The banjo as described above did not assume its familiar, 5-string form until at least the 1820s. This was what people had thought about blacks all along. What you have, in both cases, are works that reach very deeply into major American paradoxes, historical contradictions around race, racism and slavery, and the nature of artistic production. Which of the following was NOT associated with western swing? Songs of the Virginny Banjoist. He is known for popularizing In 1845, after returning from the UK, Sweeney himself founded the group Old Joe's Minstrels', thus cementing the popularity of the act. Which of the following is true about Brazilian bossa nova music? a. There is a kind of admonitory kick to the word slavery. What did the music industry call recordings from the 1920's until the late 1940's that were made by African Americans artists and produced mainly for sale to African American listeners? ' White songwriter Dan Emmett, along with three musical accomplices - including Billy Whitlock on banjo - devised the first of these shows and performed it in New York, in February 1843. Secondly, all minstrel banjos are completely fretless. They are the fiddlers at the Virginia reels there, the entertainers in local restaurants and saloons and that kind of thing. And minstrelsy was one of those special kind of inventions that enable you to speak to the oppression that you are feeling from the top and to give yourself a niche in society that was different from those that you hoped to be below you, African-Americans. Also a trained anthropologist, Hurston collected folklore throughout the South and Caribbean reclaiming, honoring and celebrating Black life on its own terms. Stephen Foster's music today is deeply embarrassing for two reasons. WebJust as Sweeney began introducing the banjo to England, a group of musicians in New York City was creating the minstrel show as a full-scale entertainment. It was a kind of madhouse. The difference was not so much a structural one because the musical style, the musical structure, the form of the melody and so forth, followed certain European patterns that were derived from the same kinds of music that genteel society were playing and singing. They celebrated the exploits of black heroes and "bad men.". It was necessary for them -- it was necessary for them to do that to be on stage. After a performance by Dan Emmett at the Bowery Amphitheatre Circus, the New York Herald wrote, "Emmit's [sic] banjo playing is fully equal to Jo [sic] Sweeney's, and far ahead of any other now in the United States. ", One repetition of verse-and-chorus within a song's structure. Perhaps the most prolific songwriter of the Tin Pan Alley era, and the composer who wrote the song "Blue Skies" for "The Jazz Singer," was: Tin Pan Alley songs usually began with a slow introduction, followed by a refrain, which was most often in what form? It offered better sound quality than AM radio. There were aesthetic components of this response as well as racial components, as well as class components of this response. Fath Ruffins: %PDF-1.3 It spoke to the problems of living in a multi-ethnic society, of living in the society that was a slave society at that time. At this time, Dick Pelham met up with Sweeney and Brower, and the trio decided to reform the Virginia Minstrels with Sweeney as banjoist. Think for instance of "I Heard It Through the Grapevine," when Marvin Gaye and Gladys Knight and the Pips sang the original versions of the song. The banjo rim is deeper and has a wider diameter for much the same reason. The "father of American minstrelsy" was Thomas Dartmouth "Daddy" Rice, who, between 1828 and 1831, developed a song-and-dance routine in which he impersonated an old, crippled black slave, dubbed Jim Crow. Get the latest on new films and digital content, learn about events in your area, and get your weekly fix of American history. Which of the Performers blackened their faces with cork and, by distorting elements of African-American culture, created stereotypes such as the urban dandy "Zip Coon" and the guileless plantation slave "Jim Crow.". https://quizlet.com/160626533/music-162-chapter-2-flash-cards Our standard tuning in G, which runs gDGBD, is at a far higher pitch compared to the standard D tuning on minstrel banjos, which runs dGDF#A. I think we must find a way to learn and grow from people and respect their context. CK 48607. [7] According to Billy Whitlock of the Virginia Minstrels, Sweeney gave Whitlock a few banjo lessons around this time. That would provide more melodic and harmonic expression, as the quote suggests. Which of the following became the conductor of the U.S. Marine Band? So what was the difference? American Music Here you have a stage form that depends on caricature, yes, but a real desire on the part of white actors and performers to act like, to inhabit the bodies of black people, to act like them, to be like them, to impersonate them. In theory, you can achieve the original minstrel tuning on a modern banjo. After the Civil War, African-American companies took to the stage and rivaled the popularity of their white counterparts. Personally I would not be singing them as a part of my musical entertainment today, but I have great respect for them and I would introduce them to my students because it's a part of the American culture and American heritage. He embraced both genteel traditions Which of the following is true about the Music Corporation of America (MCA)? Ken Emerson: In 1842, in New York City, the songwriter Daniel Decatur Emmett and three companions devised a program of singing and dancing in blackface to the "[4], Many people assume Sweeney's "fifth string" is the drone stringthe chanterellebut if Sweeney did really add a fifth string, it would have been another, lower string. It was a sense of attraction to this uninhibited state of being that these characters were depicting. Sam Sweeney's signature song, possibly penned by Stuart himself, was "Jine the Cavalry." African American composer and pianist; the best-known composer of ragtime music. What is the musical term for a memorable musical phrase? It's a kind of love and loathing that's happening simultaneously. Which of the following is true about songwriter Stephen Foster? In probably the summer of 1830, Thomas Dartmouth Rice, who was called "Daddy" Rice, a sort of minor character actor out of New York City, was in Louisville, Kentucky. A minstrel troupe led by the white banjo virtuoso Dan Emmett; their show introduced more lengthy performances featuring a standardized group of performers. One of the most controversial eras of American performance history was launched. Elk's Lodge, Charlottesville, February 2 and 3, 1925. Music Corporation of America rose to become the dominant booking agency for big dance bands in the 1930s. These long, gut strings produce a far deeper tone than the nickel and steel ones used on modern banjos and are ideal for sliding around on the smooth fingerboard. The high point of the show was the concluding section, the "walk-around." On the one hand, [there's] the desire to take a kind of racial ridicule to the stage and to make fun, indulge in sport at the expense of black people and made a lot of money at the same time. The first full-length blackface minstrel show was performed at the Bowery Amphitheatre in New York in February 1843. So actually I loved Stephen Foster songs as a child and basically in a sense, still do. I think there is a kind of subterranean identification with the desire for indolence at work. endobj In 1996 I know members of theYale Glee Clubdecided not to sing "My Old Kentucky Home" because they considered it to be racially derisive. He was probably the first person in the United States to make his living as a full-time professional songwriter; he wrote "Oh! Interlocutor lead performer, snag and They have longer, wider necks, and longer scale lengths, to accommodate the lower tuning these instruments are played in. And perhaps quite rightly they are. The "walk-around," an ensemble finale, closed the shows on a high note. 8rdWT'eL~.u"A=9]>313X3-$e}u,gmg664$EzL*LZ_j_]Xy[?Xs N/]|msk_WfA2)oz-di2|mj|5ej8eE7[Q|IM%xf)|6\ k`. Byron Almen, Dorothy Payne, Stefan Kostka. Web1769, White banjo players performed in blackface 1843, First documented minstrel show by Dan Emmett & Virginia Minstrels 1840s-1850s, Minstrel Craze; Banjo becomes urban instrument (the minstrel show popularized the banjo; it was a long time before the banjo could be regarded separately from the racist content of the minstrel show) Led by white banjo virtuoso Dan Emmett (18151904); created a lengthy stage performance that featured a standard group of performers a) Mr. Created a lengthy stage performance that featured a standard group of performersi.Mr. Name the people responsible for promoting, often using unethical means, Tin Pan Alley. 1Ea9}7_yOG(dk:N%gq.O:9B$RZ~"d.LG>+w>/~W@/T]G4zAQWo>hvQ$V~RCk{Myk0}LNiiL-H+Q^(hqI.Zz5n|1'?dgID{C:y@ 'o;Ew F0XbP97k{eioUQv#]$rd0oR_3;h^B-`>[M[Nw$LJI)fxB.s[OP-/A>p5E,">vsMc@tQ~Y]YK-]A$B9~h1\1tN(8gp=yEQ7--zMeumZkEmE2LlWaG&M0q&OftMnE^fyCiCi2koNybIEI2j:M~b&h(ibvnl,yLA'$xgKe[k[s,6y+|PQZt'f4x\+jjbNTLz~DweLUj(Qm[u6];w4)SK7>F*ptvFDF?ps!1y(+JOCAq_ZS]m/v{!bE3[l|. ;tq@.K/ Nv=[!6HM(SU#\jl*1-.,mCD[~&Vi8D0SX+r9eUj+y^Z%}Fj wY>Pbl2 VWij4ZNf7*Qte;u M*L#>rG%0#7C/vA%!+]a{ni8BF{c22sSml-Chvc+Q?8A|3xIIg:w'}fE.:WHwe^rP. Which of the following is true about the song "In the Mood"? They found Emmett in Bolton and talked him into joining, although Sweeney would be the troupe leader. The local craftsmen who received and developed the instrument from black slaves had few other materials to hand and were likely limited to this simple design. It would be historically inaccurate for me, as a musicologist, to suggest that we abandon a repertory of music which is so historical because of the racial insensitivity of some of the text. "Historical Origin and Stylistic Developments of the Five-String Banjo". {xO$S]%&7g>r=g8` Who was the most influential songwriter of American popular song during the nineteenth century? "[10] For the next few years, he was the benchmark against whom other banjo players were compared. xMHa$T&R+SeL b}wg-E"u.VDNC:DuE^";cT03y| URcE4`vztLUF\)s:k-iYj6|vP4*wd>,y4!7CN-lCTS3q";-E#+c> v=S79@`mvUl5`P=Gj)kP*}6 ~^/~.~a2 WebJoel Sweeney, a native of Appomattox, Virginia, popularized the African-inspired banjo, although Emmett favored the instrument in his compositions. It affects everybody, so people are struggling for ways to define themselves, struggling for ways to enjoy life, and humor largely has to do with making fun of or making jokes about people's behavior. WebPopular Music of the Nineteenth and Early Twentieth Centuries Minstrelsy and Stephen Foster Dale Cockrell: WebThe Virginia Minstrels had 2 Banjo players, Dan Emmett and Billy Whitlock, a pupil of Sweeney. /F1.0 8 0 R /F3.0 10 0 R >> >> They loved it. Which of the following was an influential ragtime pianist and composer? Out of the culture, in a sense. From the Tracy W. McGregor Library of American History. [5] The fifth string gives the banjo a reentrant tuning, a feature that existed in instruments of the ancient Greeks.[6]. It was the way the world was. The same thing happens at Mardi Gras. Minstrelsy effectively did that. Thus, parlor banjo was born, named after the private parlors of more well-to-do individuals and organizations in which it was performed. << /ProcSet [ /PDF /Text ] /ColorSpace << /Cs1 7 0 R >> /Font << /F2.0 9 0 R I think it becomes much clearer when one looks at black minstrelsy again because when black minstrels started to take to the stage, they were advertised as the real thing. Grand Ethiopian Concert! Webwordlist = ['! The middle part consisted of the "olio," a potpourri of dancing and musical virtuosity, with parodies of Italian operas, stage plays, and visiting European singing groups. Which of the following is true about the Afro-Cuban rumba? It presented the black character as being stupid, as being comical, as being basically a frivolous character. 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