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 MUSIC
Social E x p e r i e n c e
Third Edition

Steven Cornelius
University of Massachusetts Boston
with
Mary Natvig
Bowling Green State University

Routledge
i Taylor & Francis Croup

NEW YORK AND LONDON

Cover image: © Gerry Images and Drummer and dancer ­ courresy a friend of rhe aurhors

Third edition published 2022

by Routledge
605 Third Avenue, New York, NY 10158

and by Routledge r»v1/( riDM

4 Park Square, Milton Park, Abingdon, Oxon, OX14 4kin
Routledge is an nnprint of the Taylor & Francis Group, an informa business

© 2022 Taylor & Francis

The right of Steven Cornelius and Mary Natvig to be identified as authors
of this work has been asserted in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or utilised
in any form or by any electronic, mechanical, or other means, now known or
hereafter invented, including photocopying and recording, or in any information
storage or retrieval system, without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks or registered trademarks,
and are used only for identification and explanation without intent to infringe.
First edition published by Pearson Education, 2012
Second edition published by Routledge, 2019
Library of Congress Cataloging­in­Publi cation Data
Names: Cornelius, Steven, 1952­ author. I Natvig, Mary, 1957­ author.
Title: Music: a social experience / Steven Cornelius, Mary Natvig.
Description: Third edition. I New York: Routledge, 2021. I
Includes bibliographical references and index.
Identifiers: LCCN 2021032293 (print) I LCCN 2021032294 (ebook) I
ISBN 9780367740351 (hardback) I ISBN 9780367740337 (paperback) I
ISBN 9781003155812 (ebook)
Subjects: LCSH: Music appreciation. I Music­Social aspects.
Classification: LCC MT90 .C69 2021 (print) I
LCC MT90 (ebook) I DDC 781.1/7­dc23
LC record available at https://lccn.loc.gov/2021032293
LC ebook record available at https://lccn.loc.gov/2021032294
ISBN: 978­0­367­74035­1 (hbk)
ISBN: 978­0­367­74033­7 (pbk)
ISBN: 978­1­003­15581­2 (ebk)
DOI: 10.4324/9781003155812
Typeset in Sabon and Stone Sans
by Newgen Publishing UK
Access the companion website: www.routledge.com/cw/cornelius

3 3001 01009 2004

To our teachers and our students,
with great appreciation for all you
have taught us.
 BRIEF CONTENTS

Detailed Contents IX MUSICAL INTERSECTIONS

List of Listening Guides xiii CHAPTER 8
Preface xvii Music and Politics 161
Repertory List xxi
About the Authors xxv CHAPTER 9
Acknowledgments xxvii Music and War 187

CHAPTER 10
Music and Love 211
MUSIC FUNDAMENTALS
CHAPTER 1
Musical Foundations MUSICAL NARRATIVES
CHAPTER 11
CHAPTER 2 American Musical Theater 239
Listening to Music 17
CHAPTER 12
CHAPTER 3 Music and Film 261
Four Listening Examples 37
CHAPTER 13
Music and Dance 283
MUSICAL IDENTITIES
CHAPTER 4
CHAPTER 14
Music and the Life Cycle 53
Music in the Concert Setting 305

CHAPTER 5
CHAPTER 15
Black American Music 71
Music and Technology 333

CHAPTER 6
Music and Gender and Sexuality 103 Glossary 355
Index 367
CHAPTER 7
Music and Spirituality 133

vii
 DETAILED CONTENTS
HH

List of Listening Guides xiii Understanding American Popular

Preface xvii Song I: "Over the Rainbow" 42
Repertory List xxi Art Tatum 44
About the Authors xxv Understanding American Popular
Acknowledgments xxvii Song II: "Don't Start Now" 46
Conclusion 49

MUSIC FUNDAMENTALS
CHAPTER 1 MUSICAL IDENTITIES
Musical Foundations 3 CHAPTER 4
Introduction 3 Music and the Life Cycle 53
Music and the Brain 3 Our Earliest Music 53
Music and Culture 5 Infancy 54
Classifying Music 7 Lullabies 54
World Music or Global Music 7 Childhood 55
Popular Music 8 Coming of Age 58
Western Art Music 8 Marriage 60
Conclusion 12 Rama's Wedding 60
South Indian Karnatic Music 62
CHAPTER 2 End of Life: Making Amends and
Listening to Music 17 Assuaging Grief 65
Engaged Listening 17 Contrition 65
The Elements of Music 18 A Funeral Lament 67
Melody 19 Conclusion 69
Rhythm 26
Harmony 29 CHAPTER 5
Timbre 30 Black American Music 71
Texture 31 New York City 71
Form 33 Is This Really America? 72
Conclusion 34 African Legacy 75
The Jalolu: Musicians/Historians of

CHAPTER 3 West Africa 75

Four Listening Examples 37 Spirituals 77

"Bourree" by J. S. Bach 37 The Negro Spiritual Achieves

Music from Japan 40 International Acclaim 78

ix
x Detailed Contents

Music of the Protestant Reformation:

The Blues 79
83 From Luther to Bach 144
Jazz
85 Yoruba Religion throughout the
The Emergence of Bebop
86 African Diaspora 147
Albert Ayler Performs "Summertime"
88 The Whirling Dervishes of the
Concert Music
Mevlevi Sufi Order 150
Remembering Josephine
Baker (1 906­1 975) 92 The Jewish Tradition 153

African Roots in Bloom 94 Conclusion 156

Three Iconic Songs 95

"Strange Fruit" (1939) 96
MUSICAL INTERSECTIONS
"Say It Loud—I'm Black and I'm
Proud" (1968) 97 CHAPTER 8
"Fight the Power" (1989) 98 Music and Politics 161
Final Thoughts: West African Echoes 100 National Identity 162
Campaign Music and the American
Presidency 165
CHAPTER 6
Nineteenth­Century Nationalism 166
Music and Gender and Sexuality 103
In the Steppes of Central Asia 167
Understanding Gender 104
Composing for the State 169
Gender in Western Art Music 106
Handel's Music for Royal Fireworks 169
Women Composers 106
Chinese Opera during the Cultural
Western Art Music and Transgender
Revolution 170
Composers: Wendy Carlos and
inti figgis­vizueta 109 Jungju (Beijing Opera) 171

Gender in Popular Music 110 Reforms (Revolutionary Opera) 1 72

Gender in the World 115 Hong deng ji (The Red Lantern, 1964) 1 73

Balinese Gamelan 115

Bulgarian Concert Folk Music 175

Gender on the Theatrical Stage 118 Eurovision Song Contest 178

A Leading Lady: Carmen 118 Beethoven's Ninth Symphony
A Leading Man: Siegfried 122 (1 824): Politics and Beyond 179
Gender Confusion: Castrati and The Crisis in Myanmar 183
Pants Roles 125 Conclusion 184
Sexuality: LGBTQ+ 128
Conclusion 129 CHAPTER 9
Music and War 187
CHAPTER 7 Introduction 187
Music and Spirituality 133 The Vietnam War, 1959­1975 192
Kathmandu, Nepal 133 The American Civil War, 1861­1865 195
Music and Spirituality in Christian Music and Resistance 196
Traditions 136 Ghost Dance 196
"Amazing Grace" 136 Music of the Holocaust 199
Music in the Early Christian Church 141 Music and Remembrance: Three
The Birth of Polyphony 142 Responses to World War II 201
The Renaissance Mass 143
 Detailed

Olivier Messiaen (1908­1992): More Stories to Tell 256

Quatuor pour la Fin du Temps The Next Act 256
(Quartet for the End of Time) 201
Benjamin Britten (1913­1976):
CHAPTER 12
War Requiem 203
Music and Film 261
Krzysztof Penderecki (1933­2020),
E.T.: The Extra­Terrestrial (1982) 261
Threnody for the Victims of
Early Film 265
Hiroshima 205
The Jazz Singer (1927) 265
Epilogue: Syria 208
Metropolis (1927) 266
Hollywood's Golden Era 268
CHAPTER 10 Race Film: Cabin in the Sky (1943) 269
Music and Love 211 After World War II 271
The Dawn of Love 211 The Day the Earth Stood Still (1951) 271
Idealized Love 212 Diversification 274
Humorous Seduction 214 Beyond Hollywood: Japan
Unattainable Love 218 and India 274
Antoine Busnoys (ca. 1430­1492) 219 The Hidden Fortress (Kakushi­toride
Obsessive Love 221 no san­akunin) (1958) 274
Franz Schubert's "Gretchen am Bodyguard (2011) 276
Spinnrade" ("Gretchen at New Explorations 277
the Spinning Wheel") 221 Dissecting an Epic: Star Wars 279
Hector Berlioz's Symphonie A Final Scene 279
fantastique 224 King Kong: Fog Scene 279
Love's Betrayals 226
Beyonce's "Hold Up" 228 CHAPTER 13
Country and Western Music Music and Dance 283
and Hank Williams Jookin 283
(1923­1953) 230 Tango: Argentina 285
The Last Word: "La Vie en Rose" 233
Dance Steps 285
Conclusion 234 Capoeira: Brazil 287
Baamaaya: Ghana, West Africa 290
European Dance 293
MUSICAL NARRATIVES
Renaissance Dance 293
CHAPTER 11 Classical Ballet 295
American Musical Theater 239
The Early Twentieth Century 297
Into the Woods (1987) 240 Modern Dance 300
American Musical Theater:
Popular Dance 300
The Early Years 242 Conclusion 302
Show Boat (1 927) 245
The Curtain Rises 247
CHAPTER 14
Moving Forward 249
Music in the Concert Setting 305
West Side Story (195 7) 251
A Symphony Orchestra Concert 306
Stephen Sondheim 255
xii Detailed Contents

Defining Sound 334

The Program 307
Properties of Mechanical Waves 335
Aaron Copland 308
Acoustics of a String 335
Antonio Vivaldi 310
Pitch and Vibration 336
Wolfgang Amadeus Mozart 314
Harmonics 336
Chamber Music 316
Wind Instruments: Open and
Franz Joseph Haydn, String Quartet
Closed Pipes 337
in E­Flat Major, Opus 33, No. 2,
Innovations in Brass Instruments 338
"The Joke" (1781) 317
Niccolo Paganini, Caprice in Developments in Keyboard
Instruments 339
A Minor, Opus 1, No. 24
(ca. 1805) 318 Music Preservation, Reproduction,

Arnold Schoenberg, Pierrot lunaire and Dissemination 341

(Moonstruck Pierrot, 1912) 320 Notation 341

Astor Piazzolla, Tango Redefined, Audio Recording 342

and "Oblivion" 322 Electronic Art Music 347

A Hindustani Recital 324 Some Popular Current
Jazz 326 Technologies 349
Coda 329 Jay­Z's "4:44": Searching for
Three Performances 329 Redemption? 349
Conclusion 352

CHAPTER 15
Music and Technology 333 Glossary 355
New York 333 Index 367
Discovery and Invention 334
 LISTENING GUIDES

2.1 Summertime," from the opera Porgy and Bess by George Gershwin and
Dubose Hey ward 21
2.2 "Chatuttal Manj­Khatmlaj Raga" performed by Ravi Shankar (sitar)
and Ali Akbar Khan (sarod) [Posted on YouTube by Smithsonian Folkways as
Sitar, Sarode and Tabla} 25
2.3 Kyrie eleison 3^
2.4 Giovanni Pierluigi da Palestrina, Kyrie from the Pope Marcellus Mass 31
2.5 Robert Shaw Festival Singers, "Amazing Grace" 32
2.6 "Java: Tarawangsa" 32
2.7 "Tuvan Folk Melody" 32
3.1 "Bourree" from Suite in E Minor by Johann Sebastian Bach 38
3.2 "Nezasa Shirabe" performed by Hideo Osaka 41
3.3 "Over the Rainbow" by Harold Arlen and E.Y. Harburg, with Judy Garland 43
3.4 "Over the Rainbow" performed by Art Tatum (1939 recording) 45
3.5 "Don't Start Now" by Dua Lipa, Caroline Ailin, and Emily Warren 47
4.1 "Kimfsu ye mu" 55
4.2 Peter and the Wolf by Sergei Prokofiev, narrated by David Bowie 56
4.3 "Sita Kalyana Vaibhogame" ("Sita's Wedding") by Tyagaraja 64
4.4 "Ceurik Rahwana" ("The Tears of Ravana")performed by Imas Permas and
Asep Kosasih 66
4.5 "Ma Guarifa," a Transylvanian funeral lament (bocet) 68
5.1 "This Is America" performed by Donald Glover 73
5.2 "Kelefaba" and "Kuruntu Kelafa" performed by Foday Musa Suso 76
5.3 "Sweet Little Angel" performed by B.B. King 81
5.4 "Caravan" by Juan Tizol and Duke Ellington, performed by the Duke Ellington
Orchestra (1937 recording) 84
5.5 "Criss Cross" by Thelonious Monk (1951 recording) 86
5.6 Albert Ayler performs "Summertime" 87
5.7 "Deep River," a traditional spiritual arranged by Harry T. Burleigh, performed by
Marian Anderson 90
5.8 "Afro­American Symphony" by William Grant Still (first movement, Moderato assai) 92
5.9 "Perle Noire: Meditations for Josephine," music by Tyshawn Sorey,
monologues by Claudia Rankine [Performance on YouTube from Ojai
Music Festival 2016, featuring Julia Bullock, soprano, and Tyshawn Sorey,
piano and drums] 93

xiii
xiv List of Listening Guides

5.10 "Papa Loko," traditional Haitian melody arranged by Nathalie Joachim ^

5.11 "Strange Fruit" by Abel Meeropol, performed by Billie Holiday ^
5.12 "Say It Loud—I'm Black and I'm Proud" by James Brown and Alfred Pee
99
5.13 "Fight the Power" by Public Enemy
108
6.1 "Partita for 8 Voices" by Caroline Shaw (first movement, "Allemande")
112
6.2 "Respect" by Otis Redding, performed by Aretha Franklin
116
6.3 Mekar Sari, women's gamelan ensemble
6.4 "L'amour est un oiseau rebelle" (habanera) from Carmen by Georges Bizet
123
6.5 Siegfried by Richard Wagner, Act II, Scene 2
6.6 "Non so piu cosa son," from Act I of The Marriage of Figaro by Wolfgang
126
Amadeus Mozart
7.1 "Song Boo Cherpa," recorded in Kathmandu, Nepal
7.2 "Amazing Grace" performed by Bernice Johnson Reagon
7.3 "Amazing Grace" performed by the Robert Shaw Festival Singers 139
7.4 "Amazing Grace" performed by the Old Harp Singers of Eastern Tennessee 140
7.5 Kyrie eleison (example of plainchant) 141
7.6 Sederunt principes, organum (excerpt) by Perotin 143
7.7 Kyrie, from the Pope Marcellus Mass by Giovanni Pierluigi da Palestrina 143
7.8 St. Matthew Passion (excerpts) by J.S. Bach 145
7.9 Eleggua 148
7.10 Naat­i­Sherif (excerpt): Taksim and Pe§rev—Taksim in Maqam Bayati featuring the
Ney Flute 152
7.11 "Kol Nidre" (excerpt) 154
7.12 "Elohim Hashivenu" by Salamone Rossi 156
8.1 In the Steppes of Central Asia by Alexander Borodin 168
8.2 The Music for the Royal Fireworks by George Frideric Handel (fourth movement,
"La Rejouissance") 170
8.3 "My Heart Is Bursting with Anger," Scene 9 from Flong deng ji 173
8.4 "Dilmano, Dilbero" by Philip Koutev 176
8.5 Symphony No. 9 in D Minor, Opus 125 by Ludwig van Beethoven (excerpt from
fourth movement) 180
9.1 "La guerre" by Clement Janequin/Phillippe Verdelot 189
9.2 "Ballad of the Green Berets" by Robin Moore and Staff Sgt. Barry Sadler 193
9.3 "All Quiet Along the Potomac Tonight" by John Hewitt 196
9.4 Arapaho and Comanche Ghost Dance songs 197

9.5 "Es is geven a zumer­tog" ("It Was a Summer's Day"), poem by Rikle Glezer 200
9.6 "Liturgie de cristal" from Quatuor pour la fin du temps by Olivier Messiaen 202
9.7 "Agnus Dei" from War Requiem by Benjamin Britten 204
9.8 Threnody for the Victims of Fliroshima by Krzysztof Penderecki 206
10.1 Something There," lyrics by Howard Ashman, music by Alan Menken 212
10.2 "Liebst du urn Schonheit" ("If You Love for Beauty") by Clara Wieck Schumann 213
10.3 "Lo conosco" ("1 Can See It") from La serva padrona by Giovanni Pergolesi 215
10.4 "Je ne puis vivre ainsy toujours" ("I Cannot Live Like This Forever") by Antoine
Busnoys
 List of Listening Guides XV

10.5 Gretchen am Spinnrade" ("Gretchen at the Spinning Wheel") by Franz Schubert 223
10.6 Symphonie fantastique by Hector Berlioz (fourth movement, "Marche au supplice") 225
10.7 'Un bel di, vedremo" ("One Fine Day") from Madama Butterfly
by Giacomo Puccini 227
10.8 "Hold Up" from the visual album Lemonade by Beyonce Knowles 229
10.9 "Your Cheatin' Heart" by Hank Williams 231
10.10 "La Vie en Rose" performed by fidith Piaf 234
11.1 "No More" from Into the Woods, music and lyrics by Stephen Sondheim 241
11.2 Opening scene from Show Boat, music by Jerome Kern, book and lyrics by
Oscar Hammerstein II 247
11.3 Quintet, Finale to Act I from West Side Story, music by Leonard Bernstein,
lyrics by Stephen Sondheim 253
12.1 Flying scene from E.T.: The Extra­Terrestrial, music by John Williams 264
12.2 Opening scenes from Metropolis, music by Gottfried Huppertz 267
12.3 Opening sequence from The Day the Earth Stood Still, music by Bernard Herrmann 273
12.4 Fire festival scene from The Hidden Fortress, music by Masaru Sato 275
12.5 Various scenes from Bodyguard, music by Himesh Reshammiya and
Pritam Chakraborty 277
13.1 Nobody Knows, danced by Lil Buck 284
13.2 "Por una Cabeza" ("By a Head," 1935) by Carlos Gardel and Alfredo le Pera 286
13.3 Baamaaya 291
13.4 "Branles des lavandiers" 294
13.5 "The Augers of Spring" ("Dances of the Young Girls") from Le sacre du printemps
(The Rite of Spring) by Igor Stravinsky 298
14.1 "Hoe­Down" from Rodeo by Aaron Copland 309
14.2 Concerto No. 1 in E Major, Opus 8, "La Primavera" (Spring) by Antonio Vivaldi
(first movement, Allegro) 311
14.3 Symphony No. 40 in G Minor by Wolfgang Amadeus Mozart (fourth movement,
Allegro assai) 315
14.4 String Quartet in E Flat Major, Opus 33, No. 2, "The Joke" by Franz Joseph Haydn
(fourth movement, presto) 318
14.5 Caprice in A Minor, Opus 1, No. 24 by Niccolo Paganini 319
14.6 "Mondestrunken" from Pierrot lunaire, Opus 21 by Arnold Schoenberg 322
14.7 "Oblivion" by Astor Piazzolla, performed by Matthias Well, Maria Well,
and Zdravko Zivkovik 323
14.8 "Chatuttal Manj­Khatmlaj Raga" (excerpt), performed by Ravi Shankar (sitar)
and Ali Akbar Khan (sarod) [Posted on YouTube by Smithsonian Folkways as
Sitar, Sarode and Tabla] 325
14.9 "A Night in Tunisia" by Dizzy Gillespie 328
15.1 Gesang der Jiinglinge by Karlheinz Stockhausen 348
15.2 "4:44" by Jay­Z, directed by Elissa Blount­Moorhead, Arthur Jafa, and Malik Sayeed 350
 PREFACE

Welcome to the third edition of Music: A Social Experience, an innovative approach to exploring
music in all of its aspects. Our approach encourages engaged listening and learning. This text is based
on two simple observations:

 Musical experience unfolds in a web of social experience.

 We learn best by building on what we already know.

Music: A Social Experience takes advantage of these truths by beginning with familiar pieces or
concepts, then expanding outwards to more distant musical sounds and contexts. By focusing on
the social aspects common to all music, we engage with a wide range of musical styles, cultures, and
historical periods. Rather than valuing one type of music over another, Music: A Social Experience
demonstrates the role that all music plays in teaching us about ourselves and the world in which
we live.
A social approach makes for intriguing juxtapositions. In our chapter on music and politics, for
example, Jimi Hendrix's Woodstock performance of "The Star­Spangled Banner" opens a pathway
to understanding the reception history of Ludwig van Beethoven's Symphony No. 9. The chapter on
music and gender connects and juxtaposes 1960s "girl groups" with Wolfgang Amadeus Mozart's
1786 opera The Marriage of Figaro, and with proscriptions against women performing gamelan
music in Indonesia.
In this book we:

 Present music from a variety of time periods and cultures.

 Use cultural knowledge to promote musical understanding.
 Use musical knowledge to promote cultural understanding.
 Reveal music's deep relationship with individual and social conditions.
 Encourage self­reflection and independent thinking.

Why Should We Study Western Art Music?

Art music represents Western philosophical ideals and social values. By studying art music, we gain
insights into Western civilization as a whole. Our repertoire is carefully chosen to demonstrate ways in
which music and society interact. Alexander Borodin's orchestral tone poem In the Steppes of Central
Asia informs us about nineteenth­century European concepts of nation and otherness. Studying Bizet's
sultry operatic character Carmen tells us about nineteenth­century gender expectations. Tyshawn
Sorey's chamber composition "Perle Noire: Meditations for Josephine" explores race and White
imagination in the remarkable life of Josephine Baker. Clearly, by engaging with Western art music
on both sonic and social levels, we see how concert music reflects who we have been and influences
who we are today.

xvii
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