Music of Minnesota
Music of the United States |
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The music of Minnesota began with the native rhythms and songs of
Ethnic music has influenced and developed into modern folk music, and American musical genres such as
The Minneapolis Symphony Orchestra was founded in the early 1900s, and by the 1930s it had attained international stature in performance and recording. Since renamed the Minnesota Orchestra, it regained much of its former renown in the first decade of the 21st century. Classical music aficianados also enjoy and support the Saint Paul Chamber Orchestra, the only full-time chamber orchestra in the nation. Choral groups and community ensembles are located in many communities. The state's educational system provides comprehensive programs in music education. The nation's largest public radio network provides classical and other music programming regionally and to the nation, and independent public stations program a variety of college, folk, and new music.
History
The music of Minnesota has its roots with the
The first singing school in Minnesota opened in St. Anthony (now part of Minneapolis) in 1851. The Plymouth Congregational Church of Minneapolis began a singing group in 1857, followed by the first such club for women only, the Lorelei Club (later the Ladies' Thursday Musical Chorus), in 1892.[1]
Thousands of
The end of the 19th century also saw the foundation of two long-running music groups, the Thursday Musical Chorus and the Apollo Men's Musical Group. Two of the most important Minnesota musical institutions were founded in the early 20th century, namely the MacPhail School of Violin (1907, later becoming the
Minneapolis became a home for vaudeville comedy known as bondkomik (rustic humor), which featured multi-act plays, dances, songs and monologues.[8] Vaudeville shows usually ended with social dancing.[8] Minneapolis' most famous performers were the Norwegian-descended Eleonora and Ethel Olson and Ernest and Clarence Iverson (Slim Jim & the Vagabond Kid), and Swedish immigrant Hjalmar Peterson, whose company dominated the stage for two decades before the Great Depression.[6][8] General enthusiasm for Scandinavian musicals diminished in the face of intense propaganda and agitation toward foreign influence following the end of World War I, a process which was accelerated by the economic decline of the 1930s, and by the outbreak of World War II. Rural and regional dance music slowly died out, and became largely unknown.[5] During this era, however, the Leikarring movement (song-dances without instrumental accompaniment) began. Leikarring celebrated national Norwegian folk dance and song through musical societies like Minnesota's Norrona Leikarring.[7]
Education
Minnesotan law provides that public elementary and middle schools offer at least three and require at least two courses in the following four arts areas: dance, music, theater and visual arts. Public high schools must offer at least three and require at least one of the following five arts areas: dance, media arts, music, theater or visual arts.
The MacPhail Center for Music employs instructors from all over the world, who teach classes on 35 different instruments, the Suzuki method, and art therapy, to more than 7,200 students each year at 45 locations.[13][14]
Venues
Large venues for popular national music acts in Minnesota include the Target Center, Xcel Energy Center,[21] and US Bank Stadium. Northrop Auditorium on the University of Minnesota's main campus has a capacity of about 3,000, and hosts a variety of music and arts events.[22] Among these is the University of Minnesota Marching Band's annual indoor concert series, which have been performed at the venue since 1961.[23] The Armory and Roy Wilkins Auditorium also fill the need for mid-sized arenas at capacities of roughly 8,000 and 5,000 respectively.
Classical music is heard at
First Avenue, an influential music club in downtown Minneapolis, was opened as "The Depot" in 1970,[29][30][31] and went through several name changes until it became "First Avenue & 7th Street Entry" in 1980.[32] Its history of launching renowned acts such as Prince solidifies its importance in the current local scene and in Minnesota music history.[33][34] The owners of First Avenue also operate the Palace Theatre in St. Paul.
Mid-sized clubs also comprise a large part of the Twin Cities music scene. One popular club is the Myth Nightclub (Also referred to as Myth Live) in Maplewood, a suburb of St. Paul. Numerous bands/artists have performed there including
Youth music venues, many of which operate as youth centers by day, include The Garage in Burnsville,[36] Depot Coffee House in Hopkins,[37] Enigma Teen Center in Shakopee,[38] and on some occasions the Apple Valley Teen Center.[39] Also, a few venues catering to crowds of all ages, now gone, are remembered as significant to the Twin Cities music scene. These include the Foxfire Coffee Lounge[40] in downtown Minneapolis and the Fireball Espresso Café[41] in Falcon Heights, St. Paul.
Other defunct but historically important venues include the Pence Opera House,[42] the Coffeehouse Extempore or Extemporé,[43] Jay's Longhorn Bar,[44] and the Uptown Bar.[45] The Prom Ballroom and Treasure Inn in Saint Paul and the Marigold Ballroom and the Flame Cafe[46] in Minneapolis featured prominent jazz, rock, country and other bands in the mid-20th century.[47][48]
Outside of the Twin Cities Metro Area important venues include the
Radio
Minnesota Public Radio's KCMP "The Current" also plays the music of Minnesota artists.
Recording studios and record stores
Minneapolis has been home to several important recording studios. The first studio in the state was Kay Bank, established by Amos Heilicher (who with his brother Daniel did "rack jobbing", jukebox distribution, and owned the Musicland chain[56]), Vern Bank, and studio engineer Bruce Swedien in 1955. The studio recorded hits from The Trashmen ("Surfin' Bird"), Dave Dudley ("Six Days on the Road"), The Underbeats, The Chancellors, The High Spirits, and The Castaways ("Liar, Liar" in 1965). Kay Bank helped popularize Soma Records and a distinctive style based on using three-track recording and echo effects.[57]
Herb Pilhofer and Tom Jung worked at Kay Bank before founding the world's first
Other important studios in Minneapolis include the Dove studio,[57] which released several cult classic psychedelic and garage rock recordings in the 1960s, Blackberry Way,[57] founded by Paul Stark, who would later co-found the Twin/Tone record label. ESP Woody McBride's record label "Communique" and its subsidiaries "Sounds" and "Head in the Clouds" had released 100 records by 1998.[60]
Flowers Studio in Minneapolis, founded in 1998 by the late Ed Ackerson, leader of the alternative rock bands Polara and the 27 Various, has hosted many notable musicians including the Jayhawks, The Replacements, Motion City Soundtrack, Golden Smog, and Soul Asylum.[63][64][65]
The Twin Cities are home to a few independent record stores, including
Genres
Classical, choral and opera
The Minnesota Orchestra was founded in 1903 as the Minneapolis Symphony Orchestra. Although it was among the first to perform on the radio and to record,
The Twin Cities' oldest major choral society is The Bach Society of Minnesota.[84] The New York Times International Datebook calls the Christmas performance of the St. Olaf College choir "one of the five significant global holiday events".[85] Extending choral work with VocalEssence, Philip Brunelle commissioned more than 100 works for chorus.[86]
For 42 years until 1986, the Metropolitan Opera was in residence at Northrop Auditorium during its spring tour.[87] Opera is now staged by the Minnesota Opera, co-founded as Center Opera by Dominick Argento in 1963, as part of the Walker Art Center.[88][89] With an early reputation as "progressive (and) 'alternative'",[89] the Minnesota Opera began to include traditional works in its repertory when it merged with Saint Paul Opera in 1975.[90]
The Minnesota Boychoir which is the oldest continuously operating Boys Choir in Minnesota and is currently under the leadership of Mark Johnson. The Boychoir has been involved with the Minnesota Orchestra, The Orpheum Theatre, The Zion dance company, as well as other regional and international tours.
Folk
Minnesota is home to many ethnic groups, who brought with them the folk music of their homelands. When these immigrants settled in rural farming areas, their communities retained Old World social and religious patterns that gave a context for music performance.[5] These ethnic communities frequently settled near each other, in Minnesota and in Iowa, Wisconsin, Illinois, North Dakota and South Dakota, and their musical and cultural identities blurred.[5] Norwegians and Swedes frequently lived near each other in Minnesota, and Swedish, Finnish and Norwegian music merged into Scandinavian music.[5] This music is perceived as a type of old-time music, which also developed from the area's German, Irish, English, Polish, Czech, and other Northern and Central European musics.[7]
Norwegian folk dance (
For those whose social life centered on churches where music was prohibited by the
Bob Dylan, a
The city's local folk scene produced a few well-known performers in the 1960s, besides Dylan who spent much of his early career based in New York, including the guitarist
Gospel
Minnesota is a creative center of the gospel music tradition. Robert Robinson, a musical treasure[101] who has been called "the Pavarotti of Gospel"[102] and whose voice has been called "too big for radio",[103] is the executive and artistic director of the Twin Cities Community Gospel Choir, which Minnesota Monthly said is the state's most-decorated gospel group.[102]
Produced by
Blues
The blues tradition has been practiced in Minnesota for decades, notably by Lazy Bill Lucas and Percy Strother who lived and performed in Minneapolis.[105] Willie Murphy, who replaced Willie Walker in Willie & The Bees was named "one of the three charter members of the Minnesota Music Hall of Fame, along with Bob Dylan and Prince," according to Blues on Stage, who added, "the Minnesota Music Association has given more nominations and awards to Willie and his groups than anyone else".[106]
Other players gained loyal fans. Called "The Voice" by
Jazz
Pamela Espeland of
"No list of Minnesota music would be complete without mention of jazz great Jeanne Arland Peterson and her five children, Linda, Billy, Ricky, Patty, and Paul, as well as grandson Jason, who recently celebrated 22 years of performing their holiday shows."[116] Dave Koz said, "There is no family in the world quite like the Petersons. First of all, there's like 700 of 'em, and each one is more talented than the rest."[117]
Born, raised and residing in Minnesota, guitarist Reynold Philipsek performs gypsy jazz music as a solo artist, and with Minnesota gypsy jazz acts East Side, The Twin Cities Hot Club, and Sidewalk Café.[118]
Maria Schneider, born in Windom, is a composer and bandleader who studied music theory and composition at the University of Minnesota.
Other musicians that live and play in Minnesota:
Soul/R&B
Minneapolis became noted as a center for rhythm and blues (R&B) in the 1980s, when the multi-talented star Prince (d. 2016) rose to fame. The city had little history in African American popular music, such as R&B, until Prince made his debut in 1978, eventually achieving five #1 hits on the Billboard Hot 100 with "When Doves Cry", "Let's Go Crazy", "Kiss", "Batdance" and "Cream". Prince also had eight #1 hits on the Hot R&B/Hip-Hop Songs chart from 1979 to 1991. He became the architect of the Minneapolis sound, a funk, rock and disco-influenced style of R&B, and inspired a legion of subsequent performers, including the Prince-related acts The Time, Wendy & Lisa and Vanity 6.[121] Curtiss A, who opened for Prince the first time Prince played First Avenue in 1980, at first thought that it was nice of Prince to let him open and then later realized: "You know: 'You guys think this is the top thing in town? Well, here: Minneapolis got a brand new bag.'"[33]
Prince fired
In 1980, Steven Greenberg and Cynthia Johnson, recording as
Rock
While attending the University of Minnesota in the late 1970s, Yanni played keyboards and synthesizers in several Twin Cities rock bands. He joined the band Chameleon in the early 1980s and enjoyed moderate regional commercial success before embarking on his solo new-age music career.[136]
Largely only known locally for
Prior to the evolution of punk in the 1970s, there was little rock and roll tradition from Minneapolis, which author Steven Blush attributed to a lack of anything to "rebel against", noting that it was Minneapolis' friendly atmosphere that made future hardcore punk musicians "crazy and rebellious".[139] "Every A&R person in New York was present at CBs while The Replacements joyously flushed the set down the toilet, doing nothing but fractions of other people's songs," said Peter Jesperson who recorded them for Twin/Tone.[140]
In the mid-1970s, local musicians in the Minneapolis area began producing popular and innovative acts. Many signed to major record labels, and by the mid-1980s, some had achieved national prominence.
The late 1980s saw new sounds coming out of the state, when two singles from electronic band
Hip hop
The Twin Cities region is home to a thriving underground hip hop scene,[157] due largely to the presence of Rhymesayers Entertainment.[158] Rhymesayers' artists, including Eyedea & Abilities, Brother Ali, Los Nativos, Musab, and, most notably, Atmosphere,[159] began to receive national attention in the late 1990s.[60]
Electronic dance music
Two locally and internationally-recognized Minneapolis
Music about Minnesota
Several composers and performers have featured the state in their works. Classical composer
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- ^ The Silencers (1990). "A Letter from St. Paul". Amazon. Retrieved February 23, 2010.
- ^ Darnielle, John (1997). ""Full Force Galesburg"". Amazon. Retrieved November 1, 2016.
- ^ Williams, Lucinda (2003). "World Without Tears". Amazon. Retrieved January 21, 2010.
- ^ Keller, p. 123
- ^ "Northern Light-Minnesota video". NME. Retrieved January 27, 2010.
- ^ "Ben Kyle". Apple. Retrieved July 9, 2013.
References
- Azerrad, Michael (2002). Our Band Could Be Your Life. Back Bay Books. ISBN 0-316-78753-1.
- Blegen, Theodore Christian (1975). Minnesota: A History of the State (2nd ed.). University of Minnesota Press. p. 504. ISBN 0-8166-0754-0.
- ISBN 0-922915-71-7.
- Brackett, Nathan & Hoard, Christian (2004). The New Rolling Stone Album Guide (4th ed.). Simon and Schuster. ISBN 0-7432-0169-8.
- Brewster, Bill (2000). Last Night a DJ Saved My Life: The History of the Disc Jockey. Grove Press. ISBN 0-8021-3688-5.
- Byron, Janet (1996). Country Music Lover's Guide to the U.S.A. (1st ed.). St. Martin's Press. ISBN 0-312-14300-1.
- ISBN 0-385-33515-6.
- Douglas, George H. (2004). Skyscrapers: A Social History Of The Very Tall Building In America. McFarland & Company. ISBN 0-7864-2030-8.
- Keller, Martin (2007). Music Legends: A Rewind on the Minnesota Music Scene. D Media. ISBN 978-0-9787956-1-0.
- Levy, Mark; Rahkonen, Carl; and Haas, Ain in Koskoff, Ellen (ed.) (2001). "Scandinavian and Baltic Music". Garland Encyclopedia of World Music, Volume Three: The United States and Canada. Garland Publishing. ISBN 0-8240-6040-7.)
{{cite book}}
:|author2=
has generic name (help)CS1 maint: multiple names: authors list (link - Greene, Victor R. (1992). A passion for polka: old-time ethnic music in America. University of California Press. p. 153. ISBN 0-520-07584-6.
- ISBN 0-87351-195-6.
- Mitchell, Jack W. (2005). Listener Supported: The Culture and History of Public Radio. Praeger. ISBN 0-275-98352-8.
- Noran, Rebecca (2000). First Avenue & 7th St Entry. First Avenue & 7th St. Entry. OCLC 47521819.
- Nute, Grace Lee (1955) [1931]. The Voyageur. Minnesota Historical Society. ISBN 0-87351-012-7.
- Rodríguez-Peralta, Phyllis W. (2006). Philadelphia Maestros: Ormandy, Muti, Sawallisch. Temple University Press. ISBN 1-59213-487-4.
- ISBN 1-85828-421-X.
- Shepherd, John; Horn, David & Laing, Dave (2003). Continuum encyclopedia of popular music of the world. Continuum. ISBN 0-8264-7436-5.
- Whitburn, Joel (2000). Top RandB Albums 1965-1998. Record Research. ISBN 0-89820-134-9.
- Zietz, Karyl Lynn & Lynn, Karyl Charna (1995). Opera companies and houses of the United States. McFarland. ISBN 0-89950-955-X.
External links
- Minnewiki: The Minnesota Music Encyclopedia – Wiki operated by Minnesota Public Radio
- Andersen, Jeanne. "Twin Cities Music Highlights". Jeanne Andersen's Timelines. Archived from the original on 2009-12-27. Retrieved January 2, 2010.
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