Highlighted Musical Pieces Part 2 Flashcards
Agnus Dei I” from the Pope Marcellus Mass by Giovanni Palestrina (1562)
> Artist > Date > Genre/Style > Form > Standard Features
Agnus Dei I” from the Pope Marcellus Mass by (1562)
> Artist: Giovanni Palestrina > Date: 1562 > Genre/Style: Sacred singing > Form > Standard Features
Agnus Dei I” from the Pope Marcellus Mass by Giovanni Palestrina (1562)
> Significance
Cultural Context
Context within the centre-periphery model
Agnus Dei I” from the Pope Marcellus Mass by Giovanni Palestrina (1562)
> Significance: Giovanni Palestrina was a composer for the church who implemented the method of clear diction, and had a number of pieces that became models for sacred singing (and classical music) for hundreds of years
tells us how important clear diction was, and how it was a cultural value about music that was transplanted to the United States in the following centuries.
Cultural Context: from the Pope Marcellus Mass in 1562, and a section of the mass called the Agnus Dei. The text begins with those words: “Agnus Dei” repeated many times, sung by all the voices.
Context within the centre-periphery model
“Guide Me, O Thy Great Jehovah”
> Artist > Date > Genre/Style > Form > Standard Features
“Guide Me, O Thy Great Jehovah”
> Artist > Date > Genre/Style: Sacred Singing > Form > Standard Features: nasal timbre? This is part of the clear diction. It is quite easy to hear the words: that was the point (and part of white musical practices discussed above).
“Guide Me, O Thy Great Jehovah”
> Significance
Cultural Context
Context within the centre-periphery model
“Guide Me, O Thy Great Jehovah”
> Significance
Cultural Context: “Guide Me, O Thy Great Jehovah” isn’t in the Book of Bay Psalms, but it is a good example of this style of singing typical of worship that used the book.
Context within the centre-periphery model
“Barbary Allen” by Jean Ritchie and recorded by Alan Lomax
> Artist > Date > Genre/Style > Form > Standard Features
“Barbary Allen” by and recorded by Alan Lomax
“Barbary Allen” is typically known as “Barbara Allen,” but also takes names like “Barbry Ellen,” “Barbaru Allen,”
> Artist Jean Ritchie > Date > Genre/Style: Ballad > Form: Strophic, Narrative > Standard Features: chronological
“Barbary Allen” by Jean Ritchie and recorded by Alan Lomax
> Significance
Cultural Context
Context within the centre-periphery model
“Barbary Allen” by Jean Ritchie and recorded by Alan Lomax
> Significance: It is likely the most-known ballad, and is heard in hundreds of versions from Ireland, Britain, Canada and the USA having variant melodies and lyrics.
Cultural Context:a chronological sequence of events: a general narrative that is always told the same from start to finish. Even though there might be different lyrics to a ballad like “Barbara Allen,” the story never changes. There is also an emotional core: an intended universal emotional response to the story. That is usually with reference to a certain moral being conveyed, in which almost all ballads have some moral lesson.
Context within the centre-periphery model
“Reynardine” by Fairport Convention (1969)
> Artist > Date > Genre/Style > Form > Standard Features
“Reynardine” by Fairport Convention (1969)
> Artist > Date > Genre/Style > Form: there isn’t a strict metre (you don’t count along in 3s or 4s). The music follows the flowing lyrics of the ballad. > Standard Features
“Reynardine” by Fairport Convention (1969)
> Significance
Cultural Context
Context within the centre-periphery model
“Reynardine” by Fairport Convention (1969)
> Significance: It has all the features of a ballad, but with instrumental accompaniment.
Cultural Context
Context within the centre-periphery model
“Arkansas Traveler” by Henry Gilliland (1922)
> Artist > Date > Genre/Style > Form > Standard Features
“Arkansas Traveler” by Henry Gilliland (1922)
> Artist Eck Robertson and Henry Gilliland in 1922 > Date > Genre/Style > Form > Standard Features
“Arkansas Traveler” by Henry Gilliland (1922)
> Significance
Cultural Context
Context within the centre-periphery model
“Arkansas Traveler” by Henry Gilliland (1922)
> Significance: It is considered the first country (“hillbilly”) recording: traditional music played by traditional musicians. It was also recorded by Victor records. Victor was one of the first phonograph companies and can be considered a major record label in the 1920s.
Cultural Context: “Arkansas Traveler” is attributed to Eck Robertson, but Henry Gilliland may be more important here. He was a strong competitor at many fiddle contests throughout the USA, especially in Oklahoma and Texas. It also shows us how this style wasn’t restricted to the Appalachian region, but can be considered an Appalachian culture spreading more widely.
Context within the centre-periphery model: Victor was one of the first phonograph companies and can be considered a major record label in the 1920s. It later merged with the Radio Corporation of America to be RCA Victor in 1926, which held a large portion of the market share in record sales. It shows us that the major record labels were interested in “periphery” musics as much as mainstream jazz or Tin Pan Alley. These records are related to the “race” records coming out in the 1920s (with the Classic Blues starting in 1920), as you have already learned with Ralph Peer’s designation of “hillbilly music” and “race music” at Okeh records (we will later see how Peer moved to Victor to record some of the most successful white periphery music as well).
“Carve That Possum” composed by Sam Lucas (1875) as performed by Uncle Dave Macon (1927)
> Artist > Date > Genre/Style > Form > Standard Features
“Carve That Possum” composed by Sam Lucas (1875) as performed by Uncle Dave Macon (1927)
> Artist > Date > Genre/Style > Form > Standard Features
“Carve That Possum” composed by Sam Lucas (1875) as performed by Uncle Dave Macon (1927)
> Significance
Cultural Context
Context within the centre-periphery model
“Carve That Possum” composed by Sam Lucas (1875) as performed by Uncle Dave Macon (1927)
> Significance: It is a great example of the fiddle tune tradition that evolved to more “popular” music of string bands.
Cultural Context: It has Macon on banjo and vocals, with guitar and two fiddles. The piece is a Minstrel tune by Sam Lucas in 1875, showing us how the string bands were using the old material (previously as sheet music) in a string band setting with the fiddle as a primary instrument.
Context within the centre-periphery model: Uncle Dave Macon is important because he was one of the first musicians at the Grand Ole Opry, and had a long performance career with the show for over 25 years.
“Keep on the Sunny Side” by the Carter family (1928)
> Artist > Date > Genre/Style > Form > Standard Features
“Keep on the Sunny Side” by the Carter family (1928)
> Artist > Date > Genre/Style > Form > Standard Features
“Keep on the Sunny Side” by the Carter family (1928)
> Significance
Cultural Context
Context within the centre-periphery model
“Keep on the Sunny Side” by the Carter family (1928)
> Significance
Cultural Context
Context within the centre-periphery model
“I’ll Be Glad When You’re Dead, You Rascal You” by Milton Brown and His Musical Brownies (1935)
> Artist > Date > Genre/Style > Form > Standard Features
“I’ll Be Glad When You’re Dead, You Rascal You” by Milton Brown and His Musical Brownies (1935)
> Artist > Date > Genre/Style > Form > Standard Features
