to make the orchestras
appealing to American taste 1820: Moravians founded a Philharmonic Society in Bethlehem, PA
Philadelphia: American and immigrant musicians organized a Musical Fund Society to perform Symphonic music and choral music accompanied by orchestra
1842: The New York Philharmonic Society, the nation’s oldest orchestra still in existence today was founded But it was a loosely organized and haphazard association
9© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 9
Theodore Thomas (1835-1905) A German-born violinist
who joined the New York Philharmonic Society Played for theater and
opera orchestras Intended to become an
orchestral conductor To raise the level of
Americans’ appreciation for orchestral music
His dream came true!
10© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 10
Theodore Thomas Scornful of the casual rehearsal and concert
procedures of the New York Philharmonic Society Formed his own orchestra
Hired the best musicians Rehearsed rigorously 1864: Started performing public orchestra concerts
guaranteed to please an audience Altered the balance in his concerts between light, familiar
pieces and more serious, challenging works His listeners became experienced with orchestral fare
11© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 11
Theodore Thomas and His Contributions to American Music Invited solo virtuosos to perform for an enthusiastic audience
Alternated audience favorites with more serious pieces Gave some attention to American music
Traveled widely with his orchestra Bringing orchestral music to new audiences Extending musicians’ employment season
Established and conducted the Theodore Thomas Orchestra Later known as the Chicago Symphony Orchestra
Other orchestras formed in America during the next decades By the mid-twentieth century orchestras across the country rendered
America a veritable nation of symphony orchestras
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 12
Romantic Virtuosos Virtuoso: A performer who possesses dazzling
technical brilliance; a quality of musicianship
Musicianship is the broad combination of talents possessed by the consummate performer, and includes
Sensitivity to the style of the music, which differs from one period and one culture to another
Originality of interpretation
Accuracy
13© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 13
Romantic Virtuosos and American Audiences Nineteenth-century Europeans enjoyed expressive extremes
Europeans responded with equal enthusiasm to a large symphony orchestra and an intimate solo recital
But Americans had more access to recitals
Americans attended concerts in the same frame of mind as viewing a circus or minstrel show; they enjoyed
Solo virtuosos’ dazzling displays of technique Familiar pieces they knew and loved
The unfamiliar new music of composers was undesirable to the American public
14© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 14
Romantic Virtuosos: Performers The conspicuous lack of interest in American music on either
continent frustrated American composers
But the great nineteenth-century virtuosos benefited from the American passion for their brilliant performances
Europeans were starting to tire of their virtuosos
Performers flocked gratefully to America
An adoring American public eagerly applauded their showy performance techniques
15© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 15
Romantic Virtuosos: Louis Moreau Gottschalk (1829-1869) Gottschalk was a virtuoso pianist of diverse heritage, with…
An English Jewish father educated in Germany
A Creole mother from a wellborn French family that had emigrated to the West Indies
Creole refers to people of mixed racial heritage
The Creole aspect of Gottschalk’s maternal side of the family caused some to believe erroneously that Gottschalk had African American ancestors
Multilingual, Gottschalk spoke French, Spanish, English
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 16
Louis Moreau Gottschalk: Growing Up Growing up in New Orleans, Gottschalk absorbed the sounds of
various cultures
French Spanish African American Creoles
Age 13: Recognizing his talent and lack of opportunities to learn at home, Gottschalk’s parents sent him to France to study music
Abroad for 13 years, aristocratic Europeans admired… Gottschalk’s youthful compositions for piano And his astonishing virtuosity
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 17
Louis Moreau Gottschalk: Back home in America 1853: Gottschalk, after much success, returned to America
Audiences felt his long stay abroad had made him respectable They enjoyed his performances of his own piano pieces
Gottschalk then spent years in the West Indies, whose native musical sounds went into his own piano compositions 1862: Returned to the United States to find America at war
He sided with the North Toured extensively
Performing his own music Reaching people who had never heard concert music Contributing payments to the Union cause
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 18
Louis Moreau Gottschalk: Later Days Criticized by some for playing his own tuneful compositions
instead of classics by Beethoven, Chopin and others He replied that he played what the audience wanted to hear He felt that American musical taste improved during his lifespan
1865: Left the United States following a scandal in which he probably was innocent; traveled to South America There, organized huge concerts reminiscent of Patrick
Gilmore’s mammoth concerts Including a festival in Cuba involving 650 performers
Age 40: Died of mysterious causes, possibly yellow fever
19© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 19
Piano Music By 1800 the piano was the keyboard instrument of choice
The ideal Romantic instrument for its expressive capabilities
The damper or “loud” pedal (to the player’s right) Held tones, connecting them for a legato (smooth) lyrical melody line Allowed sounds to accumulate to thunderous effect
The una corda (one string) or “soft” pedal (on the left), shifted the keyboard and
Dampened the volume Altered the color of the sound
The center sostenuto pedal on larger pianos allowed the player to sustain some tones while others sounded cleanly above them
20© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 20
Pianos and Their Popularity Piano music was immensely popular in the United States
Varied concert programs often included a virtuosic piano performance
The best pianos in the world were produced in the United States 1854: Henry Mason, son of Lowell, cofounded the famous
Mason and Hamlin piano company Others in America included
Jonas Chickering William Knabe Henry Steinway
Mid-nineteenth century: Pianos were common in the home The average young lady could master “household” piano music
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 21
Louis Moreau Gottschalk: Piano Music Gottschalk’s musical output
includes Songs Orchestral works Piano music especially
Piano pieces based upon popular dances; also, character pieces
Character piece=A relatively short piano piece evoking a particular mood or scene
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 22
Gottschalk’s Best Known Piano Compositions Included… Character pieces that capture the mood or character of their
subject in musical terms; examples are… “Berceuse” (“Lullaby”) “The Banjo”
Popular dances for piano, not intended for dancing, but to capture the mood, style, tempo, form, and meter of a popular step
Gottschalk composed waltzes = ballroom dances in triple meter
He composed mazurkas = Polish folk dances of varying character, in triple meter
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 23
Listening Example 26Le bananierBy Louis Moreau GottschalkListening Guide page 110
Genre: Character pieceTimbre: pianoTexture: HomophonicForm: Theme and Variations = A melody or theme recurring
throughout the piece is varied, perhaps in tempo, timbre, rhythm, meter, accompaniment, ornamentation, etc., thus providing both unity and contrast
Meter: Duple
The left hand introduces an “obstinately” repeated rhythmic and melodic pattern called an ostinato, which will accompany the first sectionof the theme (a), played by the right hand. Section a repeats. The second half of the theme (b), higher than a in range, accompanied a new ostinato. Repeat. b is delicately embellished by the right hand, with chords in the left hand. A variation of a played in a major key repeats an octave higher. A section of new material sounds improvisatory. The major version of Ais played by the left hand while the right hand plays runs. b recurs. Bits of a and virtuosic figures end the piece.
24© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 24
Rise of Nationalism in Music Strong European nationalistic efforts in the second half of the
nineteenth century
Artists in Russia, Bohemia, Norway, and Finland establish strong national styles
Drawing inspiration from folk takes, legends, religious music
Interest in peasant traditions
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 25
The Rise of Nationalism in Music American paintings began to
reflect America’s splendors
A few composers set out to Capture the American spirit in music Get American music performed
The attempts were unsuccessful Ignored by audiences Europeans considered
Americans to be novices in art—and Americans agreed
In the FieldsPainted by Eastman Johnson (1824-1906)
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 26
Rise of Nationalism in Music
America’s best-known composers continued to make their music sound as German as possible
A few American composers set out to capture the American spirit in music and to promote performances of American music, but were largely ignored
1892: Mrs. Jeanette M. Thurber, an American interested in establishing a nationalistic music style, invited Antonín Dvořák,a prestigious Bohemian nationalist composer to direct the National Conservatory of Music in New York City
27© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 27
Antonín Dvořák in America: He was fascinated by the music of
African Americans and Native American Indians
Perplexed that Americans lacked interest in “native” music
Illustrating his ideas, plus America’s beauty, he wrote Symphony No. 9 (From the New World), and chamber pieces
Used scales of black or Indian music
Harmonized and orchestrated as per Western custom
The Scout, Friend or Enemy?Painted by Frederic Remington (1861-1909)
28© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 28
The Second New England School New York City was the center of music performance in the late
nineteenth century
The Boston area nurtured significant developments in music, philosophy, literature
New England produced most of the important American composers of the era
1881: The Boston Symphony Orchestra was founded Supported efforts of local composers
Brought their music to public attention Often with repeated performances of a well-received work
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 29
The Second New England : Members The first American composers to write significant works in all the
large concert forms
Their music was comparable in style and quality to music of many of their European contemporaries
Dubbed the “Boston Classicists,” they shared a dedication to
The principles of German music theory
Concern for craftsmanship
Contributed to every genre of concert music
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 30
The Second New England School: Members Many were church musicians and organists who included organ
transcriptions of opera arias and symphonic music in their recitals
They brought this music to Americans who would otherwise not have access to opera or orchestra concerts
Transcription = An arrangement of a piece originally composed for a particular instrument or ensemble so that it can be played by a different instrument or combination of instruments
These intrepid pioneer composers also contributed compositions for organ and choral music to the American music repertoire
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 31
Second New England School:John Knowles Paine (1839-1906) The oldest member and leader of the Second New England School
Paine: An American who was educated in music in Germany
While in Germany, Paine wrote his Mass in D for chorus, soloists, and orchestra, reminiscent in style to a well-known mass by Beethoven
This was the first large composition by an American to be performed in Europe
Mass = A setting to music of the most important Roman Catholic worship service
32© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 32
John Knowles Paine: The Educator 1861: Back home in America during wartime,
Paine became the organist at Harvard University
He offered free noncredit lectures in music (not considered a proper course of study in universities at the time)
The lectures were well received
1875: Harvard became the first American college to include music in its formal curriculum
Paine became the first American professor of music
33© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 33
John Knowles Paine: Music Compositions His Symphony No. 1
First performed by Theodore Thomas’s orchestra in 1876 The first American symphony to be published—but in
Germany rather than America—only after Paine’s death
He wrote many other kinds of music as well Songs Hymns An opera Several fine keyboard compositions for organ or piano
34© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 34
Listening Example 27Fuga giocosa, op. 41, no. 3By John Knowles PaineListening Guide page 114
Form: FugueKey: G majorThe subject (main melody) of this three-voice fugue is based on an old
baseball song, “Over the Fence is Out, Boys.” It is tossed—like a baseball, perhaps—from one voice to another.
After the exposition, Paine explores several major and minor keys throughout the rest of the fugue. He sometimes treats thefirst four notes of the subject as amotive, repeating the bouncing figure at different levels of pitch,a technique called musicalsequence.
Occasional large chords provide effective contrast to the polyphonictexture, and the piece becomesincreasingly virtuosic and dramatic.It is never pretentious, and at the end, like the beginning, is light andhumorous.
35© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 35
Fugue: A polyphonic composition with three to five
melodic lines or “voices” entering one at a time in imitation of each other, according to specific rules
Originally conceived as a form of European keyboard music Highly structured Suitable for every performing medium, including voice
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 36
Fugue: Form of the Exposition Exposition = The beginning section of the fugue, in which all
the voices are introduced (“exposed”)
The principal theme or subject enters alone After the subject has been heard in entirety, it is imitated by
each of the other voices in turn until each has made its entrance The first entrance—the subject—is on the tonic The second voice, or answer, begins on the dominant
The answer is similar but not identical to the subject The remaining voices (usually a total of three or four)
alternate entrances between tonic and dominant until each voice has been introduced
37© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 37
Fugue: After the Exposition Following the exposition, each voice proceeds
with independent material, referring to the subject and answer more or less frequently throughout the piece
There may be a second theme, or countersubject Introduced in the same manner as the subject Recurring throughout the fugue Motive = a short melodic phrase that may be developed
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 38
The Form of a Fugue Exposition of a four-voice fugue (page 116)
Subject (tonic) (Other thematic material)
Answer (dominant) (Other thematic material)
Subject (tonic)
Answer (dominant)
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Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 39
Amy Marcy Cheney Beach
Recognized early as an outstanding pianist
The first American woman composer to Rank with such highly educated and sophisticated musicians as
those of the Second New England School Write a successful mass and a symphony
Women of Beach’s day were not given the education, the financial and social support, or the patronage required to succeed as professional composers
40© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 40
Mrs. H. H. A. Beach = Amy Marcy Cheney Beach Beach’s parents and husband recognized her talent up
to a point Childhood: Studied piano but had little training as a composer
She trained herself by translating into English important foreign treatises on instrumentation and orchestration
Performance career Before marriage performed as pianist with the Boston
Symphony Orchestra and also the Theodore Thomas Orchestra Married, her husband preferred that she compose only
It was improper back then for married women to perform After her husband’s death, Beach resumed her concert career
41© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 41
Amy Cheney Beach: As a Woman Composer Beach’s compositions were widely performed in America and
Europe
She could not escape references to her sex in reviews of her work
Criticism at times for trying to sound masculine
Praise at other times for her properly feminine graceful melodies and more gentle symphonic passages
She handled the symphonic medium very capably, but Beach composed more art songs than any other form
Her contemporaries readily accepted songs as fitting examples of feminine creativity
42© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 42
Amy Cheney Beach: Views Concerning American Music Pertaining to Dvořák’s recommendation to produce American music
based on ethnic and traditional idioms
Beach disagreed that African American or Native American music represented the influences prevalent in her society
Stated most people’s ancestors were English, Scottish or Irish, and…
Music should be based on songs from those areas Much of Boston’s population was Irish
Thus, Beach based her Symphony in E minor (“Gaelic”) upon Irish tunes
43© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 43
Listening Example 28Symphony in E minor (“Gaelic”) second movementBy Amy Marcy Cheney BeachListening Guide page 118
Form: The coda is the closing sectionTempo: A is slow, relaxed; B is fast (allegro vivace)Meter: A is in compound quadruple meter (12/8), with four slow beats per
measure, divided by three; B is in simple duple meter (2/4)
One section or movement of a symphony describing the struggles, laments, romance, and dreams of the Irish people
A B A coda
A: Oboe introduces the lovely theme, accompanied by other woodwinds (the Irish tune “The Little Field of Barley”)
B: Beach transforms the now excited theme, which repeats in different keys with great variety
A The theme returns, along with a romantic climax
B The coda, with the agitated B theme, brings the movement to a satisfying end
44© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 44
Edward MacDowell (1860-1908) MacDowell was not a member of the First New
England School
Too romantic to be called a classicist
Too individual to be included in a school of composers
MacDowell was the first American to write concert music in a style distinctively his own
45© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 45
Edward MacDowell: Background As a talented teenager MacDowell went to Paris
to study art and music
Then selecting music, traveled to Germany to study music theory and composition
An accomplished pianist, he performed widely while in Europe
Some of his songs and pieces in the German style were published in Germany before his 1888 return to America
46© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 46
Edward MacDowell: Columbia University Years Following years of performing, composing, and teaching in the
Boston area…
1896: Accepted the position as head of the newly established music department at Columbia University, New York City
MacDowell was now able to implement his ideal of teaching music as related to the other arts
Created a curriculum similar to a humanities program As composer, poet, and artist, MacDowell believed…
The arts cannot be understood in isolation from each other
47© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 47
Edward MacDowell: Beliefs and Music Did not espouse the claim that quoting African American or Indian
themes would establish a characteristically American music
Believed that American music should seek to capture the youthful, optimistic spirit of the country
Nevertheless, he was unable to resist references to American Indian music in several of his pieces
Example: Indian Suite, based on Native American lore or experience, using American Indian or Indian-like melodies
Suite = An orchestral work consisting of several sections or semi-independent pieces
48© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 48
MacDowell’s Piano Pieces Reflect his romantic love of nature
Painting in musical terms idyllic scenes of woodland lakes and hills
Example: Woodland Sketches, two movements of which are…
“To a Wild Rose” “From an Indian Lodge” (notice the American Indian
theme)
These delicate, intimate, modest piano miniatures capture the essence of the sounds and moods of nature
49© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 49
MacDowell’s Legacy: The MacDowell Colony MacDowell’s vision of music as one of the
integrated arts has benefited American arts to this day
After his death, his widow established a summer colony on their estate at Peterborough, New Hampshire
Artists, musicians, and literary figures are invited to spend uninterrupted summers working within their chosen field at what is now called the MacDowell Colony
50© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Summary 50
Part 2 Summary The turn of the nineteenth century:
Americans were more romantic than classical in their style of expression
Americans had romantic zeal to improve conditions of life
Initiated religious and social reform movements
Initiated efforts to reform American music by making it sound more European
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Part 2: The Tumultuous Nineteenth Century Summary 51
Lowell Mason Lowell Mason led the movement to reform
musical taste in America
Mason
Wrote hymns
Brought music education to the public schools
Attempted to raise the level of musical awareness and appreciation
52© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Summary 52
Country Folk Continued to practice and enjoy their accustomed ways of
reading and singing music
Singing schools were popular in rural areas Shape-note songbooks such as The Sacred Harp were used as
teaching materials
During the Great Revival people of all ages and races attended camp meetings They enjoyed singing rousing hymns and spirituals
Secular songs became popular Reflecting experiences of everyday life
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Part 2: The Tumultuous Nineteenth Century Summary 53
City Residents Theaters offered popular entertainment that was
primarily musical
Popular types of music included Religious songs Sentimental ballads Songs of social protest Glees sung in parlors and concert halls Performances of well-known singing families such as the
Hutchinsons Minstrel shows
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Part 2: The Tumultuous Nineteenth Century Summary 54
Minstrel Shows Minstrelsy:
The most popular entertainment of the period leading to the Civil War
White men darkened their skin and imitated songs, dances, dialect of stereotypical African Americans
Stephen Foster wrote outstanding minstrel songs
Genteel society preferred his love songs, Civil War songs, sentimental ballads about home
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Part 2: The Tumultuous Nineteenth Century Summary 55
Concert Bands
Concert bands became balanced ensembles capable of performing
Transcriptions of orchestral and operatic literature
More popular pieces
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Part 2: The Tumultuous Nineteenth Century Summary 56
Virtuosos Mid-nineteenth-century Americans enjoyed music
performed by virtuoso soloists
Louis Moreau Gottschalk, American composer and pianist Gottschalk was internationally acclaimed Introduced American Civil War era audiences to piano music
Performed his own light but stirring compositions
Presented orchestral programs that pleased audiences, raising the level of appreciation for orchestral music (primarily European)
57© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Summary 57
Composers The Second New England School of Composers
Produced the first significant American concert music
Primarily in German-Romantic style
Edward MacDowell (not of the Second New England School)
Developed a characteristic, although not distinctively American idiom of his own
The MacDowell Colony in Peterborough, New Hampshire, invites artists in every discipline to spend summers there
58© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.
Part 2: The Tumultuous Nineteenth Century Chapter 7: Concert Music 58
Image Credits
Slide 6: The Scout, Friend or Enemy? painted by Frederic Remington (1861-1909) © COREL
Slide 7: Conductor Silhouette Highlighted on Music, © Digital Vision/Getty Images
Slide 9: Conductors Hands, © Digital Vision/Getty Images Slide 12: Portrait of a Violinist,
© Ryan McVay/Getty Images Slide 21: Grand Piano in a Living Room Royalty-
Free/Corbis Slide 25: In the Fields, by Eastman Johnson (1824-1906)
© Corel