| Contents |
Part one. Folk music. The Anglo-American tradition. Some marks of the ballad. A story sung ; Drama and the ballad -- Oral tradition and the ballad texts. The forces of change - forgetting, localizing, misunderstanding, censorship ; Print and the ballad -- Oral tradition and the music of the ballads. Tune variation ; Tune sources ; Modal, hexatonic, and pentatonic scales ; Instruments and ballad singing ; Singing style ; The professional singer -- Lyrical songs, play-party games, and fiddle tunes. Songs and games ; Fiddle-tune types and sources ; Fiddle-tune variants ; The fiddle compared to the violin -- The Afro-American folk tradition. African music and its relation to Black music in America. Why there are African survivals ; Their location and relative strength ; Some characteristic traits of African music -- Religious folk music; the spirituals -- The prehistory of the spirituals ; Their discovery and collection by abolitionist ministers ; Slave Songs of the United States ; Dissemination and adaptation of the spirituals by southern Negro college choirs and by soloists ; The words of the spirituals - their world-view and imagery ; Use of repetition, relation to contemporary circumstances ; The music of the spirituals - contemporary accounts of the singing, musical derivations ; The survival of the folk spiritual - the vocal quartet, the later addition of instrumental accompaniment as the beginnings of gospel music -- Secular folk music. Cries, calls, and hollers - the embryonic blues scale in the field holler ; Folk blues - social changes that spawned them, blues texts and subjects, blues form, the music of the blues ; Work songs and ballads -- American Indian music, and Spanish and French folk strains. Music in Aboriginal Indian life. Its functional context ; Its concreteness ; Its use to communicate with the world of spirits ; Ceremonial songs ; Pigeon's Dream Song ; Game songs ; Other songs -- Characteristics of Indian music. Scales ; Instruments ; A Sioux love song ; The words of Indian songs ; "Forty-nine" songs -- Indian music and acculturation. The ghost dance ; The peyote cult ; The current cultural revival -- Hispanic folk music. Sacred music - the Franciscan missions in California, folk plays in New Mexico ; Secular music - the Corrido of the border country, such as La Muerte de Martin Luther King ; Caribbean music in New York City -- The French strain - Louisiana. Louisiana-French music ; Traditional Cajun music and zydeco ; Black "Creole" folk music of Louisiana - dances, La Bamboula, satirical songs and dances, voodoo, Sunday dances in New Orleans -- Other folk strains. German ; Scandinavian ; Eastern European ; Oriental -- Folk music in modern America. Folk music for propaganda. Propaganda songs antedating the American Revolution ; The new use of folk song in the 1930s ; Aunt Molly Jackson ; The genesis of the "Urban folk song movement" ; Woody Guthrie ; The Almanac singers and their successors ; Protest and the folk movement in the 1960s and 1970s ; Bob Dylan ; Two recent movements ; Protest and the "Folk" -- The popularization of folk music. The Weavers ; Other purveyors of folk music ; Festivals and "Stars" -- Modern collecting, study, and thought in folk music. Building on Child's work ; Specialist collectors and collections ; The Library of Congress archive of American folk song -- Part two. Sacred music in the possession of the folk. Religious music of early America. Psalmody in America. Calvinism and the psalms ; Psalm tunes and psalters - the Geneva Psalter, the Ainsworth Psalter, the Bay Psalm Book ; Two divergent "Ways" - the folk (oral) manner of performance and the written manner ; Reform and instruction -- The singing school tradition. How the singing schools worked ; William Billings (composer of Chester) and the other Yankee singing masters ; Yankee tune-books by the hundreds - their music (including When Jesus Wept) ; The end of an era -- Music among our smaller independent sects. The Moravians ; The Shakers - and two Shaker songs -- Native religious music during and after the time of expansion. Native tradition suppressed in the urban east ; The Frontier. The "Long boys" move west ; The shape notes ; Infusion of the folk element - Amazing Grace, Captain Kidd and Wondrous Love ; Revivalism and the camp meeting - the turbulent Kentucky and great revivals ; The revival spiritual - transformations of "On Jordan's stormy banks I stand" ; Parallel traditions of the white and black spiritual -- The city. Urban hymn collections - Lowell Mason ; White gospel song - Ira Sankey ; Black gospel song - Thomas A. Dorsey, the sanctified church ; Popular religious song today -- |
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Part three. Three prodigious offspring of the rural South. Country music. Enduring characteristics of the music. The instruments ; The style of singing ; Melody and harmony -- Enduring characteristics of the words. Fundamental attitudes ; Perennial themes - love, death, religion, nostalgia, trains, and event songs with their ballad legacy ; Dialect -- A survey of the music's time and styles. Pre-"Discovery" professionalism and the medicine show ; Commercial beginnings - early recordings and radio, Uncle Dave Macon, the Carter family, Grand Ole Opry, the age of the "Star" singer, such as Jimmie Ridgers ; The western image ; "Honky-tonk" - Ernest Tubb ; Movement and change ; ull-scale commercialization - Nashville ; The persistence and revival of traditional styles - "Bluegrass," Bill Monroe, Earl Scruggs, Mike Seeger -- Blues, from country to city. Early published blues. W. C. Handy ; Published blues vis-a-vis the blues of blues singers -- "Classic" city blues. The female blues singer - Ma Rainey and Bessie Smith -- Blues and jazz. Early recordings with blues singers ; Three stages of blues in jazz - Dippermouth Blues, Ko-ko, and Parker's Mood -- Boogie-Woogie. Meade "Lux" Lewis ; Jimmy Yancey -- Country blues. Its discovery ; Early recording ventures ; The Mississippi delta - Charlie Patton and others ; Texas - Blind Lemon Jefferson and others ; The eastern seaboard South - Blind Boy Fuller and others ; Urbanization and professionalization - Leadbelly, Muddy Waters, Sonny Terry , Brownie McGhee -- Urban blues and "Soul" music. Midwest blues shouters and the big bands ; Early rhythm-and-blues ; The potency of Negro musical styles in popular music ; he "Soul" synthesis ; Modern blues singers - B. B. King and Aretha Franklin ; The state of the blues today -- Rock. Beginnings. Roots in black rhythm-and-blues, its popularity among young whites ; Chuck Berry and others ; White country music and early rock - Bill Haley, Elvis Presley, and others -- The impact of rock on the recording industry. The independents ; Early effects of commercialization - the teen market's surfing songs, hot rod songs, death songs -- Varieties and developments. The British influence - the relationship of British popular music to that of America ; The Beatles and others ; Uptown rhythm-and-blues: rock on the production line - Phil Spector and the studio produced sound ; Folk-rock - Bob Dylan, Paul Simon ; Rock and satire - Frank Zappa and the Mothers of Invention ; The hybridization of rock - jazz-rock, attempted syntheses of rock with symphonic music -- Ingredients of the rock phenomenon in the seventies: a recapitulation. The search for a more extended format ; Technology and the rock recording ; Live rock as theater ; Eclecticism and synthesis -- Part four. The Broadway galaxy. Broadway, Hollywood, and Tin Pan Alley. The three gnres of American popular song ; Broadway and the popular musical stage. Infancy, the colonial period to the Civil War ; Adolescence, the Civl War through World War I - The Black Crook ; Gilbert and Sullivan, French comic opera, and Viennese operetta ; The Americanization of the musical, especially by George M. Cohan ; Black musicians and shows on Broadway ; Our adopted composers Victor Herbert, Rudolf Friml, and Sigmund Romberg ; Operetta ; The revue ; The musical in its maturity: Show Boat to West Side Story ; Jerome Kern, Irving Berlin, George Gershwin, Richard Rodgers, Cole Porter ; The evolution of dramatic values in such musicals as Show Boat, Pal Joey, Lady in the Dark, Oklahoma!, Carousel, Street Scene, The Most Happy Fella, and others ; Satire and social significance ; Increased sophistication of musical resources, in West Side Story and others ; Increased importance of the dance ; The musical in the 1960s and 1970s -- Hollywood and the movie song. The revue format ; Commuting Broadway composers ; Original movie musicals such as The Wizard of Oz ; The song-and-dance movie - Fred Astaire and Ginger Rogers ; The animated cartoon ; The best movie songs ; Title or theme songs -- Tin Pan Alley. The growth of an industry, 1885-1920 ; Charles K. Harris ; Sheet-music sales and song pluggers ; The ragtime song, such as You've Been a Good Old Wagon, but You've Done Broke Down ; Recordings, radio, and the big bands, 1920-1950 - Duke Ellington and the instrumental song ; Star Dust and the standards ; Jazz vis-a-vis popular music ; The dispersion of Tin Pan Alley - popular music in the third quarter-century -- |
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Part five. Jazz: the unique tradition of the performer's art. Minstrelsy, ragtime, and pre-jazz. Minstrelsy. Plantation music-making ; Low-comedy caricature ; The beginnings of the professional minstrel show ; Dan Emmett ; Stephen Foster ; Zenith and decline ; Links to ragtime and jazz -- Ragtime. Ben Harney, Scott Joplin, and others ; Ragtime rhythm - syncopation ; Ragtime harmony and form ; Treemonisha -- Pre-jazz. Broadway and Black Bohemia - Will Marion Cook and James Reese Europe ; Brass bands - Buddy Bolden -- Jazz: its times and styles. The jazz of early recordings. King Oliver, Louis Armstrong, Jelly Roll Morton, and others -- The beginnings of dissemination and change: Chicago. Bix Beiderbecke and other white jazz musicians ; The milieu of jazz in the age of the gangster -- Three New York developments in the pre-swing era. Harlem piano - James P. Johnson ; Jazz and the wider public - Paul Whiteman, Rhapsody in Blue, European enthusiasm ; Early work of Duke Ellington -- Mid-America is heard from. Bennie Moten, Count Basie, Lester Young -- The era of the big bands. Big-band music and musicians - Ellington and Basie, Benny Goodman, the Latin influence ; The small combo ; Dixieland, the revival of New Orleans jazz ; Wartime and the speeds of change -- The emergence of the modern period: bop and cool. Dizzy Gillespie ; Charlie Parker ; Thelonius Monk ; Miles Davis, the modern jazz quartet -- Jazz of the third quarter-century. Jazz seeking new resources, especially from European fine-art music ; New rhythmic explorations - Dave Brubeck and Don Ellis ; Borrowing folk-music modes - John Coltrane ; "Third stream" jazz ; Jazz seeking a return to its roots - funky jazz, new-wave jazz and Black nationalism ; Jazz under the impact of rock ; Electronics and jazz ; Eclecticism and jazz ; Postscript - the 50-year growth of the jazz band -- Part six. Fine-art music: the comprehensive tradition of the composers art. Eight Pioneers. Francis Hopkinson and the eighteenth-century gentleman amateur ; Lowell Mason and "Singing among the children" ; Louis Moreau Gottschalk and the virtuoso in nineteenth-century America ; Theodore Thomas and the symphony orchestra in America ; John Philip Sousa and the American band ; John Knowles Paine and New England's classical school ; Edward MacDowell, romantic idealist and acclaimed composer ; Arthur Farwell, idealistic promoter of a native music. The Wa-Wan press ; Community music projects -- Music with film, dance, drama, and poetry. America finds its own voice. Americans in Paris ; Americans back home ; The drive toward an "American" music ; The American composer comes into his own -- Music with film. Virgil Thomson, The Plow That Broke the Plains ; Aaron Copland, Our Town ; Leonard Bernstein, On the Waterfront -- Music with dance. Copland, Billy the Kid ; Walter Piston, the Incredible Flutist ; Jerome Moross, Frankie and Johnny -- Musical drama. Opera in America ; Virgil Thomson and Gertrude Stein, Four Saints in Three Acts ; George Gershwin, Porgy and Bess ; Gian-Carlo Menotti, The Medium ; Thomson and Stein, The Mother of Us All ; Carlisle Floyd, Susannah -- Music with poetry: for solo voice. The art song compared to the popular song ; The art song in America ; John Duke ; Paul Bowles ; Samuel Barber, Knoxville: Summer of 1915 -- Music with poetry: for chorus. Randall Thompson, The Peaceable Kingdom ; Roger Sessions, When Lilacs Last in the Dooryard Bloom'd -- Music by and for itself. Music for solo piano. George Gershwin, preludes for piano ; Aaron Copland, Four Piano Blues ; Samuel Barber, Excursions for the Piano ; The piano sonata -- The string quartet. A rare but prestigious venture of most major American composers ; Suggested introductions to the genre -- Chamber music for winds. Barber, Summer Music ; Wallingford Riegger, concerto for piano and qoodwind quintet -- The symphony. The symphony in America, typically non-programmatic ; Roy Harris, third symphony ; Other American symphonies - by Howard Hanson, Roger Sessions, Walter Piston, William Schuman -- The concerto. The concerto in America ; Elliot Carter, double concerto for harpsichord and piano with two chamber orchestras -- Exploration and experiment: new ways with old tools. Charles Ives. The life and career - Charles Ives and Danbury ; Yale ; The double life as businessman and composer ; The long retirement ; The music - the Ives range as revealed in the songs ; "Manliness" and dissonance ; "Substance" vs. "Manner" ; Programmaticism ; Three Places in New England ; Four New England Holidays ; Simultaneity and perspective in Ives's music ; His humor ; The sources of his musical language ; Ives's attitude toward the performance of his music ; Idealism vs. professionalism in music ; Ives' music and the world - the 1930s its discovery by compsers ; The 1940s, its discovery by performers ; Since 1950, its discovery by the public ; Critical evaluations -- Carl Ruggles. Abstract composer-painter of New England ; Sun Treader and Portals -- Henry Cowell. His early life ; Cowell the composer, editor, teacher, theorist, inventor, and traveler ; Early experimental works for piano ; Cowell's later eclecticism -- Lou Harrison and John Cage. Harrion, a composer and innovator with broad interests ; age's beginning sand early tutelage on the west coast ; The structuralism of his early works ; His attachment to the dance ; The prepared piano ; His inclination toward Orientalism and indeterminacy -- Harry Partch. His beginnings in the west ; Rejection of the conventional musical inheritance ; Genesis of a Music ; Instrument building ; U.S. Highball ; The theatrical aspect of Partch's later work ; The continuing contemporary interest in pure notation -- Edgard Varese. His background in Europe ; New start in America ; Conductor, organizer, teacher, researcher ; Varese's spatial-geometrical conceptions of music ; Represetative works - Hyperprism ; Integrales ; Ionisation ; Deserts ; La poeme electronique -- Exploration and experiment: technology and new esthetic concepts. The surface of the new music. Sound characteristics ; The penchant for unusual tone qualities ; Standardized tone qualities of electronic music ; "Pointillism" ; Silence ; Rhythmic complexity -- The rationales and methods of the new music. Composers in a maze of theories ; Toward maximum rational control by the composer - electronic music as a means of total control over performance ; Vladimir Ussachevsky, Morton Subotnik, and others ; Serial organization ; Its limitations ; The universities and the foundations as patrons ; The composer as research specialist ; Milton Babbitt ; Toward minimum rational control by the composer - improvisation ; Lukas Foss ; Limited indeterminacy ; Morton Feldman ; Earle Brown ; Unlimited indeterminacy ; Cage's "Purpose to remove purpose" ; Multi media events ; The HPSCHD extravaganza ; The anti-art stance -- Beyond procedures and rationales: a new atuonomy. The new programmaticism - George Crumb and others ; The new importance of the performer ; The reaffirmation of art. |
| Abstract |
This best-selling survey text describes American music as a collection of distinct strains of music - including popular, folk, sacred, classical, blues, jazz, and rock music - that have evolved into a musical panorama reflecting the nation's unique character. By comparing and contrasting America's musical styles across regions and time periods, Kingman delivers a clear vision of American music that encompasses the historical sources of all American music, the ways in which diverse styles have influenced each other, and the cultural contributions of America's innovative and original composers. |
| Bibliography note | Includes bibliographical references and index. |
| LCCN | 78022782 |
| ISBN | 0028712609 |
