Spirituals and the Nationalistic Music of the United States

Spirituals and the Nationalistic Music of The United States

The Conservatory of Music

Alongside the early stages of the development of Western music in the Americas during the late 1800s came the global desire to establish national boundaries; music was one particular area where countries wanted to display their national pride and establish their nationality. The Americas, particularly the United States, was at an awkward stage in the development of its own nationalistic music, as it was not clearly established what “American music” was at this point. Eventually, a composer from Prague alongside the National Conservatory of Music, founded by Jeannette Meyers Thurber, in the United States would help push the majority of the country see that “American music” was to be built off the country’s foundation: the music and rhythms of the indigenous people and African Americans—this American music consists of the African American spirituals that WEB DuBois discussed in The Souls of Black Folk; this post serves to give some more context around the spirituals that emerged from traditional African songs that were passed down from the very first slaves in the U.S.

The United States – Early 20th Century

By the late 19th century, when the United States was trying to establish its own music, European music had already been established in the several countries, making the creation of their nationalistic music simple and original. American music, however, was in its early stages of development, leaving the people of the United States reliant on the more established European classical music (Grout, 2019). The study of music was also extremely dependent on European music; people from the United States started traveling to Europe in order to study music there—after placing European music at the center of music, many people then tried to imitate this music and during the era where national boundaries were rising attempted label it as America’s nationalistic music, in spite of the music that already existed in the United States. Continue reading “Spirituals and the Nationalistic Music of the United States”

“Moving on to an outcome”

I haven’t posted in a long time. I’ve been getting lost in rabbit holes every time I sit down and try to write a post, and I’m finding myself attempting to make some massive work displaying the parallelism Morrison creates in Jazz to the structure of purgatory, first analyzing on a large scale, and eventually focusing solely on Joe and how he recreates himself seven times, and how his last name, Trace, is only two letters away from “terrace,” and how there is no way that that’s an accident… I could go on for a while. Continue reading ““Moving on to an outcome””

Does time heal us?

“The more one learns, the more one comes to hate the waste of time.”

Purgatorio III:78

“Distraction skills are important because (1) they can temporarily stop you from thinking about your pain and, as a result, (2) they give you time to find an appropriate coping response.”

The Dialectical Behavior Therapy Skills Workbook

“Time heals all things.” Continue reading “Does time heal us?”

Additional Comment on Parrots, Self-Harm, and That Violet

I posted this little tid-bit of written thinkING as a comment onto the last post that I made, but we all know that nobody reads the comments so here it is as a stand alone post (A.K.A. it’s not worth reading if you haven’t read the original): Continue reading “Additional Comment on Parrots, Self-Harm, and That Violet”

Parrots, Self-Harm, and That Violet

“Maybe everybody has a renegade tongue yearning to be on its own. Violet shuts up. Speaks less until ‘uh’ or ‘have mercy’ carry almost all of her part of the conversation. Less excusable than a wayward mouth is an independent hand that can find in a parrot’s cage a knife lost for weeks. Violet is still as well as silent. Over time her silences annoy her husband, then puzzle him and finally depress him. He is married to a woman who speaks mainly to her birds. One of whom answers back: ‘I love you.’” (24)

Morrison, Toni. Jazz. Vintage Books, a Division of Random House, Inc., 2004.

“Self mutilation may occur during dissociative experiences and often brings relief by reaffirming the ability to feel.”

“These individuals are very sensitive to environmental circumstances.”

Diagnostic and Statistical Manual of Mental Disorders. American Psychiatric Publishing, 2013.

“We found that creating sub-optimal environmental conditions via deprivation of enrichment had significant and lasting effects on abnormal behavior. However, these effects were not the same across individuals. As predicted, we found that personality was an important factor in the severity of abnormal behavior in both optimal and sub-optimal housing conditions.”

“Furthermore, we extend this observation by providing evidence that different aspects of personality are related to distinct forms of abnormal behaviors. This has important implications for future studies investigating the relationship between personality and abnormal behavior in captive animals.”

Cussen, Victoria A., and Joy A. Mench. “The Relationship between Personality Dimensions and Resiliency to Environmental Stress in Orange-Winged Amazon Parrots (Amazona Amazonica), as Indicated by the Development of Abnormal Behaviors.” PLOS ONE, Public Library of Science, 26 June 2015, journals.plos.org/plosone/article?id=10.1371%2Fjournal.pone.0126170.

Some synthesized thoughts on Jazz/Purgatorio part 1

While I think there is a benefit to examining specific similarities between Morrison’s Jazz and Dante’s Purgatorio, I also believe that, in order to make more progress on this project, it is important to also see these similarities on a broader level. I’m almost finished with Purgatorio, but now I’ve read enough to be able to see some larger trends that are present in both texts. Through my reading, I’ve found four distinct threads that I feel are important for both Jazz and Purgatorio. These can then be further subdivided and of course are up for debate (and I definitely think my own thoughts would benefit from larger discussions). I thought perhaps this organized list would be the best way to show my thinking:

Continue reading “Some synthesized thoughts on Jazz/Purgatorio part 1”

Recurrence of “Vesper”

In my rereading of Jazz, I was intrigued on page 30 when Morrison begins a paragraph with, “They met in Vesper County, Virginia, under a walnut tree.” I knew that Vespers was a type of prayer, and so immediately I marked it in my text, knowing that at least it had somewhat of a (potentially superficial) connection to religion, and therefore potentially Dante.

Continue reading “Recurrence of “Vesper””

Dante, Morrison, and the prevalence of “violence”

**I’ll just start with saying that this is definitely going to be one out of a few blog posts I write in the next few days. I’m seeing a lot of connections between the two texts and have just some other thoughts on this whole process/project and I think that my ideas are best understood if they’re separated into different posts, rather than one giant one. So, bear with me if my name pops up here a ton.**

Continue reading “Dante, Morrison, and the prevalence of “violence””

“Love” in Jazz

In my last post, I was thinking about the three categories of love that Dante splits Purgatory into: Misdirected Love, Deficient Love, and Excessive Love. I’ve been trying to compare this to how Morrison uses love in Jazz. So last night I became the human “control + F” and scanned through Jazz, trying to find every use of “love.” What I found was that the word love often was described with an adjective; and (get this!) in a book supposedly about “couple love,” according to Morrison’s forward, the word itself was used WAY more in the beginning of the novel. I haven’t quite figured out where I’d place that in terms of connections to how Dante uses love, but I figured I’d share the ways in which Morrison uses the word here:

Continue reading ““Love” in Jazz”