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Middle Class Domestic Music and Gender

by: Victoria Notetaker

Middle Class Domestic Music and Gender MUSC 3039

Marketplace > California State University - Bakersfield > Music History > MUSC 3039 > Middle Class Domestic Music and Gender
Victoria Notetaker


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About this Document

These notes cover the beginning of middle class domestic music and gender
America's Musical Life
Dr. Joel Haney
Class Notes
Music, history
25 ?




Popular in America's Musical Life

Popular in Music History

This 2 page Class Notes was uploaded by Victoria Notetaker on Monday October 3, 2016. The Class Notes belongs to MUSC 3039 at California State University - Bakersfield taught by Dr. Joel Haney in Fall 2016. Since its upload, it has received 3 views. For similar materials see America's Musical Life in Music History at California State University - Bakersfield.


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Date Created: 10/03/16
Music 3039: Study Questions 6 Middle-Class Domestic Music & Gender Questions 1) Name several agents involved in the “home music market” in nineteenth-century America, and describe their interrelationship. Which agent was most energetically driving the market? Agents: publisher, composer/arranger, sheet music, consumer= performer, instrument manufacturer, music teacher The publisher was the most energetically driven in the market. Printing sheet music was more costly due to all of the notation as well as pay the composer/arranger; this caused publishers to be more involved with the selling process. Publishers had to make sure what they were publishing were accessible to their consumer; the difficulty level was low. The notation was seen as an outline where the performer could do as they wished with the piece. Piano Market: Ideal as a solo instrument but also an accompanying instrument Mass production of pianos in America began in Boston in the 1830’s by the Chickering Piano Manufactory. Piano playing was a feminine activity. 2) What sphere of musical activity does the home music market belong to, and for what reasons? Popular Sphere, the performer is important.​ ​Publishers had to make sure what they were publishing were accessible to their consumer; the difficulty level was low. Repetitive and predictable structure. The notation was seen as an outline where the performer could do as they wished with the piece. 19th Century Popular Music 3) How was parlor music “gendered” in nineteenth-century America? Relate this to the larger economic and social situation of the day. Parlor music was “gendered” towards women. Women were seen more fit for the home at the time and were not given the same opportunities as men. Therefore, they were limited to the parlor. Terms parlor- ​the cultural center of the middle class home; Victorian style decoration; refined activity piano types (name some)- ​Console, most compact model; square, upright, grand piano Chickering Piano Manufactory- ​Predominate American Company that began the mass production of pianos. Made metal frame pianos as opposed to wood framed- more durable 30-35 pianos weekly Burned down in the 1850’s dance arrangement parlor song- ​folk like simplicity, simple melody and accompaniment, strophic form, text/ poetry dealt with courtship (love, knights in armor, damsels in distress, love at a respectful distance), simple enough to play and sing simultaneously pentatonic scale- ​5 note scale Polka- ​fast bohemian peasant dance “Papageno Polka”- ​1856, Papageno was a character in Mozart’s opera The Magic Flute. Stasney arranged the full orchestra piece into an arrangement specifically for piano. Stephen Foster- ​(1826-1864) Pittsburgh, Pennsylvania. First American composer to make his living from writing song. “Jeanie with the Light Brown Hair” (1854) Hammered dulcimer- ​American folk instrument


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