Joseph J. Ryan
- Published in print:
- 2003
- Published Online:
- October 2011
- ISBN:
- 9780198217527
- eISBN:
- 9780191678240
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198217527.003.0021
- Subject:
- History, British and Irish Modern History
The ten volumes of lyric verse with musical settings by Sir John Stevenson that Thomas Moore published had found wide favour in polite society on both sides of the Irish Sea. Their success in ...
More
The ten volumes of lyric verse with musical settings by Sir John Stevenson that Thomas Moore published had found wide favour in polite society on both sides of the Irish Sea. Their success in focusing attention on Ireland's rich treasure of folksong was never in doubt. The fruits of Moore's labours advanced the notion of the Irish as a nation of people especially gifted in musical expression. Indeed, the excellence of the musical heritage contributed significantly to the cultural arguments in favour of Ireland's separate nationhood. The store of traditional song was adequate corroboration of the country's claim to be regarded among the most musically endowed of the western world. This was truly the art of the people; a venerable oral tradition, predominantly monophonic, small in structure, with a repository of melody of undeniable beauty.Less
The ten volumes of lyric verse with musical settings by Sir John Stevenson that Thomas Moore published had found wide favour in polite society on both sides of the Irish Sea. Their success in focusing attention on Ireland's rich treasure of folksong was never in doubt. The fruits of Moore's labours advanced the notion of the Irish as a nation of people especially gifted in musical expression. Indeed, the excellence of the musical heritage contributed significantly to the cultural arguments in favour of Ireland's separate nationhood. The store of traditional song was adequate corroboration of the country's claim to be regarded among the most musically endowed of the western world. This was truly the art of the people; a venerable oral tradition, predominantly monophonic, small in structure, with a repository of melody of undeniable beauty.
Patricia Shehan Campbell
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780198530329
- eISBN:
- 9780191689765
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198530329.003.0021
- Subject:
- Psychology, Music Psychology
This chapter examines the acquisition by children of musical knowledge in selected environments, with attention to the role of music within their ...
More
This chapter examines the acquisition by children of musical knowledge in selected environments, with attention to the role of music within their society, and the means of transmission that are traditionally practised by adults in the process of passing on musical repertoire and techniques, behaviours, and values. In exploring global practices of children's learning of music, and through music their learning of social mores, reference are made to the cultural underpinnings of children's own playful repertoire, as well as to their musical heritage of adult-influenced culture in which they are schooled. The discussion draws attention to cases of music learning engagements among children and youth in Ireland, Japan, the Philippines, Thailand, within North American First Nations circumstances, and in a selection of societies spread across eastern and western Africa.Less
This chapter examines the acquisition by children of musical knowledge in selected environments, with attention to the role of music within their society, and the means of transmission that are traditionally practised by adults in the process of passing on musical repertoire and techniques, behaviours, and values. In exploring global practices of children's learning of music, and through music their learning of social mores, reference are made to the cultural underpinnings of children's own playful repertoire, as well as to their musical heritage of adult-influenced culture in which they are schooled. The discussion draws attention to cases of music learning engagements among children and youth in Ireland, Japan, the Philippines, Thailand, within North American First Nations circumstances, and in a selection of societies spread across eastern and western Africa.
Peter Gough
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039041
- eISBN:
- 9780252097010
- Item type:
- book
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039041.001.0001
- Subject:
- Music, History, American
At its peak, the Federal Music Project (FMP) employed nearly 16,000 people who reached millions of Americans through performances, composing, teaching, and folksong collection and transcription. This ...
More
At its peak, the Federal Music Project (FMP) employed nearly 16,000 people who reached millions of Americans through performances, composing, teaching, and folksong collection and transcription. This book explores how the FMP's activities in the West shaped a new national appreciation for the diversity of American musical expression. From the onset, administrators and artists debated whether to represent highbrow, popular, or folk music in FMP activities. Though the administration privileged using “good” music to educate the public, in the West local preferences regularly trumped national priorities and allowed diverse vernacular musics to be heard. African American and Hispanic music found unprecedented popularity while the cultural mosaic illuminated by American folksong exemplified the spirit of the Popular Front movement. These new musical expressions combined the radical sensibilities of an invigorated Left with nationalistic impulses. At the same time, they blended traditional patriotic themes with an awareness of the country's varied ethnic musical heritage and vast—but endangered—store of grassroots music.Less
At its peak, the Federal Music Project (FMP) employed nearly 16,000 people who reached millions of Americans through performances, composing, teaching, and folksong collection and transcription. This book explores how the FMP's activities in the West shaped a new national appreciation for the diversity of American musical expression. From the onset, administrators and artists debated whether to represent highbrow, popular, or folk music in FMP activities. Though the administration privileged using “good” music to educate the public, in the West local preferences regularly trumped national priorities and allowed diverse vernacular musics to be heard. African American and Hispanic music found unprecedented popularity while the cultural mosaic illuminated by American folksong exemplified the spirit of the Popular Front movement. These new musical expressions combined the radical sensibilities of an invigorated Left with nationalistic impulses. At the same time, they blended traditional patriotic themes with an awareness of the country's varied ethnic musical heritage and vast—but endangered—store of grassroots music.
Malcolm Boyd
- Published in print:
- 2006
- Published Online:
- October 2011
- ISBN:
- 9780195307719
- eISBN:
- 9780199850785
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195307719.003.0013
- Subject:
- Music, History, Western
This chapter examines the musical heritage of Johann Sebastian Bach. It mentions a commentary by a critic who recognized in Bach's music the perfection and culmination of all that his predecessors ...
More
This chapter examines the musical heritage of Johann Sebastian Bach. It mentions a commentary by a critic who recognized in Bach's music the perfection and culmination of all that his predecessors had been striving towards. Bach's craftsmanship was universally acknowledged and the pedagogical value of his chorale harmonizations and keyboard fugues were recognized. His compositions are still being listened to and played in churches. But despite this, Bach had very minimal influence on other composers.Less
This chapter examines the musical heritage of Johann Sebastian Bach. It mentions a commentary by a critic who recognized in Bach's music the perfection and culmination of all that his predecessors had been striving towards. Bach's craftsmanship was universally acknowledged and the pedagogical value of his chorale harmonizations and keyboard fugues were recognized. His compositions are still being listened to and played in churches. But despite this, Bach had very minimal influence on other composers.
Samuel Charters
- Published in print:
- 2008
- Published Online:
- March 2014
- ISBN:
- 9781578068982
- eISBN:
- 9781604733181
- Item type:
- book
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781578068982.001.0001
- Subject:
- Music, History, American
This book tells the entire story of a century of jazz in New Orleans. Although there is still controversy over the racial origins and cultural sources of New Orleans jazz, the book provides a ...
More
This book tells the entire story of a century of jazz in New Orleans. Although there is still controversy over the racial origins and cultural sources of New Orleans jazz, the book provides a balanced assessment of the role played by all three of the city’s musical lineages—African Americans, whites, and Creoles—in jazz’s formative years. It also maps the inroads blazed by the city’s Italian immigrant musicians, who left their own imprint on the emerging styles. The study is based on the author’s own interviews, begun in the 1950s, on the extensive material gathered by the Oral History Project in New Orleans, on the recent scholarship of a new generation of writers, and on an exhaustive examination of related newspaper files from the jazz era. The book extends the study area of the author’s earlier book Jazz: New Orleans, 1885–1957, and breaks new ground with its in-depth discussion of the earliest New Orleans recordings. It brings the story up to the present, describing the worldwide interest in the New Orleans jazz revival of the 1950s and 1960s, and the exciting resurgence of the brass bands of the last decades. The book discusses the renewed concern over New Orleans’s musical heritage, which is at great risk after the catastrophe of Hurricane Katrina’s floodwaters.Less
This book tells the entire story of a century of jazz in New Orleans. Although there is still controversy over the racial origins and cultural sources of New Orleans jazz, the book provides a balanced assessment of the role played by all three of the city’s musical lineages—African Americans, whites, and Creoles—in jazz’s formative years. It also maps the inroads blazed by the city’s Italian immigrant musicians, who left their own imprint on the emerging styles. The study is based on the author’s own interviews, begun in the 1950s, on the extensive material gathered by the Oral History Project in New Orleans, on the recent scholarship of a new generation of writers, and on an exhaustive examination of related newspaper files from the jazz era. The book extends the study area of the author’s earlier book Jazz: New Orleans, 1885–1957, and breaks new ground with its in-depth discussion of the earliest New Orleans recordings. It brings the story up to the present, describing the worldwide interest in the New Orleans jazz revival of the 1950s and 1960s, and the exciting resurgence of the brass bands of the last decades. The book discusses the renewed concern over New Orleans’s musical heritage, which is at great risk after the catastrophe of Hurricane Katrina’s floodwaters.
