Professional Documents
Culture Documents
1.
2.
1.
2.
3.
2.
1.
1.
2.
3.
4.
5.
6.
1.
2.
2.
1.
2.
1.
2.
3.
3.
4.
1.
2.
3.
5.
6.
1.
2.
3.
7.
1.
Chapter 30
Chapter Outline
German Traditions and Nationalism
German and Austrian composers in the late nineteenth century drew upon their
national heritage.
In other regions, composers debated how to deal with the Germanic traditions.
French composers argued about whether to assimilate Bach, Beethoven, and
Wagner or to create a new idiom.
Nationalist schools in instrumental music appeared in Russia, Bohemia, and
Scandinavia.
Composers in Britain and the Americas avoided overt nationalism.
France
General trends
Paris was the principal center of both concert music and opera.
Concerts featured symphonic works of the German tradition and works by
French composers.
Conductor Edouard Colonne introduced explanatory program notes in a concert
series surveying the history of music (see HWM Figure 30.1).
Concerts and musical styles were often tied to politics.
A variety of music schools were established, but the Conservatoire was still the
most prestigious.
Two principal strands of music composition dominated prior to the emergence
of impressionism.
A cosmopolitan tradition transmitted through Csar Franck
A French tradition, embodied in the music of Gabriel Faur
Csar Franck (1822-1890)
Born in Belgium, Franck studied at the Conservatoire and became professor of
organ there in 1871.
Musical characteristics
Classical genres, forms, and counterpoint
Thematic transformation and cyclic unity
Wagnerian harmony
Franck's Prelude, Chorale, and Fugue (1884) for piano mixes Baroque forms
and procedures with the thematic and harmonic methods of Liszt and Wagner.
Organ music
He often combined original melodies in chorale style with richly
developed fantasias and full chordal finales, as inThree Chorales (1890).
His improvisatory style inaugurated a new type of organ music in
France.
The design of the organ in France changed to accommodate this
approach.
Franck is considered the founder of modern French chamber music.
His major chamber works are cyclic and incorporate thematic transformation.
Piano Quintet in F Minor (1879)
String Quartet in D Major (1889)
Violin Sonata in A Major (1886)
Symphony in D Minor (1888)
Perhaps the most popular French symphony after Berlioz
2.
3.
1.
1.
2.
3.
2.
1.
2.
3.
4.
5.
3.
4.
1.
2.
3.
1.
1.
2.
1.
2.
3.
3.
1.
2.
3.
4.
2.
1.
1.
2.
3.
2.
1.
2.
3.
3.
1.
2.
4.
1.
2.
3.
3.
1.
2.
3.
1.
2.
3.
4.
4.
1.
2.
3.
4.
1.
1.
2.
3.
2.
1.
2.
3.
5.
1.
1.
2.
3.
2.
3.
4.
1.
1.
2.
1.
2.
2.
1.
1.
2.
3.
4.
2.
1.
2.
3.
1.
2.
3.
4.
1.
2.
3.
5.
1.
1.
2.
1.
2.
3.
1.
2.
3.
4.
4.
5.
2.
1.
2.
3.
4.
6.
1.
1.
2.
3.
1.
2.
3.
2.
1.
1.
2.
3.
2.
1.
2.
3.
4.
5.
3.
1.
2.
3.
4.
5.
6.
1.
2.
3.
His orchestral works include the Enigma Variations (1899) and two
symphonies.
The United States
Diverse musical styles
Ethnic diversity complicated the creation of a national identity.
Immigrants from various regions brought their own musical traditions.
Three principal types of music emerged, although with some overlapping.
Classical, which centered on the composer and required complex
notation
Popular, which was notated and sold but centered on the performer
Folk, which was passed on through oral tradition
The classical tradition
A large number of Germans immigrated to the United States in the middle of
the nineteenth century.
German musicians had a strong commitment to their national
traditions.
German immigrants filled American orchestras and taught music at all
levels.
German tastes and style dominated American music in the classical
tradition until World War I.
Theodore Thomas (1835-1905)
He came to the United States in 1845 and later played violin in several
orchestras.
He conducted the Brooklyn Philharmonic and then founded his own
orchestra, the Theodore Thomas Orchestra.
His ensemble was one of the best and most successful classical music
organizations in this country.
Despite this success, he still needed to perform lighter dance music
periodically.
He became the first conductor of the Chicago Symphony Orchestra.
American composers in the classic tradition
John Knowles Paine (1839-1906) became Harvard's first professor of music.
George Whitefield Chadwick (1854-1931) studied at the New England
Conservatory in Boston and became its director.
Horatio Parker (1863-1919), a student of Chadwick, taught at Yale and was the
first dean of its School of Music.
Edward MacDowell (1860-1908) was the first music professor at Columbia
University.
All of the above composers studied in Germany, and their styles were deeply
rooted in German tradition.
They had varying attitudes about nationalism.
Parker wrote in an international style that is reflected in his best-known
work, the oratorio Hora novissima(1893).
Chadwick employed pentatonic melodies and distinctive rhythms in his
Symphony No. 2 in B-flat (1883-5) andSymphonic Sketches (1895-1904).
MacDowell opposed overt nationalism, but he nevertheless wrote
several nationalist works, including his SecondIndian Suite (1891-5) based on American Indian
melodies.
4.
1.
1.
2.
3.
4.
2.
1.
2.
3.
4.
3.
4.
1.
2.
5.
1.
1.
2.
3.
4.
2.
1.
2.
3.
4.
6.
1.
2.
3.
4.
5.
1.
2.
3.
6.
1.
2.
3.
7.
1.
2.
1.
2.
3.
4.
5.
6.
3.
1.
2.
4.
1.
2.
3.
4.
5.
6.
7.
8.
1.
2.
3.
4.
5.
1.
2.
3.
6.
7.
8.
9.
1.
2.
10.
9.
1.
2.
3.
1.
2.
3.
4.
5.
6.
7.
8.
4.
5.
1.
2.
3.
6.
7.
8.
After the Ball sold over a million copies, making the composer rich.
Tin Pan Alley, a district in New York that specialized in music publishing,
developed strategies for selling sheet music.
Music of African Americans
Brought to America as slaves, Africans found it difficult to maintain their own
ethnic culture.
Slaves were able to preserve a distinct musical style because it was shared
among a number of African societies and because music was encouraged by slaveowners.
Characteristics of African music
Call and response, the alternation of short phrases between a leader
(call) and a group (response)
Improvisation, usually on a simple formula
Syncopation
Repetition of short rhythmic or melodic patterns
Multiple layers of rhythm, including strong offbeats
Bending pitches or sliding from one pitch to another
Shouts, moans, and other vocalizations
Instruments like the banjo, based on a West African stringed
instrument
These traits are developed later in ragtime, blues, jazz, and other musical
styles in the African-American tradition.
Spirituals had the greatest impact on nineteenth-century American music.
A spiritual was a religious song of southern slaves.
The texts were based on images or stories from the Bible, sometimes
with hidden messages about freedom.
Go Down Moses was the first spiritual to be published (1861).
Published spirituals were arranged as songs with piano accompaniments.
The Fisk Jubilee Singers popularized spirituals in the 1870s through concert
tours in the United States and Europe (seeHWM Figure 30.7).
By the end of the century, spirituals were folk music, popular music, and
sources for melodic material in classic music.