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America’s Musical Landscape 5th edition PowerPoint by Myra Lewinter Malamut Georgian Court University Part 2 The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century © 2006 The McGraw-Hill Companies, Inc. All rights reserved American Concert Music Comes of Age: The Late Nineteenth Century Americans preferred the German Romantic style in orchestral music Romantics (Germans and others) approached the elements of music differently from their classical forbears © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 2 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 Expansion of tonal harmony through addition of new tones to familiar chords Freer treatment of rhythms Newly varied and colorful effects Sometimes avoiding regularly recurring patterns of a certain number of beats per measure; phrases of irregular length Rich, imaginative instrumental effects affected timbre (color) © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 3 Romantic Music and the Exploration of Timbres Timbre=Color 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 4 The Late Nineteenth Century and Nationalism in America America’s best-known composers continued to make their music sound as German as possible But a strong nationalistic urge developed among a few dedicated American musicians and listeners 1892: Mrs. Jeanette M. Thurber, an American interested in establishing a nationalistic music style, invited a prestigious Bohemian nationalist composer to direct the National Conservatory of Music in New York City Antonín Dvořák (1841-1904) © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 5 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century The Scout, Friend or Enemy? Painted by Frederic Remington (1861-1909) 6 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 7 The Second New England School of Composers: 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 8 The Second New England School of Composers: 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 9 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 10 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) 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 11 John Knowles Paine: Music Compositions Paine’s orchestral music is far more significant than that of Heinrich and Fry His Symphony No. 1 was 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 12 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 13 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 14 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 15 The Form of a Fugue Exposition of a four-voice fugue (page 132) Subject (tonic) (Other thematic material) Answer (dominant) (Other thematic material) Subject (tonic) Answer (dominant) © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 16 Listening Example 27 Fuga Giocosa, Op. 41, No. 3 By John Knowles Paine Listening Guide page 132 After the exposition, Paine explores several major and minor keys throughout the rest of the fugue. He sometimes treats the first four notes of the subject as a motive, repeating the bouncing figure at different levels of pitch, a technique called musical sequence. Occasional large chords provide effective contrast to the polyphonic texture, and the piece becomes increasingly virtuosic and dramatic. It is never pretentious, and at the end, like the beginning, is light and humorous. Form: Fugue Key: G major The subject, based on an old baseball song, “Over the Fence is Out, Boys,” includes a distinctive upward leap of an octave. It enters on the tonic note (G) and is soon answered at the level of the dominant (D). The third voice enters (tonic), and then the subject is tossed— like a baseball, perhaps—from one voice to another. © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 17 The Second New England School of Composers: Other Members Most members were Trained in Europe Found it necessary to hold academic positions to make a living American audiences offered little support to American composers Today’s reviewers have admired the musical quality and expressed regret that the music has been long ignored Names most likely to appear today on a concert program George Chadwick (1854-1931) Horatio Parker (1863-1919) Amy Marcy Cheney Beach (1867-1944) © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 18 Amy Marcy Cheney Beach Also known as Mrs. H. H. A. Beach; after her marriage at the age of eighteen she used her married name professionally 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 19 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 20 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 21 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 22 Listening Example 28 Symphony in E minor (“Gaelic”) third movement By Amy Marcy Cheney Beach Listening Guide page 135 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 A B A coda Form: The coda is the closing section Tempo: 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) This Irish based symphony had a program: The struggles, laments, romance, and dreams of the Irish people © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 23 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 24 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 25 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 26 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 27 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 28 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 Peterboro, 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 29 Arthur Farwell (1872-1952) Like other American composers, studied music in Germany Believed that American music should express the American Indian influence, and… Native American music was more than art or entertainment Arranged Native American tunes Composed original pieces based upon Indian melodies His American Indian Melodies (1900) reflects the myths or legends upon which its songs were based Used European based harmonies and instrumentation unrelated to the Native American Indian experience © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 30 Arthur Farwell and the Wa-Wan Press Music publishers were not receptive to American composed music And Farwell’s music was rejected by publishers and audiences 1901: Farwell established the famous Wa-Wan Press The name is from a ceremony of the Omaha tribe Wa-Wan Press was dedicated to producing American music In business for a decade, published several hundred pieces Boosted the reputations and careers of several struggling American composers © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 31 Chapter 8 Conclusion The market for music remained minimal Few composers or listeners of the late nineteenth century showed much interest in music that sounded American The latter part of the nineteenth century: Americans composed impressive works in all large instrumental and vocal forms Symphonies, concertos, sonatas, operas, choral works These composers finally were being given a respectful, if limited, hearing; most of them Studied in Germany Wrote most of their music in the German Romantic style © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 32 Part 2 Summary The turn of the nineteenth century: Americans were more romantic than classical in 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 33 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 34 Country Folk Continued to practice and enjoy their accustomed ways of reading and singing music Singing schools were popular in rural areas During the Great Revival people of all ages and races attended camp meetings Shape-note songbooks such as The Sacred Harp were used as teaching materials They enjoyed singing rousing hymns and spirituals Secular songs became popular Reflecting experiences of everyday life © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 35 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 36 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 37 Concert Bands Concert band directors: Patrick Gilmore John Philip Sousa, the march king Sousa’s bands achieved the highest levels of professionalism Concert bands became balanced ensembles capable of performing Transcriptions of orchestral and operatic literature More popular pieces © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 38 Virtuosos Mid-nineteenth-century Americans enjoyed music performed by virtuoso soloists Jenny Lind, European singer Ole Bull, European composer and violinist 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 © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 39 The Establishment of Music After the Civil War Conservatories, concert halls, opera houses were built in several American cities Concert music grew in significance Theodore Thomas presented orchestra programs His programs pleased audiences He gradually raised audiences’ level of music appreciation © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 40 American Nationalism Seeds of American nationalism, sown during the nineteenth century, bore fruit slowly Yet there were nationalists in America who sought to awaken American appreciation for American-sounding music Anthony Philip Heinrich Benjamin Reber’s Farm painted by Charles Hofmann, 1820-1882 William Henry Fry Dvořák encouraged Americans to develop a characteristic sound of their own © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 41 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 Peterboro, New Hampshire, invites artists in every discipline to spend summers there © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 42 Image credits Slide 6: The Scout, Friend or Enemy? painted by Frederic Remington (18611909) © COREL Slide 41: Benjamin Reber’s Farm, painted by Charles Hofmann (1820-1882) © COREL © 2006 by The McGraw-Hill Companies, Inc. All rights reserved. Part 2: The Tumultuous Nineteenth Century Chapter 8: American Concert Music Comes of Age: The Late Nineteenth Century 43