How regionalism, nationalism, and patriotism have shaped America’s musical culture and identity


How regionalism, nationalism, and patriotism have shaped America’s musical culture and identity

Using the areas explored in the course as a guide, use regionalism, nationalism, and patriotism have shaped America’s musical culture and identity. How does/could protest music play into your response? and
2. he gradual progression of inclusion for minority groups in America, focusing particularly on female and Black Americans, and how these minorities have contributed to America’s music of today. What other minority groups have created impact in our music, both historically and in present-day?
to critically explore in your paper for further reference/resource, peruse the exhibits at the American Music Spotlight at Smithsonian Online: to an external site.
What makes each style American Music?
How does each style represent a unique glimpse of American Music both historically and in the 21st century? Be sure to discuss WHAT, WHO, WHERE, HOW, WHY.
What key terms used throughout the course are applicable to each style and/or to both styles? Be specific.
How do these two styles compare or contrast by way of genre, history, and contextual understanding?
BEFORE YOU BEGIN: Remember to incorporate the following guidelines from the syllabus into your writing. Formal essay style (3-5 pages, no more than 5!) is expected, including format, grammar, punctuation, and proper citation. Papers should be double-spaced with Times New Roman 12-point font and include a header and proper citation in your preferred style of formatting (MLA, APA, or Chicago Style, 17th edition). Please follow the rubric guidelines or your grade will be affected. (Other types of review media submissions may be considered but must gain prior approval from the instructor.)The writing guidelines for reviews is broken down into 5 categories, with each category receiving up to 5 possible points: Does the response address the topic at hand?
Does the response show a knowledge of the reading and media materials?
Does the response demonstrate writing clarity and conciseness? (If your review is only 1 page, it needs to be extremely well-crafted in order to follow these guidelines.)
Does the response properly cite sources used?
Does the response demonstrate proper grammar, spelling, punctuation, and other general writing skills?
Sources to choose from
Gilbert Chase, America’s Music: From the Pilgrims to the Present:
Chapter 17: “Europe versus America,” pages 302-322.
“23 – Philadelphia Firemen’s Cotillion, Francis Johnson,” to an external site.
“Santa Claus, Christmas Symphony,” to an external site.
“Overture to Rip Van Winkle,” (Bristow), to an external site.
Chapter 18: “Music for the Millions,” pages 323-340.
“John Philip Sousa – The Gladiator,” to an external site.
“‘The Stars and Stripes Forever March’ Dutch Street Organ – Dorset Steam Fair 2017 (Draaiorgel),” to an external site.
“James Bland ‘Carry Me Back to Old Virginny’,” to an external site.
“James Reese Europe ‘Memphis Blues’ (W.C.Handy) Pathe 1919 READ ABOUT THE DEATH OF JIM EUROPE,” to an external site.
“Europe’s Society Orchestra ‘You’re Here and I’m Here’ (1914) Victor 17553 James Reese Europe ragtime,” to an external site.
“Camp Meeting Day – Noble Sissle and His Orchestra (1929),” to an external site.
“‘On the Banks of the Wabash, Far Away’ by Paul Dresser’,” to an external site.
“Henry Burr & Frank C. Stanley – Mid the Green Fields Of Virginia 1911,” to an external site.
“Peerless Quartet: ‘My Old New Hampshire Home’ (1924),” to an external site.
Chapter 19: “Decorum and Diversity,” pages 341-347
“’John Knowles Paine – Symphony No.2 in A-major, Op.34 ‘Im fruhling’ (1879),” (final movement-starts at 40:03), to an external site.
“Edward MacDowell – New England Idyls, Op. 62,” (No. 8, starts at 11:48), to an external site.
Kristina Nielsen, “Music and Nationalism,” in World Music Textbook, Volume 3 Article 1, pages 1-5 Lorenzo Candelaria and Daniel Kingman, American Music: A Panorama:
Part II: Chapter 8, “The Blues,” pages 112-127 and Part V, “Jazz and Its Forerunners:” Chapters 15-16, pages 246-278.
Complete Listening Cues as you read.
Gilbert Chase, America’s Music: From the Pilgrims to the Present: Chapter 3: “Dissenters and Minority Sects,” pages 45-47 (excerpt).
“A Shaker Worship Service by Salli Terri” to an external site. (no need to watch the whole video; specifically watch 0:01-5:00 and 13:14-16:44)
Chapter 4: “The African Presence,” pages 55-71.
“Why this instrument explains Black American folk music,” to an external site.
Chapter 21: “New England Again,” pages 383-383 (excerpt).
“Amy Beach, Gaelic Symphony in E Minor (full),” to an external site.
Chapter 19: “Decorum and Diversity,” pages 351-353, 356-359
“Gilbert – Comedy Overture on Negro Themes – Toscanini, NCB Symphony (1943),” to an external site.
“Henry F. Gilbert (1868-1928): Humoresque on Negro-Minstrel Tunes (1912),” to an external site.
“2084 Ole Zip Coon (Traditional American racist blackface song),” to an external site.
“Rosalee,” to an external site.
“The Dance In Place Congo,” (Henry F. Gilbert), to an external site.
“Symphony No. 1 in A flat major ‘Afro-American’ – William Grant Still,” to an external site.
(PDF Download PDF) Judith Tick, “Women in American Music,” Oxford Music Online, to an external site.
(PDF) Download PDF)Elizabeth Wood, “Women in Music,” Signs, 6(2) (Winter 1980): pp. 283-297.
(PDF Download PDF) Robin James, “Music and Feminism in the 21st Century,” Music Research Annual 1 (2020): 1-25, to an external site.
Freya Parr, “Six of the most inspiring women in classical music,” Classical Music, to an external site.
Mohammed Fairouz, “Women Are Great Composers Too, Why Aren’t They Being Heard?” Deceptive Cadence from NPR Classical, to an external site.
Podcast: “Why Has American Classical Music Ignored Its Black Past?” Smarty Pants, Episode #105, to an external site.
(Corresponding reading to the above podcast as needed:
Tom Huizenga, “Why Is American Classical Music So White?” to an external site.
Joseph Horowitz, “New World Prophecy,” to an external site. )
Podcast: “Sad Ass Songs,” Dolly Parton’s America, October 15, 2019, to an external site.
Podcast: “The Year of Taylor Swift,” The Daily, December 15, 2023, to an external site.
Video: “Blackface: The Roots of a Racist Art Form”
Video: “Ephrata Cloister: Music”



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