History of development
Indian period
The singing of Indians is mainly used for labor, weddings and funerals, preparations for battle and other occasions. Accompanied by percussion instruments such as drums, the tone is simple and unique. After the 16th century, with the arrival of immigrants from various countries, they also brought their own music culture. After fierce competition, the British finally gained an advantage in the North American continent. Therefore, British music has the greatest influence on American music, and it laid the initial cornerstone for the formation of American music. In 1619, the first black African slaves were trafficked to North America. Black Africans love music and are used to singing while working. The moving tunes and unique split rhythms of black music played a huge role in the development of American music.
In 1640, Massachusetts published the "Bay Poem Collection", which was the first book published in North America. In the early 18th century, many pastors wrote books to guide singing in order to improve their singing skills. At the same time, with the increase of immigration and the gradual prosperity of some big cities, secular music has also become active. European musical instruments such as violin, guitar, harpsichord, etc. became popular, and professional musicians appeared. The first concert was held in Boston in 1731. The usual concert programs include patriotic songs, opera arias, traditional folk songs, etc. Sometimes there are some titled or untitled instrumental works. On this basis, the first batch of composers born in the United States were produced. Compared with European music, the works of American composers were considered immature.
European music style period
In the early 19th century, after experiencing the "Second War of Independence" with Britain, the United States completely got rid of the British The rule has gained complete sovereignty; political independence and economic development have greatly promoted the growing prosperity of music culture. The nineteenth century was the budding and birth period of professional music in the United States. It was also the period of romanticism in American music. This was in the same line as the romanticism of European music. At that time, almost all American composers went to Europe to receive music training first, and then Go back to China for development. Many European musicians came to the United States, and they brought with them far more advanced music levels and techniques than the United States. After the European Revolution in 1848, a large number of German musicians emigrated to the United States. They have significantly changed the musical pleasures of Americans who were accustomed to hymns, and they have also had a huge impact on the creation of the younger generation of American composers. At the same time, music education has developed rapidly.
After the Civil War, American music life became more active, and some important music groups were established one after another, such as the Metropolitan Opera House and the Boston Symphony Orchestra. More importantly, there has been a group of composers with considerable professional skills. They have raised American music to the level of Europe, but the works lack originality and have a clear tendency to imitate. Among them, the highest achievement is E. McDowell, he is considered the first composer in the United States to gain international prestige.
While almost all American composers are following the European style, songwriter Stephen Collins Foster uses the tunes of African American music to compose. Many of his songs were written for the prevailing "black theater group" (whites disguised as blacks, whose members are called minstrels); while the real black American music was not taken seriously, and they were only spread and developed among blacks. The main types of black music that were popular at that time included spirit songs, blues, labor songs, and so on.
Music independence period
At the end of the 19th century and the beginning of the 20th century, a new trend emerged in the United States to get rid of German music control. Czech composer A. Dvorak played a big role in this. He was invited to be the Dean of the New York Conservatory of Music from 1892 to 1895. He suggested that American composers use American Indian and black music in their own creations. There are also composers who turn to French music, and their creation is closely related to Impressionism. Another composer C. E. Ives is exploring the language of American music on his own. He did not attract people's attention at the time, and was later considered to be the most famous composer of the older generation in the United States.
In the 1920s, public opinion encouraged American composers to create works with American style and characteristics. A group of composers contributed to the establishment of American nationalist music with the support of all quarters. Especially in the field of symphony, they have won the position of American music on a par with European music. Worked in Paris from the French composer N. A. Browne's learning Copeland, R. Harris, W. Piston, V. Thomson and R. Sessions (1896-) and others, to a certain extent, combined the American musical language with the first-class composition skills of the West. Their students and followers are like W. Schumann, S. Barber, L. Burststein and others have inherited their path. Most of these young composers were cultivated in China.
American music in the 1920s and 1930s did not just move in one direction. Western music has undergone unprecedented drastic changes after World War I, and new modern music genres have emerged; even the above-mentioned composers have shown varying degrees of experimental nature in some of their works. The most important experimentalist is the French composer E. Valais. During the same period, American popular music developed unprecedentedly. Especially jazz music that evolved from black music blues and ragtime is popular all over the country. Independent American-style musicals (also known as Broadway musicals) are gradually developed on the basis of European operettas and comedies, and occupy a special place in popular music. The famous musical composers include R. Rogers, G. Gershwin, Bernstein, etc.
The diversification of music genres
The emergence of the Nazi regime and the Second World War brought many famous European composers to the United States, such as P . Hindemith, B. Bartok, Schoenberg, Stravinsky, D. Miyo et al. They have brought a great new influence to American music life. The United States has become an important center of Western music culture. The nationality of American music creation is no longer valued, and the style differences between the works of many American composers and European music have almost disappeared.
Since the 1950s, American music has become more diverse. Although some composers basically compose according to the traditional music language, what attracts a new generation of composers is an endless stream of new music genres. The representative figure is J. Cage. In the field of popular music, new varieties have also appeared. Rock music developed from blues and other music is popular all over the country, and jazz music takes a back seat. Representatives of rock music include Elvis Presley, and famous folk singers such as Bob Dylan. After the 1970s, the boom of rock music gradually declined, and various popular music influenced each other and tended to be integrated in style. The most famous pop music singer is Michael Jackson.
In terms of musical performance, the United States often achieves a high level due to the world’s top conductors, soloists and opera actors. American symphony orchestras account for more than half of the world's total. Among them, Porton, Chicago, Cleveland, New York and Philadelphia symphony orchestras all enjoy international reputations.
Music genre
Early music classification
Songs against colonial rule
In the second half of the 18th century, when the American people were under colonial rule, they expressed their resistance and struggle through songs. During the War of Independence from 1775 to 1783 and the postwar period, more songs were circulated, such as "Yankee Dudders" (using the tune of the British song of the same name), "Chester", "Adams and Freedom" (using The tune of "Anakrion", which was re-written in 1814 and became the famous song "Stars and Stripes") and so on. Most of these songs use English songs to fill in the lyrics, with traces of religious chants. This is because the American music life was still dominated by church music at that time, and secular music was just in its infancy.
Foreign songs
The early popular songs in the United States are all songs and opera tunes from Britain, Ireland, Scotland, Germany and Italy. At the end of the 18th century. At the beginning of the 19th century, Irish and Scottish songs became popular in the United States, among which songs such as "The Good Past" were very popular. These songs have a rustic flavor and are loved by the American people. At the beginning of the 19th century, German and Austrian songs were also very popular in the United States, such as F. Schubert, F. W. Many songs by Abt and Cooks have been translated into English and printed as songs for publication. During the 1820s and 1940s, it was popular in the United States to use European opera tunes filled with English lyrics, or British composers used Italian opera tunes to compose opera tunes.
Songs of the troubadours
This is the first song that reveals its own characteristics in the United States. It is a form of musical performance created by white people for white people to enjoy and entertain. It originated in the northern and midwestern United States. In the 19th century, the British actor C. Matthews consciously transformed the phonetic, rhythm and other characteristics of the black language into comics and performed them with simple musical melody, which was warmly welcomed. Many American actors such as G. C. W. Dixon, G. Nichols, J. W. Sweeneyway. Farrell and others followed the performance of Matthews and became the most famous pop songwriters and performers at that time. In the second half of the 19th century, the songs of troubadours developed greatly, and numerous performance groups appeared. The performers are all white men, and the music materials used come from Anglo, pop tunes, Italian opera or tunes derived from it, etc. According to research, American music before the Civil War has little connection with black music.
Songs from Anti-Slavery and the Civil War
In the second half of the 19th century, during the American struggle against slavery and the Civil War, Produced some songs reflecting the painful life of black slaves and their struggle for liberation. The Civil War was a nationwide war with greater influence in the history of the United States. Among the literary and artistic works at that time and later, songs were the most numerous. In addition to maintaining musical ties with European music such as Britain and Ireland, these songs are clearly connected with black spiritual songs and other black songs in tone, that is, they clearly show American characteristics.
Songs by Foster and other composers
F. Hopkinson, B. Carl, J. Hewitt, O. Xiao, H. Russell, the Hutchinson family and S. C. Foster. Among them, Hopkinson is the first songwriter in the United States. Xiao is the first songwriter born in the United States. Russell is known as the most accomplished songwriter in the United States before Foster. The Hutchinson family is a well-known small group that sings and composes songs. The most important songwriter in the United States in the 19th century was Foster. In his short life, he composed more than 200 songs, some of which absorbed the characteristics of traditional British folk songs. His masterpieces "Family in Hometown", "My Kentucky Home, Good Night", "Master's Sleeping Underground", etc., have become world famous songs.
Workers' songs at the end of the 19th century and the beginning of the 20th century
With the rise of the labor movement, some workers’ songs reflecting their struggle lives have been circulated among the American workers . Such as "John Henry", "Eight Hours Working Day", "Red Flag" and so on. For example, in the 1920s and 1930s, the labor movement rose again, and American workers' songs developed again, such as "Sacco's Letter to Son", "Which Side Are You On?", "We Resolutely Unshakable" and so on.
20th century and beyond
Jazz music
Jazz, at the end of the 19th century and 20 It originated in the United States at the beginning of the century and was born in the southern port city of New Orleans. Jazz emphasizes improvisation. It is based on the swinging Shuffle rhythm and is a combination of African black culture and European white culture. In the first ten years of the 20th century, jazz music was mainly developed in New Orleans. After 1917, it turned to Chicago, and then moved to New York in the 1930s, and it became popular all over the world. The main styles of jazz are: New Orleans jazz, swing, bebop, cold jazz, free jazz, Latin jazz, fusion jazz, etc.
Rock music
Rock music, which emerged in the mid-1950s, was mainly influenced by rhythm and blues, country music and Ding Bang Alley music. . Many early rock music is a cover version of black R&B, so R&B is its main foundation. Rock music has many branches and complex forms. The main styles are: folk rock, hard rock, art rock, psychedelic rock, country rock, heavy metal, punk, etc.
Hip-hop music
Hip-hop music is a kind of culture, cultural phenomenon, cultural movement and way of life that originated from the streets in black culture. Rap is the music. Manifestations. Rise in the 1960s.
Music education
19th century to early 20th century
Music education in American schools began in 1838. Prior to this, singing schools, as the main form of community music education, laid the foundation for the emergence of American school music education. In 1838, the Boston School Committee officially included music lessons in the city’s school curricula. Many people believe that this is the beginning of music education in American schools.
Although the United States is a multi-ethnic country of immigrants, the school began to offer music classes in 1838 until the end of the 19th century. The content of school music education and teaching was mainly based on German classical music, except for Western Europe. Immigrant music from countries other than music is not included in school music teaching content. "Through the second half of the 19th century, all general education and music education have cited European philosophy and educational methodology. In addition, music education is in line with Europe, especially the German classical music tradition has become the teaching material for music education classrooms." "19. At the turn of the 20th century, although music educators were willing to accept music from other cultures, music education basically only taught one kind of music culture—European German art and music tradition."
Multicultural education was in the 20th century. Social issues triggered by a series of social issues in the early United States. At the beginning of the 20th century, a large number of immigrants mainly from Southeast Europe flooded into the United States. School education faced students of different nationalities and different cultural backgrounds. Xenophobicists insist that immigrants living in the United States integrate into mainstream culture or complete the process of "Americanization" as soon as possible. In 1916, John Dewey put forward the concept of "cultural pluralism" in a speech at the National Education Association. Cultural pluralism also refers to a multi-ethnic society, cultural diversity or ethnic pluralism. It was not until the rise of the civil rights movement in the 1960s and 1970s, especially the emergence of the black rights movement, that the whole society was concerned about national consciousness; at the same time, the influence of various ethnic cultures brought about by the immigration wave on society has prompted people to understand cultural pluralism. The concept of equal coexistence and mutual understanding advocated by all ethnic cultures, the principle of cultural pluralismThe theory is gradually accepted by people; and, multicultural education content has begun to appear in school curricula.
At the beginning of the 20th century, the earliest practice of multicultural music education in public schools in the United States was L. Elson, one of the founders of the American Music Teachers Association. His "Multifolk Songs" included It describes the Chinese pentatonic scale, the Byzantine scale, the ancient church scale used in Scottish folk songs, and the Hungarian Gypsy scale. In addition, there are collections of folk songs from various countries compiled by others. From 1916 to 1924, folk songs from Britain, France and Germany appeared widely in music textbooks. R. Forsman's "Song Collection" was the first to introduce Western European folk songs in music textbooks. The more than 200 songs in the whole series show more than 20 Nordic and Central European cultures. During this period, music teachers explored connecting folk music with other subject areas in music classes. In public schools, the cooperation of different subjects is also reflected in some extracurricular activities (festival performances, celebrations, etc.). In these activities, music, art, history, literature, housekeeping, handicraft and other disciplines are often integrated. In order to understand the cultural integration of various ethnic groups in the world, students learn about the culture, customs and habits of various ethnic groups in the world in entertaining extracurricular activities.
Before the First World War, folk dance began to be popular in schools and became an important part of music lessons. Through folk dance, students can intuitively understand the history, cultural traditions, customs, etc. of each nation. After 1916, folk dance courses were widely added in American schools. With the development of the hand-cranked phonograph record industry, the records of songs and instrumental music from multiple cultures have begun to enter the music classroom, especially making the content of music appreciation courses richer and more diverse. Some music appreciation textbooks combined with records have played a very good teaching effect. Before 1902, there was no content about black American music in American school music textbooks. Obviously, black American music was underestimated in school music education.
In 1918, the National Congress of American Music Educators introduced the spiritual songs of American blacks for the first time at the association’s annual meeting. At the opening concert of the conference, black American school children and organizations performed After the spirit song, the wonderful performance was warmly welcomed by the delegates. After that, black music programs appeared in some music performances in American schools from time to time. At this time, black soul songs began to appear in the content of school music teaching. Forsman's "Song Collection" and "Musical Moments" as school music textbooks included a large number of American black folk songs, especially soul songs. Although spiritual songs have begun to be accepted in school music courses, other forms of African American music are still not welcomed in public schools and upper classes. Jazz is forbidden in music classes, and jazz music is considered vulgar, low-level, licentious and evil.
In 1918, S. Coleman, a female teacher at the Lincoln School of Columbia University Teachers College in New York City, implemented a project called "Creative Music" at the school. One of the contents of this project was to explore diversity. Teaching methods of cultural music education. Coleman believes that children’s playing musical instruments is a very important channel for learning music. Children’s learning of musical instruments is best to start with simple drums, and then gradually to fixed-pitch percussion instruments such as xylophone, then keyboard instruments, or from lyre to lyre. Violin; when researching a new musical instrument, she will tell the students the development history and performance of the musical instrument. She also often takes students to museums to visit musical instruments from various countries; she also invites children to participate in the production of some simple musical instruments, Such as the Chinese piano and flute, the Egyptian clarinet, the African marimba and various drums. Coleman’s experiment is fruitful. She explores and studies the creativity of music through musical sounds, and expands the content of music teaching through the research of musical instruments from all over the world, providing a successful practice for the concrete implementation of multicultural music education. model. From 1900 to 1928, the content of music education in American schools gradually shifted from German music tradition to folk songs and folk dances in many countries in Northern and Central Europe, as well as a few American black folk songs, native American folk songs and some songs from East Asian countries.
From the late 1920s to the early 1990s
After the First World War, the United States began to promote international relations education and These two educational programs are intercultural education. From the 1920s to the 1930s, the issue of education in international relations became more prominent. The focus of education was on global peace and understanding; the content of the courses were mostly about alliances of nations, international friendship, and all countries’ contributions to the world community. Many schools offer courses related to different international cultures, and the teaching content usually includes music and folk dance. The celebrations organized by schools are particularly popular in terms of extracurricular activities. All subjects, including art, are considered to be established for the purpose of enhancing the understanding between different cultures of various nations, nations, and cultures.
From the late 1920s to the early 1950s, the type and amount of music included in the music curriculum of American schools gradually increased. By the mid-1930s, there were already North European and Western European music curriculums. Songs from Eastern European countries have been added. With the increase in the variety and quantity of music works in school music textbooks during this period, music in Latin America began to gain attention. The National Congress of American Music Educators played an important role in the realization of the unification of the Americas through music. In 1941, the National Congress of American Music Educators announced a new policy "Unifying America through Music." This plan is divided into two parts: The first part is based on American folk music, called "American Children's American Songs"; the second part is called "Unifying American Music", which is international in scope. Mainly Latin American music, which is a reflection of the good-neighborly policy. The National Congress of Music Educators in the United States informs all members of the activities in national relations, participates in the publication and distribution of music teaching materials, and provides relevant materials on the implementation of teaching in music classrooms. "Music Educators Magazine" records these events in the chronicle and reports them. More information from national and ministerial meetings. The National Conference of American Music Educators played an important role in the development of American multicultural music education during this period.
In the 1950s and 1960s, with the promotion of the International Music Education Association and the gradual deepening of people’s understanding of multicultural music education, school music education increasingly emphasized internationalism. Music educators began to realize that black American music is also an integral part of American music culture, and jazz music is gradually accepted by music educators as the teaching content of music lessons. During this period, American school music textbooks continued to reflect the increase in the number of songs from different cultures. With the increase of Latin American songs, the number of songs from Africa, Australia, Canada, Eastern Europe, the Far East and the Middle East, and the Pacific Islands in many music textbooks is increasing, and many of them also identify the original text. During this period, not only did the number of African American songs in textbooks increase correspondingly, but also the types were also rich, such as labor songs, party singing songs, and boat songs. Even though the number of songs from different cultures in music textbooks is increasing, the authenticity of music is still a problem. In order to solve this problem, music textbook publishing companies and record companies have begun to work hard to provide folk songs in a more authentic way. In order to do this, they hired authority figures in different music fields at home and abroad as consultants for the selection and introduction of folk music content.
From the late 1960s to the early 1990s, the International Music Education Society continued to promote the development of multicultural music education in the form of seminars and publications. From the 9th International Conference of the International Music Education Society held in Moscow in 1970 to the 21st International Conference of the International Music Education Society held in Tampa in 1994, each of these 13 international conferences is a seminar and multicultural music education Related topics. Multicultural music education is the dominant discourse of the International Music Education Society since its establishment in 1953. The series of activities carried out by the International Music Education Society demonstrate the role played by the International Music Education Society in promoting global multicultural music education, including the United States. important role.
From the end of the 20th century to the beginning of the 21st century
In 1994, the US government issued the "2000 Goals: American Education Act". This bill proposed higher goals for all students-students In the 4th, 8th, and 12th grades, we have to pass tests in English, mathematics, natural sciences, foreign languages, citizenship and government, economics, art, history, and geography. The bill stipulates: "All students will have to understand the cultural heritage of the country and the different nations of the world." The bill regards art as the core subject of basic education, which shows that the US government attaches great importance to art education. In order to implement this bill, under the leadership of the U.S. Department of Education, national academic organizations in various disciplines began to formulate national standards for various disciplines. "National Standards for Art Education" was completed in 1994. The standard includes content in dance, music, drama, and visual arts, and it is formulated by the National Federation of Art Education Associations. The teaching content of each grade in the "National Standards for Music Education" includes music works of different nationalities, different styles, and different genres. The issuance of the "National Standards for Art Education" in the United States established the status of multicultural music education in school education in the form of national education regulations, making it an important part of school music education. Undoubtedly, the issuance of the National Standards for Art Education in the United States is a sign of the maturity of American multicultural music education.
In 1999, the "Housewright Symposium" with the theme of "Future Music Education" sponsored by the National Conference of American Music Educators was held in Florida. After the conference, the "Housewright Seminar" was published. The Declaration reiterated the importance of implementing multicultural music education: “All music has a certain place in the curriculum. Not only does the Western art tradition need to be preserved and spread, music educators must also be aware of the human experience of other ethnic groups. Music, and integrate them into the classroom and teaching.” The Housewright Declaration reflects the concept and action trend of American music education in the new century. Important content.
Experts and scholars suggest that university music educators should strengthen training in different music cultures, at least be good at one other music culture, and be able to apply a variety of music to music education. In order to meet the needs of the development of multicultural education, the education departments of many states in the United States have required teachers to conduct multicultural education and training, and the training content of multicultural education has been included as one of the content of the education qualification certificate of elementary and middle school teachers. As a qualification certificate for music education, 4 states currently require assessment of knowledge of Western and non-Western music and the relationship between music and culture; 7 states are preparing to use multicultural competence as the standard for music qualifications required for teacher professional education one.