By Richard Crawford, Larry Hamberlin
An ear-opening exploration of music’s New international, from Puritan psalmody to mash-ups.
Richard Crawford and Larry Hamberlin express how the energetic interactions among the people, well known, and classical spheres have made American tune resonate with audiences all over the world. scholars will how to hear significantly to eighty-eight items in the entire significant kinds and genres, whereas gaining a clearer figuring out of music's position within the heritage of yankee society, company, and know-how.
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Extra info for An Introduction to America's Music (2nd Edition)
2. And how might we apply that insight to the clergy’s objections to the Old Way of singing described in the text? condemning a custom of worship that had slipped out of their control. Singers committed to the Old Way made no attempt to justify themselves in writing; they simply continued singing as they liked. In the meantime, the champions of Regular Singing argued that its order and solemnity would help to make public worship more pleasing in the sight of God. And they supported their opinions with references to the Bible.
To make worship services as impressive as possible, the Roman Catholic Church encouraged public display. Monumental church buildings, bright images and ﬂashing color, priestly garments, incense, large spaces within which speech and music could reverberate—all were welcomed into the Catholic tradition. As a part of that heritage, the church also favored musical elaboration, especially vocal polyphony (singing in two or more independent voice parts) and the use of an organ or other musical instruments.
Although lining out eventually disappeared from New England churches, the practice has continued to the present day among a few extremely conservative religious groups. A recording from mid-twentieth-century rural Kentucky demonstrates a vocal practice that resembles the Old Way in some respects, though we should not assume that it matches exactly the singing of colonial New England congregations. 3) is not a biblical psalm but a more recent poem written in the style of a metrical psalm: in other words, a hymn, in this case by the eighteenth-century Welsh Methodist evangelist William Walker.
An Introduction to America's Music (2nd Edition) by Richard Crawford, Larry Hamberlin