For this week’s online exercise, each student will find an online recording of three primary forms of modern music: folk music, popular music and art music (which represents "high culture" in this course). While each of these differs in terms of form, audience, and technology used for recording and transmission, all three have a fundamental role in modern American culture.
Students are expected to comprehend the essential characteristics of each of these three musical forms, find an example of each form, and briefly discuss (in roughly 75 words per example) why each example is an appropriate representation of the musical form.
To be clear, you are required to accomplish the following:
Go on the Web and find examples of folk music, art (classical) music and popular music.
Log in to Blackboard Learn, go to “Assignments” and post your assignment in the proper place
Your post should contain hyperlinks to your examples and three 75-word explanations as to why you feel they fit the forms mentioned. Since these explanations include why the song is an example of the type of music assigned to it, mention some of the characteristics associated with each form.
Here are some abbreviated characteristics of each music form, as described in Oxford Music Online, which contains more lengthy descriptions (it is found within the CSU-Chico library’s Databases A-Z).
“The story of American art music chronicles the rise of the composer in the United States. At no time have such composers controlled or dominated American concert life, however. Their historical role has been to take Old World practices as a starting point and to complement repertories that are chiefly European with works of their own. Although some 20th-century American composers have opened up fresh artistic territory, art music in America, even into the later years of the 20th century, has continued to revolve around the performance of European classics.”
“This concept has been defined and developed in multiple ways by collectors, scholars and practitioners, within different geographical locations and in different historical periods. Widely used in Europe and the Americas, it has been used both covertly and overtly in the construction and negation of identities in relation to class, nation or ethnicity and continues to be the source of controversy and heated debate. At its root lie questions about the identity and identification of the ‘folk’, the delimitation of musical repertories, how these repertories are transmitted and the assessment of sounds.”
“A common approach to defining popular music is to link popularity with scale of activity. Usually this is measured in terms of consumption, for example by counting sales of sheet music or recordings. Another common approach is to link popularity with means of dissemination, and particularly with the development and role of mass media. It is true that the history of popular music is intimately connected with the technologies of mass distribution (print, recording, radio, film etc.); yet a piece that could be described as ‘popular music’ does not cease to be so when it is performed live in public, or even strummed in the amateur’s home, and conversely it is clear that all sorts of music, from folk to avant garde, are subject to mass mediation. A third approach is to link popularity with social group – either a mass audience or a particular class (most often, though not always, the working class). In the first case, the theory is usually ‘top-down,’ portraying the group as undifferentiated dupes of commercial manipulation; this tends to accompany pessimistic scenarios of cultural decline. In the second case, the theory is ‘bottom-up’, representing the group as the creative source of authentic (as opposed to ersatz) popular music; this tends to accompany populist scenarios of leftist opposition."
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