Midterm Flashcards
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What musical contribution was made by William Allen, Lucy Garrison, and Charles Ware?
Slave Songs Publications
Who was the founder of the AME Church? He was also known for his ‘wandering”
refrains as a composer.
Rev Richard Allen
Who was the author of the abolitionist document known as “The Appeal?
David Walker
What is the role of the African Griot?
to communicate with spirits of ancestors, animals, and the divine. They are worn during masquerades to mark life stages, natural cycles, and celebrations.
- What were the terms of the Emancipation Proclamation? (2pts)
All people in slave states are now free, to weaken the confederacy
- After the Civil War Field Order 15 each ex-slave family was promised __________
40 acres and a mule, a piano and guitar
Who is the Father of Ethiopian Minstrelsy?
Thomas King Daddy Rice
- What event served as an introduction to the world for the Fisk Jubilee Singers? When and where was that event?
12g! Who is the composer of Lift Every Voice and Sing (2pts)
uth at July,
,1872
Pathick S Gilmone
Jiha
Rogernond - Who was Renaissance Man (actor, activist, athlete, attorney) who is forever associated with the song Ole’ Man River from the musical Show Boat? (2pts)
World peace Jubilee, July 4 1872
Who is the composer of Lift Every Voice and Sing?
Patrick S. Gilmore
- Who was Renaissance Man (actor, activist, athlete, attorney) who is forever associated with the song Ole’ Man River from the musical Show Boat?
Paul Robeson
Music Acronym Sentence
“Getting pancakes for lunch by my house next door, I always order extra jam, cream, and coffee.”
Describe the general characteristics of the music in West Africa: Your discussion should include the following: occasions for making music, 2) kinds of instruments employed, 3 the correlation between music and dance, 4) vocal style, and 5) the role of the professional musicians.
Occasions for Making Music: Music is deeply ingrained in the social, religious, and cultural fabric of West African societies. It is performed on various occasions, including religious ceremonies, weddings, funerals, initiation rites, festivals, and social gatherings. Music serves not only as entertainment but also as a means of communication, storytelling, and community bonding.
Kinds of Instruments Employed: West African music is renowned for its use of traditional instruments, many of which have been passed down through generations. These instruments can be categorized into percussion, string, wind, and vocal categories. Common instruments include the djembe (a drum played with bare hands), balafon (a wooden xylophone), kora (a harp-lute), talking drum, shekere (a gourd rattle with beads), and various types of flutes and horns.
Correlation Between Music and Dance: Music and dance are inseparable in West African culture. They often go hand in hand, with specific rhythms and melodies accompanying particular dance movements. Dance serves as a physical expression of the music, conveying emotions, stories, and cultural traditions. The rhythmic patterns of the music drive the movements of the dancers, creating a dynamic and interactive performance.
Vocal Style: West African vocal styles are diverse, ranging from solo performances to choral singing and call-and-response patterns. Singing is often characterized by strong, emotive vocals, with singers using techniques such as melisma, yodeling, and vocal ornamentation to enhance expressiveness. Lyrics may be in local languages or dialects, addressing a wide range of themes including love, spirituality, social issues, and historical narratives.
Role of Professional Musicians: In West African societies, professional musicians play crucial roles as cultural custodians, entertainers, and spiritual leaders. They undergo extensive training in traditional music and are highly respected within their communities. Professional musicians may perform at various events and ceremonies, teach younger generations, compose new music, and preserve traditional repertoire. They often hold esteemed positions and are integral to the preservation and promotion of West African musical heritage.
Discuss the origin and dissemination of Spirituals. Your discussion should include the functions, themes, occasions, choirs, and the composers of Spirituals. Include some of the major icons involved in the concertized spiritual. List venues) where
Spirituals were heard by the masses.
Functions: Spirituals served multiple functions within enslaved communities. They provided solace and strength, offering a form of communal worship and a means of coping with the harsh realities of slavery. Spirituals also served as a form of resistance and communication, with coded messages embedded in the lyrics to convey secret information about escape routes, safe houses, and other aspects of the Underground Railroad.
Themes: The themes of Spirituals often revolve around liberation, freedom, salvation, and the hope for a better future. They draw heavily from biblical narratives and imagery, with stories of Moses leading the Israelites out of bondage in Egypt serving as a powerful metaphor for the enslaved African Americans’ desire for deliverance from slavery.
Occasions: Spirituals were sung in various contexts, including plantation work songs, religious gatherings, prayer meetings, and camp meetings. They were also performed at social events such as weddings, funerals, and celebrations of holidays like Christmas and Easter.
Choirs and Composers: Enslaved communities sang Spirituals collectively, often in the form of call-and-response, where a leader would sing a line and the rest of the group would respond. While many Spirituals were passed down orally and have unknown composers, some were attributed to specific individuals or communities. Notable composers of Spirituals include Fisk Jubilee Singers, who helped popularize the genre through their performances and recordings in the late 19th century.
Major Icons and Venues: Spirituals gained widespread recognition and dissemination through the efforts of various individuals and groups, including the Fisk Jubilee Singers, who toured both nationally and internationally, performing at prestigious venues such as concert halls, churches, and universities. Other major icons involved in the concertized spiritual include Marian Anderson, Paul Robeson, and Mahalia Jackson, whose powerful renditions brought Spirituals to broader audiences. Spirituals were heard by the masses at venues ranging from concert halls and theaters to churches and community gatherings, as well as through recordings and radio broadcasts.
Discuss the origin and evolution of Ethiopian (black face) Minstrelsy. In your discussion, include those who were considered the innovators of this theatrical performance genre. Place Minstrelsy in the proper social and economic perspective.
Name three major icons and provide a description of their performance and/or compositions.
he origins of Ethiopian Minstrelsy can be traced back to the early 19th century when white performers began imitating African American music, dance, and dialect for entertainment purposes. One of the earliest and most influential figures in Ethiopian Minstrelsy was Thomas Dartmouth Rice, a white actor who popularized the character of “Jim Crow” through his performances in the 1830s. Rice’s portrayal of Jim Crow, a caricatured African American character, became immensely popular and set the template for many subsequent minstrel shows.
Ethiopian Minstrelsy emerged against the backdrop of a rapidly changing social and economic landscape in the United States. It flourished during a period of intense racial discrimination, slavery, and the rise of the abolitionist movement. Minstrel shows served as a form of entertainment for white audiences, perpetuating harmful stereotypes and reinforcing racial hierarchies. Additionally, minstrelsy provided economic opportunities for white performers and impresarios, who profited from the exploitation of African American culture.
Despite its racist origins and intentions, Ethiopian Minstrelsy played a significant role in shaping American popular culture and music. It introduced audiences to African American musical traditions such as spirituals, work songs, and folk tunes, albeit in a distorted and caricatured form. Moreover, it provided a platform for African American performers, albeit under demeaning and restrictive conditions, to showcase their talents and gain recognition.
Major icons include: Mammy Character, Zip C00n, and Jim Crow
Dan Emmet, TD Rice, and GW Dixon
- Discuss the period known as the Harlem Renaissance. Who were some of the black intellectuals? Describe the general state of the country during this period. What was (Marcus Garvey’s ideology? Describe the dynamics of the Cotton Club.
The Harlem Renaissance was a cultural, social, and artistic movement that emerged in the Harlem neighborhood of New York City during the 1920s. It was a pivotal period in African American history, characterized by a flourishing of literature, music, visual arts, theater, and intellectual discourse. The Harlem Renaissance was fueled by a growing sense of racial pride and identity, as well as a desire to challenge stereotypes and discrimination.
Black Intellectuals: The Harlem Renaissance was marked by the emergence of many prominent black intellectuals who played key roles in shaping the movement and influencing the broader cultural landscape. Some notable figures include:
Langston Hughes: A poet, novelist, and playwright known for his innovative use of jazz rhythms and African American vernacular in his writing.
Zora Neale Hurston: An anthropologist, folklorist, and novelist renowned for her depictions of African American life and culture in works such as “Their Eyes Were Watching God.”
W.E.B. Du Bois: A sociologist, historian, and civil rights activist who co-founded the National Association for the Advancement of Colored People (NAACP) and advocated for racial equality and social justice.
Alain Locke: A philosopher, educator, and critic known as the “Dean” of the Harlem Renaissance for his role in promoting and defining the movement’s goals and ideals.
Claude McKay: A poet and novelist whose work explored themes of racial identity, diaspora, and social injustice.
General State of the Country: The Harlem Renaissance occurred against the backdrop of significant social and political changes in the United States. It was a time of rapid urbanization, industrialization, and migration, as African Americans moved from the rural South to Northern cities in search of better opportunities and freedom from Jim Crow segregation laws. However, racial tensions persisted, and African Americans continued to face systemic racism and discrimination in various aspects of life.
Marcus Garvey’s Ideology: Marcus Garvey was a Jamaican-born black nationalist leader who founded the Universal Negro Improvement Association (UNIA) and advocated for black economic empowerment, self-reliance, and Pan-Africanism. Garvey’s ideology, known as Garveyism, emphasized racial pride, unity, and the repatriation of African Americans to Africa as a means of escaping racial oppression and building a strong, independent black nation.
The Dynamics of the Cotton Club: The Cotton Club was a famous nightclub in Harlem that became a symbol of the Jazz Age during the Harlem Renaissance. While it showcased many talented African American performers, including Duke Ellington and Cab Calloway, the club was known for its racially discriminatory policies. African American artists were allowed to perform on stage but were barred from entering the club as patrons. The Cotton Club thus reflected the paradox of the Harlem Renaissance, where African American culture was celebrated and commodified for white audiences, even as racial segregation and inequality persisted in society.
