Chapter 17. The Search for an Chapter 17. The Search for an American IdentityAmerican Identity

Objective-Objective-

To look at various ways in which To look at various ways in which America attempted to stake out its America attempted to stake out its own identity in a cultivated art form own identity in a cultivated art form that is fundamentally European.that is fundamentally European.

When did the search for a distinct When did the search for a distinct American music identity arguably American music identity arguably

begin?begin? - in the late nineteenth century- in the late nineteenth century - Antonin Dvorák- Antonin Dvorák

Why might classical music be perceived to Why might classical music be perceived to be the least representative form of be the least representative form of American music?American music?

- the elite, aristocratic, Western - the elite, aristocratic, Western European European rootsroots of classical music of classical music

- American orchestras’ emphasis on the - American orchestras’ emphasis on the music of Western European music of Western European

composerscomposers

The Debate over NationalityThe Debate over Nationality

The debate over nationality was between The debate over nationality was between the “nativist” view and its critics.the “nativist” view and its critics.

– ““nativist” view:nativist” view: that there should evolve a distinctively American that there should evolve a distinctively American

music, developing a life of its own not in the music, developing a life of its own not in the shadow of European tradition, together with an shadow of European tradition, together with an audience to appreciate and support such musicaudience to appreciate and support such music

an idealistic desire to express the national, the an idealistic desire to express the national, the specificspecific

the belief that music should express this place and the belief that music should express this place and this timethis time

critics’ view (a view that has critics’ view (a view that has been called “expatriate”):been called “expatriate”):

a reverential attitude toward European a reverential attitude toward European masters (mainly Germanic)masters (mainly Germanic)

an idealistic dedication to the an idealistic dedication to the cosmopolitan, the universalcosmopolitan, the universal

the belief that music should transcend the belief that music should transcend place and timeplace and time

Music Education and Culture after the Music Education and Culture after the Mid-Nineteenth CenturyMid-Nineteenth Century

What are some of the changes in the patterns of What are some of the changes in the patterns of American life that occurred after the Civil War?American life that occurred after the Civil War?– westward expansion; movement of populationwestward expansion; movement of population– building of more towns and citiesbuilding of more towns and cities– new wealthnew wealth– advances in education and cultureadvances in education and culture

By 1900 symphony orchestras could be found in By 1900 symphony orchestras could be found in growing cities (besides New York and Boston).growing cities (besides New York and Boston).– Philadelphia, Pittsburgh, Cincinnati, St. Louis, Los Philadelphia, Pittsburgh, Cincinnati, St. Louis, Los

AngelesAngeles Who is considered the leading founder and Who is considered the leading founder and

conductor of the American symphony orchestra?conductor of the American symphony orchestra?– Theodore Thomas (1835-1905)Theodore Thomas (1835-1905)

Idealistic Promoters of a Native MusicIdealistic Promoters of a Native Music

– 1870s—Fisk Jubilee Singers and other groups 1870s—Fisk Jubilee Singers and other groups presented a contrasting view of African American presented a contrasting view of African American music and culture to that of the minstrel stage.music and culture to that of the minstrel stage.

– 1880s—American Indian music was being 1880s—American Indian music was being collected and studied.collected and studied.

– 1880s—Harrigan and Hart presented plays on the 1880s—Harrigan and Hart presented plays on the popular musical stage that showed everyday popular musical stage that showed everyday characters in everyday situations.characters in everyday situations.

– 1890s—ragtime arrived in the East from the 1890s—ragtime arrived in the East from the Midwest.Midwest.

– 1892-95—Czech composer Antonin Dvorák was in 1892-95—Czech composer Antonin Dvorák was in America.America.

Arthur Farwell (1872-1952)Arthur Farwell (1872-1952)– strong advocate for new American musicstrong advocate for new American music– 1901--founder of a composers’ press: Wa-Wan Press1901--founder of a composers’ press: Wa-Wan Press

Wa-Wan is an Omaha Indian ceremony of peace and Wa-Wan is an Omaha Indian ceremony of peace and brotherhood.brotherhood.

published the work of thirty-six American composers published the work of thirty-six American composers (nine women)(nine women)

developed an American music more in touch with developed an American music more in touch with American lifeAmerican life

– organized the New York Community Chorusorganized the New York Community Chorus– Indian works in arrangements:Indian works in arrangements:

Impressions of the Wa-Wan Ceremony of the OmahasImpressions of the Wa-Wan Ceremony of the Omahas (1905)(1905)

Three Indian SongsThree Indian Songs (1908) (1908)– Original works based on Indian melodies:Original works based on Indian melodies:

Navajo War DanceNavajo War Dance for piano (1905) for piano (1905)

““Pawnee Horses”Pawnee Horses”

a concert work for solo piano inspired by a concert work for solo piano inspired by an Omaha Indian melody.an Omaha Indian melody.

– from a collection titled from a collection titled From Mesa and PlainFrom Mesa and Plain (Wa-Wan Press 1905)(Wa-Wan Press 1905)

– Listen forListen for rhythmic complexity of the main melodyrhythmic complexity of the main melody syncopationssyncopations descending melodic linedescending melodic line

– typical of American Indian melodies (see Ch. 3)typical of American Indian melodies (see Ch. 3) narrow melodic rangenarrow melodic range

– evoking the overall sound of an Indian chantevoking the overall sound of an Indian chant

American Music and American LifeAmerican Music and American Life

three composers who produced the three composers who produced the “most quintessentially ‘American “most quintessentially ‘American sounding’ classical music” sounding’ classical music” – George Gershwin (jazz)George Gershwin (jazz)– William Grant Still (blues)William Grant Still (blues)– Aaron Copland (a Shaker hymn)Aaron Copland (a Shaker hymn)

George Gershwin, George Gershwin, Rhapsody in BlueRhapsody in Blue (1924)(1924)

George Gershwin (1898-1937)George Gershwin (1898-1937)– inspired by the increasingly popular jazz idiominspired by the increasingly popular jazz idiom– 1924: established as a fixture in American 1924: established as a fixture in American

classical music with his composition, classical music with his composition, Rhapsody Rhapsody in Bluein Blue

Rhapsody in Blues,Rhapsody in Blues, a jazz concerto for piano a jazz concerto for piano that was premiered in New York on that was premiered in New York on February 12, 1924.February 12, 1924.

– Gershwin was soloist.Gershwin was soloist.– Listen forListen for

jazzy solos (clarinet, trumpet, piano)jazzy solos (clarinet, trumpet, piano) improvisatory feelimprovisatory feel the extended passage for piano solo from about 1:10 the extended passage for piano solo from about 1:10

(called a (called a cadenzacadenza in classical music) in classical music)

William Grant Still (1895-William Grant Still (1895-1978)1978)

– the first African American composer to the first African American composer to have a work performed by a major have a work performed by a major symphony orchestrasymphony orchestra

– the first black composer to have an the first black composer to have an opera staged by a major companyopera staged by a major company

– Still’s education in classical music Still’s education in classical music exceeded Gershwin’s:exceeded Gershwin’s:

Oberlin CollegeOberlin College

New England Conservatory New England Conservatory

third movement of the third movement of the Afro-American Symphony,Afro-American Symphony, titled titled

“Humor”“Humor” ragtime idiomragtime idiom banjobanjo bluesy inflectionsbluesy inflections

What is European about this work?What is European about this work?– genre (symphony in four movements)genre (symphony in four movements)– third movement in a symphony: typically a third movement in a symphony: typically a

dance movementdance movement

Aaron Copland (1900-1990) Aaron Copland (1900-1990)

– has been labeled "Dean of American music"has been labeled "Dean of American music"– Born in Brooklyn, NYBorn in Brooklyn, NY– In his 20s he went to Paris; studied with In his 20s he went to Paris; studied with

Nadia Boulanger.Nadia Boulanger.– influenced by jazz, cowboy songs, old influenced by jazz, cowboy songs, old

Shaker melody, revivalist hymns, fiddle Shaker melody, revivalist hymns, fiddle tunestunes

– 1930s ideology: art should serve the people1930s ideology: art should serve the people– How does Copland capture the sound How does Copland capture the sound

of the Western Frontier?of the Western Frontier?

Appalachian SpringAppalachian Spring (1944) (1944)

Understand the synopsis of the story Understand the synopsis of the story

(p. 293-294)(p. 293-294) choreographed and danced by choreographed and danced by

Martha Graham (1894-1991), Martha Graham (1894-1991), seminal figure in modern dance in seminal figure in modern dance in early 20th centuryearly 20th century

concert suite of continuous sections concert suite of continuous sections later (1945) arr. by Coplandlater (1945) arr. by Copland