MUS 505 Lecture Notes - Lecture 3: Ragtime, Polka, Thomas Hampson

• School: Ryerson University
• Department: Music
• Course: MUS 505
• Professor: Sean Bellaviti

Document Summary

Contradiction: increasingly derogatory black stereotypes and the inclusion of african american blackface performers. I(cid:374)(cid:272)luded (cid:862)loosel(cid:455) o(cid:396)ga(cid:374)ized se(cid:395)ue(cid:374)(cid:272)es of so(cid:374)gs, (cid:272)o(cid:373)i(cid:272) skits, da(cid:374)(cid:272)es, dialogues to diale(cid:272)t, a(cid:374)d e(cid:374)se(cid:373)(cid:271)le (cid:374)u(cid:373)(cid:271)e(cid:396)s i(cid:374)(cid:448)ol(cid:448)i(cid:374)g the e(cid:374)ti(cid:396)e t(cid:396)oupe(cid:863) (ha(cid:373)(cid:373), 1979-268). It also became more lavish, more costumes and stage props, more professional. Perhaps most significantly minstrel shows began to feature african american performers and even minstrel troupes. Significant: while blackface minstrelsy continued to perpetuate ever more rigid black stereotypes, it did open the way for professional black performers and with it a more direct connection to african american musical traditions. Minstrelsy moves into the 20th century (vaudeville: https://www. youtube. com/watch?v=8kbnn3e7gp8, blacks had little power to control which characters they played, black people almost always played sambo (black slave banjo player) Blackface minstrelsy in canada: photo of mccormick: (mccormick community centre, december 28, 1916) Part 2: minstrelsy 19th century to early 20th century. The music of minstrelsy through the lens of stephen foster.