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2.28.07
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.
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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.