Cover image for American music : a panorama
American music : a panorama
Kingman, Daniel.
Personal Author:
Concise edition.
Publication Information:
New York : Schirmer Books ; London : Prentice Hall International, [1998]

Physical Description:
xiv, 433 pages : illustrations ; 26 cm
Format :


Call Number
Material Type
Home Location
Item Holds
ML200 .K55 1998 Adult Non-Fiction Non-Fiction Area

On Order



This is an inviting and succinct guide to our nation's musical culture. Kingman's view of American music as a number of distinct parallel streams is reflected in this text and includes the following: folk and ethnic music; popular sacred music; the southern music of country, blues, and rock; popular secular music; jazz; and classical music. Contrasting these across regions and times, he delivers a clear vision of the historical roles of music and composers in American culture.

Author Notes

Daniel Kingman is a professor emeritus of music at California State University, Sacramento. He is a well-known authority on American music.

Table of Contents

Author's Guide to the Concise Editionp. xi
Part 1 Folk and Ethnic Musics
Chapter 1. The Anglo-American Traditionp. 3
"Barbara Allen" as a Prototype of the Anglo-American Balladp. 3
Print and the Balladp. 5
Imported versus Native Balladsp. 6
The Music of the Balladsp. 7
Fiddle Tunesp. 9
Folk Music as an Instrument of Persuasion in the Twentieth Centuryp. 12
Chapter 2. The African-American Traditionp. 20
African Music and Its Relation to Black Music in Americap. 20
Religious Folk Music: The Spiritualp. 21
Secular Folk Musicp. 27
Chapter 3. The American Indian Traditionp. 40
Music in Aboriginal Indian Lifep. 41
Characteristics of Indian Musicp. 46
Indian Music and Acculturationp. 47
Chapter 4. The Latino Traditionp. 53
Sacred Music from Mexicop. 53
Secular Music from Mexicop. 56
Music from the Caribbean and South Americap. 67
Part 2. Three Prodigious Offspring of the Rural South
Chapter 5. Country Musicp. 77
Enduring Characteristics of the Musicp. 77
Enduring Characteristics of the Wordsp. 81
Commercial Beginnings: Early Recordings, Radio, and the First Starsp. 84
The West: The Cowboy Imagep. 87
The West: Realism and Eclecticismp. 88
Postwar Dissemination and Full-Scale Commercializationp. 89
The Persistence and Revival of Traditional Stylesp. 93
Chapter 6. Blues and Soul: From Country to Cityp. 100
Early Published Bluesp. 100
Classic City Bluesp. 102
Blues and Jazzp. 104
Boogie-Woogiep. 105
The Absorption of Country Blues into Popular Musicp. 106
The Soul Synthesisp. 109
Blues in the 1990sp. 110
Chapter 7. Rock and Its Progenyp. 114
Characteristics of the Musicp. 114
Characteristics of the Wordsp. 117
A Brief History of Rock's Times and Stylesp. 122
Part 3. Popular Sacred Music
Chapter 8. From Psalm Tune to Rural Revivalismp. 139
Psalmody in Americap. 139
The Singing-School Traditionp. 142
The Frontier and Rural America in the Nineteenth Centuryp. 148
Music Among Our Smaller Independent Sectsp. 156
Chapter 9. Urban Revivalism and Gospel Musicp. 161
Urban Revivalism After the Civil War: The Moody-Sankey Era of Gospel Hymnsp. 161
The Billy Sunday-Homer Rodeheaver Era: Further Popularizationp. 163
Gospel Music After the Advent of Radio and Recordingsp. 166
Part 4. Popular Secular Music
Chapter 10. Secular Music in the Cities from Colonial Times to the Jacksonian Erap. 181
Concerts and Dancesp. 181
Bands and Military Musicp. 184
Musical Theaterp. 186
Popular Songp. 189
Chapter 11. Popular Musical Theatre from the Jacksonian Era to the Presentp. 194
Minstrelsy and Musical Entertainment Before the Civil Warp. 194
From the Civil War Through the Turn of the Centuryp. 200
The First Half of the Twentieth Centuryp. 203
The Musical Since the Advent of Rockp. 210
Chapter 12. Popular Song, Dance, and March Music from the Jacksonian Era to the Advent of Rockp. 217
Popular Song from the 1830s Through the Civil Warp. 217
Popular Song from the Civil War Through the Ragtime Erap. 224
The Band in America After the Jacksonian Erap. 230
Popular Song from Ragtime to Rockp. 234
Tin Pan Alley and Its Relation to Jazz and Black Vernacular Musicp. 235
Part 5. Jazz and Its Forerunners
Chapter 13. Ragtime and Pre-Jazzp. 243
The Context of Ragtime from Its Origins to Its Zenithp. 243
The Musical Characteristics of Ragtimep. 246
The Decline and Dispersion of Ragtimep. 250
The Ragtime Revivalp. 253
Pre-Jazzp. 254
Chapter 14. Jazzp. 261
The New Orleans Style: The Traditional Jazz of the Early Recordingsp. 261
Dissemination and Change: The Pre-Swing Erap. 263
The Swing Era and the Big Bandsp. 267
The Emergence of Modren Jazz: Bop as a Turning Pointp. 271
The Pluralism of the Last Quarter Centuryp. 277
Part 6. Classical Music
Chapter 15. Laying the Foundation: Accomplishments from the Jacksonian Era to World War Ip. 287
1830-1865: Education and Reform in a Time of Expansionp. 288
Outspoken "Nativists" of the Mid-Nineteenth Centuryp. 289
Louis Moreau Gottschalk and the Virtuoso in Nineteenth-Century Americap. 294
After the Civil War: The Pursuit of Culture in a Time of Industrializationp. 296
The Second New England Schoolp. 298
Five Individualists Around the Turn of the Centuryp. 300
Chapter 16. The Evolving Tradition, 1920-1970p. 308
Some Background for the "Fervent Years"p. 308
Music with Filmp. 312
Music with Dancep. 315
Music with Poetryp. 318
Music Independent of Film, Dance, or Poetryp. 321
Chapter 17. Modernism I: New Ways with Old Toolsp. 329
Charles Ives (1874-1954)p. 329
Henry Cowell (1897-1965)p. 339
Lou Harrison and John Cagep. 342
Harry Partch (1901-74)p. 343
Edgard Varese (1883-1965)p. 346
Chapter 18. Modernism II: The Impact of Technology and New Esthetic Conceptsp. 352
The Surface Features of Mid-Century Modernismp. 352
The Two Dominant Rationales of Mid-Century Modernismp. 355
New Technology and the New Musicp. 359
Other Aspects of Mid-Century Modernismp. 361
Chapter 19. Modernism Transcended: Autonomy, Assimilation, and Accessibilityp. 368
Minimalism: A Radical Antidote to Modernismp. 369
Modernism Gives Way to Assimilation and Reconnectionp. 373
Music of Association and the New Accessibilityp. 375
Chapter 20. Opera Old and Newp. 380
Opera in America before the 1930s: An Unassimilated Alienp. 380
Traditional American Opera Beginning in the 1930sp. 380
New Opera in the Last Quarter of the Centuryp. 385
Part 7. Regionalism and Diversity
Chapter 21. Three Regional Samplingsp. 393
Louisiana and the French Influencep. 393
The Upper Midwest and the Scandinavian Influencep. 398
The Sacramento Valley: A Rich Mix of Culturesp. 401
Indexp. 409