Description
Your first listening journal assignment is to write a full 3-page essay that provides an analysis of one musical work relevant to Gateways 1 to 21 (found in Parts I and II of our course textbook) and studied in our class meetings. Your analysis should utilize the established methodology and parameters designated in our textbook and implemented in our class discussions. I have provided you with a list of suggested topics and works for consideration, or you may select a work on based on your own interests and investigations. If you would prefer to write your paper on a work outside of the suggested works, please discuss your plan with your instructor. Please do not write your paper on a gateway selection found in your textbook as it has already been analyzed.
You have considerable flexibility regarding how you approach your topic, but please develop an organized analysis that interrogates the most prominent elements of music and the most important of the five questions that provide the organizational foundation of our discussions: What is it? How does it work? What does it mean? What is its history? Where do we go from here? Your paper should be comprised of three to five pages of written text, and it should be written in standard academic English format (double spaced/ 11 font). Please include appropriate citations and a bibliography if you choose to consult source materials (all main style sheets are acceptable), and keep in mind that all papers are electronically reviewed for plagiarism. Most importantly, make sure that you fulfill the basic parameters of this assignment in your essay.
Here is the list of suggested topics or works to study based on our recent investigations of Gateways from Parts I and II in your course textbook (Music History to 1500 CE/ portions of Music From 1500 to 1900). This list also includes topics that we have not studied, but are perhaps areas of interest:
Music of Foragers: a music selection of the BaAka people or other Central African foragers (such as the BaBenzele)
Music of Nomadic Pastoralists: a compelling music example of Tuvan throat-singing by an artist or ensemble of your choice
Music of Horticultural Societies: a music selection by a panpipe ensemble of your choice from a horticultural society (such as the Kaluli people of Papua New Guinea or the Indians of Peru)
Buddhist Music: an excerpt of a Buddhist ritual practice featuring chanting
Christian Chant: a selection by a monastic choir featuring traditional Gregorian chant
Qur’anic Chant: a compelling example of Qur’anic chanting by a reciter from anywhere in the Muslim world
Early European Polyphonic Music: an example of four-part organum or a polyphonic mass setting by a notable composer from the Medieval period
Music of China: a compelling musical example of Chinese music featuring the qin or another traditional instrument
Music of the Middle East: a musical selection featuring the ‘ud, buzuq, or ney from the region of the Middle East
African Music: a compelling example of African music featuring mbira or a work that references traditional Shona music and singing styles
European Village Music: a compelling example of Bulgarian music featuring traditional instruments and dance forms
Renaissance Sacred Vocal Music: “Kyrie” from Pope Marcellus Mass by Giovanni Pierluigi da Palestrina or another notable selection from a Renaissance mass or motet
Renaissance Secular Vocal Music: Now is the Month of Maying by Thomas Morley or another notable example of an English or Italian madrigal
Renaissance Dance Music: “Passamezzo and Galliard” by Pierre Francisque Caroubel from the collection entitled Terpsichore compiled by Michael Praetorius or any other selection from this collection
Renaissance Lute Music: “Flow My Tears” or “Come Again, Sweet Love Doth Now Invite” by John Dowland, or any notable Renaissance work featuring lute
North Indian Classical Music: a compelling example of North Indian classical music by a composer or performer of your choice
Baroque Opera: “Dido’s Lament” (Act III) from the opera Dido and Aeneas by Henry Purcell or another compelling selection from a notable Baroque opera
Baroque Orchestral Music: Brandenburg Concerto No. 5 in D Major (First Movement: Allegro) by Johann Sebastian Bach (or another concerto grosso from this collection)
Baroque Sacred Music: Cantata No. 140 Wachet auf, ruft uns die Stimme (Fourth Movement: Tenor Chorale) by Johann Sebastian Bach or another notable selection from a Baroque cantata
Baroque Keyboard Music: Organ Fugue in G Minor (Little Fugue BWV 578) or Toccata and Fugue in D Minor (BWV 565) by Johann Sebastian Bach, or a compelling keyboard suite by Handel or Bach
Javanese Court Music: a compelling example of Javanese court music by a notable ensemble of your choice
COURSEBOOK IS ATTACHED.
Unformatted Attachment Preview
1
MCY 131 Understanding Music – Listening Journal 1 – Spring, 2024
Your first listening journal assignment is to write a full 3-page essay that provides an
analysis of one musical work relevant to Gateways 1 to 21 (found in Parts I and II of our course
textbook) and studied in our class meetings. Your analysis should utilize the established
methodology and parameters designated in our textbook and implemented in our class
discussions. I have provided you with a list of suggested topics and works for consideration, or
you may select a work on based on your own interests and investigations. If you would prefer to
write your paper on a work outside of the suggested works, please discuss your plan with your
instructor. Please do not write your paper on a gateway selection found in your textbook as
it has already been analyzed.
You have considerable flexibility regarding how you approach your topic, but please
develop an organized analysis that interrogates the most prominent elements of music and the
most important of the five questions that provide the organizational foundation of our
discussions: What is it? How does it work? What does it mean? What is its history? Where do
we go from here? Your paper should be comprised of three to five pages of written text, and it
should be written in standard academic English format (double spaced/ 11 font). Please include
appropriate citations and a bibliography if you choose to consult source materials (all main style
sheets are acceptable), and keep in mind that all papers are electronically reviewed for
plagiarism. Most importantly, make sure that you fulfill the basic parameters of this assignment
in your essay.
Coursebook attached.
2
Here is the list of suggested topics or works to study based on our recent
investigations of Gateways from Parts I and II in your course textbook (Music
History to 1500 CE/ portions of Music From 1500 to 1900). This list also
includes topics that we have not studied, but are perhaps areas of interest:
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Music of Foragers: a music selection of the BaAka people or other Central African foragers
(suchas the BaBenzele)
Music of Nomadic Pastoralists: a compelling music example of Tuvan throat-singing by an
artist or ensemble of your choice
Music of Horticultural Societies: a music selection by a panpipe ensemble of your choice
from a horticultural society (such as the Kaluli people of Papua New Guinea or the Indians of
Peru)
Buddhist Music: an excerpt of a Buddhist ritual practice featuring chanting
Christian Chant: a selection by a monastic choir featuring traditional Gregorian chant
Qur’anic Chant: a compelling example of Qur’anic chanting by a reciter from anywhere in
theMuslim world
Early European Polyphonic Music: an example of four-part organum or a polyphonic
masssetting by a notable composer from the Medieval period
Music of China: a compelling musical example of Chinese music featuring the qin or
anothertraditional instrument
Music of the Middle East: a musical selection featuring the ‘ud, buzuq, or ney from the region
ofthe Middle East
African Music: a compelling example of African music featuring mbira or a work that
references traditional Shona music and singing styles
European Village Music: a compelling example of Bulgarian music featuring
traditional instruments and dance forms
Renaissance Sacred Vocal Music: “Kyrie” from Pope Marcellus Mass by Giovanni
Pierluigi daPalestrina or another notable selection from a Renaissance mass or motet
Renaissance Secular Vocal Music: Now is the Month of Maying by Thomas Morley or
anothernotable example of an English or Italian madrigal
Renaissance Dance Music: “Passamezzo and Galliard” by Pierre Francisque Caroubel from
the collection entitled Terpsichore compiled by Michael Praetorius or any other selection
from this collection
Renaissance Lute Music: “Flow My Tears” or “Come Again, Sweet Love Doth Now
Invite” by John Dowland, or any notable Renaissance work featuring lute
North Indian Classical Music: a compelling example of North Indian classical music
by acomposer or performer of your choice
Baroque Opera: “Dido’s Lament” (Act III) from the opera Dido and Aeneas by Henry
Purcell or another compelling selection from a notable Baroque opera
Baroque Orchestral Music: Brandenburg Concerto No. 5 in D Major (First Movement:
Allegro)by Johann Sebastian Bach (or another concerto grosso from this collection)
Baroque Sacred Music: Cantata No. 140 Wachet auf, ruft uns die Stimme (Fourth
Movement: Tenor Chorale) by Johann Sebastian Bach or another notable selection from a
3
•
•
Baroque cantata
Baroque Keyboard Music: Organ Fugue in G Minor (Little Fugue BWV 578) or Toccata
and Fugue in D Minor (BWV 565) by Johann Sebastian Bach, or a compelling keyboard
suite by Handel or Bach
Javanese Court Music: a compelling example of Javanese court music by a notable ensemble
ofyour choice
GATEWAYS TO
UNDERSTANDING
MUSIC
Gateways to Understanding Music explores music in all the categories that constitute contemporary
musical experience: European classical music, popular music, jazz, and world music. Covering the
oldest forms of human music making to the newest, the chronological narrative considers music
from a global rather than a Eurocentric perspective. Each of sixty modular “gateways” covers a
particular genre, style, or period of music. Every gateway opens with a guided listening example that
unlocks a world of music through careful study of its structural elements. Based on their listening
experience, students are asked to consider how the piece came to be composed or performed, how
the piece or performance responded to the social and cultural issues at the time and place of its
creation, and what that music means today. Students learn to listen to, explain, understand, and
ultimately value all the music they may encounter in their world.
Features
•
•
•
•
•
•
Global scope—Presents all music as worthy of study, including classical, world, popular, and
jazz.
Historical narrative—Begins with small-scale forager societies up to the present, with a shifting
focus from global to European to American influences.
Modular framework—60 gateways in 14 chapters allow flexibility to organize chronologically
or by the seven recurring themes: aesthetics, emotion, social life, links to culture, politics,
economics, and technology.
Listening-guided learning—Leads to understanding the emotion, meaning, significance, and
history of music.
Introduction of musical concepts—Defined as needed and compiled into a Glossary for
reference.
Consistent structure—With the same step-by-step format, students learn through repeated
practice how to listen and how to think about music.
In addition to streamed audio examples, the companion website hosts essential instructors’ resources.
Timothy Rice is Distinguished Professor, Emeritus, and founding director of the University of
California, Los Angeles (UCLA) Herb Alpert School of Music.
Dave Wilson is Lecturer in Music at Victoria University of Wellington, New Zealand.
For all of the young people on the journey of understanding
music and its power in human lives and in the world,
especially the ones in our families, with love, Camryn and
Connor; J.R. and Lainie; and Liv, Lij, and Luke.
GATEWAYS TO
UNDERSTANDING
MUSIC
Timothy Rice
University of California, Los Angeles
Dave Wilson
Victoria University of Wellington
Te Whare Wānanga o te Ūpoko o te Ika a Māui
First published 2019
by Routledge
52 Vanderbilt Avenue, New York, NY 10017
and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN
Routledge is an imprint of the Taylor & Francis Group, an informa
business
© 2019 Taylor & Francis
The right of Timothy Rice and Dave Wilson to be identified as authors of
this work has been asserted by them in accordance with sections 77 and
78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced
or utilised in any form or by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying and recording,
or in any information storage or retrieval system, without permission in
writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and
explanation without intent to infringe.
Library of Congress Cataloging-in-Publication Data
Names: Rice, Timothy, 1945– author. | Wilson, Dave (David R.) 1980– author.
Title: Gateways to understanding music / Timothy Rice, Dave Wilson.
Description: New York : Routledge, 2019. | Includes index.
Identifiers: LCCN 2018030380 (print) | LCCN 2018033226 (ebook) |
ISBN 9781315176130 (ebook) | ISBN 9781138039056 (hardback) |
ISBN 9781138039063 (pbk.)
Subjects: LCSH: Music appreciation.
Classification: LCC MT90 (ebook) | LCC MT90 .R53 2019 (print) | DDC 780.9—dc23
LC record available at https://lccn.loc.gov/2018030380
ISBN: 9781138039056 (hbk)
ISBN: 9781138039063 (pbk)
ISBN: 9781315176130 (ebk)
Typeset in Univers and Optima
by Florence Production Ltd, Stoodleigh, Devon, UK
Visit the companion website: www.routledge.com/cw/gateways
BRIEF CONTENTS
Preface
Acknowledgments
Author Profiles
xvii
xxii
xxiv
INTRODUCTION
1
PART I: MUSIC HISTORY TO 1500 CE
19
1 Music of Small-Scale Societies
21
2 Ancient and Medieval Religious Music
39
3 Ancient and Medieval Secular Music
67
PART II: MUSIC HISTORY FROM 1500 TO 1900
93
4 Music from the European Age of Discovery (1500–1600)
95
5 Music from the Age of Global Commerce (1600–1750)
129
6 Music from the Age of Enlightenment and Revolution
(1750–1800)
169
7 Music from the Early Nineteenth Century (1800–1850)
203
8 Music from the Late Nineteenth Century (1850–1900)
231
PART III: MUSIC HISTORY DURING THE LONG
TWENTIETH CENTURY
261
9 Music from the Turn of the Twentieth Century (1890–1918)
263
10 Music from the Interwar Period (1918–1939)
299
11 Music during World War II and its Aftermath (1939–1950)
339
vi
BRIEF CONTENTS
12 Music from an Age of Disenchantment and Protest
(1950–1975)
371
13 Music and Community (1975–1994)
407
14 Music Today
439
WHERE DO WE GO FROM HERE?
467
Glossary
Sources
Index
473
485
489
DETAILED CONTENTS
Preface
Acknowledgments
Author Profiles
xvii
xxii
xxiv
INTRODUCTION
1
Music
Understanding
Gateways
1
3
4
PART I: MUSIC HISTORY TO 1500 CE
19
1 Music of Small-scale Societies
21
Gateway 1
Music of Foragers
22
“Bisengo Bwa Bolé”
BaAka people of Central Africa
Music and social structure
Music and subsistence
Herbie Hancock
Gateway 2
Music of Nomadic Pastoralists
28
“Borbangnadyr with Stream Water,”
performed by Anatoli Kuular
Tuvan people of Siberia
Music and the environment
Musical acoustics
Traditional music goes global
Gateway 3
Music of Horticultural Societies
“Pisi Ni Tootora”
‘Are’are people of the Solomon Islands
Indigenous music theory
Appropriation of “world music”
33
viii
DETAILED CONTENTS
2 Ancient and Medieval Religious Music
Gateway 4
Buddhist Music
39
40
“Invoking the Spirit of Kindness through Sound,”
performed by Eight Lamas from Drepung
Tibetan monks from the Drepung Monastic University
Music and worldview
Gateway 5
Christian Chant
46
“Quia ergo femina,” by Hildegard von Bingen
Music and gender
Music and religion
Music and politics
Music theory
Gateway 6
Qur’anic Chant
54
Verses from Book 3, The Family of ‘Imran,
performed by the Al-Kindi Ensemble
Hamza Shakkur
Verses from Book 3, The Family of ‘Imran
Music and religion
Aesthetics
Gateway 7
Early European Polyphonic Music
59
“Gloria,” from Messe de Nostre Dame, by Guillaume de Machaut
Theory of harmony
Organum
3 Ancient and Medieval Secular Music
Gateway 8
Music of China
67
68
“Three Variations on Yang Pass,” performed by Lin Youren
Music and Confucianism
Music and class
Gateway 9
Music of the Middle East
73
“Taqasim and Sama’i Bayyati Al-Arayan,” performed by A. J. Racy
Melodic and rhythmic modality
Music and emotion
Gateway 10 African Music
80
“Nyamaropa,” by Hakurotwi Mude from Zimbabwe
Music and trance
Thomas Mapfumo
Music and colonialism
Gateway 11 European Village Music
“Kopanitsa,” performed by The Group from Strandzha, Bulgaria
Music and identity
Music and dance
Musical folklore
85
DETAILED CONTENTS
PART II: MUSIC HISTORY FROM 1500 TO 1900
93
4 Music from the European Age of Discovery (1500–1600)
95
Gateway 12 Renaissance Sacred Vocal Music
97
“Sicut Cervus,” by Giovanni Pierluigi da Palestrina
Music and the Reformation
Guillaume Dufay
Josquin des Prez
Music and art
Gateway 13 Renaissance Secular Vocal Music
103
“Fair Phyllis I saw sitting all alone,” by John Farmer
Madrigals
Music and text painting
Claudio Monteverdi
Thomas Morley
Gateway 14 Renaissance Dance Music
107
Suite of Volte, by Michael Praetorius
Music and dance
Instrument making
Gateway 15 Renaissance Lute Music
113
“Quatro diferencias sobre Guárdame las vacas,”
by Luys de Narváez
Sources of Latin American Music
Gateway 16 North Indian Classical Music
118
“Raga Bhairvi – Dadra Taal,” performed by Sharmistha Sen
Melodic and rhythmic modality
Musical professionalism
Music and patronage
5 Music from the Age of Global Commerce (1600–1750)
Gateway 17 Baroque Opera
129
131
“Speranza, tu mi vai,” from L’incoronazione di Poppea,
by Claudio Monteverdi
Music and theater
Gateway 18 Baroque Orchestral Music
139
Violin Concerto in E Major, RV 269, “Spring,” Mvt. I,
by Antonio Vivaldi
Music and reference
Music and tonality
Music and patronage
Gateway 19 Baroque Sacred Music
“Hallelujah,” from Messiah, by George Frideric Handel
Oratorio and opera
145
ix
x
DETAILED CONTENTS
Music and patronage
Johann Sebastian Bach
Gateway 20 Baroque Keyboard Music
151
“Prelude and Fugue in C major,” The Well-tempered Clavier,
Book I, by Johann Sebastian Bach
The system of keys
Keyboard instruments
Music and patronage
Gateway 21 Javanese Court Music
159
“Ketawang Puspawarna Laras Slendro Patet Manyura”
Gamelan
Music and theater: wayang kulit
Music and patronage
6 Music from the Age of Enlightenment and Revolution
(1750–1800)
Gateway 22 Classical-period Chamber Music
169
172
String Quartet Op. 76, No. 3, “Emperor,” Mvt. III, Minuet and Trio,
by Franz Joseph Haydn
Sonata form
Elegant style
Music and patronage
Gateway 23 Classical-period Symphonies
179
Symphony No. 40 in G Minor, Mvt. I,
by Wolfgang Amadeus Mozart
Music and art
Music and patronage
Gateway 24 Classical-period Opera
186
“Cinque . . . dieci,” from Le nozze di Figaro,
by Wolfgang Amadeus Mozart
Music and politics
Music and gender
Music and text painting
Gateway 25 Classical-period Piano Music
192
Piano Sonata in C Minor No. 8, Op. 13 (Pathétique), Mvt. I,
by Ludwig van Beethoven
Music and emotion
Music and art
Gateway 26 Music of the Atlantic Slave Trade
Candomblé: “Ijexá for Oxum,” performed by Jorge Alabê
Music and religion
Music and trance
Music and slavery
Brazilian popular music
197
DETAILED CONTENTS
7 Music from the Early Nineteenth Century (1800–1850)
Gateway 27 Beethoven’s Symphonies
203
204
Symphony No. 5 in C Minor, Op. 67, Mvt. I,
by Ludwig van Beethoven
Musical Romanticism
Music and art
Gateway 28 Programmatic Orchestra Works
211
Symphonie Fantastique, Mvt. I and Mvt. IV, by Hector Berlioz
Musical Romanticism
Music and patronage
Programmatic music
Gateway 29 Romantic-period Piano Music
217
Waltz in C-sharp Minor, Op. 64, No. 2, by Frédéric Chopin
Music and emotion
Franz Liszt
Felix Mendelssohn
Fanny Mendelssohn
Robert Schumann
Clara Schumann
Gateway 30 Early American Popular Music
223
“Julie,” by Rhiannon Giddens
Music and identity
Music and minstrelsy
Elizabeth Cotten
Bluegrass
Stephen Foster
Louis Moreau Gottschalk
8 Music from the Late Nineteenth Century (1850–1900)
Gateway 31 Nineteenth-century Opera
231
234
Prelude and Liebestod, from Tristan und Isolde,
by Richard Wagner
Music drama
Music and nationalism
Italian opera (Rossini, Donizetti, Bellini, Verdi, Puccini)
Gateway 32 European Musical Nationalism
242
The Moldau, by Bedřich Smetana
Music and national sentiment
Programmatic music
Antonín Dvořák
Gateway 33 Classical Music at Century’s End
Prélude à l’après-midi d’un faune, by Claude Debussy
Impressionism
Symbolism
Stéphane Mallarmé
248
xi
xii
DETAILED CONTENTS
Gateway 34 African American Religious Music
253
“Swing Low, Sweet Chariot,” by the Fisk Jubilee Singers
Spirituals
Music and religion
Music and race
Gospel music
Henry T. Burleigh
Soul music
PART III: MUSIC HISTORY DURING THE LONG TWENTIETH CENTURY
261
9 Music from the Turn of the Twentieth Century (1890–1918)
263
Gateway 35 The Blues
265
“Backwater Blues,” by Bessie Smith
Gertrude “Ma” Rainey
Robert Johnson
Music, injustice, and solidarity
Gateway 36 American Band Music
273
“The Stars and Stripes Forever,” by John Philip Sousa
Music, patriotism, and social cohesion
Charles Ives
James Reese Europe
Drum and bugle corps
Gateway 37 Ragtime
279
“Maple Leaf Rag,” by Scott Joplin
The “Latin tinge”
Stride piano
James P. Johnson
Gateway 38 Music of Early European Modernists
283
The Rite of Spring, by Igor Stravinsky
Music and ballet
Arnold Schoenberg
Gateway 39 Balinese Gamelan
289
“Tabuh Sekar Jepun”
Gamelan gong kebyar
Music and colonialism
Music and community
Music and theater: wayang kulit
10 Music from the Interwar Period (1918–1939)
Gateway 40 Early Jazz
“Struttin’ with Some Barbecue,” by Lil Hardin Armstrong,
performed by Louis Armstrong and His Hot Five
Jelly Roll Morton
299
301
DETAILED CONTENTS
Joe “King” Oliver
New Orleans jazz
Gateway 41 Swing
309
“Black and Tan Fantasy,” by Duke Ellington and Bubber Miley
The Cotton Club
Music, entertainment, racism, and segregation
Ella Fitzgerald
Billie Holiday
Benny Goodman
Billy Strayhorn
Count Basie
Gateway 42 American Popular Song
316
“I Got Rhythm,” by George and Ira Gershwin
Sheet music
Tin Pan Alley
Broadway musicals
Jerome Kern and Oscar Hammerstein II
Gateway 43 American Symphonic Nationalism
324
Rhapsody in Blue, by George Gershwin
Aaron Copland
Music and immigration
Max Steiner and film music
Paul Whiteman
Gateway 44 Mexican and Mexican American Mariachi Music
329
“La Negra,” by Mariachi Vargas de Tecalitlán
Music and identity
Mariachi Los Camperos de Nati Cano
Music and gender
11 Music during World War II and its Aftermath (1939–1950)
Gateway 45 Country Music
339
341
“I’m So Lonesome I Could Cry,” by Hank Williams
Music and community
Authenticity
Music and tradition
Hillbilly music
The Carter Family
Jimmie Rodgers
The Nashville Sound and the Bakersfield Sound
Classic country
Pop and country
Gateway 46 Bebop
“Ko Ko,” by Charlie Parker
Dizzy Gillespie
Music and racial injustice
Thelonious Monk
348
xiii
xiv
DETAILED CONTENTS
Gateway 47 Classical Music and World War II
357
Symphony No. 7 (“Leningrad”), Mvt. I (“War”), by Dmitri Shostakovich
Music and politics
Olivier Messiaen
Viktor Ullmann
Arnold Schoenberg
Gateway 48 Trinidadian Steel Pan Music
363
“Mystery Band,” by Renegades Steel Orchestra
Calypso
Music and carnival
Lord Kitchener
Music and class
Music and patronage
12 Music from an Age of Disenchantment and Protest (1950–1975)
Gateway 49 Rock
371
373
“All Along the Watchtower,” by Jimi Hendrix
Rock ‘n’ roll
Rhythm and blues
Chuck Berry
Bob Dylan
The British Invasion
Gateway 50 New Directions in Jazz
382
“Acknowledgement,” from A Love Supreme, by John Coltrane
Modal jazz
Miles Davis
Hard bop, Art Blakey, and Horace Silver
Cool jazz
Jazz fusion, Herbie Hancock, Wayne Shorter
Free jazz
Ornette Coleman
Charles Mingus
Jazz as protest
Gateway 51 The Classical Avant-garde
390
In C, by Terry Riley
Total serialism, Milton Babbitt
Indeterminacy, John Cage
Electronic music
Musique concrète
World music influences
Minimalism, Steve Reich, Philip Glass
Gateway 52 Salsa
397
“Oye Como Va,” by Tito Puente
Latin jazz
Fania Records
Willie Colon
Celia Cruz
DETAILED CONTENTS
13 Music and Community (1975–1994)
Gateway 53 Rap and Hip-Hop
407
409
“Fight the Power,” by Public Enemy
Music and politics
“The Message”
The golden era of hip-hop
Hardcore rap
Gangsta rap, N.W.A, Tupac Shakur
Gateway 54 Neo-traditional Jazz
419
“Caravan,” by Wynton Marsalis
Music and patronage
Gateway 55 Postmodern Classical Music
425
Symphony No. 1, “Chaconne: Giulio’s Song,” by John Corigliano
John Adams
Ellen Taaffe Zwilich
Neo-Romanticism, George Rochberg, David del Tredici
Gateway 56 Reggae
430
“Buffalo Soldier,” by Bob Marley
Rastafari Movement
Music and politics
14 Music Today
439
Gateway 57 American Popular Music Today
439
“Til It Happens To You,” by Lady Gaga
Music and social media
Synthpop, electronic dance music
Gateway 58 Jazz Today
445
“Black Gold,” from Radio Music Society, by Esperanza Spalding
Music and gender
Music and racial injustice
Gateway 59 Classical Music Today
453
Anthracite Fields, “Speech,” by Julia Wolfe
Music and gender
Bang on a Can
Gateway 60 World Music Today
458
“La Bala,” by Los Tigres del Norte
Music and identity
Music and oral history
WHERE DO WE GO FROM HERE?
467
Glossary
Sources
Index
473
485
489
xv
PREFACE
Gateways to Understanding Music invites students to listen to and understand music of all kinds.
The book is designed for readers to explore deeply the music they already love and to gain knowledge and appreciation for music that they don’t yet understand. It is also designed for instructors
who believe that all music has human, aesthetic, and social value and who are dissatisfied with the
typical college curricula that divide music and the people who make it among different courses. The
book brings together all the big categories of music that surround us every day: popular music,
classical music, jazz, and world music. Doing so brings together the people who make all those kinds
of music into a conversation already going on among today’s musicians, many of whom are listening
and collaborating across the boundaries constructed by these categories. In dialogue with one
another and with their audiences, they are making new music that expresses their musical and
ethical values, their desires for a better future, and their need to support themselves.
GOALS FOR READERS
We have written this book so that readers will:
•
•
•
•
•
•
learn about a broad selection of the world’s music;
learn how to describe and analyze music;
learn how to interpret the psychological, aesthetic, social, and cultural meaning of music;
learn how to ask and answer questions about any music;
learn about world history and music history; and
learn about the importance of music in human life.
To achieve these goals, we have integrated music from the European classical tradition, jazz,
popular music, and various “world music” traditions into a chronological narrative. This approach
yields many exciting and unexpected pairings and juxtapositions of musical styles and genres. These
juxtapositions illustrate fascinating similarities and differences in the way musicians have responded
to the cultural, social, political, and economic conditions in which they live. It allows us to make the
case that all forms of human music making are worthy of careful listening and study. And it provides
timely and relevant choices for today’s students.
Breaking out the different genres of music presented, we include:
•
•
•
•
Classical music
World music
Popular music
Jazz
44%, 26 gateways
30%, 18 gateways
13%, 8 gateways
13%, 8 gateways
xviii
PREFACE
WHAT IS DISTINCTIVE ABOUT THE APPROACH IN
THIS BOOK?
Teaching this vast range of music may seem like a daunting task, and it probably is. And so we have
designed this book to help instructors who are not expert in all this music (and doesn’t that include
most of us?) take on the task successfully. We do this in a few ways.
The book is modular, our modules are called “gateways,” and three to five gateways make up
each chapter. Every gateway has the same structure and takes the reader on a path toward
understanding the music of a particular time or people or place.
Each gateway is unlocked by a single recording of music. By beginning with listening, we mimic
and formalize the informal and direct way all of us encounter and learn about music in our everyday
lives: hearing it on the radio, attending a concert, or having a friend play it for us on YouTube.
Sometimes our curiosity leads us to ask and answer questions about this new experience, and that
is what each gateway of this book does. Listening to and analyzing this recording opens up a world
of music and all of its rich meanings, histories, and legacies, whether that world is the European
Baroque period, Chinese music, country music, or the music of John Coltrane.
Each gateway is consistently organized with the same step-by-step format, starting with listening
and moving to cultural and historical explanations. As the content changes, the similarity of structure
creates a welcome sense of familiarity and reinforces the basic analytical and descriptive methods
the book conveys.
Each gateway asks—and answers—the same five questions:
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What is it?
How does it work?
What does it mean?
What is its history?
Where do I go from here (to explore this world of music)?
The answers to the first two questions, What is it? and How does it work?, don’t demand that
the instructor have deep historical and cultural knowledge of the world of a particular genre or
style or recording. Instructors with musical training in any area can help students answer these
questions. That training is the only necessary prerequisite for teaching effectively with the assistance
of this book. These first two questions guide students through deep and detailed listening as
they learn to describe and explain musical sound using the elements of music (timbre, texture,
rhythm, and so on). Instructors can help their students understand the book’s explanations of the
elements of music and help connect these elements and related terms to the students’ listening
experience.
Equipped with that understanding, students can read on their own the answers to the next two
questions in the gateway: What does it mean? and What is its history? This design allows instructors
with widely varying expertise in the musics we introduce in the book to be successful teachers with
this book as their aid.
The fifth question is Where do I go from here? In other words, what else can I listen to in this
vein and how can I learn more about it? These questions are ideal prompts for students to journey
farther down the path into a musical world in class discussions and writing assignments.
This model allows us to achieve one of the book’s goals: to teach students how to ask and
answer questions about music. We hope to stimulate curiosity about music by, first of all, asking
questions about it. Asking questions is, after all, the first act of a curious mind. The five questions
that organize each gateway are questions that we imagine students may already be asking about
new music that they encounter, whether accidentally, through friends, or through surfing YouTube
or listening to Spotify or iTunes playlists. These questions follow a model that mirrors the ways that
PREFACE
students encounter and discover music in their lives today. Each gateway, instead of starting with
pages of historical context or explanation, begins with listening. Instead of prompting students
to ask questions that might be typical in their everyday listening practice (for example, do I like it or
not?), we guide them through questions that move beyond taste and aesthetic preference. These
questions unlock understanding, help students acquire knowledge, and cultivate in them an attitude
of openness to new ways of making and listening to music.
TO THE INSTRUCTOR
The Teaching Method
The fundamental activity that we encourage in each gateway is listening. At the beginning of each
gateway we ask students to listen to the opening thirty seconds or so of the recording to acquaint
themselves with the sound before explaining how it works. Then, after describing the recording
using seven elements of music (timbre, texture, rhythm, melody, harmony, form, and performance
techniques), we ask the students to listen again. Finally, we ask them to listen a third time while
following a timed listening guide. Then, as the text explores the meanings connected to the musical
sound, we may ask them to listen again for how the sounds and meanings are interrelated. So one
of our goals is to encourage students to learn by listening, and listening again, with the conceptual
tools we provide them. If they follow this procedure, with the help of the instructor from time to
time, their understanding of the music they listen to will be transformed as new music becomes
familiar through repeated listening and explanations. In other words, we don’t aim merely to teach
them stuff about music. We aim to teach them how to teach themselves about music and transform
their relationships to the wide world of music.
After students have explored the world of the recorded example, we ask the fifth question,
Where do I go from here?, and answer it by providing three or more suggestions for other recordings
to listen to, videos to watch, and books to read. When we have used these suggestions as writing
prompts, students have told us that they enjoy having a range of choices and that assignments built
on this mandate to explore a world of music on their own is one of their favorite parts of the course.
It gives them a feeling of freedom and some control over their education within an otherwise tightly
organized framework.
Term
The book’s Introduction and 14 chapters are designed to fit into a standard fifteen-week semester.
But the modular structure makes the book useable in shorter courses. The course website contains
suggested schedules of reading assignments for ten-, twelve-, and fourteen-week terms.
Modular Organization
The modular structure of gateways gives instructors enormous flexibility in how they organize their
courses. The chapters of the book are organized in chronological order, and each chapter contains
four or five gateways. But because they are modular, each gateway could be ripped from its chapter
and reordered in any number of ways:
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Reverse chronological order.
A few weeks on each category (e.g., classical, world, jazz, and popular).
By themes. Seven themes recur with different emphases in each gateway: aesthetics, emotion,
social life, culture, politics, economics, and technology. These will be marked with signposts in
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PREFACE
the margins. An instructor could organize the course based on a selection of these themes and
choose gateways that illustrate these themes particularly well. Suggestions along these lines
are provided on the book’s website.
There are several ways that instructors may want to use this textbook. Because of its clear, repeating
structure and thoughtful pedagogy, the book gives instructors many choices concerning how they
use the book. Here are a few of them:
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Use the book and its gateways as the basis for lectures and classes.
Introduce the gateway recording, have students listen multiple times as directed in the text,
have them note their changing responses with each hearing, and help them understand our
explanations of how the music works. Students seem to appreciate instructors who do this.
Have the students read the sections on meaning and history as homework and discuss a theme
that comes up in the reading (gender, politics, aesthetic debates).
Assign the students to “go somewhere” (Where do I go from here?), write a brief one-page
essay about what they learned, and present it in class for discussion.
Use the book as background for your lectures and classes.
Assign students to read, for example, the gateway on one movement from Haydn’s Op. 76,
No. 3 String Quartet and lecture on:
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Assign the students to read the gateway on European village music that features men playing
a Bulgarian instrumental dance tune and lecture on a related tradition:
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The other movements of the quartet
Another quartet by Haydn
A quartet by Mozart or Beethoven
A symphony by Haydn.
Bulgarian women’s singing
Gender and music
Irish traditional music
Spanish flamenco.
Assign students to read the gateway on neo-traditional jazz and go more deeply into the way
soloists improvise melodies over the chord progression of the head.
Assign students to read the gateway on rap and hip-hop and lead a class discussion on issues
of gender and race that have arisen in this genre.
Use the gateways of the book selectively.
Lecture on the genres and styles you are most familiar with and assign the students to read
about styles you know less well, for example, lecture on classical music and jazz and have
students read about world music and popular music.
Leave out some of the gateways but keep the chronological narrative flow (this works
because of the modular structur
