By Lorenzo Candelaria, Daniel Kingman
This briefer, extra available version of our best-selling survey textual content describes American tune as a landscape of special but parallel streams--hip-hop and Latin; folks and state; gospel and classical; jazz, blues, and rock-that mirror the uniquely assorted personality of the us. evaluating and contrasting musical kinds throughout areas and time, Candelaria and Kingman bring a imaginative and prescient of yankee song either exuberant and creative, a song that arises out of the heritage and musical traditions of the numerous immigrants to America's seashores.
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Additional resources for American Music: A Panorama, Fourth Concise Edition
May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it. 16 PART I Folk and Ethnic Musics Refrain: Same old man livin’ at the mill The mill turns around of its own free will; One hand in the hopper and the other in the sack.
Thus, it was quite distinct from the more intimate African American religious folk song that was practiced, and indeed continues to exist down to our own time, in the churches and camp meetings of the South. “Jacob’s Ladder,” in the version performed here by Robeson, is a good example of the concert spiritual (CD 1/8). Notice that he tips his hat to the spiritual’s more intimate, communal origins by inviting others to join him about halfway through the song. 1. We are climbing Jacob’s ladder, We are climbing Jacob’s ladder, We are climbing Jacob’s ladder, We’re soldiers in this fight.
Com/music/Candelaria/AmericanMusic4e for a full listening guide and other resources. The repetition of short phrases as heard in this example is a feature of nearly all North American Indian music. However, the song also shows a subtle but distinctive feature of the Plains style in its descending terraced melody. Notice, in that regard, how Louis Pigeon’s voice begins at a relatively high range and then gradually works its way down to the lower, sometimes scarcely audible range before leaping up and starting the process all over again.