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Native Americans in the United States had no indigenous traditions of classical music, nor a secular song tradition. Their music is spiritual in nature, performed usually in groups in a ritual setting important to Native American religion. It was not until the 1890s that Native American music began to enter the American establishment.
Drums, harps, recorders, and bagpipes were the instruments of choice when performing secular music due to ease of transportation. Jongleurs and minstrels learned their trade through oral tradition. [citation needed] Composers like Josquin des Prez wrote sacred and secular music. He composed 86 highly successful secular works and 119 sacred pieces.
The secular version of this music is urban contemporary music, which is musically indistinguishable, but which takes non-religious subjects for its lyrical content. Urban/contemporary gospel music is characterized by dominant vocals, usually performed by a soloist. Common instruments include drums, electric guitar, bass guitar, and keyboards. [7]
Organ music would play a large role in Lutheran music later on. Luther said that music ought to be “accorded the greatest honour and a place next to theology” due to its great importance. [20] During the Reformation, Luther did much to encourage the composition and publication of hymns, and wrote numerous worship songs in German. [21]
Garage rock was a form of amateurish rock music, particularly prevalent in North America in the mid-1960s and so called because of the perception that it was rehearsed in a suburban family garage. [21] [22] Garage rock songs revolved around the traumas of high school life, with songs about "lying girls" being particularly common. [23]
William Billings' The New-England Psalm-Singer is the first compilation of entirely American music and the first compiled by a native-born American to be published, [102] first major publication by a singing master, [101] and the first tunebook in the country dedicated to the music of a single composer.
Blues People: Negro Music in White America is a seminal study of Afro-American music (and culture generally) by Amiri Baraka, who published it as LeRoi Jones in 1963. [1] In Blues People Baraka explores the possibility that the history of black Americans can be traced through the evolution of their music.
a. Music serves best when its integrity as an art is maintained. b. Music of all periods, styles, forms, and cultures belongs in the curriculum. The musical repertory should be expanded to involve music of our time in its rich variety, including currently popular teenage music and avant-garde music, American folk music, and the music of other ...