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By Barry Ulanov

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Eight bars of the ordinary thirty-two-bar chorus usually can be broken down into two four-bar phrases in which the second first four bars merely repeat the first with a very slight harmonic variation, form can be stated thus: A-A'-A-A'-B-A-A'. so that the on the basic A-A-B-A pattern of the thirty- two-bar chorus are numerous. There are such obvious but infrequently used variations as the sixteen-bar chorus, usually nothing more than an eight-bar theme and an eight-bar release (A-B); or a twenty-bar chorus (A-B-A); or sometimes a chorus longer than thirty-two bars, The as a variations more complicated content variations reinforce seeks rudimentary form.

Nor physical punishment could cramp And other assaults on the ascetic service drums were introduced into churches to serve the function of bells, and the jew's-harp was a popular instrument even in church. were forthcoming: trumpets and In eighteenth-century Boston and Salem, and in similar cities and was the music of dancing assemblies and settlements, the minuet festooned balls. Lower down Cotillions were danced in the class structure, to English country tunes. fancy and fatiguing fiddling ac- companied dancing at weddings and in taverns.

The homemade instruments of are described in some detail, the tambo, bones, quills, fife, and so are the Negro rowing songs, among them the few triangle; real African strains found in America, most of them transformed into the dialect and diction of Creole, the French-Spanish patois to which Louisiana Negroes added some African inflections. In 1795 a young man named Gottlieb Graupner came to America. He arrived in Charleston from Hanover, Germany, listened to banjo music and Negro songs, and learned.

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