CHAPTER 1

Music in Our Culture

Objectives
By completing this
chapter, you will:
• Understand how the
variety of music
performed in America
I reflects the diverse
cultural backgrounds of
I
I
its people.
• Become familiar with
I
I
many different styles
of music.
I • Begin to identify a wider
I range of musical styles.
I
I • Learn how to describe
I and compare contrast-
ing musical compositions.
I • Begin to develop a

I • descriptive vocabulary
to describe musical
I characteristics.

Musical Terms
classical music
concerto
culture
homophony
jazz
jitterbug
musical style
perceptive listening

4
 Chapter 1 Music in Our Culture 5

cMsic is ~ne of the great pleasures of life.

It has the power to command our allention and inspire us.
It speaks to our spirit and to our inner feelings.
It provo~es thoughts about the mysteries of life such
as why we ~xist, the vastness of the universe , and our
purpose on earth. Music reaches deep into our nature
to console us, to. reassure us, and to help us express
who and what we are as, human beings.

Who We Are
As Americans, we are part of a culturally diverse group of people. Immi-
grants came to America from every part of the globe. Your classmates,
neighbors, and community members probably represent a mixture of racial
or ethnic backgrounds. How do you feel -about people whose backgrounds
are different from yours? Perhaps you interact little with these people. Then
again, perhaps you go to school together, understand each other, and get
along well.
One way to relate with others is by sharing your culture. Culture is the PROJECT

customs, ideas, tastes, and beliefs acquired from a person's background. It is the Compare Listening
sum total of one's lifestyle. Your culture may be your most personal and Habits
important possession. Sharing your culture is the greatest gift you can
Gather data on your own
give others. music listening habits for three
One of the most revealing ways that people share their culture is through consecutive days. Find out pre-
the arts. The arts radiate the lifestyle.of the people who created them. This cisely how much you listen to
helps define their culture. Music, perhaps more than any other art form, music each day. Maintain an
reflects the diverse cultures of our population. Music is as varied as the accurate record .for three full
days. At the end of each day,
cultures that create it. All these different musics define who we are as
write down the total time you
a nation. spend listening to music. On the
fourth day, bring your data to
Our Affinity for Music class and calculate the average
All people, from the earliest recorded history, have created music. listening time per day. Compare
Humans, ljke birds and whales, have a natural tendency for making sounds your listening time to that of your
classmates.
and responding to them. When music is pleasurable, it says something to
you. It communicates a feeling or conveys a message. It speaks to your
inner being.
Teenag~rs have a strong affinity for music. According to the A. C. Nielsen
Company, teens between the ages of 12 to 17 years old watch television
23 hours a week or more than 3.2 hours each day. The time they spend
listening to and participating in music may rival that average. Obviously,
the amount of time you devote to listening to music will va1y according
6 Unit l Music! ... To Tell Us Who W e Are

to your interests and schedule, but the amount of time you actuall
is a clear indication of how much you enjoy music. If you are
. . . b
spend
e mo
1l
teenagers, you probably enjoy I1stenmg to music ecause you are . st
something in return. It is saying something to you that you want t0gehtting
ear.
Preference of Musical Styles
The kind of music you prefer tells something about who you a
what you know. Your likes and dislikes-your . musical
b prefere~eces_
and
express your personal taste. Th ey revea I someth mg a out you . Musich 1
define who you are. This may be one of_ the reasons it is valued 50 hi~is
As a human being, you have the option to narrowly or broadly d r· Y.
. .d e ine
our musical preferences. For example, you may cons1 er yourself a
Y . Yi . 1 rap-
per, a rocker, and/or a classica I ent h us1ast. our mus1ca preference often
reflects your lifestyle.

Variety of Styles
As humans, we can be more than. one-dimensional. We can stretch our
likes and understandings beyond the narrow range of one type of music.
In so doing, we define ourselves more broadly and probably more com-
pletely. People need not be limited in their musical likings, any more than
they need to limit the hairstyles they admire or the kinds of food they enjoy.
We are as narrow and limited as we choose to be, or as broad and al!-
encompassing.
Like all forms of communication-speech and written language, scien-
tific symbols, graphics, visual arts, and gestures-music must be learned.
If you want to fully understand and respond to its power, you have to study
it. By paying careful attention to music, you can come to know it better
and can broaden and deepen your range of understanding and your abil-
ity to respond to it.

T Activity: Radio Scan

What kind of music do you like?
When you scan radio stations to find the music you like, you hear many different musi-
cal styles. If you are like most people, you quickly skip over several stations until you find
your musical preference. This process raises some questions about how you define yourself
musically. For instance:
I. How long must you listen to one station to know if it is playing what you like?
2. Why is there such a wide variety of music available on the radio?
3. Is this variety important?
4. Are your musical choices different when you are alone?
5. Under what circumstances would you spend more time listening to a station that is
unfamiliar to you?
Listen to the musical selections and pretend that each comes from a different radio sta·
tion. Indicate your reactions to each example by writing down how long you would liSten
to each station.
 Chapter J Mrisic in Our Culture 7

Cooperative Learning

Research Listening Time

How much time do you
spend listening to music?
Find out the average time Amer-
ican teenagers spend daily in
contact with music. Is it more or less
than the time they spend viewing
television? How much time per day
would you imagine students in your
school actually spend in contact
with music? Include listening to or
making music, attending concerts,
or watching music videos.
Working in small groups as a
research team, establish a hypoth·
esis about the amount and quality
of music listening habits. First,
choose one of the hypotheses ·
below (either Aor 8). Then, estimate
the average amount of daily con·
tact with music your classmates
_. Your personal taste in m~sic helps define who you are and usually indicates the kind of actually have over a three-day
group with whom you associate. What do your musical preferences ·say· about you? period, keeping track in hours and
minutes. Write down your research
group's estimate of the average
Different music serves different purposes, different moods, and differ- amount of daily musical contact
ent human needs. You may find that you are l~ss tolerant of a new type that students in your class have.
of music. Unfamiliar music may make you suspicious, just as you are Hypothesis A: Students in my
cautious when meeting a stranger. This course and this text will help you class spend more time in musical
open your ears to new kinds of music so that you can broaden your musi- contact than in ordinary television
viewing (more than the average 3.2
cal tastes. By studying music you will be able to stretch your likes and hours per day).
deepen your understanding. Hypothesis B: Students in my
Music differs in the way it is composed and performed. Different types class spend less time in musical
of music have different characteristics-different styles. Musical style refers contact than in ordinary television
to the distinct manner or character of musical expression. This is best under- viewing (less than the average 3.2
hours per day).
stood when qualities between one piece of music are compared to those
of another piece of music. For example, just as you learn to recognize dif-
ferent models of cars, you can learn to distinguish between different styles
of music and develop a vocabulary-"descriptors"-to define them.
The musical world contains an enormous variety of musical styles. This
variety helps to characterize and document what we are like and who we
are as a society. Some of these styles are broad categories that cover a wide
range of music. For example, the term popular music refers to commer-
cial music thal!he general public uses for dancing and entertainment. Sub-
categories under pop might include rock, heavy metal , top 40, rap, and
reggae, to name a few. The categories and names of different types of music
are numerous and sometimes confusing.
 8 UniL 1 M U51.C., . .. To Tell Us W ho W e Arc

C ooperative Learning y Activity: Musical Style Check

How broad Is your a ural knowledge of musical. styles?
.
Identify Musical Styles . with the many styles of music heard drnly 1n the United State ?
How fam11lar are you al exam les try to Identify and match the style. Discuss: (l s. As
How many musical styles
you listen to the sho_rt muslcyou familiar ~Ith? (2) How does this music define Arnerica\What
can you name? percent of this music are •
Working in your research team.
llst all the different styles of music
you know. Your style list may con-
tain broad categories and smaller
subgroups. Name all the different
kinds of music that you can.

Most radio stations become

noted for ploying only one
particular style of music. By listening
to a variety of radio stations. you
con broaden your exposure to a
wider range of music.

Jazz and Classical Music

One of the ways to distinguish the many styles of music is by compar-
ison . Jazz and classical music, for example, are easy to distinguish because
they have very different characteristics.
Jazz, an African-American invention, is a popular style of music that devel-
oped in New Orleans during the late 1800s and early 1900s. It was instru-
mental music of exuberant spirit, sometimes improvised (invented) on the
spot. It most likely emerged from the rhythmic music p layed during lively
street parades and funeral processions. Among those w ho cultivated jazz
were Joseph "King" Oliver and Louis "Satchel Mouth" Armstrong. A simple,
heartfelt music, intended for small audiences and for participation, jazz was
the kind of music that set feet tapping. Jazz was dance music.
As jazz developed in the early 1940s, people danced the jitterbug, the
term jitters referring to the fast acrobatic movements that accompanied
swing music. Jazz ensembles, which consist of rhythm, brass, and reeds,
set the entire body-feet, arms, hips, back, head, and hands- in motion.
In the rhythm of jazz you can hear the echoes of African tribal drums, but
the use of certain instruments- piano, trumpet , clarinet, saxoph one, and
trombone-is definitely a European and American characteristic.
 Chapter I Mu sic in Our Culture 9

In music, the tenn classical has two meanings: classical music, in its
broadest sense, refers to a style of "art" music as distinguished from folk, Jazz,
or popular music. More specifically, classical music refers to European music
of the Classical pc1iod; that is, music composed from about 1725 to 1810 by
composers such as Franz Joseph Haydn and Wolfgang Amadeus Mozart.
The Classical period was a time when musicians and other artists looked
back to the simple, stately, uncluttered, classical architecture of ancient
Greece. It was a time in which revolutions overthrew the old social order PROJECT

in France, and when American independence and democratic rule began. Classify Musical Styles
People were searching for a sense of order. The result was a trimmer, clearer
music. Instead of many melodies occurring simultaneously, as in the pre- Find out how musical styles
are classified and categorized in
ceding period, Classical composers opted for a more transparent style in record stores. Take your com-
pleted musical styles worksheet
to the most comprehensive
audiotape or CD store in town
or at the mall. On a separate
sheet of paper, develop a com-
plete list of both broad cate-
gories and subcategories. Make
a note of (a) any styles that you
did not list on your worksheet,
and (b) those styles you listed
that the audio store does not
use. Answer these questions:
I. How does the audio store
solve the problem of large
versus smaller subcategories?
2. How does your team's list
compare with the way the
audio store classifies the
variety of musical styles?

Like the fancy costumes of the

day, the music of the Classical
period (c. 1750 to 1825) was highly
ornamented, giving melodies a
flashiness and dazzle.
Louis Carmonlelle. Mozart's Father and His Two
Children. c. 1763-64. Musee de la Ville de
Paris, Musee Carnavalet, Paris, France.
10 Unit l MUSIC. ., . . · To Tell Us Who We Are
PROJECT
Analyze Musical
Preferences
Try to describe the music
your classmates like. Bring to
class the one recorded piece of
music that you believe is the
very best musical composition
you own. Select any performing
artist, style, historical period, or
performing media, but make
sure your selection is appropri-
ate for classroom discussion.
Avoidsong lyrics containing lan-
guage or subject matter that
could be considered offensive.
Share your musical preference
with your classmates. Analyze
and describe each of the
compositions your peers bring
to class.
t while the other ~arts provided a simple ace
whi~h one melody sang ~~~sic is known as \homophony, a single me~~-
pamment. This form _o t This new homophonic style projected a se 'Y
'th chordal accompammen. f h d th . nse
w1 . . I ance. Like the fancy attire o t e ay, e music was highI
of anstocra~c e_e~ the melodies flashiness and dazzle. Moods chang
ornamente ' g1vmg d dramatic changes of soft and loud, fast and sl e
freely and composers use . . d full ow
' . an d 1ow to make the music expressive an
and high of interesung'
surprises l b' ·
Classical composers explored new instrumenta ~om .mations. The con.
Avn_t h) a composition usually wntten m three sections
certo (con- Cunn1 l\. o , l. or
r. . the ,·nterplay between one or more so oists and an orche
movements Jeatunng k'll f . S-
tra became a popu lar vehicle for showing off the s i o an instrumental
sol~ist accompanied by the newly formed s~phony orchestra. Strings,
woodwinds, and brass instruments were c~mbmed and contrasted to cre-
ate a whole new world of musical express10n.
• Activity: Compare Musical Styles
How would you describe two different musical compositions?
Listen to the following compositions that represent two different styles of music from dif-
ferent historical periods.
• Allegro movement from Concerto in DMajor for Trumpet and Orchestra by Michael
Haydn (performed by Wynton Marsalis) .
• 'You'd Be So Nice To Come Home To" by Cole Porter (performed by Ella Fitzgerald).
As you listen, write down the musical similarities and differences you hear. What can
you tell about these pieces just by the verbal clues-the names of the composers, the per-
formers, and the titles of the musical selections? Use your notes to discuss these compar-
isons in class.
-What We Like
This text invites you to explore many different forms of music. It does
not present one type of musical style as best or ask you to like a particu-
lar kind of music. You may like all of it, some of it, or none of it. That is
your choice. However, you are asked to develop the ability to substantiate
your musical opinions based on your analysis of the music itself.
Do not be fooled, either, into thinking that every piece of music you
\\'.ill hear in this course is of equal value and importance. Even though you
will hear outstanding exa~ples of music from many cultures, you will find
some may be more profound than others, some may be more imaginative,
and some may be more difficult to comprehend. Value them accordingly.
The goal of this text is to expand your horizons. The skill you acquire in
analyzing music and learning to listen to it perceptively will enable you to
make musical choices and to know why you made them.
 Chapt er 1 Mu sic in Our Culture 11

Profile
WYNTON MARSALIS
Although he was born in New Orleans, the birthplace of jazz, Wynton Marsalis
did not play jazz as a youngster. Marsalis picked up the trumpet when he was 12,
and quickly learned and excelled in classical music. Encouraged and guided by
his musician father, Marsalis was a member of the New Orleans Symphony Orches-
tra at the age of 14. By the age of 17, he impressed audiences by playing con-
certos written by Haydn and Bach. It was at the prestigious Juilliard School of Music
in New York that Marsalis first became exposed to jazz.
Once interested in jazz, Marsalis voraciously sought out and studied anything
pertaining to it, going to libraries, museums, and clubs. His mentors introduced him
to local and visiting jazz musicians. Motivated by his love for traditional jazz and
fortified by his classical virtuosity, Marsalis's inspired playing allowed him to become
Wynton Marsalis a recognized recording artist by the time he was 20.
American Trumpeter Since collecting Grammy awards in both jazz and classical categories in 1984,
1961- Marsalis has committed himself to advancing the art of jazz. His popular and artis-
tic success has helped create a new generation of jazz fans and inspired other
musicians to explore this art form. His versatility in both jazz and classical music has
established him as a major force in American music.

• There are as many different kinds of music in the United States as there are different
peoples. This variety of musical styles helps define who we are as a nation.
"'nFZiD

l \1111 l ,\ hc~ll ,

Why We Like It . De gusti/Jus 110 11 est. disputandum ("There is 1

· 'XjJrCSS1011 · . , 10
The l ) ILI Laun t:, · .· . ·sLihal dilTerences m laste cannot bes b
.. ") 5-cc ms to sugge · . . ,, LI _
disp111mg 1:~s1c 1
, "I like ii " or "I don't hke tl are sufrtcient exp!
s1anti:Hcd. !·or some pcol!J. c, . d'ng why you like or dislike something a-
. - H wcvcr, unc CtSWll I ' • 1r h IS
n:11ll1ns. 0 I'd _ our percepuons LO you1se . T en, too y
im ponnnL ir only LO va I ate yd others , ou
b ble LO persua e ·
may want 10 e a f II and fairly judge whether you like a new piece of
Before you can ub y ·t 1.11 yo u hear what the sounds are doing y,0
. have LO e cet a .. . · u
music, you ' ou are hearing and become fam1har with the charac-
have to know wha.t Y _ . . pli·es a willingness to listen, even if the sound
tensucs O :e ·
· · r ti music 11115 1m
d0 not readily appea to yo ·1
u You have to give unramiliar music a chance
h ·
S
,
•t your attention more t an once m order to feel
which may mean givmg 1
. .

com fortable with it.

Activity: Listen Perceptively

How much can you tell about music by listening with
greater focus? .
Listen again to the compositions by Michael H?ydn and Cole Porter. See if_you can dis-
cover more distinguishing characteristics. As you listen, try to make some musical observa-
tions based on the following:
1. Determine the musical means (the source of sound and the size of the group for
each piece).
2. Describe the musical expression (the rhythm, melody, and mood).
3. Determine each piece's order or organization (the amount of repetition and contrast
that is used).
4. Determine the possible origin (the where, when. and by whom the music was created).
s. Characterize the use of the music (its function or purpose. and its intended audience).

Perceptive listening is the ability to discern musical characteristics and

describe them. These characteristics are both internal (dealing with sound)
and external (dealing with the social aspects) . In its sound , every piece of
music uses a distinctive means (the source of sound), expression (feeling),
and order (organization).
In its social aspects, every musical piece has a distinctive origin (the
where, when, and by whom the music was created) and use (function or
purpose). To develop the capacity to listen perceptively, you must analyze
what you hear. You need to perceive the internal and external character-
iSlics of the work and develop the ability to describe them. For this pu:-
pose you may have to acquire some new vocabulary, or "descriptors." Thts
new vocabulary will permit you to communicate your likes and dislikes
persuasively.
 13
Chapt er I Music in Our Culture

Profile
COLE PORTER
Cole Porter was a remarkable man who had a special genius for creating bril-
liant lyrics and memorable melodies. Yet, it is a near miracle that he ever got into
the music business. Cole Porter was born into wealth; his grandfather, a specula-
tor in West Virginia coal and timber, was determined that Porter would become
a lawyer. When Porter was at Yale, he wrote student shows and two of Yale's great
fight songs, including the ·vale Bulldog Song." Later at Harvard Law School he
switched to the School of Music!
Porter never won his grandfather's blessings. His first Broadway score was such
a flop that he ran off to North Africa and joined the French Foreign Legion. Fortu-
nately, after World War I, his first hit song, "An Old-Fashioned Garden," P?id off s_o
well that he lived royally in Europe. His grandfather's will soon made him a mil-
Cole Porter lionaire, and he married a beautiful lady who was even richer! The two of them
American Composer associated with the famous, gave lavish parties, and toured the world.
1893-1964 If you had that much money would you work? Porter did. In fact, few people
could ever say they worked harder. Porter composed Broadway shows one after
the other, sometimes two a year, and most of them became smash hits. In 1937,
both of Porter's legs were crushed when the horse he was riding fell and rolled
over him. Although Porter could not walk again, he continued to write. His many
fine songs include: "Love for Sale: "Night and Day: ·1Get a Kick Out of You,"
"Begin the Beguine," "What Is This Thing Called Love?" and such motion picture
songs as "I've Got You Under My Skin" and "Don't Fence Me In."

summary
Music is one of the ways in which we define who we are as individuals and as a
society. Through music and the other arts, we express our cultural lifestyles as Ameri-
cans. Multiculturalism is what American life is all about. Rather than argue over our dif-
ferences ('My music isbetter than your music!"), we can learn to celebrate our diversity.
Our pluralistic society and its pluralistic tastes give us a rich and unique heritage. Our
culture is no longer a melting pot in which cultures blend and lose their identity.
As a people, we are not one-dimensional and neither is our music. As you have
heard through the musical activities in this chapter, a broad diversity of musical styles
is available to all Americans. We are not confined to one kind of music or to one taste.
We can learn to savor the great variety that surrounds us. All we have to do is open
our ears and our minds. We can learn to appreciate the great variety that surrounds us
by becoming perceptive listeners.
We can acquire new sources of musical pleasure and understanding if we are will-
ing to pay attention to the other cultures that are around us. Today these different cul-
tures are easily accessible. Much of their music is available on radio and television, on
recordings, and through live performances. Immigrants have come to our shores and
brought their instruments, their songs, their dances, and their love of music with them.
Music is part of their roots. It is a memory of the best of their homeland. Such cultural
memories are a very personal and precious part of these people. That is why sharing
that culture is such a generousgesture. That is why living in a country in which we share
so much of the world's music is such a privilege.