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Cross-Cultural Experience and Identity in American Music

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Cross-Cultural Experience and Identity in American Music University of Northern Colorado Scholarship & Creative Works @ Digital UNC UNC Faculty Open Textbooks Open Educational Resources @ UNC 2021 Open Listener: Cross-Cultural Experience and Identity in American Music Dr. Heeseung Lee Dr. Jittapim Yamprai Follow this and additional works at: https://digscholarship.unco.edu/textbooks Heeseung Lee Jittapim Yamprai OPEN LISTENER Cross-Cultural Experience and Identity in American Music ii Open Listener: Cross-Cultural Experience and Identity in American Music Heeseung Lee and Jittapim Yamprai University of Northern Colorado Copyright © 2021 by Heeseung Lee and Jittapim Yamprai Open Listener: Cross-Cultural Experience and Identity in American Music is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Digital UNC ISBN: Cover Image: Migration (2020) by Jim Klein iii Preface This book was initiated as part of the 2019–2020 institutional project “Open Educational Resources: Scaling Up at the University of Northern Colorado” supported by a Colorado Department of Higher Education grant. We are grateful to join the university’s, as well as the state’s, collective efforts to make higher education more accessible and affordable by offering an open/free textbook for MUS 140: Introduction to Music, an elective course of the Liberal Arts/Guaranteed Transfer Pathways Curriculum in a two-year or four-year college. Writing this book is an outcome of our ongoing commitment to providing updated educational information and perspectives in music, in conjunction with our pedagogical goals, the interests and needs of our diverse student populations at UNC, and our awareness of likely readers outside of the United States. Through this book and its inclusive narrative, we hope to generate a positive learning experience and academic success among students and to inspire them to nurture their lifelong love and support for various types of music and other arts. Throughout this book, we have focused on developing a narrative that closely mirrors the contemporary cultural landscape of our students’ surroundings in the United States. Our repertory of music attempts to cover broadly music from classical, jazz, popular, and traditional spheres, as well as contemporary crossovers and cover versions. We emphasize the activity of listening as our first and foremost goal and way of studying music. In this paradigm, students will experience “listening” to music’s various sonic structures and elements, cultural and social implications, and associated historical roots. In conjunction with the global student learning outcomes expected in the Liberal Arts Curriculum, we purport to articulate the differences between the ways in which cultures view the world in music, along with musicians’ efforts to bridge the differences through creativity and for originality. In so doing, we encourage students to improve their level of understanding our surroundings and to navigate their places and identities in the changing environment of the United States and beyond. The narrative of this book consists of three parts: Music and Ideas, Music and Sounds, and Music and Identities. Considering non-music major students’ experiences in encountering music, and their background of K–12 music education in the United States, we attempt to deemphasize a chronological, genre-based narrative history of music from antiquity to the present in European art music traditions. Instead, we put together a repertory of music coming from different directions yet sharing similar ideas and concepts under the aforementioned three themes. As we visit and revisit them throughout the 16-week semester, we expose ourselves to a wide range of styles and sounds, while experiencing the pleasure of seeking generalities to particularities in each returning musical example. In line with the subjects of Liberal Arts Curriculum, which the majority of non- music majors would tackle subsequently or simultaneously in their coursework, we explore broadly Native, Eastern, and Western philosophical and aesthetic ideas and their reflections on American music-making. We concentrate on developing not only the skills to listen to the details of a music’s style and sound but also the skills to express our feelings and thoughts about music in the form of writing. With the increased knowledge about ideas, styles, and sounds, we purport to integrate and continue to embody cross-cultural experience and identity in our lives. The repertory of music that accompanies this book in this first edition can be formed as a playlist through any streaming online music service free of charge and shared with the students. Reflecting the missions of OER, it is open to modification and customization by each instructor’s choice and/or students’ participation in each institution that adopts this book. It can continue to be updated, according to the changes of our surroundings. The YouTube links to the musical examples and performances embedded in the text need a regular review to ensure that they are still accessible. iv This book includes: • Native, Eastern, and Western ideas and cultures in the formation of American music • Multiculturalism and interculturalism as key concepts to understanding the history, reality, and ideal of American and global music • The listener’s self-identification and cultivation as the ultimate goal of studying music, especially through a repertory that has resulted from intercultural music- making How to use this book: • Understand representative philosophical and aesthetic ideas in association with American music-making since 1750 • Learn to listen to the key elements of music, styles, and sounds in detail • Apply knowledge and listening skills to intercultural works in contemporary music Acknowledgements We are indebted to many individuals we have encountered directly and indirectly in our academic lives, including formal teachers, students, and textbook writers. The authors of the music textbooks we had adopted in our various courses over the years laid the foundation for shaping our particular concerns and insights to teaching music for non-music majors. Among those, we extend our special thanks to Robin Wallace for his progressive listening approach and emphasis on active listening skills, Richard Crawford and Larry Hamberlin for their leading efforts to articulate the diversity and hybridity of American music, Terry E. Miller for providing an invaluable conceptual framework for teaching non-Western music, and Michael Tenzer for his pioneering work in bridging cultural differences and keeping their traditions anew in contemporary music scenes. We must thank Jonathan Bellman who has been always supportive of our ideas and projects by offering many great suggestions and wisdom. We also acknowledge the professionals we have worked with at UNC who made this project possible: Oscar Levin and Jennifer Mayer. Finally, we would like to thank our musical friends Cynthia Beard and Jim Klein for their contributions to finalizing the production of this book. An independent music teacher and editor with a PhD degree in musicology, Cynthia has shared her invaluable knowledge and experience in music by proofreading and editing this book. She understands and believes the importance of music in a person’s emotional and intellectual growth as well as our need of improving diversity and equity in music education. Jim, who has created a painting entitled Migration in conjunction with the theme of our textbook and allowed us to use it as the cover, had a successful career in agriculture while continuously developing his passion for the arts by supporting musicians and creating music and paintings. His “artful” life surely exemplifies the spirit of music lovers and what we hope our non-music major students will do after this course is completed. For more information about Jim Klein’s work, please visit https://jkleingallery.com/. v About the Authors Heeseung Lee is an adjunct professor of music history and theory at the University of Northern Colorado, where she has taught since 2011. She previously taught at the University of Denver, Aims Community College, and the University of North Texas. She holds degrees from Hanyang University in Seoul, Korea (BM in piano performance and MM in music history) and the University of North Texas (PhD in musicology). Jittapim Yamprai is an assistant professor of ethnomusicology at the University of Northern Colorado, where she has taught since 2013. Before joining UNC, she taught in Mahidol University in Thailand. She holds degrees from Mahidol University (BA in business English and MA in ethnomusicology), the University of North Texas (MS in library science), and the University of Northern Colorado (DA in music history and literature). vi Contents in Brief INTRODUCTION KEY TERMS AND CONCEPTS TO BE INTRODUCED BEFORE PART I PART I MUSIC AND IDEAS CHAPTER 1 Shamanism, Christianity, and Rationalism CHAPTER 2 The Ideas of Enlightenment and the Industrial Revolution CHAPTER 3 The French Revolution and Romanticism CHAPTER 4 Modernism to Realism CHAPTER 5 Postmodernism to Interculturalism PART II MUSIC AND SOUNDS CHAPTER 6 Emotion CHAPTER 7 Form CHAPTER 8 Timbre CHAPTER 9 Rhythm and Meter CHAPTER 10 Melody, Harmony, and Texture PART III MUSIC AND IDENTITIES CHAPTER 11 Native American and Asian Pacific American Music CHAPTER 12 Jazz: Its Key Elements and Style Periods CHAPTER 13 The Roots of Country Music CHAPTER 14 Popular Music with a Social Message and Spirituality in the 1960s CHAPTER 15 Hip-Hop: Its Past and Present CHAPTER
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