America's Musical Landscape

America’s Musical Landscape is a comprehensive and accessible text that addresses music in the United States from pre-colonial Native American music to today’s avant-garde compositions and mainstream hits. Frequent connections to other arts, particularly to the visual arts, add to the book’s appeal and enhance understanding of core musical concepts. The text offers an elegant and readable introduction to the fundamentals of music. Instructors and students can now access their course content through the Connect digital learning platform by purchasing either standalone Connect access or a bundle of print and Connect access. McGraw-Hill Connect® is a subscription-based learning service accessible online through your personal computer or tablet. Choose this option if your instructor will require Connect to be used in the course. Your subscription to Connect includes the following: • SmartBook® - an adaptive digital version of the course textbook that personalizes your reading experience based on how well you are learning the content. • Access to your instructor’s homework assignments, quizzes, syllabus, notes, reminders, and other important files for the course. • Progress dashboards that quickly show how you are performing on your assignments and tips for improvement. • The option to purchase (for a small fee) a print version of the book. This binder-ready, loose-leaf version includes free shipping. Complete system requirements to use Connect can be found here: http://www.mheducation.com/highered/platforms/connect/training-support-students.html

Table of Contents:
Online Listening ExamplesPrefaceIntroductionPrelude: Basic Properties of Musical SoundThe Elements of MusicRhythmMeterMelodyHarmonyTimbre FormMusic NotationElements of an American SoundHow to Improve Your Listening SkillsListening Example 1. trad.: "John Henry"Terms to ReviewPART 1 Music in Early North America The Early Years: Historical and Cultural PerspectiveThe Beginnings of Music in AmericaNative AmericansEuropean EmigrantsPuritan Society The African Experience in Early AmericaRevolution, in Classical StylePainting in Eighteenth-Century AmericaChapter 1. North American Indian MusicSongsTexture Texts Listening Example 2. Yeibichai Chant Song (excerpt)Sioux Grass DanceListening Example 3. Sioux Grass Dance (excerpt)Sound InstrumentsContemporary Indian SongProfessional MusiciansTerms to ReviewKey FiguresChapter 2. Early Folk MusicSpanish TraditionsAlabadosCorridosListening Example 4: Anonymous, "El corrido de Gregorio Cortez"Encore British TraditionsFolk BalladsListening Example 5: Anonymous, "Barbara Allen"Early American Folk MusicListening Example 6: Anonymous, "Shenandoah"African TraditionsField Hollers Ring ShoutsListening Example 7: Field HollerListening Example 8: Father's Field Call Work SongsListening Example 9:Jesse Bradley, "Hammer, Ring" (excerpt) Freedom Songs Musical InstrumentsListening Example 10: "No More Auction Block for Me"What of African Music Survives Today?Terms to ReviewKey FiguresChapter 3. Religious Music in the Colonial, Revolutionary, and Federal PeriodsMusic at the Spanish MissionsPsalm TunesPsaltersListening Example 11. Louis Bourgeois, "Old Hundred" (excerpt)Other Protestant MusicListening Example 12. Joseph Brackett, Jr., "'Tis the Gift to Be Simple"German-Speaking Protestant SectsThe Great AwakeningEarly Efforts at Musical Reform The Singing School MovementWilliam Billings (1746-1800)Listening Example 13. William Billings, "Chester"CanonsListening Example 14. William Billings, "When Jesus Wept"Fuging TunesListening Example 15. Daniel Read, "Sherburne"Terms to ReviewKey FiguresChapter 4. Secular Music in the Colonial, Revolutionary, and Federal PeriodsMusic in Everyday ExperiencePrestigious Musical AmateursEarly American TheaterEarly BandsListening Example 16: Anonymous, "Yankee Doodle" (excerpt)Terms to ReviewKey FiguresPart 1. SummaryPart 2. The Tumultuous Nineteenth Century Romanticism in America: Historical and Cultural PerspectiveThe Emergence of Characteristically American ArtIndependenceThe UnknownLove of NatureFusion of the ArtsThe Civil War EraMusicChapter 5. Religious Music in the Early Nineteenth CenturyThe Great RevivalShape-Note NotationSpiritual Songs"Amazing Grace" Black SpiritualsListening Example 17: James Macdermid. "There'll Be Joy, Joy, Joy" (excerpt)Listening Example 18: Anonymous, "Amazing Grace"Listening Example 19: Anonymous, "Nobody Knows the Trouble I've Seen" (excerpt)Spirituals As Concert MusicSinging ConventionsFurther Movements to Reform MusicLowell Mason (1792-1872)Listening Example 20: Lowell Mason, "Nearer, My God, to Thee"Terms to ReviewKey FiguresChapter 6. Popular Music of the Civil War Era MinstrelsyListening Example 21: Daniel Decatur Emmett, "I Wish I Was in Dixie's Land"James A. Bland (1854-1911)The Heritage of MinstrelsyStephen Foster (1826-1864)Listening Example 22: Stephen Foster, "I Dream of Jeanie with the Light Brown Hair"Listening Example 23: Stephen Foster, "Oh! Susanna"Patriotic SongsListening Example 24: John Stafford Smith, "The Anacreontick Song"Civil War Songs Singing FamiliesListening Example 25: Anonymous, "Get Off the Track"Concert BandsPatrick Sarsfield Gilmore (1829-1892)Terms to ReviewKey FiguresChapter 7. Concert MusicOrchestral Music Theodore Thomas (1835-1905)Romantic Virtuosos Louis Moreau Gottschalk (1829-1869)Piano MusicListening Example 26: Louis Moreau Gottschalk, "Le bananier"Rise of Nationalism in MusicSecond New England SchoolJohn Knowles Paine (1839-1906)Listening Example 27: John Knowles Paine, Fuga giocosa, op. 41, no. 3 Fugue Amy Marcy Cheney Beach (1867-1944)Listening Example 28: Amy Marcy Cheney Beach, Symphony in E minor (Gaelic), 2nd movement Edward MacDowell (1860-1908)Terms to ReviewKey FiguresPART 2 SummaryPART 3. The Growth of Vernacular TraditionsMusic in the Vernacular: Historical and Cultural PerspectiveVernacular Art and LiteratureVernacular MusicChapter 8. The Rise of Popular CultureJohn Philip Sousa (1854-1932)Marches Listening Example 29. John Philip Sousa, "The Stars and Stripes Forever"RagtimeScott Joplin (1868-1917)Listening Example 30. Scott Joplin, "Maple Leaf Rag"Influence of Ragtime Tin Pan AlleyThe Songs Barbershop SingingListening Example 31. George M. Cohan, "Rose" ("A Ring to the Name of Rose")Irving Berlin (1888-1989) Listening Example 32. Irving Berlin, "Alexander's Ragtime Band"Jerome Kern (1885-1945)Cole Porter (1892-1964)Listening Example 33. Cole Porter, "Night and Day"George Gershwin (1898-1937)Decline of Tin Pan AlleyTerms to ReviewKey FiguresChapter 9. The Jazz AgeBluesRural or Country BluesListening Example 34. Robert Johnson, "Hellhound on My Trail"Classic BluesListening Example 35. Bessie Smith, "Lost Your Head Blues"Urban BluesListening Example 36. W. C. Handy, St. Louis BluesNew Orleans JazzLouis Armstrong (1901-1971)Listening Example 37. Lillian Hardin Armstrong, "Hotter Than That" (excerpt)Chicago JazzJazz PianoBoogie-WoogieStride PianoListening Example 38. James P. Johnson, "Carolina Shout"Sweet JazzTerms to ReviewKey FiguresChapter 10. Jazz 1930-1960Big Band SwingArt of Arranging Listening Example 39. Count Basie, Lester Young, arr., "Taxi War Dance" (excerpt)Edward Kennedy "Duke" Ellington (1899-1974)Listening Example 40. Duke Ellington, "Mood Indigo"Women in JazzRise of Big Band VocalistsBillie Holiday (1915-1959)Bebop Charlie "Bird" Parker (1920-1955)John Birks "Dizzy" Gillespie (1917-1993)Listening Example 42. Charlie Parker, Dizzy Gillespie, "KoKo"Jazz As Concert MusicJazz CompositionListening Example 43. Duke Ellington, Concerto for CootieEncoreProgressive JazzListening Example 44. Paul Desmond, "Take Five" (excerpt)Cool JazzListening Example 45. Miles Davis, "Boplicity"Hard Bop Terms to ReviewKey FiguresChapter 11. Country MusicFrom Country to CityJimmie Rodgers (1897-1933)Listening Example 46. Jimmie Rodgers, "Blue Yodel No. 9"The Carter FamilyStyles of Country MusicAmerican Folk BalladsListening Example 47. Anonymous, "The Ballad of Casey Jones"BluegrassListening Example 48. Earl Scruggs, "Earl's Breakdown"Country Pop and the Nashville SoundWestern SwingHonky-TonkCowboy SongsHawaiian MusicListening Example 49: Danny Ku, "Mele of My Tutu E"Cajun MusicListening Example 50. Anonymous, Cajun Two-Step (excerpt)ZydecoWomen in CountryRecent CountryTerms to ReviewKey FiguresChapter 12. Latin Popular MusicsThe CaribbeanSanteria: The Way of the SaintsBombaRumbaCu-bopMamboSalsaListening Example 51. Ruben Blades and Willie Colon, "Ojos" (Eyes)BrazilSamba and Bossa NovaListening Example 52. Antonio Carlos Jobim, "Desafinado" ("Off Key")MexicoTejano and Norteño MusicConjuntoMariachisLatin Music TodayTerms to ReviewKey FiguresPart 3 SummaryPart 4. Vernacular Musics Since Rock and RollVernacular ArtVernacular MusicChapter 13. Rock and RollThe Generation GapRhythm and BluesCountry Music Meets R&BBirth of Rock and RollBill Haley (1925-1981)Elvis Presley (1935-1977)Early CharacteristicsListening Example 53. Chuck Berry, "School Days"End of the First EraSurfing MusicMotown Listening Example 54. Holland, Dozier, and Holland, "Stop! In the Name of Love"The British InvasionBack to Black RockGospelListening Example 55. Anonymous: "Down by the Riverside"SoulListening Example 56. James Brown, "Papa's Got a Brand New Bag"FunkFrom Rock and Roll to RockPsychedelic RockPsychedelic BluesHeavy MetalA Future UnassuredTerms to ReviewKey FiguresChapter 14. Rock Flirts with CountryUrban Folk MusicWoody Guthrie (1914-1967)The Urban Folk RevivalBob Dylan (b. 1941)Folk RockListening Example 57. Bob Dylan, "Mr. Tambourine Man"Newport Folk Festival, 1965Alternative CountryTerms to ReviewKey FiguresChapter 15. Jazz Since 1960Free JazzListening Example 58. John Coltrane, A Love Supreme-Part I, "Acknowledgement" (excerpt)The 1970sFusion (Jazz-Rock)Integration of Foreign SoundsThe 1980s and BeyondCrossover MusicTraditionalism The 1990s and Beyond Henry Threadgill (b. 1944) Anthony Braxton (b. 1945)Wynton Marsalis (b. 1961)Jazz Today and TomorrowTerms to ReviewKey FiguresChapter 16. Popular Music since 1970Singer-SongwritersArt RockDiscoPunkNew WaveGrunge Electronic Dance MusicPop Music and PoliticsLooking Forward, Backward, and AbroadHip-Hop and RapReggaeThe Rise of Hip-HopRap Social ConcernsListening Example 59. "Rapper's Delight" (excerpt)Back to the RootsMusic Business Sharing Music Marketing MusicTerms to ReviewKey FiguresPart 4 SummaryPart 5 Music for Theater and FilmMusic and Theater: Historical and Cultural PerspectiveMusical Theater in AmericaBroadway MusicalsOperasFilmsChapter 17 Musical TheaterVariety ShowsVaudeville BurlesqueRevuesOperettaGilbert and SullivanAmerican OperettasMusical ComediesGeorge M. Cohan (1878-1942)Listening Example 60. George M. Cohan, "Give My Regards to Broadway" (from Little Johnny Jones)Black Musical TheaterJerome Kern's Show BoatListening Example 61: Jerome Kern, "Ol' Man River" (from Show Boat)Golden Age of Broadway Musicals (1930-1955)Rodgers and HartRodgers and HammersteinExpansion of the Broadway MusicalLerner and LoeweLeonard Bernstein (1918-1990)Listening Example 62: Leonard Bernstein, "Tonight" (from Westside Story)Stephen Sondheim (b. 1930)Listening Example 63. Stephen Sondheim, "Every Day a Little Death" (from A Little Night Music)More Black MusicalsThe Music of MusicalsCurrent TrendsFrom Film to BroadwayEffects Other than MusicTerms to ReviewKey FiguresChapter 18. Music for FilmsFunctions of Music in FilmSource Versus Functional MusicHistory of Music in FilmsSilent FilmsEarly Sound FilmsThe Hollywood SoundBernard Herrmann (1911-1975)Listening Example 64: Bernard Herrmann, "The Murder" (from Psycho)John Williams (b. 1932)Listening Example 65. John Williams, Star Wars Main TitlePop ScoresElectronic MusicMovie Musicals RevivedCurrent TrendsThe Composer's PerspectiveTechniquesFilm Score Performances and RecordingsTerms to ReviewKey FiguresChapter 19. American OperaOperaSolo and Ensemble Singing Opera in AmericaVirgil Thomson (1896-1989)George Gershwin's Porgy and BessListening Example 66: George Gershwin, "Bess, You Is My Woman Now" (from Porgy and Bess) Gian-Carlo Menotti (1911-2007)The Trend toward RealismListening Example 67: Philip Glass, "Spaceship" (from Einstein on the Beach)Opera or Musical: Which Is It?American Opera TodayTerms to ReviewKey FiguresPart 5 SummaryPart 6 Tradition and Innovation in Concert MusicMusic for the Concert Hall: Historical and Cultural PerspectiveInteraction between the ArtsThe Value of ChanceAmerican Concert MusicChapter 20. Experimental Music: RevolutionCharles Ives (1874-1954)Philosophy of MusicInstrumental Compositions Listening Example 68. Charles Ives, "General Putnam's Camp" from Three Places in New EnglandSongsListening Example 69. Charles Ives, "At the River"Other Characteristics of Ives's MusicIves's Place in HistoryHenry Cowell (1897-1965)Early CompositionsPiano ExperimentsListening Example 70. Henry Cowell, "The Banshee" (excerpt)Sources of InspirationWritingsConcrete MusicJohn Cage (1912-1992)Gamelan MusicListening Example 71: Anonymous, Gamelan Gong Kebjar: "Hudjan Mas" (Golden Rain) (excerpt)Prepared PianoListening Example 72: John Cage, Sonata V (from Sonatas and Interludes for Prepared Piano)Terms to ReviewKey FiguresChapter 21 Early Twentieth-Century Mainstream Concert Music: EvolutionThe Parisian SceneAaron Copland (1900-1990)Depression and War YearsListening Example 73. Aaron Copland, Fanfare for the Common ManMusic for DanceListening Example 74. Aaron Copland, "Hoedown" (from Rodeo)Later WorksSamuel Barber (1910-1981)Listening Example 75. Samuel Barber, Adagio for StringsHarlem RenaissanceWilliam Grand Still (1895-1978)Listening Example 76. William Grant Still, Afro-American Symphony, third movement ("Humor")Terms to ReviewKey FiguresChapter 22. The Avant-Garde, ContinuedRhythm and TimbreHarry Partch (1901-1974)Tape Music and the Electronic SynthesizerMilton Babbitt (b. 1916)Robert CeelyListening Example 77: Robert Creely, "Vonce"John Cage and Chance MusicSilenceOther Composers of Chance MusicNotation Pauline Oliveros (b.1932)Listening Example 78. Pauline Oliveros, Sound PatternsTerms to ReviewKey FiguresChapter 23. The Recent MainstreamThe Elements of MusicNew Concepts of FormWilliam Schuman (1910-1992)Listening Example 79. William Schuman, New England Triptych, third movement, "Chester" MinimalismTerry Riley (b. 1935)Philip Glass (b. 1937)Gwyneth Walker (b. 1947)Listening Example 80. Gwyneth Walker, "Maggie and Millie and Molly and May" (from Though Love Be a Day)A Promise of New SoundsTerms to ReviewKey FiguresPART 6 SummaryThe ChargeGlossaryCreditsIndex

About the Author :
After receiving her MA in Music History and Literature at Arizona State University, Jean Ferris taught Music History and Appreciation at ASU. In addition to her work at the University, she has been involved with the music community by serving as a church choir director, singing with the Phoenix Symphony Chorale, playing the organ, and touring to Japan with her high school handbell choir--apparently the first handbell choir to perform in that country. Ferris is the author of two books: Music: The Art of Listening and America's Musical Landscape.