These links will take you to the questions for each
chapter.
Questions are organized by chapter in the Kingman text.
Note, though, that there may be some questions may not
answered in the text but discussed in lecture. Every
question on each of the exams will be drawn from these
question, though the format of exam questions will vary.
(Exams utilize multiple choice, matching, true-false, short
answer and short essay formats.)
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PART I. FOLK AND ETHNIC MUSICS
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Chapter 1: The Anglo-American
Tradition
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1. What are likely characteristics of a typical
Anglo-American ballad text?
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2. What forces act on ballad texts to produce
textual and musical variants? Is there an
"authentic" or "correct" version of the text of a
ballad? Of the tune?
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3. Describe briefly the relationship between
print and ballad texts.
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4. Compare a "traditional" ballad with a
broadside ballad.
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5. What is a songster?
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6. In what ways is a native ballad likely to
differ from an Anglo-American ballad?
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7. Does a particular ballad text always have a
single tune associated with it?
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8. What aspects of "field" recordings or
"authentic" performances of folk songs are likely
to make them seem archaic?
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9. What instruments were used to accompany
ballads before 1800?
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10. What instruments begin to be used to
accompany ballads in nineteenth century
America?
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11. What are effects of adding accompaniment to
ballads?
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12. Describe the sound of the traditional
singing voice for ballads. Does the singing style
always reflect the subject matter?
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13. Compare the approach a traditional ballad
singer takes to performing with the approach of a
professional folk singer. Consider the attitude of
each toward the music sung, the vocal quality, the
type of musical arrangement, the singer's attitude
toward the audience and audience expectations.
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14. Does the ballad tradition have a place in
the modern world? Can you cite modern examples of
the ballad tradition you know from your own
experience? Can you think of examples of modern
circumstances--wars, natural disasters, famous or
infamous people--that have been used as the basis
for ballads?
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15. List three different approaches to folk
music that have evolved since 1900.
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16. How far back in the history of U.S. music
can we trace the use of folk music as an instrument
of persuasion?
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17. How does the use of folk music in the 1930's
different from earlier uses of folk music in the
service of social and/or political causes?
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18. What two motivations drove the urban
folksong movement of the 1930s?
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19. What effect did the perceived, and often
real, connection of urban folksong to a Communist
"party line" on social and political issues have on
the folk song movement from 1940-1960?
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20. Compare the relationship between
background/experience and work as songwriters of
Aunt Molly Jackson, Huddie Ledbetter, Pete Seeger,
Woodie Guthrie and Bob Dylan.
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21. How did the transition from folk musician,
creating songs to address the problems of a limited
area, to FOLK MUSICIAN, creating songs aimed at no
one group but rather meant to reach a large,
diverse audience, affect performances by Aunt Molly
Jackson? by Woodie Guthrie? by Huddie
Ledbetter?
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22. Compare the use of folk music in the Labor
movement in the 1930's with its use in the Civil
Rights movement of the 1960's. What was similar,
what was different?
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23. Do you agree with Kingman's view that,
although "songs promoting unity and solidarity
among the already committed are still and will
always be effective sustainers of morale...," "the
old line hard-hitting protest song is probably
being sung to a diminishing public?" Why or why
not?
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24. How and why did folk songs become popular
music in the 1960's? What happened to their
"popularity?"
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25. Are new "urban" folksongs still being
created today? If not, why not? If so, how do they
differ from the "urban" folk songs of the past?
From the urban folk songs of the 1930's? From the
folk music of the 1960's?
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26. How has recording encouraged the
preservation of folk music and styles from the past
as living traditions?
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27. Imagine a concert on which Aunt Molly
Jackson, Pete Seeger, the Kingston Trio and the New
Lost City Ramblers each sang the same song. Compare
their performances and the effect each would likely
have on a concert audience.
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TOP
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Chapter 2: The Afro-American
Tradition
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1. List three important characteristics of
African music. For each one, describe how that
characteristic has manifested itself in
Afro-American music.
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2. Where and when did the spiritual first evolve
in Afro-American culture? In what ways did the
Afro-American community reinterpret the Christian
gospel to make it particular to their position in
society?
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3. List three different environments where
religious music might be sung in Afro-American
culture of the nineteenth century. For each cite
two characteristics you would probably notice about
the performance.
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4 . What instrumental forces usually accompanied
the spiritual in the early 19th century?
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5. How did Fisk University make Northern and
European society aware of the spiritual? Why was
this task undertaken?
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6. Compare the character of singing in an
Afro-American church, an urban upper middle class
church and a lower class Southern white church in
1900.
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7. What role does the spiritual play today?
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8. When did the blues first evolve? List four
social or cultural conditions peculiar to and/or
new to Afro-Americans at that time which
contributed to the rise of blues.
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9. Was the starting point for blues a standard
form? What factors contributed toward the
standardizing of the form in the early 20th
century?
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10. List three characteristics of blues
lyrics.
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11. List three ways the standard blues form
encourages textual and musical improvisation.
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12. List five typical vocal characteristics of
blues singing.
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13. Why was the guitar the ideal instrument for
accompanying rural blues? What special ways of
playing the guitar (beyond picking and strumming)
arose among rural blues guitar players?
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14. List two other types of music important in
rural black culture. Describe briefly the role each
played in that culture.
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TOP
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Chapter 3: The American Indian
Tradition
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1. Music can be understood in two ways: as an
object (the score or a recorded performance) which
can be studied and appreciated as a thing in
itself; or as a component of an experience taking
place within a cultural context, whose meaning and
significance can be fully appreciated only within
that cultural context. How does this distinction
help explain the remarkable non-influence of Native
American musics on American music?
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2. List three beliefs of Native Americans about
music that defined its role in culture as utterly
different from any European music.
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3. What functions for music important in Native
American culture are absent in Anglo-American
culture?
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4. List three different instruments that play a
role in Native American music.
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5. List three musical characteristics of Native
American musics that distinguish them from Anglo
American music. List three characteristics which
distinguish Native American musics from
Afro-American musics.
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6. How have government policies toward Native
Americans undermined Native American music within
Native American culture?
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7. What was the Ghost Dance? What significance
did the Ghost Dance have for Native American
attitudes toward the relationship between tribal
identity and music? How did the Ghost Dance
movement help to break down musical differences
between Native American cultures?
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8. Why was the Peyote cult an important
influence on the development of Native American
music?
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9. How were the effects of the Ghost Dance and
the Peyote cult on the prctice of Native American
music similar? How were they different?
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10. What does the term renovated mean in
relationship to music? How does a renovationist
attitude toward music differ from a revivalist
attitude? Describe briefly the importance of
both of these concepts to an understanding of the
state of Native American music today.
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11. How has the function of Native American
music changed in the 20th century?
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TOP
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Chapter 4 The Latino
Tradition
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1. List three geographically distinct cultures
which contributed to the development of music in
Central and South America.
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2. Compare the type of music that evolved from
Spanish catholic roots in New Mexico with that of
California.
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3. What is an albado ?
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4. Contrast briefly the treatment of slaves in
Spanish America with that in English America and
the United States. What effect did this difference
have on the development of music in Central and
South America?
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5. Compare the secular music of Mexico, as
described on page 69, with that of the United
States. In what ways are they similar? How--besides
language--do they differ?
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6. Compare the role of drums in Afro-Cuban music
& Afro-American music.
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7. List four styles of Mexican music.
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8. What functions does music serve in Mexican
American culture?
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9. Contrast briefly the corrido and the
Anglo-American ballad? How are they similar? How
different
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10. What is conjuncto ?
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11. What two distinct ways of "importing"
Latin-American have been important influences on
American music?
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12. What role has music played in preserving a
distinct hispanic culture in the United States?
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13. What is clave ? Why is it important
in Cuban music?
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TOP
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PART TWO. THREE PRODIGIOUS OFFSPRING OF THE
RURAL SOUTH
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Chapter 5 Country Music
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be able to identify and briefly state the
significance of
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1. List 3 characteristics of country music that
have changed over time.
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2. List 3 characteristics of country music that
have not changed over time.
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3. List 3 genres of music of the nineteenth
century or earlier that are important sources for
early country music.
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4. What family of instruments provides the
backbone of country instrumental sound?
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5. In what decade of what century does country
music begin? Why can we date the beginnings of the
music so precisely?
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6. What technology was important to the
beginnings of country music? Why was it
important?
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7. Compare the approach to country music
exemplified by Jimmy Rogers in "Waiting for a
Train" and the Carter family in "Can the Circle be
Unbroken". Discuss briefly the how each approach is
reflected in the country music of today.
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8. How did the "western" get into "country and
western"? What contributions did the west--its
history, music, fashions, imagery, etc.--make to
country music?
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9.What new musical elements--instruments, style,
sound--does western swing bring to a country sound?
What function does this music serve? How does its
style reflect that function
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10. What effects does the emergence of
rock'n'roll in the 50's have on country music?
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11. Compare briefly the style of old country
music and the Nashville sound of commercial
country. Consider singing style, instruments used
and style of playing.
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12. When and where did honky-tonk arise? How
does its function differ from old country music?
from Nashville commercial country? How does the
nature of text and music reflect these differences
in function?
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13. List 4 instruments basic to the sound of
bluegrass.
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14. What aspects of bluegrass grow out of
traditional styles? What aspects go beyond
traditional styles?
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TOP
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Chapter 6 Blues and Soul: From
Country to City
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be able to identify and briefly state the
significance of
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1. List 3 characteristics of blues that
have changed over time.
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2. List 3 characteristics of blues that have
not changed over time.
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3. What characteristics of African music have
remained important in Afro-American blues? What
aspects of blues derive from musics blacks heard in
America?
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4. When did the blues begin? Why can we not be a
specific about a starting point for blues as we
could be for country music?
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5. List four socio-cultural characteristics of
the post-Civil war status of blacks in the South
that contributed to the development of blues.
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6. What factors contribute to the
"standardization" of blues as a form in the first
three decades of the 20th century?
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7. Describe briefly the "standard" blues lyric
form. Why is this form ideal for making up lyrics
as you go along? for instrumental improvisation?
What is fixed, what can vary?
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8. Describe briefly the "standard" blues musical
form. What is fixed, what can vary?
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9. List 3 differences between the blues of the
rural South 1900-1920 and the so-called "Classic"
blues of the 1920's. In what respect is "Classic"
blues unique among the styles of blues we have
studied?
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10. What style of music adapted blues guitar to
the piano? Describe briefly the musical
characteristics of that adaptation.
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11. List 3 source geographical areas for rural
blues. What contribution did technology make to the
popularization of rural blues?
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12. How did the function of blues change when
the performers moved to large urban areas? How does
the style of urban blues reflect these changes in
function?
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13. How can one differentiate between blues and
R & B? Why were drums added to the blues? What
were some of the effects of this addition? What new
functions did R & B serve?
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14. How did radio change the character of the R
& B audience in the 1950's?
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15. How did the black audience respond to early
rock'n'roll?
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16. Describe briefly the characterstics that
defined the Motown sound.
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17. List 3 types of music that contribute to the
'soul synthesis'. What was the most important
difference between soul music and R&B?
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18. What musics from outside the continental U.
S. have influenced blues? R&B? soul?
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19. Who is the audience for blues today? How has
that affected the character of the music?
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TOP
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Chapter 7 Rock and Its
Progeny
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be able to identify and state briefly the
significance of
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1. What type of religious music was brought to
America by the Pilgrims and the Puritans? Was this
music a notated or vernacular tradition? Were there
different parts or did everyone sing in unison?
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2. What use was made of music in these services?
Was there a separate choir? Were instruments
common?
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3. How did congregational singing change from
1620 to 1720? Where might one hear a style of
congregational singing similar to that of 1720 in
America today?
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4. Describe briefly the operation of a typical
singing school. Was it a permanent institution in
the community?
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5. What were the musical goals of the singing
school reformers? How important was "improved
performance" to the leaders of the reform
movement?
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6.When were singing schools important in New
England? Who attended the singing schools? Why were
singing schools important as social
institutions?
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7.Describe briefly the change in the way music
might operate in a congregation whose members had
attended a singing school.
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8. How did singing schools encourage the
emergence of composers? Did these composers
generally make their living by composing?
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9. Describe briefly the life of William
Billings. Was he a successful composer? How, in his
view, should a composer learn the craft of
composition?
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10. Were sacred and secular kept separate in
music from 1620 to the Revolution? What was the
most common home music during this period?
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11. In what ways did the music of the Moravians
differ from the music of the Puritan sects in
pre-Revolution America? Did it develop a "usual
way" of performing comparable to the New England
"usual way"?
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12. What sort of music did Moravian church
musicians perform?
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13. In what respect is the history of Moravian
music similar to that of English folk song in the
Appalachians? How is it different?
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14. What were the most important characteristics
of Shaker music?
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15. Where did Shaker music come from? In what
respect is the Shaker attitude toward music and its
sources similar to that of Native Americans?
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TOP
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Chapter 9: Urban Revivialism and
Gospel Music
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1. What happened to sacred music between the
American Revolution and the Civil War in the urban
centers of the east coast? What was the musical
model for church music?
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2. How much congregational singing was there in
these urban churches? What sort of music was sung
by church choirs? How did urban churches view the
reforms of the New England tunesmiths?
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3. Who was Lowell Mason? Compare Mason's musical
values with those of William Billings? How did
Mason influence the development of religious music
in America? Was his influence a positive one?
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4. What happened to sacred music between the
American Revolution and the Civil War in the rural
areas of the South? What is shaped note singing?
Who sang shaped note hymns--choirs or
congregations?
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5. What happened to the "usual way" after 1800?.
Would you describe rural shaped note singing as
"usual way" or "regular way?" Why?
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6. List three likely characteristics of a
revival hymn from the early 19th century. Where did
these revivals take place? Who came? Were there
tunebooks?
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7. Compare the subject matter and style of rural
white gospel hymns and the urban gospel movement
that arose in the late nineteenth century
(Moody-Sankey).
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8. What types of twentieth century secular music
have been influenced by white gospel music?
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9. Did white gospel music after 1900 flourish
primarily in the cities or in rural areas? What
about black gospel music?
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10. Why was the preacher so important in the
development of black gospel music?
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11. List three typical characteristics of
twentieth century black gospel music that
distinguish it from white sacred music in mainline
urban churches.
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12. Was gospel music typical of morw
middle-class Afro-American churches in the early
20th century? Why not?
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13. Who was Thomas Dorsey?
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14. List 3 examples of influences from
Afro-American gospel on other musics since
1950.
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15. List three ways technology has shaped the
development of sacred music in the last 200 years
(Consider developments in the 19th century as well
as the 20th.)
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16. How distinct are the sacred and secular
musics being created today? How does the
relationship between sacred and secular music today
compare with their relationship in the late 19th
century?
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TOP
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PART FOUR: POPULAR SECULAR MUSIC
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From Introduction to Part 4
(and lecture)
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1. What is the basis for the distinction between
popular music, folk music and art music? How much
does this distinction rest on the musical quality
of the different musics?
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2. What conditions are necessary for popular
music to develop?
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3. When did America begin to produce its own
popular secular music?
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Chapter 10 Popular Secular Music in the Cities
from Colonial Times to the Jacksonian Era
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1. Where was popular music found in America
before 1830?
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2. Why is it not appropriate to separate
"classical" and "popular" music at this time?
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3. How would a concert in Boston in 1750 have
differed from a concert in 1950?
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4. What two types of dances were found in cities
in the colonial era? How does the history of each
type reflect the emerging America negative attitude
toward a noble aristocracy?
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5. What was the basis for wealth in early
America?
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6. What role did musical societies play in the
development of secular music in the cities?
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7. What two types of benefit concerts were found
in colonial cities?
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8. Who were the performers of early secular
music?
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9. What role did immigration play in the
development of urban music?
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10.What was a "gentleman" performer? How
important were such performers to early urban music
events?
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11. When did native composers of popular music
begin to appear in America?
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12. Compare the variety of music (and other
activities) common at concerts before 1800 with the
present day classical concert. With a rock concert
today.
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13. Compare the behavior of an audience of a
concert in 1750 with a classical audience today.
With a rock audience today.
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14. What other activity commonly happened at the
end of most early concerts?
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15. What role did military bands play in early
urban music? Why were they more common than
orchestras?
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16. When did opera begin? When did Shakespeare
write his plays? What do these facts have to do
with US music?
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17. What is ballad opera? Why were ballad operas
sure to be both popular and practical in early
America?
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18. How significant was the American composer to
musical theater before 1830?
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19. What is a popular song? What distinguishes
it from a folk song? from an art song?
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20. How did popular song as a genre begin in
America?
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21. How diverse was the subject matter and style
of early popular song? Was there a clear dividing
line between the sacred and the secular? Between
the popular and the "classical"?
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TOP
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Chapter 11 Popular Musical
Theater From the Jacksonian Era to the Present
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1. Describe briefly the genesis of the pre-Civil
war minstrel show. Who were the models for the
characters? Who were the first performers? the
first audiences? Describe briefly the significance
of Daniel Emmet in the development of the minstrel
show, and discuss his career as a paradigm for the
contributions white entertainers made to the form.
Could we point to any comparable Afro-American
entertainer at this time who could serve as a
paradigm to illustrate the contributions made by
black entertainers?
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2. List the four essential instruments for the
early minstrel show.
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3. In what ways did the minstrel show contribute
to the development of a distinctly American musical
theater?
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4. In your view, what place do the pathetic
plantation songs of Stephen Foster have in the
repertory of American songs appropriate to concert
performance today?
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5. How did the minstrel show change after the
Civil War?
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6. When did The Black Crook open in New York?
Why was this show an important milestone in the
development of American musical theater?
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7. How was vaudeville different from the
minstrel show? Why was vaudeville an even more
appropriate medium for promoting popular songs?
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8. List three European cities whose popular
musical theater influenced the development of
American musical theater in the late 19th century.
Name one important composer from each.
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9. What was the single most important
contribution of Gilbert and Sullivan to the
development of American musical theater?
|
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10.Why is George M. Cohan a crucial figure in
the evolution of the American musical?
|
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11. List two contributions of Afro-American
musicians to the development of American musical
theater from 1890 to 1930. How did the attitude of
Afro-Americans toward minstrelsy change after
1890?
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12. Explain the significance of Chlorindy,
the Origin of the Cakewalk (1900) and
Shuffle Along (1921) to the growth of
American musical theater.
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13. List three composers of American operettas
in the early twentieth century. What set operettas
apart from other American musical theater during
this period?
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14. What contribution did the Broadway revue
make to the growth of the American musical?
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15. From Show Boat (1927) to West
Side Story (1957) has often been called the
golden age of the American musical. Who are the
five most important composers of musicals during
this period?
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16. List four areas of development one can see
in musicals from 1927 to 1957..
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17. Since 1960, in what two very different
directions has the Broadway musical evolved?
|
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18. What was the first movie to incorporate a
popular song? In what year was this movie made? Who
was the singer?
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19. Why has the musical declined in importance
since 1960? Where, in your opinion, is the most
important American musical theater being created
today?
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|
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Chapter 12 Popular Song, Dance
and March Music from the Jacksonian Era to the
Advent of Rock
|
|
|
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1. Why did the development of a mass market for
sheet music about 1830 lead to changes in the
nature of American popular song?
|
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2. List four likely characteristics of a parlor
song. For what audience were parlor songs written?
Where did the audience listen?
|
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3. List three likely subjects for parlor songs.
What was the most common sentiment in parlor
songs?
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4. How did Henry Russell contribute to the
development of American popular song as a
songwriter? as a performer? What influence did
Henry Clay have on Russell's views on songwriting
and performing?
|
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5. How did the Hutchinson family contribute to
the development of American popular song? In what
important way did the typical repertory of the
Hutchinson family singers differ from that of Henry
Russell?
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6. Describe briefly the career of Stephen
Foster, songwriter. Was he familiar with many types
of songs popular at that time? Did he always write
in imitation of existing song types, or...
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7. What, in your view, has made Stephen Foster
songs endure?
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8. List four types of songs associated with the
Civil War. How important to the development of
American popular song was the Civil War? Why?
|
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9. To what extent did popular songs written
immediately after the Civil War reflect the
dramatic changes taking place in American society
at that time? What were likely subjects for songs
during the period 1865-85?
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10. How does the popular song evolve from 1830
to 1890? What changes, what remains the same?
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11. Kingman describes a three-tier structure for
popular songs from 1930 to 1955, on the basis of
their sophistication and substance. What is this
structure? Who is the one composer notable for
significant contributions to all three tiers? Can
you see any comparable structure in popular song
today?
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12. When did the basic unit for distributing
popular songs change from sheet music to the
record? What effect does this change have on the
relative importance of the composer and the
performer?
|
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13. What was the main vehicle for advertising
songs before radio and TV?
|
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14. What factors contributed to the emergence of
a national market for popular songs? When did this
happen?
|
|
15. What is Tin Pan Alley?
|
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16. What was old about ragtime songs? What was
new?
|
|
17. What sorts of music did the pre-Civil War
brass bands play?
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18. How did the band change after the Civil War?
What contributions did Patrick Gilmore make to the
development of an American concert band
tradition?
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19. What repertory did late 19th century bands
perform? Were they important in the dissemination
of popular songs?
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20. How important was the band as a local
community institution in the late 19th century?
What role did the band play in community musical
and theater activities?
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21. Describe briefly the contribution of John
Phillip Sousa to the development of the American
band. Did he see himself as an educator or an
entertainer?
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22. Where is concert band music found most often
today?
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23. List three crucial media shifts that took
place in the popular music industry from 1920 to
1930. How did these shifts affect the way the
popular music audience used popular song?
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24. Why did the big swing bands of the 1930's
become a major means of popularizing songs?
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25. Trace the role of dance as an increasingly
impotant stimulus for the creation of popular
songs. When do popular songs begin to be used for
social dancing? What was the source of these
"dance-songs"?
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26. Was there only one "pop song" type 1930-1950
or were there many? How much variety was there in
the productions of Tin Pan Alley?
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27. What was the basis for the strike called by
ASCAP against radio broadcasters in 1941? How did
this conflict contribute to the "opening up" of
popular song to a greater variety of sources?
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28. Compare the response of Tin Pan Alley
publishers to rhythm'n'blues, country music and
rock'n'roll in the 1950's with the response of
traditional music publishers to the emergence of
the New York-based mass-appeal popular song in the
1890's. What are the similarities? the
differences?
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TOP
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PART FIVE JAZZ AND ITS FORERUNNERS
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Chapter 13 Ragtime and Pre
Jazz
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1. List three different genres of ragtime music
found in the period 1885-1915. Was piano ragtime
thought at that time to be the most important of
these genres?
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2. What was the response to ragtime by white
society? By American classical musicians?.
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3. What musical background did Scott Joplin
have?
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4. What is syncopation? Why is it important in
describing ragtime?
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5. What contribution did the military march make
to ragtime piano music?
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6. What aspect sof ragtime derives from
Afro-American music? What aspects from European
music?
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7. In what way was ragtime unique among
Afro-American musics in the way it reached its
public?
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8. List two late offshoots of ragtime.
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9. How did the "second" audience for ragtime
that developed as a result of the ragtime revival
differ from the "first" audience of 1900-1920?
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10. What was Black Bohemia? When and where did
it thrive? Why is it important to the development
of jazz?
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11. Describe briefly the role of the southern
black brass bands in the development of jazz.
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12. Who was James Reece Europe? What
contribution did he make to the development of
jazz?
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TOP
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Chapter 14 Jazz
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Describe briefly the importance of each of the
following in the development of jazz:
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