Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
MUSIC LITERACY FACT SHEET TITLE 1. Go Tell It On the Mountain -----------------------------------------------------------------------------------------------------------STYLE PERIOD/GENRE 1. African American Spiritual 2. Carol -----------------------------------------------------------------------------------------------------------COMPOSER/ARRANGER/EDITOR 1. Attributed by Frederick Jerome Work (1880-1942) 2. Arranged by Carolyn Jennings -----------------------------------------------------------------------------------------------------------COMPOSER INFO 1. John Wesley Work is said to have been the first black collector of Negro folksongs, and was most likely born on August 6, 1871 in Nashville, Tennessee. His father, John Wesley Work, was a church choir director in Nashville, where he wrote and arranged music for his choirs. Some of his choristers were members of the original Fisk Jubilee Singers. He attended Fisk University in Nashville where he studied Latin and history. Singing in the Mozart society while at school sparked an interest in Negro spirituals in Work. Following graduation, Work went on to teach for a year, studying for one year at Harvard University, and a year as a library assistant at Fisk University. In 1898, he received a Master’s degree from Fisk and took an appointment as a Latin and Greek instructor. While teaching, Work became a leader in the movement to preserve, study, and perform Negro spirituals. He organized Fisk singing groups about 1889. With the help of his brother, Frederick Jerome Work ,John Wesley Work, Jr., collected, harmonized, and published a number of collections of slave songs and spirituals. The first of these collections was New Jubilee Songs as Sung by the Fisk Jubilee Singers, in 1901. Among the other solo songs he published, the spiritual, "Go, Tell It On The Mountain" was issued in 1907. In 1915, Work published "Folk Song of the American Negro." For as many as eighteen years, Work trained and performed with professional and student groups of the Jubilee singers. His wife, Agnes Haynes Work, was a singer who helped train the Fisk group. Because of negative feelings toward Black folk music at Fisk, he was forced to resign in 1923. John Wesley Work, Jr. then served as president of Roger Williams University in Nashville, until his death on September 7, 1925. One son, Julian, became a professional musician and composer. Another son, John Wesley Work III became famous in his own right as a collector, composer and educator at Fisk. He wrote American Negro songs and spirituals; a comprehensive collection of 230 folk songs, religious and secular in 1940. Additional biographical materials on this son follow. 2. Carolyn Jennings is a Professor Emerita of Music at St. Olaf College where she taught for many years and also served in administrative roles, including being Chair of the Music Department and Associate Dean for the Fine Arts. She also recently retired as Music Coordinator and Director of the Senior Choir at St. John's Lutheran Church, Northfield, Minnesota, where she served as a church musician for over thirty years. Carolyn Jennings is a graduate of the University of Iowa with a Bachelor of Arts degree in music magna cum laude and the University of Michigan where she received her Master of Music degree as a Woodrow Wilson Fellow. Over many years she has served on arts advisory panels, as a workshop presenter, and in leadership roles in several professional organizations. She has been active in promoting the use of inclusive language in texts for singing, and has worked to heighten awareness of how language shapes as well as expresses thought. Her compositions and arrangements include works for voices, orchestra, and piano. She particularly enjoys composing for voices. Among her many commissioned works are children's musical, a choral song cycle, a composition for the Minnesota Aids Quilt Songbook, and many compositions for church, school and community choirs. She has received several major grants from the Composers Commissioning Program through the Minnesota Composers Forum. Choral compositions and arrangements by Carolyn Jennings are widely sung by church, community, college and school choirs. Her publications include over a hundred choral compositions and arrangements, a number of text translations, contributions to several hymnals, and articles for professional journals. She is active in the American Choral Directors Association, the Music Teachers National Association, the Minnesota Composers Forum, the Association of Lutheran Church Musicians, and as a guest conductor and workshop leader. -----------------------------------------------------------------------------------------------------------TEXT 1. Author of the refrain Unknown 2. Verses by John Wesley Work II (1880-1942) 3. Bible reference Isaian 40:9; Luke 14:23 -----------------------------------------------------------------------------------------------------------SOUND 1. a cappella 2. SATB choral music -----------------------------------------------------------------------------------------------------------HARMONY 1. Simplistic 2. Comfortable voice accompaniment -----------------------------------------------------------------------------------------------------------MELODY 1. 5 note melody (pentatonic) 2. Alternates mostly between the soprano and tenor voice parts -----------------------------------------------------------------------------------------------------------RHYTHM 1. syncopation 2. Vocal accents and dynamic contrasts give the song rhythmic vitality 3. With an easy swing tempo -----------------------------------------------------------------------------------------------------------GROWTH/FORM 1. Strophic (song form) – verse, refrain, verse, refrain -----------------------------------------------------------------------------------------------------------TIME SIGNATURE 1. 4/4 2. 4 beats per measure, the quarter note gets one beat -----------------------------------------------------------------------------------------------------------KEY SIGNATURE 1. G Major 2. One sharp # in the key signature with the last note of the melody being ‘do’ -----------------------------------------------------------------------------------------------------------IMPORTANT TERMS/SYMBOLS/SIGNS > = accent = a surface emphasis or stress given to a moment in the musical flow a tempo – return to the original tempo staccato – short, detatched poco rit. (poco ritardando) – slow down a little Swing tempo mp, p, mf, pp, f cresc. (crescendo) – gradually get louder (decrescendo) – gradually get quieter (softer) tenuto = hold the note in question its full length NOTEWORTHY