As part of MUL 2930, you are to listen to the recorded music examples that accompany the course textbook, Crawford's An Introduction to America's Music. Rather than simply listen to those items, you are to keep a listening journal that will improve your ability to hear and identify the most important stylistic traits of these music examples.

General Directions

• Your listening journal must be kept in a separate, bound notebook that is not used for other note-taking or any other work connected with this or any other class.
• All entries are to be written in longhand in your journal. You are not to revise, retype, or word-process your entries in any significant way. Remember, there is no single "correct" answer; rather, your intent should be to describe what you hear as accurately as possible on the first hearing (as you will later encounter these pieces on listening quizzes).
• Each entry must be clearly identified and labeled with the Cd and track numbers and a brief title. You must also indicate the date on which you wrote your entry. (E.g., "CD 1, Track 1, Pergolesi, "Mass," 8 Feb 03") Finally, separate each entry clearly from the preceding and following entries, either by leaving several blank lines or by beginning each entry on a new page.
• Do not write an entry before the item has been discussed in class and then listed on this page. You may, or course, listen to and study the score as many times as you like before that time, but save your writing until the material has been covered in class. This will prevent you from making major errors that may mislead you on the listening quizzes.
• Remember, the purpose of the listening journal is to help you to learn how to identify aurally the most important stylistic traits of these examples. Write to yourself (and your instructor as a second reader) in such a way that makes clear what you hear in the example that is unique or otherwise helps to distinguish the example (and similar works by the same composer or comtemporaries) from other examples. Try to be objective (initially) in your description and use the correct technical terminology as much as possible.
• Finally, grading of the listening journal will be based chiefly on completeness, i.e., have you simply done the work. There are no absolute right answers for this work. Extremely brief or half-hearted efforts, or work that appears to have been written without listening will be down-graded. Your journal will be checked three times during the term (after each listening quiz and at the final exam). The listening journal counts for 10% of your course grade.

Specific Directions

For each item that might be designated by your instructor, you are to do the following:

• Write at least one paragraph (approximately 3-5 sentences or sentence fragments) that describes the sound of the item in general terms. Should you prefer, you may put your statements in the form of a list.
• Write as objectively as possible about the basic elements and parameters of the item, such as:
  • timbre - the performing forms, number and inter-relationship of parts, texture(s), e.g., monophony, polyphony, heterophony, etc.
  • rhythm - metrical vs. non-metrical, tempo, general note values, etc.
  • pitch - modal vs. other forms of pitch organization, melodic types and shapes, levels of dissonance, etc.
  • dynamics - how important is this element, and if so, in what way
  • "other" parameters - use of text, type of text-setting, language, unique or unusual instruments, performance techniques, or other factors associated only with this sort of piece
  NB. You do not have to write about every one of these parameters. Rather, you should focus on the most obvious traits of the item, and skip those that do not pertain.
• Answer any questions listed below that are unique and specific to those items.
• Finally, you may (but are not required to) write about your subjective/emotional reaction to the item, since that may help you to identify it later. Remember, however, that only objective descriptions will earn points on the quizzes. For example you might write something like "very pretty and relaxing," but on the quiz an acceptable answer would read more like: "lots of consonances, and slow tempo with regular rhythms."

The following is a chronological list of all assignments for your Listening Journal during the Spring 2003 Semester. The date on each assignment is the date on which it was made. Generally, you should try to complete each of these assignments within seven days (or less) of its posting on this page.

Listen to CD 1, Tracks 1 & 2 (Guides on pp. 14 & 17). These are both examples of sacred music from 18th- and 17th-century America. Begin by writing a brief general description for each item, and then note the following additional points:

1. How do the performing forces of these two excerpts differ from one another?
2. How would you describe the singing style of each item?
3. What sorts of religious attitudes do you think each of these items reflect?

Listen to CD 1, Tracks 3 & 4 (Guides on pp. 30 & 33-35). These are both examples of works by early American Singing School Masters. Begin by writing a brief general description for each item, and then note the following additional points:

1. What is the most obvious difference between these two works and early American psalmody (e.g., CD 1, Track 2)?
2. What traits do these two works have in common with psalmody? (Hint: look at the texts)
3. What technique does Item 4 ("Sherburne") use, beginning at the 3rd line of text ("the angels of the Lord..."), that Item 3 does not have?

Listen to CD 1, Tracks 10 & 11 (Guides on pp. 87 & 94-95). These are contrasting examples of early American sacred music. Begin by writing a brief general description for each item, and then note the following additional points:

1. Which of these two examples would Andrew Law have found the more offensive, and why? (Describe the sound as much as you can.)
2. Which do you personally prefer, and why? (This is strictly opinion; there is no "correct" answer here.)

Listen to CD 1, Track 12 (Guide on pp. 106-108). This is an example of "Shape-Note" or Sacred Harp singing. Begin by writing a brief general description for the item (NB., concentrate on the music itself and not the performers) and then note the following additional points:

1. What general traits does Item 12 have in common with Items 3, 4, & 10, and why might this be so?
2. What specific things do you hear in the performance style of this Item that are different from you expect of "classical" singing?

Listen to CD 1, Tracks 6 & 8 (Guides on pp. 46 & 55). These are examples of secular music around the Revolutionary period. Begin by writing a brief general description for the item (NB., concentrate on the music itself and not the performers) and then note the following additional points:

1. How would you classify each of these pieces? What traits of each piece do you associate with specific social or economic classes?
2. Who would have sung each of these pieces, and where and when would they have done so?

Listen to CD 1, Tracks 7 & 9 (Guides on pp. 51 & 57). These are examples of instrumental music around the Revolutionary period. Begin by writing a brief general description for the item (NB., concentrate on the music itself and not the performers) and then note the following additional points:

1. How would you classify each of these pieces, i.e., how would each of these be used and why? What traits of each piece do you associate with specific uses?

Listen to CD 1, Tracks 17, 18 & 19 (Guides on pp. 151-152, 162-163 & 166-167). These are examples of parlor songs (1800-1865). Begin by writing a brief general description for each item and then note the following additional points:

1. What sentiments or general feelings are conveyed by the text?
2. What is the general organization of each song (both the words and the music)? Do you detect any formal patterns discussed in class or the textbook?
3. How demanding are the vocal parts and the accompaniment? Could you perform this music?

Listen to the following items, which include both a textbook CD item and a few items in the UCF Library Media Center:

• "Deep River," performed by the Dale Warland Singers (track 16 on M 1531 .D34 B56 1996 in UCF Media Center)
• "Deep River," performed by the Tuskegee Institute Choir (Crawford textbook CD 1, Track 26 [Guide on p. 259])
• "Ride On, King Jesus" performed by Jesse Norman (track 7 on CDR 865 in UCF Media Center)
• "Moses," performed by the Georgia Sea Island Singers (item 1 on Side 1 of CAS 131 [cassette tape] in UCF Media Center)

1. Listen to these 4 items in the order listed.
2. For each item, make a brief list of the "black" and "White" traits that you hear in each item.
3. In particular compare the first two items, which are recordings of the same spiritual. Specifically, which performance is more "black," and why?
4. For the third item ("Ride On, King Jesus"), does the performance retain any "black" traits at all? What are they?
5. Finally, using your own subjective impressions, rank these four items in order from "most black" to "least." Explain why you placed these items in that order. (NB. There is no correct order.)

Listen to the following items, two of which are textbook CD items and one of which is available only as a sound file on the web:

• "Old Dan Tucker," performed by Peter Seeger (Crawford textbook CD 1, Track 14 [Guide on pp. 128-129])
• "Old Dan Tucker," performed by Japher's "Original" Sandy River Minstrels (Go to the "Old Dan Tucker" web page, and use one of the links at the top of the page to hear the sound file.)
• "De Camptown Races" (Crawford textbook CD 1, Track 15 [Guide on pp. 130-131])

1. Listen to these 3 items in the order listed.
2. In general, what musical traits do you hear in these three items that probably derive from African-American influences?
3. In particular, compare the first two items, which are recordings of the same Minstrel song. Specifically, which performance do you think sounds more like a Minstrel show of the pre-Civil War era, and why?
4. For the third item ("De Camptown Races"), does the music retain any Minstrel traits? What are they? What non-Minstrel traits do you hear?

Listen to the following items, which include both textbook CD items and one on the supplemental disc given to you:

• "Sweet By and By" (Crawford textbook CD 2, Track 1 [Guide on pp. 276-277])
• "After the Ball" (Crawford textbook CD 2, Track 3 [Guide on pp. 298-299])
• "Darktown is Out Tonight" (supplemental dics #2)
• "Alexander's Ragtime Band" (Crawford textbook CD 2, Track 10 [Guide on pp. 338-339])

These items are all related to the various song traditions associated with sheet music from the late 19th through the early 20th century. In addition to a general description, note the following:

1. In which specific tradition would you classify each of these songs?
2. Which elements (melody, harmony, rhythm, text, performance style) led you to your conclusion?

Listen to the following items, all of which are on the supplemental disc given to you:

• "Quittin' Time Song" (supplemental disc #3)
• Blind Lemon Jefferson - "Black Snake Moan" (supplemental disc # 4)
• Robert Johnson - "Preachin' Blues" (supplemental disc #5)
• Ma Rainey - "Countin' the Blues" (supplemental disc # 6)
• Muddy Waters - "Hoochie Coochie Man" (supplemental disc # 8)

These items are all related to the various sub-genres within the blues. In addition to a general description, note the following:

1. With the exception of the first example, how closely does each of these examples adhere to the 12-bar blues format?
2. Listening to these examples in order, how does each new item represent a step in the "evolution" of the blues, i.e., what is different or new about the performance style of the next item?

Listen to the following items, all of which are on the supplemental disc given to you:

• Jimmie Rodgers - "Blue Yodel No. 11" (supplemental disc # 14)
• Hank Williams, Sr. - "I'm So Lonesome I Could Cry" (supplemental disc # 18)
• Flatt & Scruggs - "Foggy Mountian Breakdown" (supplemental disc # 16)

These items are all related to the various sub-genres within country music. In addition to a general description, note the following:

1. Which specific tradition (sub-genre) within country is each?
2. What element within the performing forces identifies that specific sub-genre?

Listen to the following items, which include both items on the supplemental disc given to you and one on a textbook CD:

• Meade Lux Lewis - "Mr. Freddie Blues" (supplemental disc # 7)
• Count Basie Orchestra - "Lester Leaps In" (Crawford textbook CD 3, Track 1 [Guide on pp. 403-404])
• Louis Jordan - "Choo, Choo Boogie" (supplemental disc # 19)

These items are all related genres leading from the blues to rock 'n roll. (NB. These examples are not within those two traditons, but rather, between them.) In addition to a general description, note the following:

1. What basic element of "boogie woogie" is prominant in all of these items?
2. What element of the blues is heard in these items?
3. What element(s) distinguishes each of these items from the other two?
4. What name (different for each) would you give to each of these examples?

Listen to the following items, all of which are included on the supplemental disc given to you:

• Big Mama Thornton - "Hound Dog" (supplemental disc # 20)
• Bill Haley & the Comets - "Shake, Rattle, and Roll" (supplemental disc # 21)
• Chuck Berry - "Maybelline" (supplemental disc # 22)
• Little Richard - "Long Tall Sally" (supplemental disc # 23)
• Buddy Holly - "That'll Be the Day" (supplemental disc # 24)

These items are all early rock 'n roll (or nearly so). In addition to a general description, note the following:

1. What trait(s) [if any] do these five items have in common?
2. Can you identify "black" and "white" elements within each of these items?
3. What is the balance between "black" and "white" influences within each of these items?
4. Which (in your opinion) are the "most" "rock 'n roll" and which are the least?

When you have completed these items, you are finished with your listening journal for the semester. Be sure to bring it with you to the final exam for the second graded check of your work.

Last updated on 7 April 2004