Module 1

Module 1 covered a plethora of different topics relating to the many types of early American music.  While I teach music history to my students, it is only a survey of American music and there is not enough time to cover all of the intricate details.  Starr and Waterman (2014) do an excellent job of explaining the history behind the different musical styles in America during the 1800s and 1900s.

In order to understand music and where it comes from, one must understand the historical events taking place that are influencing the music.  Throughout history, the arts have been a form of expressing one’s self; the history of American music is no different.  With America having so many different representations of different cultures, it is no wonder that our music is diverse.  While the primary influence of American music is from Europe and Africa, I did not think of the implications the African influence had upon Latin music that was then brought to America.  It was evident by this week’s listening examples that there were many connections of American music to other cultures of the world.

As I listened to “Barbara Allen” by Jean Ritchie, it is very clear that there is a connection to Irish music.  The inflections within the music are very characteristic of Irish music.  While it is considered to be of the British ballad tradition, Ireland is located in the same geographical area.  To my surprise, Star and Waterman (2014) said that this song has been performed by a number of American singers such as Bob Dylan, Dolly Parton, and the Everly Brothers.  Since it was circulated in the 18^th century I find it to be interesting that modern singers of the 20^th century would be performing this music.  The lyrics are more than a song as it is there to tell a story.  This song has been passed down from generation to generation with small changes being done to keep the tradition of the song going.  After listening to the provided recording (which was done without instrumental accompaniment), I was curious to hear a modern version.  I listened to the rendition done by Dolly Parton and Altan.  https://www.youtube.com/watch?v=087p-Wpkyog While it was very similar, this recording did not have the Irish sound the provided recording had and had instrumental accompaniment and multiple vocal parts.  Interestingly enough, Dolly Parton still says “Barbary” like the original.  Each version has similarities and differences but the story of tragic love is still evident.

While “Long John” by Lightning Washington, “Stagolee” by Mississippi John Hurt, and “Coo Coo” by Robert Dink are very different pieces, they also have some similarities.  Spirituals started appearing among slaves during the late 1800s, and while none of these songs are spirituals, they all have one thing in common; the need for freedom from inequalities.  “Long John” is a work song so it does not have an instrumental accompaniment.  This work song was recorded at a prison.  This song style was developed to complete work in an efficient and rhythmic pattern, dating back to slave times.  The lyrics reference biblical figures and phrases in the same way spirituals did during times of slavery.  While “Long John” was not a slave song, these were prisoners that were working manual labor in the same kind of capacity as slaves.  “Stagolee” on the other hand does not have the “gruff” sound of the work songs.  It was recorded much later than “Long John”, but was written around the same time and references many inequalities that were felt by African Americans during this time period.  It has guitar accompaniment with the vocals, and although Hurt is the only one singing, he has developed a call-and-response form in his song, very similar to that exhibited in work songs.  A conversation is occurring with his guitar in “Stagolee”, while Washington is calling and the other prisoners are responding in “Long John”.  In “Coo Coo”, there aren’t any religious references, but it does involve Dink having a conversation in call-and-response form.  Interestingly, the lyrics to this song are referencing an independent woman and a man not understanding how she will survive on her own.  All three pieces have very different sounds, but the underlying factor of the call-and-response form is unmistakable.

While I appreciated all of the listening for this module, I felt the biggest connection with the above-mentioned songs.  I have a particular interest in pre-blues music performed in the songster form.  It is very interesting for me to see the progression of this music throughout the history of music, particularly its influence on jazz.  The historical events that influence the music production are the most interesting and help me to relate the importance of the music to my students.