Music 271: 3/21/07 II: The concept of program music of the Romantic and Post-Romantic periods: A: Differences between the SP (Symphonic Poem) and Character piece: • Similar to Photograph vs. Film • CP invite image without a story, SP creates a story • Both assume an extra-musical role • Berlioz, Liszt, Smetana, Strauss, Sibelius were all examples of programmatic composers B: Criticism of the Concept of Program Music: 1. Robert Schumann (1835): wrote a critical essay about Symphonie Fantastique (1829, Germany: mid-1830s) 2. Eduard Hanslick (1854: published an essay “Vom musikalischen Schönen” in 1854 • Ideas which a composer expresses are mainly and primarily of a purely musical nature. • Definite feelings and emotions are not capable of being embodied in music. C: Putting this to the test: two orchestral compositions and the evidence of their composers’ expressive intentions:

Music 271: 3/19/07 II: Post-Romanticism in Europe, c1850-1914 (Start of WWI): A: The break down of the previous consensus concerning musical style: • Historical period = consensus concerning music (performance practices, purpose, etc.) • GB p. 30 • 2 conflicting perceptions of place and purpose in music: • Germanic Romanticism vs. Nationalism B: The Emergence of European Nationalism • Has continued to present day • No one nation sets the standard anymore • Reaction to political and cultural domination by Germany over Central Europe • Italy and Central Europe were primary areas before WWI • Reaction to the power structure in Europe (Bonds p. 385) • Music that was based upon the composers vision of his/her society/history/culture/values/literature in the composer’s first language • New compositions emerging based on subject material from the composers region • Dance rhythms are one way in which Nationalism can be expressed • GB p. 62, Bonds p. 494, 491 III: The concept of program music of the Romantic and Post-Romantic periods: A: The principal orchestral genre of program music: the Symphonic or Tone Poem (Symphonische Dichtung, Ton Dichtung): • Franz Liszt coined the term Symphonic Poem in Hungarian, not German • Primary means of projecting Nationalism • Exclusively Instrumental music • Program Music: compositions intended by their composers to depict a story, narrative, series of events, sequence of thoughts, purely by means of instrumental music

Music 271: 3/16/07 II: The preservation of African values in the US: “Yonder Come Day”: • Bessie Jones - Lived on St. Simon’s Island, GA • Was the new Music Master in the new world (African drum masters) • Documentary Ideas: • Everyone was responsible for preserving the culture • Game Songs • Call & Response practice bought everyone into music making • Functionality - Each job has a song to take up the boredom or pain • Central role of religion in preserving culture • When deprived of their drums, Ms. Bessie ancestors devised “Drum substitutes” (Clapping, “Hambone”, Tambourine)

Music 271: 3.14.07 II: The evolution of African-American Christianity in resistance to white oppression: The Spiritual: • “Steal Away” - Night worship service was to be held OR Some slaves were going to an attempt an escape • “Joshua fit the Battle of Jericho” - displayed the slaves longing for freedom • “Go Down Moses” - Sung when it became apparent that the Confederacy would lose the war, and Union troops were setting slaves free (1862-63) • 1864-1865 - Celebratory spirituals (Free At Last) • “Yonder Come Day” - evening worship was drawing to a close III: African Sacred Dance adapted to Christianity: The Ring Shout: (GB p. 67) • Ring Shout - African sacred dance (CCW direction circle dance) • Conducted at night in “praise houses” • “Run, Old Jeremiah” - recorded 1934 in Jennings, Louisiana (sung by Joe Washington and Austin Coleman)

Music 271: 3/12/07 II: The Acculturative Process: African-American adaptations of European traditions and instruments: A: The simultaneous preservation of African musical practices and values: • “Turkey in the Straw” - Fiddle tune fondly remembered by former slaves B: African-American musical activity during the ante-bellum period: why was the violin so appealing (Part II): (GB p. 63-64) • Fiddle is capable of playing music from the West African traditions • Possible for a fiddler to swing, play blue notes • Africans had a bowed string instrument back in their homeland (Called: Gonje, Goge, Riti) • Used to waken the chief, alert the village etc. • Fiddle = 4-stringed gonje from the African viewpoint C: Returning the favor: black influences upon white music in the southern Appalachians: • Blacks taught the whites how to play the fiddle more rhythmically than previously • Documentary notes: • First encounter of a fiddle by a white Appalachian • Meeting point for cultures • Ballad of John Henry - “Steel driving man” • Dancing - Played for square dances, waltzes et al. 1. American vernacular dancing: another arena of acculturation: • Combines European dances with the African steps • Movement begins at the hips and the two halves of the body (upper and lower) move against that

Music 271: 3.9.07 There is only a podcast today because I had to attend the bassoon candidate master class. I apologize.

Music 271: 3.9.07 There is only a podcast today because I had to attend the bassoon candidate master class. I apologize.

Music 271: 2/28/07 II: Continued discussion of the cultivation and sacralization of European Art music in post-Civil War America: A: The role of Upper-Middle Class Elites in cultivating E.A.M: • John Sullivan Dwight - 1852-1881 established Dwight’s Journal of Music • Dwight believed in the superiority of Central European Art Music • Cultivated music - music that has been imported by another culture • Modern Applications - 1911: NY Philharmonic received $1M only if they featured the donor’s favorite composers in their concerts • Elites used Art Music as a way to separate themselves from the immigrants • Patronized orchestras and opera companies • “Art music is not for everyone” - Theodore Thomas • Social status and elitism are the result of European Art Music B: Statistical evidence of the privileged place of Germanic orchestral music: • More than 50% of music played in the early 20th-century was Austro-Germanic in origin C: The Concept of Nationalism: Temperley’s Theory of its evolution: (GB p. 62) • Nationalism - assertion of pride in one’s region/nation in the face of a larger and culturally/politically dominant nation • Aaron Copland was an example of an American nationalistic composer • Temperley’s Theory: 1. Imitation by composer of one nation of the style of the high-status foreign culture with the aim of demonstrating their equal competence in that style. Americans primarily imitate Germanic composers. Example: Works by the 2nd New England School 2. Native subject matter and recognizably native tunes are introduced as superficial coloring for a style still fundamentally that of the foreign culture. Example: Gottschalk: The Banjo 3. *Will be discussed later* D: The second New England School: (Crawford Ch. 18-19) 1. John Knowles Paine (1839-1906) - Born in Maine, educated by a German organist in Maine, went to music school in Berlin. Joined Harvard faculty and became the first professor of music there. 2. Horatio Parker (1863-1919) - Studied music in Munich. Took up Professor of Music at Yale. 3. George Whitefield Chadwick (1854-1931) - Also studied in Munich. 4. Amy Cheney Beach (1867-1944) 5. Edward MacDowell (1860-1908) - Studied in Paris, and later in Germany.

Music 271: 2/28/07 II: Continued discussion of the cultivation and sacralization of European Art music in post-Civil War America: A: The role of Upper-Middle Class Elites in cultivating E.A.M: • John Sullivan Dwight - 1852-1881 established Dwight’s Journal of Music • Dwight believed in the superiority of Central European Art Music • Cultivated music - music that has been imported by another culture • Modern Applications - 1911: NY Philharmonic received $1M only if they featured the donor’s favorite composers in their concerts • Elites used Art Music as a way to separate themselves from the immigrants • Patronized orchestras and opera companies • “Art music is not for everyone” - Theodore Thomas • Social status and elitism are the result of European Art Music B: Statistical evidence of the privileged place of Germanic orchestral music: • More than 50% of music played in the early 20th-century was Austro-Germanic in origin C: The Concept of Nationalism: Temperley’s Theory of its evolution: (GB p. 62) • Nationalism - assertion of pride in one’s region/nation in the face of a larger and culturally/politically dominant nation • Aaron Copland was an example of an American nationalistic composer • Temperley’s Theory: 1. Imitation by composer of one nation of the style of the high-status foreign culture with the aim of demonstrating their equal competence in that style. Americans primarily imitate Germanic composers. Example: Works by the 2nd New England School 2. Native subject matter and recognizably native tunes are introduced as superficial coloring for a style still fundamentally that of the foreign culture. Example: Gottschalk: The Banjo 3. *Will be discussed later* D: The second New England School: (Crawford Ch. 18-19) 1. John Knowles Paine (1839-1906) - Born in Maine, educated by a German organist in Maine, went to music school in Berlin. Joined Harvard faculty and became the first professor of music there. 2. Horatio Parker (1863-1919) - Studied music in Munich. Took up Professor of Music at Yale. 3. George Whitefield Chadwick (1854-1931) - Also studied in Munich. 4. Amy Cheney Beach (1867-1944) 5. Edward MacDowell (1860-1908) - Studied in Paris, and later in Germany.

Music 271: 2/6/07 II: The establishment in the US of European Art Music at the top of a musical hierarchy: “The sacralization of European Art Music: (Crawford Ch. 15) A: Four Major developments between the end of the Civil War and the beginning of WWI: • Establishment of conservatories of music (Modeled after Central European schools) 1. Oberlin Conservatory (1865) 2. New England Conservatory, Cincinnati, Chicago Academy of Music (1867) 3. Peabody Conservatory (1868) 4. New York College of Music (1878) 5. National Conservatory of Music (1885) 6. Institute of Musical Art (1905) - merges into Julliard School of Music (1926) • Concert halls and theatres 1. 1857: Academy of Music, Philadelphia 2. 1878: Cincinnati’s Music Hall 3. 1882: The Metropolitan Opera House 4. 1889: Chicago’s Auditorium 5. 1891: Carnegie Hall 6. 1900: Symphony Hall in Boston • Formation of professional orchestras 1. 1881: Boston Symphony Orchestra 2. 1891: Chicago Symphony Orchestra 3. 1895: Cincinnati Symphony 4. 1900: Philadelphia Orchestra 5. 1918: Cleveland Symphony 6. 1923: New York Philharmonic • Academic programs of music B: The role of John Sullivan Dwight of Boston: Dwight’s Journal of Music: