MUAR 211 CAIN Listening to Historic Voices: Activity #3-Dvo?ák, Beach, and colonial nationalism reading Joseph Horowitz, "Dvo?ák and Boston," in American Music vol. 19 no. 1 (Spring 2001): 3-17. Questions to prepare for a breakout discussion in class on Wednesday 4 November and for Midterm Exam #2 What specific types or styles of folk or popular music was Dvo?ák most interested in while in the United States? What specific folk music did Dvo?ák recommend as containing "all that is needed for a great and noble school of music"? How did Dvo?ák learn about these various kinds of music while in the States? From whom and where? Note on page 6 of the article how the author refers to the style of Dvo?ák's music (specifically the New World Symphony): "Its technique and construction are plainly Germanic, and Dvo?ák's own signature remains Bohemian." What does he mean by this? Why is the non-Bohemian aspects of his work automatically considered to be "Germanic"? Note Henderson's description of the second (slow) movement of the New World Symphony beginning at the bottom of page 6. What does this critic hear in the melodies of the second movement? Are they "American"? Why or why not? In what ways does this author frame and "mythologize the past" (and present) in his description of the people and places he hears in Dvo?ák's music? Would you consider this written critique an act of propaganda? Is Dvo?ák's symphony an act of propaganda? How did views of Dvo?ák's New World Symphony and its alleged "Americanness" differ between composers and critics in the cities of Boston and New York? How does Philip Hale's view differ from Henderson's? What is Hale's view of "negro melody" as a possible source for an American school of music. What does the author mean when he refers (p. 8) to "the Social Darwinist underpinnings" of William F. Apthorp's views? Can you find other examples of racial prejudice in the quotations to follow from Hale, Krehbiel, John Knowles Paine, Chadwick and Amy Beach? Is there anything you find particularly offensive? What kind of folk sources did Boston composers (like Amy Beach) tend to use when hoping to reference an American popular musical style? Listen to the first movement of Beach's Symphony in E Minor (Gaelic) and be prepared to answer and discuss the following questions about it: What specific folk music does Amy Beach borrow in her Gaelic Symphony? Can you find such a melody in the first movement? Where (at what time point) does this music occur in the posted recording? What is it about this music that sounds "ethnic"? What is it about the melody itself? What is it about scoring (the instruments involved) that makes this music sound "ethnic." Questions to research on your own (via the internet, using the best sources you can find) What was black-face minstrelsy?