America's Musical Landscape addresses the broad range of music in the United States from early periods to today, presenting this rich tapestry of sound in its historical and cultural context. Its reasonable length, readability, and logical organization make the text a useful and attractive means of furthering appreciation of the musical heritage of the United States. Frequent connections to other arts, particularly the visual arts, add to the book's appeal and enhance understanding of core musical concepts. For readers unfamiliar with the technical elements of music, the text also offers an elegant and readable introduction to the fundamentals of music. This text is available with a three-CD set of recorded examples.

Table of Contents:
*new or expanded coverageListening ExamplesOptional Listening ExamplesPrefaceIntroductionPRELUDE: Basic Properties of Musical SoundThe Elements of MusicRhythmMelodyHarmonyTimbreFormMusic NotationElements of an American SoundHow to Improve Your Listening Skills*Listening Example 1. George R. Poulton, “Love Me Tender”Terms to ReviewSuggestions for Further ListeningCritical ThinkingPART 1. MUSIC IN EARLY NORTH AMERICAThe Early Years: Historical and Cultural PerspectiveThe Beginnings of Music in AmericaNative AmericansEuropean EmigrantsPuritan SocietyThe African Experience in Early AmericaRevolution, in Classical StylePainting in Eighteenth-Century AmericaChapter 1. North American Indian MusicSongsTextsListening Example 2. Yeibichai Chant Song (excerpt)Sioux Grass DanceListening Example 3. Sioux Grass Dance (excerptSound InstrumentsContemporary Indian SongProfessional MusiciansTerms to ReviewKey FiguresSuggestions for Further ListeningVideosCritical ThinkingChapter 2. Folk Music*Spanish TraditionsListening Example 4. Anonymous, El cutilloAlabadosBritish TraditionsFolk BalladsListening Example 5. Anonymous, “Barbara Allen”Early American Folk MusicListening Example 6. Anonymous, “Shenandoah”*African TraditionsField Hollers*Listening Example 7. Field Holler*Listening Example 8. Father’s Field CallListening Example 9. Complaint CallRing ShoutsWork Songs*Listening Example 10. Anonymous, “Hammer, Ring” (excerpt)Musical InstrumentsWhat of African Music Survives Today?Terms to ReviewSuggestions for Further ListeningCritical ThinkingChapter 3. Religious Music in the Colonial, Revolutionary, and Federal PeriodsMusic at the Spanish MissionPsalm TunesPsaltersListening Example 11. Louis Bourgeois, “Old Hundred”Other Protestant MusicGerman-Speaking Protestant SectsListening Example 12. John Antes, “Surely He Has Borne Our Griefs”The Great AwakeningEarly Efforts at Musical Reform The Singing School MovementWilliam BillingsListening Example 13. William Billings, “Chester”CanonsListening Example 14. William Billings, “When Jesus Wept”Fuging TunesListening Example 15. Daniel Read, “Sherburne”Terms to ReviewKey FiguresOptional Listening ExampleSuggestions for Further ListeningCritical Thinking*Chapter 4. Secular Music in the Colonial, Revolutionary, and Federal PeriodsMusic in Everyday ExperiencePrestigious Musical AmateursProfessional ComposersListening Example 16. Alexander Reinagle, Sonata in E for the Piano Forte, third movement.Early American TheaterEarly BandsListening Example 17. Anonymous, “Yankee Doodle” (excerpt)Terms to ReviewKey FiguresOptional Listening ExampleSuggestions for Further ListeningCritical ThinkingPart 1 SummaryPART 2. THE TUMULTUOUS NINETEENTH CENTURYRomanticism in America: Historical and Cultural PerspectiveThe Emergence of Characteristically American ArtFusion of the ArtsThe Civil War EraMusicChapter 5. Religious Music in the Early Nineteenth CenturyThe Great RevivalShape-Note NotationSpiritual Songs Listening Example 18. Carter Family, “There’ll be Joy, Joy, Joy” (excerpt)Listening Example 19. Anonymous, "Amazing Grace”Black SpiritualsSpirituals As Concert MusicListening Example 20. Anonymous, "Nobody Knows de Trouble I've Seen"Singing ConventionsFurther Movements to Reform MusicLowell MasonListening Example 21. Lowell Mason, “Nearer, My God, to Thee”Terms to ReviewKey FiguresSuggestions for Further ListeningSuggestion for ViewingCritical Thinking*Chapter 6. Popular Music of the Civil War Era MinstrelsyListening Example 22. Daniel Decatur Emmett, “I Wish I Was in Dixie’s Land”James A. Bland (1854-1911)The Heritage of MinstrelsyStephen Foster (1826-1864)Listening Example 23. Stephen Foster, "I Dream of Jeanie with the Light Brown Hair"Listening Example 24. Stephen Foster, “Oh! Susanna”Patriotic SongsCivil War Songs Singing FamiliesConcert BandsPatrick Sarsfield Gilmore (1829-1892)John Philip Sousa (1854-1932)MarchesListening Example 25. John Philip Sousa, “The Stars and Stripes Forever”Terms to ReviewKey FiguresSuggestions for Further ListeningSuggestion for ViewingCritical ThinkingChapter 7. Early Concert MusicRise of Nationalism in MusicAnthony Philip Heinrich (1781-1861)Romantic VirtuososThe Swedish NightingaleOle BullLouis Moreau Gottschalk 91829-1869)Piano MusicListening Example 26. Louis Moreau Gottschalk, “Le bananier”Orchestral MusicWilliam Henry Fry (1813-1864)Theodore Thomas (1835-1905)Terms to ReviewKey FiguresOptional Listening ExamplesSuggestions for Further ListeningCritical ThinkingChapter 8. American Concert Music Comes of Age (the Late Nineteenth Century)The Second New England SchoolJohn Knowles Paine (1839-1906)Other Members of the SchoolAmy Marcy Cheney Beach (1867-1944)*Listening Example 27. Amy Marcy Cheney Beach, Symphony no. 2 in e Minor (Gaelic), 2nd movementEdward MacDowell (1860-1908)Arthur Farwell and the Wa-Wan PressTerms to ReviewKey FiguresOptional Listening ExamplesSuggestions for Further ListeningCritical ThinkingPart 2 SummaryPART 3. THE GROWTH OF VERNACULAR TRADITIONSMusic in the Vernacular: Historical and Cultural PerspectiveVernacular Art and LiteratureVernacular Music*Chapter 9. The Rise of Popular CultureRagtimeScott Joplin (1868-1917)Listening Example 29. Scott Joplin, “Maple Leaf Rag”Influence of RagtimeTin Pan AlleyThe Songs*Listening Example 30. George M. Cohan, “Rose” (“A Ring to the Name of Rose”)Irving Berlin (1888-1989)*Listening Example 31. Irving Berlin, “Alexander’s Ragtime Band”Jerome Kern (1885-1945)Cole Porter (1892-1964)*Listening Example 32. Cole Porter, “Night and Day”George Gershwin (1898-1937)Decline of Tin Pan AlleyTerms to ReviewKey FiguresSuggestions for Further ListeningSuggestion for ViewingCritical ThinkingChapter 10. Country MusicFrom Country to CityJimmie Rodgers (1897-1933)*Listening Example 33. Jimmie Rodgers, Blue Yodel No. 9The Carter FamilyListening Example 34. The Carter Family, “Chinese Breakdown”Styles of Country MusicAmerican Folk BalladsListening Example 35. Anonymous, “The Ballad of Casey Jones”BluegrassListening Example 36. Earl Scruggs, “Earl’s Breakdown”Country Pop and the Nashville SoundCountry Goes WesternWestern SwingListening Example 37. Bob Wills, “New San Antonio Rose”Honky-TonkCowboy SongsWomen in CountryRecent CountryTerms to ReviewKey FiguresOptional Listening ExamplesSuggestions for Further ListeningSuggestion for ViewingSuggestion for ReadingCritical Thinking*Chapter 11. Ethnic Traditions and the Urban Folk Revival*Hawaiian Music*Cajun MusicListening Example 38. Anonymous, Cajun Two-Step (excerpt)*ZydecoListening Example 39. Anonymous, “Tu le ton son ton”Urban Folk MusicWoody Guthrie (1914-1967)The Movement EvolvesBob Dylan (1941- )A New RomanceTerms to ReviewKey FiguresSuggestions for Further ListeningSuggestion for ViewingCritical ThinkingChapter 12. The Jazz AgeBluesRural BluesListening Example 40. Robert Johnson, “Hellhound on My Trail”Country or Rural BluesClassic BluesListening Example 41. Bessie Smith, “Lost Your Head Blues”Urban BluesListening Example 42. W. C. Handy, St. Louis BluesNew Orleans JazzLouis Armstrong (1900-1971)Listening Example 43. Lillian Hardin Armstrong, “Hotter Than That” (excerpt)Chicago JazzJazz PianoBoogie-WoogieListening Example 44. Albert Ammons, “Shout for Joy”Stride PianoListening Example 45. James P. Johnson, “Carolina Shout”Sweet JazzTerms to ReviewKey FiguresOptional Listening ExamplesSuggestions for Further ListeningSuggestion for ViewingCritical ThinkingChapter 13. Jazz 1930-1960Big Band SwingArt of ArrangingListening Example 46. Count Basie, Lester Young, arr., “Taxi War Dance”Edward Kennedy “Duke” Ellington (1899-1974)Listening Example 47. Duke Ellington, Mood IndigoWomen in JazzReactions Against Big Band MusicBillie Holiday (1915-1959)BebopCharlie “Bird” Parker (1920-1955)John Birks “Dizzy” Gillespie (1917-1993)Listening Example 48. Charlie Parker, Dizzy Gillespie, “KoKo”Jazz As Concert MusicJazz CompositionListening Example 49. Duke Ellington, Concerto for CootieProgressive JazzListening Example 50. Paul Desmond, “Take Five” (excerpt)Cool Jazz*Listening Example 51. Miles Davis, “Boplicity”Hard Bop (Funk, Soul)Terms to ReviewKey FiguresOptional Listening ExampleSuggestions for Further ListeningSuggestions for ViewingCritical ThinkingChapter 14. Jazz Since 1960Charles Mingus (1922-1979)Free Jazz*Listening Example 52. John Coltrane, “A Love Supreme, Part I, “Acknowledgement”Third StreamThe SeventiesFusion (Jazz-Rock)*Listening Example 53. Chick Corea, “Stretch It,” Part IIntegration of Foreign SoundsThe EightiesCrossover MusicTraditionalismThe Nineties and BeyondHenry Threadgill (1944 - _Anthony Braxton (1945 - )Anthony Davis (1951 - )Wynto n Marsalis (1961 - )Jazz Today and TomorrowTerms to ReviewKey FiguresOptional Listening ExampleSuggestions for Further ListeningCritical ThinkingPart 3 Summary*PART 4. A DIVERSITY OF POPULAR MUSICSVernacular ArtVernacular MusicChapter 15. Latin Popular MusicsThe CaribbeanBombaRumbaCu-bopMamboListening Example 54. Rubén Blades, Willie Colon, “Ojos”SalsaReggaeCalypsoBrazilSamba and Bossa NovaListening Example 55. Antônio Carlos Jobim, “Desafinado” (“Off Key”)Mexico*Tejano/Norteño MusicMariachisListening Example 56. Anonymous, “Jarabe Tapatío”Latin Music TodayTerms to ReviewKey FiguresSuggestions for Further ListeningSuggestions for ViewingCritical ThinkingChapter 16. Rock and RollThe Generation GapGospelRhythm and BluesCountry Music Meets R&BBirth of Rock and RollBill Haley (1925-1981)Elvis Presley (1935-1977)Early CharacteristicsListening Example 57. Chuck Berry, “School Day”Surfing MusicMotownListening Example 58. The Supremes, “Stop! In the Name of Love”The British InvasionBack to Black RockSoulListening Example 59. James Brown, “Papa’s Got a Brand New Bag”FunkListening Example 60. Bob Dylan, “Mr. Tambourine Man”From Rock and Roll to RockFolk RockAcid RockPsychedelic BluesHeavy MetalA Future UnassuredTerms to ReviewKey FiguresSuggestions for Further ListeningSuggestion for ViewingSuggestion for Reading Critical ThinkingChapter 17. Popular Music since 1970Singer/SongwritersArt RockDiscoPunkGrungeNew WaveElectronic Dance Music*Hip-Hop and RapSocial ConcernsBack to the RootsContemporary Black GospelThe Future Is HereMusic BusinessTerms to ReviewKey FiguresSuggestions for ListeningCritical ThinkingPart 4 SummaryPART 5. MUSIC FOR THEATER AND FILMChapter 18. Musical TheaterVariety ShowsVaudevilleBurlesqueRevuesListening Example 61. Jack Norworth and Nora Bayes, “Shine On, Harvest Moon”OperettaGilbert and SullivanAmerican OperettasMusical ComediesGeorge M. Cohan (1878-1942)Listening Example 62. George M. Cohan, “Give My Regards to Broadway”Black Musical TheaterJerome Kern’s Show BoatListening Example 63. Jerome Kern, “Ol’ Man River”Golden Age of Broadway Musicals (1930-1955)Rodgers and HartRodgers and HammersteinExpansion of the Broadway MusicalLerner and LoeweLeonard Bernstein (1918-1990)Listening Example 64. Leonard Bernstein, “Tonight”Stephen Sondheim (1930- )*Listening Example 65. Stephen Sondheim, “Every Day a Little Death”More Black MusicalsThe Music of MusicalsCurrent TrendsFrom Film to BroadwayEffects Other than MusicTerms to ReviewSuggestions for Further ListeningSuggestions for ViewingCritical ThinkingChapter 19. Music for FilmsFunctions of Music in FilmSource versus Functional MusicHistory of Music in FilmsSilent FilmsEarly Sound FilmsMovie MusicalsThe Hollywood Sound*Listening Example 66. John Williams, Star Wars Main TitlePop ScoresElectronic MusicMovie Musicals RevivedCurrent TrendsThe Composer’s PerspectiveTechniquesFilm Score Performances and RecordingsTerms to ReviewKey FiguresSuggestions for Further ListeningCritical ThinkingChapter 20. American OperaOperaSolo and Ensemble SingingOpera in AmericaVirgil Thomson (1896-1989)George Gershwin’s Porgy and BessListening Example 67. George Gershwin, “Bess, You Is My Woman Now” (from Porgy and Bess)Gian-Carlo Menotti (1911- )The Trend toward Realism*Listening Example 68. Philip Glass and Robert Wilson, Einstein on the Beach (excerpt)Opera or Musical: Which Is It?American Opera TodayTerms to ReviewKey FiguresOptional Listening ExamplesSuggestions for Further ListeningCritical ThinkingPart 5. SummaryPART 6. TRADITION AND INNOVATION IN CONCERT MUSIC Music for the Concert Hall: Historical and Cultural PerspectiveInteraction between the ArtsThe Value of ChanceAmerican Concert MusicChapter 21. Experimental Music: RevolutionCharles Ives (1874-1954)Philosophy of MusicInstrumental Compositions Listening Example 69. Charles Ives, “General Putnam’s Camp” from Three Places in New EnglandSongsListening Example 70. Charles Ives, “At the River”Other Characteristics of Ives’s MusicIves’s Place in HistoryHenry Cowell (1897-1965)Early CompositionsPiano ExperimentsListening Example 71. Henry Cowell, “The Banshee” (excerpt)Sources of InspirationWritingsConcrete MusicJohn Cage (1912-1992)Gamelan MusicListening Example 72. Kebjar Hudjan Mas (excerpt)Prepared PianoListening Example 73. John Cage, The Perilous NightTerms to ReviewKey FiguresOptional Listening ExamplesSuggestions for Further ListeningCritical ThinkingChapter 22. Early Twentieth-Century Mainstream Concert Music: EvolutionThe Paris SceneAaron Copland (1900-1990)Depression and War YearsListening Example 74. Aaron Copland, Fanfare for the Common ManMusic for Dance*Listening Example 75. Aaron Copland, “Hoedown” from RodeoLater WorksSamuel Barber (1910-1981)Listening Example 76. Samuel Barber, Adagio for StringsHarlem RenaissanceWilliam Grand Still (1895-1978)Listening Example 77. William Grant Still, Afro-American Symphony, third movementTerms to ReviewKey FiguresOptional Listening ExamplesSuggestions for Further ListeningCritical ThinkingChapter 23. The Avant-Garde ContinuedRhythm and Timbre*Harry Partch (1901-1974)Tape Music and the Electronic SynthesizerMilton Babbitt (1916 - )John Cage and Chance MusicSilenceOther Composers of Chance MusicNotation Pauline Oliveros (1932 - )Listening Example 79. Pauline Oliveros, Sound Patterns: for Mixed Chorus a cappellaTerms to ReviewKey FiguresOptional Listening ExampleSuggestions for Further ListeningCritical ThinkingChapter 24. The Recent MainstreamThe Elements of MusicNew Concepts of FormWilliam Schuman (1910-1992)Lou Harrison (1917-2003)MinimalismTerry Riley (1935- )Philip Glass (1937- )Women in Music*Listening Example 81. Gwyneth Walker, “Maggie and Millie and Molly and May” from Though Love Be a DayA Promise of New SoundsTerms to ReviewKey FiguresOptional Listening ExampleSuggestions for Further ListeningCritical ThinkingPart 6 SummaryGlossary