0 Bewertungen0% fanden dieses Dokument nützlich (0 Abstimmungen)
85 Ansichten3 Seiten
1. The document discusses the history of collecting and preserving various folk music genres in the US in the 19th century, including African American spirituals, Native American music, and Anglo-Celtic ballads.
2. Key figures mentioned who contributed to collecting and documenting folk music include George L. White, who established the Fiske Jubilee Singers in 1870; Frances Densmore, who recorded Native American music; and Charles F. Lummis, who collected Hispanic folk songs.
3. Motivations for preserving African American spirituals were connected to similar efforts to document Native American music in the late 19th century, though the records of Native American music culture from this time are incomplete and
1. The document discusses the history of collecting and preserving various folk music genres in the US in the 19th century, including African American spirituals, Native American music, and Anglo-Celtic ballads.
2. Key figures mentioned who contributed to collecting and documenting folk music include George L. White, who established the Fiske Jubilee Singers in 1870; Frances Densmore, who recorded Native American music; and Charles F. Lummis, who collected Hispanic folk songs.
3. Motivations for preserving African American spirituals were connected to similar efforts to document Native American music in the late 19th century, though the records of Native American music culture from this time are incomplete and
1. The document discusses the history of collecting and preserving various folk music genres in the US in the 19th century, including African American spirituals, Native American music, and Anglo-Celtic ballads.
2. Key figures mentioned who contributed to collecting and documenting folk music include George L. White, who established the Fiske Jubilee Singers in 1870; Frances Densmore, who recorded Native American music; and Charles F. Lummis, who collected Hispanic folk songs.
3. Motivations for preserving African American spirituals were connected to similar efforts to document Native American music in the late 19th century, though the records of Native American music culture from this time are incomplete and
The nineteenth century saw a significant increase in the quantity and quality of Native American ethnography. True The image of the outspoken, educated, middle-class American emerging as the new negro became a harbinger of the ___________ of the 1920s and 1930s. Harlem Renaissance How many Native Americans were alive in 1865? Three hundred thousand
The motivations behind the preservation and dissemination of African
American folk music, spirituals, and slave songs are closely connected with similar concerns regarding ___________ music in the later nineteenth century. Native American William Francis Allen published: Slave Songs of the United States Frances Densmores recordings of Native American music provided a faithful, accurate document of the Native American music making experience. False
2 3 4
Which of the following skews the historical record of preserving Native
American music culture in the 1800s? incompleteness of the surviving data difference between music in its natural habitat and outside it contrast between native and non-native perceptions of Native American ways all of the above
The concert spiritual was:
an expression of African American experience that incorporated the manner of European classical music ________ collected, transcribed, and recorded Hispanic folk songs. Charles F. Lummis By the 1800s, collectors of Anglo-Celtic ballads were more interested in ballad reworkings than the earlier British forms. False Johann Gottfried von Herders notion of das Volk was closely tied to ideas of political ideology. False William Cody collected recordings of more than two-thousand Native American tribal songs over fifty years. False Who among the following did NOT contribute to the large body of song that took shape in the American West? Bankers The Native American population after the Civil War swiftly declined in the face of war, disease, and poverty. True Most popular culture in nineteenth-century America challenged, sensationalized, and distorted portrayals of the Native American. False Which of the following acts is the latest? Indian Nationality Act Which figure did NOT attempt a scholarly study of Native American culture? William Cody In 1915, Cecil Sharp learned of a community maintaining an ancient folk song tradition from the British Isles in the mountains of: North Carolina
American labor unions emerged in the early 1800s.
polFalse
1. Deep River is honestly rather different from the antebellum songs
we learned about from chapter 4. However, like the other pieces, there is a featured voice. While in the earlier songs, there is a featured voice who sings the line and then has a response, in Deep South, rather than a call and response, the Alto voice just acts as the dominant and more present voice. Over the melodic line of the Alto, the Sopranos sing a pretty angel like descant. Even though it isnt call and response, not all voice parts sing the song entirely. In the beginning of the piece, the other voice parts only sing some of the key words, with an extended melody. 2. Deep River definitely sounds more choir like. The voices blend and come together with beautiful, united and rhythmical harmony. Unlike Carrie Belle and Jubilee, there is no intention to create rhythms or a back beat. In Carrie Belle, they used rope pulls and in Jubilee they used the sound of the broom stick to make noises that werent coming from their mouths. 3. There is something more beautiful to me about the unity of the piece, Deep River. It is meant to be sung chorally, rather than freely and thus sounds more put together. Yet, they both share emotion in the text and in the way in which they are sung. Whether sung freely or perfectly in sync, they both have very meaningful lyrics.