The following excerpt comes from the first movement of Antonín Dvořák’s String Quartet in F Major, Op. 96, a work that critics at the time believed borrowed ideas from __________ traditions.

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The prompt presents the question as:

The following excerpt comes from the first movement of Antonín Dvořák’s String Quartet in F Major, Op. 96, a work that critics at the time believed borrowed ideas from __________ traditions.

There are no answer choices provided to evaluate, but an answer value is given as "African American".

Option analysis in this situation focuses on the historical context and the specific claim about Dvořák’s Op. 96 (the so-called American Quartet).

- About the claim that the quartet borrowed from African American traditions: Historically, some critics and commentators around the time of the quartet’s composition (and in later receptions) argued that Dvořák incorporated American musical idioms into this work, including elements associated with African American spirituals and folk-derived tunes. This line of thinking stems from the concerted effort by Dvořák and others to articulate a distinctly American musical voice, especially during his tenure at the National Conservatory of Music in New York and the public reception of his American works. The reference to African American traditions reflects a broader, though debated, discourse about what constitutes American music in that period.

- Why this option is conceptually plausible: The idea that the movement might reflect or be inspired by African American musical idioms aligns with the historical narrative some critics used to frame the quartet as part of an American musical identity. In this sense, selecting "African American" as the traditional influence corresponds to the historical claim that such sources were considered by some at the time as part of the American musical landscape that Dvořák allegedly drew from.

- Why this option might be contested or seen as incomplete: Modern scholarship often emphasizes that Dvořák drew more from Czech and broader Bohemian folk rhythms and melodic shapes, and that his American works were shaped by his encounters in the United States but were not direct transcriptions of African American spirituals or folk music. Critics have also noted that the soundtrack of the quartet owes more to European classical tradition with certain American thematic gestures, rather than a pure borrowings from African American traditions. Thus, the claim is historically nuanced and sometimes overstated.

- On the absence of other options: Since no other answer choices are provided in the data, there is nothing to assess for alternative statements. The single presented option, "African American", is treated here as the stated correct choice according to the supplied answer field, and the reasoning highlights why that choice is historically referenced in discussions of Dvořák’s American period.

In summary, the assertion that critics believed the first movement borrowed from African American traditions is part of a broader historical debate about the sources of American musical identity in Dvořák’s American Quartet, and this option reflects the specific narrative some contemporaries advanced, even though modern scholarship presents a more nuanced view of the sources and influences.

MUS101 #41084 Online (4/14/25 - 6/08/25) Listening Quiz 7 Chapters 41 through 47, minus chapters 41 and 47

The following excerpt comes from the first movement of Antonín Dvořák’s String Quartet in F Major, Op. 96, a work that critics at the time believed borrowed ideas from __________ traditions.

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