American Music A Panorama, Concise Edition

by Kingman, Daniel

• ISBN13: 9780028646145
• ISBN10: 0028646142
• Edition: Concise
• Format: Hardcover
• Copyright: 1998-02-01
• Publisher: Schirmer

Summary

This best-selling survey text describes American music as a collection of distinct strains of music--including popular, folk, sacred, classical, blues, jazz, and rock music - that have evolved into a musical panorama reflecting the nation's unique character. By comparing and contrasting America's musical styles across regions and time periods, Kingman delivers a clear vision of American music that encompasses the historical sources of all American music, the ways in which diverse styles have influenced each other, and the cultural contributions of America's innovative and original composers.

Author Biography

Daniel Kingman is a professor emeritus of music at California State University, Sacramento. He is a well-known authority on American music.

Table of Contents

AUTHOR'S GUIDE TO THE CONCISE EDITION	xi
PART ONE. Folk and Ethnic Musics	3	(74)
Chapter 1. The Anglo-American Tradition	3	(17)
"Barbara Allen" as a Prototype of the Anglo-American Ballad	3	(2)
Print and the Ballad	5	(1)
Imported versus Native Ballads	6	(1)
The Music of the Ballads	7	(2)
Fiddle Tunes	9	(3)
Folk Music as an Instrument of Persuasion in the Twentieth Century	12	(8)
Chapter 2. The African-American Tradition	20	(20)
African Music and Its Relation to Black Music in America	20	(1)
Religious Folk Music: The Spiritual	21	(6)
Secular Folk Music	27	(13)
Chapter 3. The American Indian Tradition	40	(13)
Music in Aboriginal Indian Life	41	(5)
Characteristics of Indian Music	46	(1)
Indian Music and Acculturation	47	(6)
Chapter 4. The Latino Tradition	53	(24)
Sacred Music from Mexico	53	(3)
Secular Music from Mexico	56	(11)
Music from the Caribbean and South America	67	(10)
PART TWO. Three Prodigious Offspring of the Rural South	77	(62)
Chapter 5. Country Music	77	(23)
Enduring Characteristics of the Music	77	(4)
Enduring Characteristics of the Words	81	(3)
Commercial Beginnings: Early Recordings, Radio, and the First Stars	84	(3)
The West: The Cowboy Image	87	(1)
The West: Realism and Eclecticism	88	(1)
Postwar Dissemination and Full-Scale Commercialization	89	(4)
The Persistence and Revival of Traditional Styles	93	(7)
Chapter 6. Blues and Soul: From Country to City	100	(14)
Early Published Blues	100	(2)
Classic City Blues	102	(2)
Blues and Jazz	104	(1)
Boogie-Woogie	105	(1)
The Absorption of Country Blues into Popular Music	106	(3)
The Soul Synthesis	109	(1)
Blues in the 1990s	110	(4)
Chapter 7. Rock and Its Progeny	114	(25)
Characteristics of the Music	114	(3)
Characteristics of the Words	117	(5)
A Brief History of Rock's Times and Styles	122	(17)
PART THREE. Popular Sacred Music	139	(42)
Chapter 8. From Psalm Tune to Rural Revivalism	139	(22)
Psalmody in America	139	(3)
The Singing-School Tradition	142	(6)
The Frontier and Rural America in the Nineteenth Century	148	(8)
Music Among Our Smaller Independent Sects	156	(5)
Chapter 9. Urban Revivalism and Gospel Music	161	(20)
Urban Revivalism After the Civil War: The Moody-Sankey Era of Gospel Hymns	161	(2)
The Billy Sunday-Homer Rodeheaver Era: Further Popularization	163	(3)
Gospel Music After the Advent of Radio and Recordings	166	(15)
PART FOUR. Popular Secular Music	181	(62)
Chapter 10. Secular Music in the Cities from Colonial Times to the Jacksonian Era	181	(13)
Concerts and Dances	181	(3)
Bands and Military Music	184	(2)
Musical Theater	186	(3)
Popular Song	189	(5)
Chapter 11. Popular Musical Theatre from the Jacksonian Era to the Present	194	(23)
Minstrelsy and Musical Entertainment Before the Civil War	194	(6)
From the Civil War Through the Turn of the Century	200	(3)
The First Half of the Twentieth Century	203	(7)
The Musical Since the Advent of Rock	210	(7)
Chapter 12. Popular Song, Dance, and March Music from the Jacksonian Era to the Advent of Rock	217	(26)
Popular Song from the 1830s Through the Civil War	217	(7)
Popular Song from the Civil War Through the Ragtime Era	224	(6)
The Band in America After the Jacksonian Era	230	(4)
Popular Song from Ragtime to Rock	234	(1)
Tin Pan Alley and Its Relation to Jazz and Black Vernacular Music	235	(8)
PART FIVE. Jazz and Its Forerunners	243	(44)
Chapter 13. Ragtime and Pre-Jazz	243	(18)
The Context of Ragtime from Its Origins to Its Zenith	243	(3)
The Musical Characteristics of Ragtime	246	(4)
The Decline and Dispersion of Ragtime	250	(3)
The Ragtime Revival	253	(1)
Pre-Jazz	254	(7)
Chapter 14. Jazz	261	(26)
The New Orleans Style: The Traditional Jazz of the Early Recordings	261	(2)
Dissemination and Change: The Pre-Swing Era	263	(4)
The Swing Era and the Big Bands	267	(4)
The Emergence of Modren Jazz: Bop as a Turning Point	271	(6)
The Pluralism of the Last Quarter Century	277	(10)
PART SIX. Classical Music	287	(106)
Chapter 15. Laying the Foundation: Accomplishments from the Jacksonian Era to World War I	287	(21)
1830-1865: Education and Reform in a Time of Expansion	288	(1)
Outspoken "Nativists" of the Mid-Nineteenth Century	289	(5)
Louis Moreau Gottschalk and the Virtuoso in Nineteenth-Century America	294	(2)
After the Civil War: The Pursuit of Culture in a Time of Industrialization	296	(2)
The Second New England School	298	(2)
Five Individualists Around the Turn of the Century	300	(8)
Chapter 16. The Evolving Tradition, 1920-1970	308	(21)
Some Background for the "Fervent Years"	308	(4)
Music with Film	312	(3)
Music with Dance	315	(3)
Music with Poetry	318	(3)
Music Independent of Film, Dance, or Poetry	321	(8)
Chapter 17. Modernism I: New Ways with Old Tools	329	(23)
Charles Ives (1874-1954)	329	(10)
Henry Cowell (1897-1965)	339	(3)
Lou Harrison and John Cage	342	(1)
Harry Partch (1901-74)	343	(3)
Edgard Varese (1883-1965)	346	(6)
Chapter 18. Modernism II: The Impact of Technology and New Esthetic Concepts	352	(16)
The Surface Features of Mid-Century Modernism	352	(3)
The Two Dominant Rationales of Mid-Century Modernism	355	(4)
New Technology and the New Music	359	(2)
Other Aspects of Mid-Century Modernism	361	(7)
Chapter 19. Modernism Transcended: Autonomy, Assimilation, and Accessibility	368	(12)
Minimalism: A Radical Antidote to Modernism	369	(4)
Modernism Gives Way to Assimilation and Reconnection	373	(2)
Music of Association and the New Accessibility	375	(5)
Chapter 20. Opera Old and New	380	(13)
Opera in America before the 1930s: An Unassimilated Alien	380	(1)
Traditional American Opera Beginning in the 1930s	380	(5)
New Opera in the Last Quarter of the Century	385	(8)
PART SEVEN. Regionalism and Diversity	393	(16)
Chapter 21. Three Regional Samplings	393	(16)
Louisiana and the French Influence	393	(5)
The Upper Midwest and the Scandinavian Influence	398	(3)
The Sacramento Valley: A Rich Mix of Cultures	401	(8)
INDEX	409