Another trait Thomson presents as \u201cAmerican\u201d is the \u201cnon-accelerating crescendo and\u2026 the non-retarding diminuendo\u201d (19). After the initial tempo markings of con brio, allegretto con spirito, and marcia respectively there are no subsequent marked tempo changes with the exception of a ritardando before the chorus of \u201cCome on America.\u201d In this instance there is indeed no dynamic change marked. Dynamic markings as a whole appear secondary to the marching drive of the eighth note. Crescendos and diminuendos appear only in \u201cAmerica First,\u201d and \u201cAmerica My America\u201d has only four dynamic markings with the final already appearing in the third line. Although all this may support Thomson\u2019s assertion that \u201cthe American\u2026 inclines by instinct to keep his rhythm patterns independent of volume patterns\u201d (19), these trends are perhaps due in larger part to the patriotic march sub-genre than their American origins.<\/p>\n The final trait was harder for me to understand, let alone identify in practice. Thomson Obviously, these three pieces are too small of a data sample to make any definite conclusions about the accuracy of Thomson\u2019s generalizations of American music, but I did find it to be a useful exercise in thinking through the theories he presented. I chose to undergo this (admittedly arbitrary) project in order to better understand the arguments Thomson lay out, and to that end I achieved my goal.<\/p>\n (Unfortunately, I failed in my noble quest to dig up recordings of these pieces\u2026 I guess we will just have to use our imaginations?)<\/p>\n <\/p>\n Works Cited<\/p>\n Gray, Eddie and J. Will Callahan. \u201cAmerica First (Is Our Battle Cry! \u2018Tis the Land We Love).\u201d Chicago: Frank K. Root & Co, 1916. http:\/\/purl.dlib.indiana.edu\/iudl\/lilly\/devincent\/LL-SDV-94001.<\/p>\n Murchison, Kenneth and Edmund Vance Cooke. \u201cCome On, America!\u201d Red, White and Blue Series: New Patriotic and War Songs.<\/em> Boston: Oliver Ditson Company, 1918. http:\/\/purl.dlib.indiana.edu\/iudl\/lilly\/devincent\/LL-SDV-257002.<\/p>\n Powers, Edith and Ray Powers. \u201cAmerica My America.\u201d Oregon: Oregon Eiler\u2019s Music House, 1917. Thomson, Virgil. “American Musical Traits.”\u00a0American Music Since 1910<\/em>. New York: Holt, Rinehart and Winston, 1971.<\/p>\n","protected":false},"excerpt":{"rendered":" Virgil Thomson spent a considerable amount of effort trying to define traits of American music after 1910. I wanted to test his theories by comparing them to patriotic marches because they can be considered unambiguously American. The keyword \u201cAmerica\u201d brought … Continue reading ![\"\"](\"https:\/\/pages.stolaf.edu\/americanmusic\/wp-content\/uploads\/sites\/593\/2019\/10\/Come-On-america-screenshot-233x300.jpg\")
<\/a>Thomson covers such a wide range of genres that it seems laughable to apply common traits that are specific to American music. He particularly focuses on rhythm, noting that \u201ca very large part of what has been composed in the last forty years assumes the existence\u2026 of a steady continuity of eighth-notes, on top of which other metrical patterns, regular and irregular, lead an independent life.\u201d (American Musical Traits <\/em>19) All three of these pieces certainly fit this\u00a0trend as they are in 2\/4 with the eighth note driving the piano accompaniment. However, none of the pieces have more than a few instances of syncopation, let alone a \u201clarge amount\u201d (19).<\/p>\n![\"\"](\"https:\/\/pages.stolaf.edu\/americanmusic\/wp-content\/uploads\/sites\/593\/2019\/10\/america-my-america-screenshot-236x300.jpg\")
<\/p>\n![\"\"](\"https:\/\/pages.stolaf.edu\/americanmusic\/wp-content\/uploads\/sites\/593\/2019\/10\/America-First-screenshot-230x300.jpg\")
<\/a>speaks to a \u201cphonetic distortion without loss of clarity.\u201d I took this to mean that text setting often prioritizes music over the natural rhythm of speech patterns. One example of this in \u201cCome On America\u201d is the quarter-eighth-eighth-half rhythm of the syllables of \u201cA-mer-i-ca\u201d which causes the \u201ca\u201d and \u201cca\u201d syllables to be emphasized whereas a native English speaker would accent \u201cmer\u201d. Besides this, however, there was little unusual text setting and based on my understanding of the term I do not believe any of the three pieces utilize \u201cphonetic distortion\u201d to a large extent.<\/p>\n
\nhttp:\/\/oregondigital.org\/u?\/sheetmusic,1957.<\/p>\n