Michael Goldchain 211736899

MICHAEL GOLDCHAIN CHRONOLOGICAL CHALLENGE ASSIGNMENT MUSI 2200 MUSIC AND CULTURES II

Michael Goldchain 211736899 Decade: 1995 - 2005 September 11, 2001, New York City, USA, The attack and destruction of the World Trade Centre by Muslim Extremist Terrorists, Political Crisis Event Terrorists board four planes from various destinations, hijack them, then fly two planes into both twin towers of the World Trade Centre in Lower Manhattan, New York City. Of the other two, one was flown into the Pentagon and one crashed into a field in rural Pennsylvania. This attack caused both towers to collapse. Nearly three thousand people died, thousands more affected mentally/emotionally by the loss of loved ones, things they saw and heard on site, as well as physically by the fire, debris, and gas poisoning Many artists have written song lyrics inspired by the events of September 11, 2001 both in the immediate aftermath and in the following years The media often use of symbolism and imagery to sensationalize major crises like the attacks of September 11, 2001. The words Pearl Harbor and 9/11 are terms broadly accepted by the general public to describe the attacks on Pearl Harbor and the attacks of September 11 Musicians use these same symbolisms in their lyrics to make the listener feel a certain way, and even persuade them to think a certain way by evoking images that have been etched into their minds and writing lyrics that the general public can identify with emotionally Some musicians wrote songs using symbolism and emotionally charged lyrics that cast Muslim cultures in a negative light and also in doing so provided listeners with a sense of patriotism for America. Other musicians used their songs to try counteract this negativity in the music business and change the public perception of Muslim people at a time when many were blaming the entire Muslim population for the events of September 11. Bruce Springsteen and Steve Earle wrote lyrics placing themselves in the shoes of individuals from the Middle East to evoke an emotional response from American audiences and promote cultural understanding.

Balish, Jamie. 2005. Hope, unification and resentment: A metaphorical analysis of musical lyrics written in response to the terrorist attacks on september 11, 2001. Ph.D. diss., Bowling Green State University, http://search.proquest.com.ezproxy.library.yorku.ca/docview/305033506?a ccountid=15182 (accessed February 24, 2014). Morton, Charlene. "Facing the Music on and off Stage: Pedagogical Possibilities and Responsibilities in the Aftermath of September 11." Philosophy of Music Education Review 10, no. 2 (2002): 125-139. http://www.jstor.org/stable/40327189?seq=2&Search=yes&searchText=tw in&searchText=music&searchText=towers&list=hide&searchUri=%2Faction %2FdoBasicSearch%3FQuery%3Dtwin%2Btowers%2Bmusic%26amp%3Bp

Michael Goldchain 211736899 rq%3Dworld%2Btrade%2Bcentre%2Bmusic%26amp%3Bhp%3D25%26amp%3Ba cc%3Don%26amp%3Bwc%3Don%26amp%3Bfc%3Doff%26amp%3Bso%3Drel%2 6amp%3Bracc%3Doff&prevSearch=&resultsServiceName=null (accessed February 24, 2014). 1999, United States/online, The release of peer-to-peer filesharing service Napster, Political Event Prior to the release of peer-to-peer file sharing, distribution of music was dominantly controlled by record companies, and the only existing peer-topeer file sharing software were not user friendly A program titled Napster, was released, created by Shawn Parker, utilizing peer-to-peer file sharing technology and specializing in the sharing of .mp3 files and being user friendly Peer-to-peer file sharing software like Napster work by creating a link online between various computer hard-drives so individuals can download files off anothers hard-drive without the software storing any of the files in the random access memory Allows access to music without paying therefore artists and recording industry not making any profit. This greatly affected This software was the cause of much copyright infringement. While Napster could not be wholly responsible for the infringement as it was merely a means, it allowed for users to obtain music files from alternative sources and then distribute it, completely bypassing the traditional process of distributing music. This not only meant that record companies were making less profits, but the artists themselves suffered greatly from this. One of the conflicts and areas of ambiguity in the role that software like Napster have in the music industry is its ability to enable independent and amateur artists to distribute their music and gain exposure without the need for a professional record company or having to pay a manager. Napster, and software that have been modeled in its fashion have led to the introduction of thousands of independent bands in a condensed period of time, that would have otherwise possibly never gained exposure. Conflict: users are considered bad people/pirates/thieves

Aitken, Paul A. "File sharing." Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 20, 2014, http://www.oxfordmusiconline.com.ezproxy.library.yorku.ca/subscriber/art icle/grove/music/A2241099. Stern, Richard H. 2000. "Napster: A Walking Copyright Infringement?" IEEE Micro 20 (6): 4-5. Woodworth, Griffin M. Hackers, users, and suits: Napster and representations of identity. Popular Music and Society, No. 27(2) (2004, June). 161-184

Michael Goldchain 211736899 July 8, 1997, Minneapolis, Minnesota, USA, Premier of Disney Theatricals The Lion King at the Orpheum Theatre, Performance Event This musical was based on the landmark Disney film The Lion King. This film is one of Walt Disneys most popular films and is very dear to many people across the globe. It was directed by Julie Taymor. The musical debuted July 8, 1997, in Minneapolis, Minnesota at the Orpheum Theatre prior to premiering on Broadway at the New Amsterdam Theater on October 15, 1997 The music was written by legendary British singer/songwriter and pianist Elton John, and world renowned British lyricist and author Tim Rice. The orchestration was written by German film composer Hanz Zimmer. The production has run for 17 years across the Globe While a household name in many countries across the globe, the film has helped appropriate and African culture based on stereotypes. The phrase Hakuna Matata is a phrase used often in the musical both in song and speaking, and has come to be associated primarily with The Lion King. This phrase however is a phrase in the coastal Swahili language, was used in many African countries as a political phrase as a reassurance that Kenya was safe during a time where there was political turmoil in Uganda and the states surrounding Kenya (Bruner 893). The phrase is taken from the Kenyan song Jumbo Bwana a popular Kenyan tourist song despite the phrase being in Swahili. This musical inspired a plethora of popular Walt Disney classics to be made into broadway musicals, which have in turn inspired countless schools to produce reproductions of them.

Bruner, Edward M.. "The Maasai and the Lion King: Authenticity, Nationalism, and Globalization in African Tourism." American Ethnologist 28.4 (2001): 881908. Print. "Lion King, The." Encyclopedia of Popular Music, 4th ed.. Oxford Music Online. Oxford University Press, accessed February 25, 2014, http://www.oxfordmusiconline.com.ezproxy.library.yorku.ca/subscriber/art icle/epm/62287. Decade: 1895 - 1905 August 1904, Red Bank, New Jersey, USA, Birth of legendary American jazz bandleader and pianist, Count Basie, Musician Event Count Basie was a legendary jazz musician. He was known for both his influential jazz orchestra and his jazz piano playing. Count Basie was known for his rhythm sections pulse-like style in his compositions for his jazz orchestra which most contemporary big bands now strive to emulate

Michael Goldchain 211736899 Basie became pianist for the Bennie Moten band in 1929 where he learned the style of jazz known as Kansas City Jazz that he then popularized across the country after Bennie Motens death (Tucker 45) Count Basie was known as the king of swing music, and was instrumental in the popularization of big band swing music Reinvented his style of playing piano to a more economical approach using sparse playing of bass with chords and light melodies high up on the keyboard. In doing this, he pioneered a new style of leading a jazz orchestra with the piano as an ensemble instrument instead of a solo instrument. Finished junior high school, but during that time, would spend time at the Palace Theatre and improvise on the piano to silent films. While preferring drums, Basie was intimidated by professional drummers and chose to stay with piano Founded the legendary jazz big band, The Count Basie Orchestra, 16-18 piece big band playing swing songs. Many famous jazz musicians started out playing with the Count Basie Orchestra including the influential tenor saxophonist Lester Young, guitarist Freddie Green, and jazz drummer and bandleader Buddy Rich. The band also collaborated with legendary musicians such as Frank Sinatra, Ella Fitzgerald, Tony Bennett, George Benson and Sarah Vaughan. While big bands generally lost a great deal of their popularity by the mid 40s however Count Basies Jazz Orchestra survived the fall of big band music and continued to be popular until after Count Basies death.

J. Bradford Robinson. "Basie, Count." Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 24, 2014, http://www.oxfordmusiconline.com/subscriber/article/grove/music/0220 5 Tucker, Mark . "Count Basie and the Piano That Swings the Band." Popular Music 5, no. Continuity and Change (1985): 45-79. January 7, 1899, Paris, France, Birth of French composer and pianist Francis Poulenc, Musician Event Poulenc was born to a wealthy bourgeois family. His father who was of Aveyronais descent, was the director of a giant pharmaceutical business. His mother, who was of Parisian descent, was from a family of artists-crafstman Because of his familys wealth, Poulenc had the freedom to practice the arts (Schmidt 4) Because of his mixed heritage and his personality, he was known as both a monk and rascal (St-Aubin 1). This reputation was also due to his unique composition style. Poulenc was known for his daring and diverse composition style. He studied the works of great composers while also having an appreciation for lowbrow

Michael Goldchain 211736899 aesthetics and popular culture. He used both of these to his advantage to create a new style of music that combined serious art music with a flippant French popular aesthetic (St-Aubin 2-6) Poulenc was also known for composing music that contained a certain element of nostalgia. He did this by using influences he had from Parisian popular music from his youth (St-Aubin 6). This not only added nostalgia to the music but also a certain element of patriotism celebrating French culture. He also combined music taken from religious material and combined it with secular. Poulenc composed orchestral, chamber, choral, and piano music as well as opera and ballets. Poulenc was a member of Les Groupe des Six, a group of avant-garde French composers Poulenc was one of the first openly homosexual composers (Chimenes, Nichols 1).

Myriam Chimnes and Roger Nichols. "Poulenc, Francis." Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 21, 2014, http://www.oxfordmusiconline.com.ezproxy.library.yorku.ca/subscriber/art icle/grove/music/22202. Rorem, Ned. "PoulencA Memoir." Tempo -3.64 (1963): 28. Print. SIMON, JOHN. "THE PULL OF POULENC.(Brief Article)." The New Leader, April 5, 1999. Schmidt, Carl B.. Entrancing muse: a documented biography of Francis Poulenc. Hillsdale, NY: Pendragon Press, 2001. Print. St-Aubin, Charlene. 2008. Francis Poulenc, nostalgia and parisian popular culture. Ph.D. diss., University of Toronto (Canada), http://search.proquest.com.ezproxy.library.yorku.ca/docview/304358374?a Composer Gustav Mahler appointed Director of Vienna Court Opera, forced to convert from Judaism to Catholicism, Political/religious event At the time, Vienna was extremely anti-semetic. The term anti-semetism itself was invented in Germany (and Austria) (Knittel 4). In 1897 Vienna elected as its mayor Karl Lueger, an openly anti-semetic man who is also considered to have turned Vienna into a modern city (Zacharia 60). Karl Lueger used his anti-semetic idealogy to unite aristocrats and democrats, artisans and ecclasiastics to attack the liberals. Russian historian Lon Poliakov is quoted as saying in Vienna any political group that wanted to appeal to the artisans had no chance of success without an anti-Semitic

Michael Goldchain 211736899 platform (Poliakov 24). It is said that Hitler was influencedby Luegers model of politics (Zacharia 60). Franz Joseph I, Emperor of Austria at the time, opposed Karl Luegers antisemetic ideologies and offered Mahler a position as director of the Imperial Vienna Court Opera (Hopofer) (Kravitt 72). . Mahler left Hamburg Philharmonic and moved to Vienna. Because the position needed to be held by a non-Jew, Mahler converted to Catholicism. Because of the raging anti-semetism in Vienna at the time, coming from both the politicians and the press, Mahlers stay in Vienna from 1897 to 1907 was made extremely unpleasant (Knittel 5) despite his conversaion to Catholicism. Jews were not only thought to be different based on religious beliefs, but also biologically and visibly different from gentiles. Jews were perceived to be racially different in body, in speech, in mannerisms, even in terms of their susceptibility, or Jew converted to Catholicism, they would still be viewed as different. In addition to anti-semetic criticism from Catholic critics, Mahler also sustained a sizeable portion of criticism from Jewish critics as well (Knittel 8). Jewish critics made use of popular anti-semetic stereotypes such as Mahlers tendency towards modernism (Jews were associated with the Modern age) in order to display their recognition and acceptance of the dominant discourse (Knittel 8) By 1907, Mahler could no longer sustain living and working in Vienna and moved to New York to serve as director for the New York Metropolitan Opera in 1907. According to writer Peter Franklin, despite not being very well liked by the musicians who worked with him in Vienna due to his dictatorial style of directing, Mahler greatly improved the orchestra by the time of his departure.

"Mahler, Gustav". Oxford Music Online. Retrieved 21 February 2010. (7. Vienna 18971907) Knittel, K. M.. . Farnham, Surrey, England: Ashgate, 2010. Kravitt, Edward F.. "Mahler, Victim of the 'New' Anti-Semitism." Journal of the Royal Musical Association 127, no. 1 (2002): 72-94. http://www.jstor.org.ezproxy.library.yorku.ca/stable/3840480 (accessed February 24, 2014). Lon Poliakov: The History of Anti-Semitism. University of Pennsylvania Press, 2003. ISBN 0-8122-1863-9. p.24

Michael Goldchain 211736899 Zakaria, Fareed. The future of freedom: illiberal democracy at home and abroad. New York: W.W. Norton & Co., 2003. Print. Franklin, Peter (2007). Macy, Laura (ed.), ed. Decade: 1755 - 1805 April 1805, Vienna, Austria, Beethovens Symphony No.3 in E-flat major, Op. 55 Eroica performed for the public for the first time at Theater an der Wien, Composition event This composition was the first of a series of compositions during the middle of Beethovens life that were mature and emotional symphonic masterpieces This work is a perfect example of the late Classical period, although contains certain characteristics of the Romantic era (Kerman et al. 14). The work played a pivotal role in the development of modern music. The work was originally dedicated to Napoleon Bonaparte, who Beethoven admired until Napoleon proclaimed himself Emperor of France in May 1804, at which point Beethoven scrapped the title and renamed it Eroica (Steblin 62). After re-titling the work, Beethoven dedicated it to Prince Joseph Franz Maximilian Lobkowicz, a music lover, and patron of Haydn as well (Steblin 62) There is a certain level of ambiguity concerning who the second movement, a funeral march, titled Marcia Funebre, is written for. There is a fair amount of consensus between musicologists that the march was meant to honour the Prussian Prince Louis Ferdinand who died in 1806 in a battle against Napoleon. This composition was drastically different from previous symphonies composed by the likes of Mozart or Haydn. The piece is longer than any previous symphonies, the scope is much larger, the ideas more striking and radical, and the melodic and dynamic range much larger (Kerman et al. 14). Other theories of who the March was written for include among others, Beethoven upon the onset of his deafness and perceiving his eventual fate, and another theory , which Beethoven might have alluded to, being Napoleon, should he die (Steblin 65-66). While composing Eroica, Beethoven was influenced by French postrevolutionary composers. This is clear with his passages of full orchestra playing simultaneously, and his march-style material (Kerman et al. 14). Beethovens innovations in symphonic music and the development of the technical means to allow these compositions to be played are said to be his greatest single achievement (Kerman et al. 14).

Joseph Kerman, et al. "Beethoven, Ludwig van." Grove Music Online. Oxford Music Online. Oxford University Press, accessed February 24, 2014,

Michael Goldchain 211736899 http://www.oxfordmusiconline.com/subscriber/article/grove/music/4002 6pg14. Steblin, Rita. 2006 Who Died? The Funeral March in Beethoven's "Eroica" Symphony. The Musical Quarterly, Vol 89, No.1. 62- 79. 1804, Leopoldstadt, Austria, Johann Strauss I is born, Composer Event Austrian romantic composer, prolific, world-renowned dance-music composer (Johann Strauss 511) His mother died of illness when he was seven and his father drowned five years later (probably of suicide) (Johann Strauss, Sr. 2) Strauss took violin and viola lessons but apprenticed for five years as bookbinder and completed his apprenticeship in 1822 (Johann Strauss, Sr. 511). Despite his experiencing his own father stifling his musical talent and skills, Strauss was adamantly opposed to his own sons musical education (Johann Strauss 511). Strauss was acutely aware of the fickle nature of the public and the difficulty of leading a musicians life. He understood how easily public opinion on a composer could change and did not wish this for his sons (Johann Strauss 512) Strauss was the patriarch of a long familial line of musicians. His son Johann Strauss II, also known as The Son or Johann Strauss, Jr. was also a prolific composer of dance-music who, upon his debut in 1844, competed for the public spotlight with his father, until his fathers death five years later (Crittenden 87). Strauss was so absorbed in his own work that he scarcely was aware of the goings-on of his sons, who had been receiving invites to perform their fathers music on pianoforte at various patrons houses. On one occasion, a patron congratulated Strauss, Sr. on his sons playing, at which point he demanded they play for him. According to Strauss, Jr., he was greatly impressed with their performance and stated Boys, no one can play it like that, yet still he forbid them from pursuing a musical career (Johann Strauss 511) Founded the Strauss Orchestra, which toured across Europe. Upon Strauss death, his son Johann Strauss, Jr. inherited the orchestra and composed music and toured with it as well. The Strauss family and its orchestra has been a source of pride and identity for the Viennese people (Johann Strauss, Sr. 3-6). In 1987 an orchestra dedicated to the revival of the touring Strauss Orchestra was founded in Vienna by world-renowned Dutch violinist and conducter, Andr Rieu, named the Johann Strauss Orchestra.

Crittenden, Camille. Johann Strauss and Vienna: operetta and the politics of popular culture. Cambridge: Cambridge University Press, 2000. Print. "Johann Strauss: The Waltz King." The Musical Times 50, no. 798 (1909): 511-514.

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1796-1798, Germany, The composition of Joseph Haydns The Creation, Composition Event Franz Joseph Haydn was an Austrian composer, and one of the most popular and respected composers of the classical period. The Creation is considered to be Franz Joseph Haydns crown achievement and the summit of his musical work. It is also considered to be his most mature and masterful composition (203.3 Hadden) A point agreed on by many musicologists is that The Creation would most likely not have been what it was, and Haydn would not have the legacy and reputation he had if he had not moved to London. Haydn experienced a musical rebirth upon moving to London. The Creation gained widespread popularity in Austria and became almost as popular as Handels The Messiah in London, leading to connections being drawn between the two pieces due to their titles, as well as the similarity of the two composers names (Hadden 203.2). One of the most widespread musical works, being performed and gaining acceptance among all classes and in all lands where European music is appreciated (Temperley 42). Haydn took advantage of new use of a large scale orchestra to be able to musically paint numerous images and textures. Most well known example of this is Haydns musical depiction of darkness and chaos, using chromaticism and dissonance, uncharacteristic of the eighteenth century, and then depicting the creation of light with a sudden fortissimo C-major chord played by the whole ensemble. The creation of light astounded audiences, and it is clear by listening to the unique musical tools Haydn used, that he was creating a legacy for himself (Dolan 3-4) scored for soprano, tenor and bass soloists, chorus and a symphonic orchestra, and is structured in three parts. Despite the composition being an oratorio, the orchestra plays a central and dominant role. As wind instruments were increasingly developed in the eighteenth century, each began to find their own individual identities and roles within a larger modern orchestra. While at the time, it was common to have different instruments doubling on the same part, Haydn made a point of orchestrating individual parts for instruments of varying timbres.

Dolan, Emily J.. "The Work of the Orchestra in Haydn's Creation." 19th-century music 34, no. 1 (2010): 3-38. Hadden, J. Cuthbert. Haydn. McLean, Va.: IndyPublish.com, 2003. Print. Temperley, Nicholas. Haydn, the Creation. Cambridge, England: Cambridge University Press, 1991.

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