By Richard Crawford, Larry Hamberlin
An ear-opening exploration of music’s New global, from Puritan psalmody to mash-ups.
Richard Crawford and Larry Hamberlin convey how the energetic interactions among the people, well known, and classical spheres have made American track resonate with audiences worldwide. scholars will tips on how to pay attention significantly to eighty-eight items in the entire significant kinds and genres, whereas gaining a clearer knowing of music's position within the background of yank society, company, and expertise.
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Extra resources for An Introduction to America's Music (2nd Edition)
Continuing west, the Spaniards met Indians in New Mexico who gave them a “jingle bell of copper” and two medicine rattles. Another account from New Mexico in 1540 conﬁrms the Indians’ use of musical sound for speciﬁc functions, such as the ceremonial grinding of corn: “Three [Zuni] women come in, each going to her stone. One crushes the maize, the next grinds it, and the third grinds it ﬁner. Before they come inside the door they remove their shoes, tie up their hair and cover it, and shake their clothes.
A consonant chord is pleasing and harmonious to the ear, while a dissonant chord is harsh and unsettled. Most music mixes consonance and dissonance to create ﬂuctuating levels of tension and relaxation. Dissonant combinations of pitches are legion; any toddler capable of reaching up to a piano keyboard will discover countless dissonances and play them with glee. Creating consonances, and mixing them with other consonances and just the right amount of dissonance to create pleasing chord progressions, requires considerably more craft.
Written in 1745, it deviates from the pattern of older metrical psalms in two ways: each stanza has six lines instead of the customary four, and the meter is trochaic (long-short) instead of iambic (short-long). By 1720 some New Englanders were complaining that the Old Way had departed from the Puritan fathers’ psalmody, which had been governed by the “rule” of musical notation. , regulated singing—singing guided by In their own words rules), which carried the authority of notated music, replace the Old Way.
An Introduction to America's Music (2nd Edition) by Richard Crawford, Larry Hamberlin