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American Music Survey Final Exam Questions

Alysa M. Hershman

Department of Music Education, Northern State University

MUS 735: American Music Survey

Dr. Marla Fogderud

May 1, 2023
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This paper will consider three different topics in regard to the history of music education

in the United States. The first topic will explore smaller and larger forms of music and whether

or not the length and genre determine its scope and power. The second will examine what it

means to be a virtuoso and how it may or may not exist in relation to a high-level performance.

The third topic will discuss how music education lacked support from the public in the 80s and

90s and the effect it has today.

Smaller forms vs. larger: does the length and genre of a work dictate its scope and power?

Is chamber music “lesser” than symphonic to the general public? Does the modern

attention span play a role in this? Post two examples to support your thoughts.

Music uses time as a form of expression and the length of a piece plays a factor into the

audience’s thoughts about it (De Selincourt, 1920). I don’t feel the length of a piece of music

necessarily dictates its scope and power. A piece of music can be long and still provide a

powerful musical experience to the listener. However, if the audience feels the music is too long

and has lost interest, the music has lost its opportunity to grasp the audience’s attention and bring

about an emotional connection. This isn’t always the fault of the music or composer. Musical

taste and preferences differ in listeners as well as in performers, which cause different reactions

to the music. Different types of compositions also have particular lengths that are appropriate for

them and some are longer than others. The form often predetermines the length of a movement

and requires it to be a certain length.

Some of the greatest composers have ignored the limits of the audience’s attention and

endurance when composing and performing their music (De Selincourt, 1920). They felt it is in

the nature of music to flow and continue on. Bach’s Prelude and Fugue in G Sharp Minor is an

example of a piece of music that is not particularly long, but can feel long to the person listening
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to it. The piece felt long to me and I think this is partly because of the repetitions. It is a beautiful

piece of music, but the longer it went on, the harder it was for me to pay attention solely to the

music. I think the modern attention span definitely plays a factor into the length of music and

what we can endure.

The use of technology and social media has significantly impacted the attention span of

human beings and has caused many of us to have a difficult time focusing on one task at a time. I

know this is true for myself and many others. We take our third-grade students to the South

Dakota Symphony concert each year, and I have noticed that each year they strive to make the

concerts more engaging by utilizing visuals, playing music the students know, and telling stories

in between songs. They are thus able to better focus on what is occurring on stage rather than

losing interest. My students have been much more engaged in the music they hear because of the

conductor and musicians making it relatable and interactive. Along with keeping the audience’s

attention, the genre or type of music plays a part in determining the length and how the audience

perceives the music.

Chamber music performances consist mainly of professional musicians and therefore, can

give an impression that it is for exclusive, upper-class members of society (Sacks, 2016).

Although some may view chamber music in this regard, it is accessible to people of all ages,

classes, and backgrounds. It is an important part of musical history and so it should continue to

be performed for audiences to enjoy. Chamber music used to be performed in private residences,

but is now performed in concert halls, academic settings, or is recorded. Although chamber

music is not performed as often as symphonic music, I believe there is a lot of merit to the genre.

As a flute and violin player, I have experience performing chamber music in college with my
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fellow classmates. It was my favorite music to perform and is, to this day, my favorite to go back

and listen to.

Chamber music is an essential part of music history and performance (Sacks, 2016). It

not only helps musicians grow, but gives the audience a glimpse into its history. An example of a

chamber piece is Yo-Yo Ma and Kathryn Scott’s Ave Maria, which features the cello and piano.

Although Ave Maria is a fairly popular piece, I had never heard this version before. Yo-Yo Ma’s

cello solos are always breathtaking and the piano adds even more depth to it. Another example of

chamber music I found was Debussy’s Clair De Lune featuring one flute, one oboe, one clarinet,

one bassoon, one French horn, harp, and strings. Because there are fewer players, you can really

hear the woodwinds. I enjoyed being able to really hear the woodwinds and the harp as they are

often covered up by the strings in a full orchestra. I chose these pieces because they are both

ones I recognize. Although I thoroughly enjoyed both of these chamber versions of recognizable

pieces, I think the public would be more familiar with the full orchestra version of them.

It will likely take the involvement of instructors, family members and legislators for the

development and renewal of chamber music in society (Sacks, 2016). Sadly, I do think chamber

music is not as recognizable to the public as symphonic music and therefore, may hold less value

to them. I feel having a larger orchestra can also provide more of a variety and a wider range of

dynamics, which often produces more of an emotional connection to the audience. Chamber

music can, however, feature different instruments and instrument groups and gives musicians a

chance to spotlight their instrument in a unique way. It also provides composers with an outlet to

expand and evolve the musical boundaries as it doesn’t necessarily need to be accessible to a

large group of people. I hope chamber music will continue to grow and draw in greater audiences

as it is an important genre in our musical past.

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What classifies a virtuoso on any given instrument? Does virtuosity exist when composers

consistently demand it of performers? Using four musical examples to support your

position, show how virtuosity may or may not exist in relation to a “standard” high level

performance.

A virtuoso is a musician who excels in technical ability (Cvejic, 2016). This is only one

of the many definitions that exist to define and describe a virtuoso. A danger in naming someone

a virtuoso is that it can be used as a derogatory term of one who excels in technique only and

lacks expression and musical taste. Although there are likely virtuosos who are technically

skilled and lack depth, I also feel there are those who are skilled in both and are able to showcase

their talent while also expressing the passion of the music. I believe it takes great technical

ability and talent to be considered a virtuoso of a particular instrument or skill. I would

personally classify someone a virtuoso on a given instrument if he or she not only possesses

incredible technical abilities, but is also passionate and connects with his or her audience.

Franz Liszt was the world’s greatest pianist, a captivating teacher, an orchestral

conductor, a director of music festivals, and a writer of books and articles (Walker, 2013). Not

only was he an incredible pianist, teacher, and composer, but he also was an ambassador for

other composers. He had remarkable skills as a pianist and both his technical development and

contribution to the evolution of playing the piano made people view him as a virtuoso pianist.

His use of his wrist was a significant development from previous methods that were extensive in

the beginning of the 19th century. Along with playing and teaching, one of his greatest

contributions was that he was the first composer to truly understand the musical significance of

new techniques, including dramatic and emotional ones. Liszt wrote La Campanella, which

translates to “little bell.” It is the nickname given to the third of his six Grandes etudes de
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Paganini. It comes from a larger work and is considered one of the most difficult pieces written

for piano. It incorporates enormous jumps in the right hand played at a very fast tempo.

Frederic Chopin was a reluctant virtuoso who avoided public performances during his

life, but his works are now heard more than ever before as festivals, competitions, and

conferences are presented in his honor (Lopinski, 2009). Nearly all pianists include his music in

their repertoire, so it is surprising that Chopin was a reluctant performer who gave few public

recitals during his life. He felt self-doubt and fear before going on stage for his public

performances and was intimidated by the audience. He was much more comfortable giving salon

recitals. However, after Chopin’s death, the legacy of his life’s work was preserved through his

published music, testimonials, recordings, and performances of his music.

Chopin was a virtuoso pianist of the Romantic period, who wrote solely for solo piano

and was renowned as a leading musician of his era (Lopinski, 2009). He wrote Nocturne Op. 9

No. 2 when he was only 20 years old and it has become one of his most famous pieces. Although

it isn’t extremely difficult, it is still well-known and played today and is a stunning piece for

piano. His Fantasie Impromptu, Op. 66 on the other hand, is very challenging with the left hand

playing in triple time while the right hand plays in duple time. It also includes many tempo

changes in cut time. Franz Liszt and Frederic Chopin were 19th-century virtuosos who paved the

way for virtuoso pianists today and whose legacies live on in them.

Lang Lang is a virtuoso pianist who won international acclaim and whose expressiveness

and individuality make him one of the most popular performers of the 21st century. He has

performed with orchestras in China, North America, Europe, and more. As a pianist, educator,

philanthropist, and ambassador for the arts, he is a leading figure in classical music today and has

had a profound impact on the world of music. Here is a video of him performing, It’s a Small
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World. As you can see, along with having incredible technical skills, he plays with so much

emotion and passion. Hiromi Uehara, known professionally as Hiromi, is another virtuoso pianist

of the 21st century. She is known for her technique, energetic live performances, and blending of

various musical genres such as rock, jazz, and classical. This video of Hiromi performing, I’ve

Got Rhythm showcases not only her technical skills as a pianist, but also her unique style and

charisma.

Without virtuosity, the enjoyment of music would hardly be possible (Cvejic, 2016). The

precise meaning of the term virtuoso varies widely, although it typically encompasses incredible

skill and technical ability. I would argue that a virtuoso should also have a uniqueness that sets

them apart from other musicians. I also feel they should be able to connect with an audience in a

way no other musician can. I believe virtuosity can and does exist although composers often

demand it of their performers. A musician may have the technical skills to play a difficult piece

of music, but may not connect with the audience. I think a true virtuoso is able to express his or

herself through the instrument and plays with so much passion and emotion that it sweeps the

audience away and they forget all sense of time and place.

The 80s and 90s were especially bad in terms of public (government) support of music

education. How do you think this has had an effect on current compositional and/or

performance output? How can it be remedied? How does it affect your current approach to

teaching music?

The arts were forced into low profile during the 1980s and 1990s (Hitchcock & Gann,

2000). There was an economic crisis in America which affected schools and specifically music

education. Federal funding for the arts was reviewed and cut back and composers, musicians,

and artists struggled to make a living. This crisis was often defined as the “cutback problem” and
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music educators were encouraged to organize support groups, marketing strategies, and publicity

campaigns. Although these recommendations were justifiable, public relations alone would not

be able to solve the issues music teachers were facing. The real problem music educators

encountered was persuading the administrators and the public of the value of music education

and how it benefited schools and students.

Higher education can play a role in advocating for music education and contributing to

the support for music education in public schools (Burnsed, 1986). University music departments

can provide music classes to non-music majors, such as Music Skills for Classroom Teachers or

Music Appreciation. If more classroom teachers were able to understand the purpose of music

education, had experience with what actually occurs in a music classroom, and understood how

music can benefit learning environments, there would potentially be more support for music

education within schools. Another way higher education music faculty can assist is through

active communication with colleges of education and speaking to them about the value of music

and music education. Although higher education can assist in advocating for music and

contributing to the support for music education, it is not entirely up to them. There are things that

we as music educators can also do to advocate for our programs.

Music educators have felt the need to justify teaching music in public education

beginning more than 150 years ago with Lowell Mason’s efforts to convince the Boston School

Board to adopt music into the curriculum (Bess & Fisher, 1993). These efforts intensify

whenever the government considers reducing funding for education, especially for music and

other arts subjects. Support for arts advocacy can and should be seen at a national and state level.

The most effective advocates lie within the local school system and this starts with the music

educator. It is important to note, however, that when the music educator uses justifications to
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support his or her viewpoint, there needs to be evidence to support the claim. Lowell Mason

effectively advocated for the arts by demonstrating the success of his instructional approaches

and helped the public understand what he was doing and why. Bringing parents, administrators,

colleagues, and others into the classroom is a great way to get the public involved. If observers

see excellent teaching, learn about the instructional strategies and processes, and see the benefits

of the music experience, they are more likely to value them and help advocate and support music

education. If this is not feasible, another option is to create a video showcasing what occurs in

the music classroom. Other strategies music educators can use are to organize parents and

students who can articulate the importance of music class, seek out articulate community leaders

who support the music program, incorporate student testimonies about the value of music at a

concert or in a written program, encourage visitors, and establish regular communication such as

a newsletter.

Exposure to the arts doesn’t guarantee that people will understand the value they bring to

society (Bernsed, 1986). The effect that the government had on cutting back funding for the arts

has been long-lasting and has also had an effect on current compositions and performances.

Economics shapes musical genres. I think many musicians write music based on what will sell to

a large audience rather than what they necessarily want to write. Music educators still feel the

need to advocate for their programs and convince others of the value of it. We have come a long

way, but we still have more work to do. It is up to us to continue to advocate for our programs.

This has definitely affected how and what I teach in my classroom. I understand that most

of my students are not going to become famous musicians or music teachers, but I want them to

leave my class with a positive view of music and hopefully be involved in it outside of school. I

form positive relationships with my students and work to help them understand the value of
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music. I am fortunate to be in a school district where music is considered a core subject and is a

regular part of the school day. We also have the funds to send our students on trips and put on

concerts for the public. However, it is still important I communicate with my administrators,

parents, colleagues, and students about what occurs in my classroom and what we are working

toward. Advocating for music education should not occur only when the arts are in trouble. It

should be an ongoing process for all of us as music educators.

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References

Bess, D. M., & Fisher, R. E. (1993). Arts advocacy in music education. Music Educators

Journal, 80(1), 17-22. https://doi.org/10.2307/3398649

Burnsed, V. (1986). Crisis in music education: Higher education’s role. College Music

Symposium, 26, 143-146. http://www.jstor.org/stable/40373832

Cvejic, Z. (2016). The virtuoso as subject: The reception of instrumental virtuosity, c. 1815-c.

1850. Cambridge Scholars Publishing.

De Selincourt, B. (1920). Music and duration. Music & Letters, 1(4), 286-293.

http://www.jstor.org/stable/726994

Hitchcock, H. W., & Gann, K. (2000). Music in the United States: A historical introduction.

Prentice Hall.

Lopinski, J. (2009). Frederic Chopin: The reluctant virtuoso. American Music Teacher, 59(3),

17-19. http://www.jstor.org/stable/43540658

Sacks, A. (2016). A comparative history and the importance of chamber music. Captone Projects

and Master’s Theses. 542. https://digitalcommons.csumb.edu/caps_thes/542

Walker, A. (2013). Franz Liszt: A bicentennial tribute. Studia Musicologica, 54(1), 3-10.

http://www.jstor.org/stable/43289700