| Summary: | 碩士 === 輔仁大學 === 音樂學系 === 102 === Abstract
Since the debut of his song Oh! Susanna in 1848, Stephen C. Foster has yet to be given a proper place in the history of music. Should we consider him a writer of folk songs or of popular music? Should we identify him as a classical composer? The 307 works of music he has left us span a wide range of genres: hymns; vocal works for trios and quartets; songs accompanied by the guitar or piano; as well as pieces for the piano and other instruments.
Although it may be an exaggeration to regard him as one of the most celebrated masters in the history of Western music, Foster had—as had 19th century American blackface minstrelsy— made an undeniable impression on the musical audience of the United States. He was, moreover, the first American composer whose works transcended racial and cultural borders, bringing American folk songs to the rest of the world.
On its surface, American blackface minstrelsy might seem to be a racially charged byproduct of a bygone era. Upon closer examination, however this form of entertainment, which had remained popular for over a hundred year, appears to be an authentic product of the American music tradition. Blackface minstrelsy symbolizes the blending of two different lifestyles and musical traditions, viz. those of English immigrants and those of African slaves.
This essay will first expound on the life and musical career of Foster. It will then explore the intricate relation between Foster and American blackface minstrelsy, which thrived when Foster’s career reached its zenith. By understanding Foster’s life and his ties with blackface minstrelsy, we will catch a glimpse of the contours of the musical culture of the 19th century American bourgeoisie.
Key words:
Stephen C. Foster Blackface minstrelsy Race Bourgeoisie
|
|---|
