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MUSC 102 (70)
Kip Pegley (24)
Lecture

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Department
Music
Course
MUSC 102
Professor
Kip Pegley
Semester
Winter

Description
US European • Native American African America Spirituals Charles Ives (1874-1954) • First distinctly modernist American composer • Father was a band master (composed and conducted) • Father’s influence led to an interest in marching band music • Realism • Interested in American patriotism and uses bands as a method of nostalgia • progressive 1. Sing/play in another key 2. Musician’s mistakes Three Pieces in New England (2 movement – “Putnam’s Camp”) by Ives • Program music • ABA form • Polytonality • Sometimes bitonality (think of Stravinsky regarding bitonality) • Polyphony • Small snippets of old American tunes (ex. Yankeedoodle) worked in Aaron Copland (1900-1993) • Interested in and cared about his audiences o Wanted to close the gap between composer and audience • Note: 1930’s-depression (WWII) • Wanted to make patriotic music to help fellow American through this time of hardship o Patriotism o Jazz that was accessible (Four Piano Blues (1949) o Folk melodies (“Simple Gifts” from “Appalachian Spring, 1944) o Abstract “American” style (Fanfare for the Common Man, 1942) o Western style (“Hoedown” from the ballet “Rodeo,” 1942) • Accused to be a Communist Sympathizer o Joseph McCarthy • Wanted to incorporate Western and American ideas together (notion of cowboy  Gene Autry as an uplifting figure for the US) • Billy the Kid (1938) 1. Simple, slow-moving harmonies (more time for audience to take in) 2. Step-wise motion melodies 3. Liked triads; represented Western expansion (stability and openness/spaciousness) Fanfare for the Common Man (1942) • lift and inspire audience
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