User:TUF-KAT/Timeline of trends in music revamp

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Contents 1 1540 2 1559 3 1564 4 1612 5 1619 6 1620 7 1640 8 1667 9 1685 10 1720 11 1721 12 1729 13 1732 14 1737 15 1739 16 1741 17 1750 18 1754 19 1758 20 1759 21 1761 22 1766 23 1767 24 1769 25 1770 26 1775 27 1778 28 1786 29 1787 30 1792 31 1793 32 1794 33 1796 34 1798 35 1801 36 1802 37 1803 38 1804 39 1805 40 1807 41 1808 42 1814 43 1815 44 1816 45 1817 46 1819 47 1820 48 1822 49 1823 50 1824 51 1825 52 1827 53 1828 54 1830 55 1831 56 1833 57 1835 58 1837 59 1838 60 1841 61 1842 62 1843 63 1844 64 1845 65 1846 66 1848 67 1849 68 1850 69 1851 70 1852 71 1853 72 1854 73 1855 74 1859 75 1860 76 1861 77 1862 78 1865 79 1867 80 1869 81 1870 82 1872 83 1873 84 1876 85 1879 86 1881 87 1882 88 1883 89 1885 90 1888 91 1889 92 1890 93 1891 94 1892 95 1893 96 1896 97 1897 98 1898 99 1899 100 1900 101 1901 102 1902 103 1903 104 1904 105 1905 106 1906 107 1907 108 1908 109 1909 110 1910 111 1911 112 1912 113 1913 114 1914 115 1915 116 1916 117 1917 118 1918 119 1919 120 1920 121 1921 122 1922 123 1923 124 1924 125 1925 126 1926 127 1927 128 1928 129 1929 130 1930 131 1931 132 1932 133 1933 134 1934 135 1935 136 1936 137 1937 138 1938 139 1939 140 1940 141 1941 142 1942 143 1943 144 1944 145 1945 146 1946 147 1947 148 1948 149 1949 150 1950 151 1951 152 1952 153 1953 154 1954 155 1955 156 1956 157 1957 158 1958 159 1959 160 1960 161 1961 162 1962 163 1963 164 1964 165 1965 166 1966 167 1967 168 1968 169 1969 170 1970 171 1971 172 1972 173 1973 174 1974 175 1975 176 1976 177 1977 178 1978 179 1979 180 1980 181 1981 182 1982 183 1983 184 1984 185 1985 186 1986 187 1987 188 1988 189 1989 190 1990 191 1991 192 1992 193 1993 194 1994 195 1995 196 1996 197 1997 198 1998 199 1999 200 2000 201 2001 202 2002 203 2003 204 2004 205 2005 206 References 207 Notes

[edit] 1540

• A Franciscan priest named Juan de Padilla, a member of an exploration group led by Francisco Vásquez de Coronado, crosses from what is now Mexico to what is now New Mexico, where de Padilla taught plainsong and Catholic liturgy to the Moquir Pueblo and Zuñi Native Americans^[1]

[edit] 1559

• Missionary and musician Pedro Martín de Feria begins teaching plainsong liturgy to Native Americans near what is now Pensacola, Florida.^[2]

[edit] 1564

• The first Protestant music to leave historical documentation comes from the French Huguenots, who found a colony at Fort Caroline, near where Jacksonville, Florida is today. These settlers probably sang from the Geneva Psalter.^[3]

[edit] 1612

• The Book of Psalmes: Englished Both in Prose and Metre is published in Amsterdam by Henry Ainsworth. This book will be the basis for the psalmody of the Pilgrims who colonize New England.^[4]

[edit] 1619

• The first African slaves arrive in Virginia, marking the beginning of African American music^[5]

[edit] 1620

• The Pilgrims arrive in Plymouth, Massachusetts, who begin the well-documented sacred song tradition of New England. The psalmody of the Pilgrims and other early New England Protestants was "spare and plain", reflecting their Calvinist theology.^[6]

[edit] 1640

• The Bay Psalm Book is published in Cambridge, Massachusetts; it is the first full-length book published in the English colonies, and became the basis for psalmody in the Protestant congregations of New England until the 18th century.^[7]

[edit] 1667

• The Pilgrim congregation in Salem, Massachusetts votes to stop using the Henry Ainsworth psalm collection because the tunes were considered too difficult.^[7]

[edit] 1685

• The Pilgrim congregation in Plymouth, Massachusetts votes to stop using the Henry Ainsworth psalm collection because the tunes were considered too difficult.^[7]

[edit] 1720

• The lined-out style of hymnody begins to be criticized for abandoning conservative notation in favor of an oral tradition.^[8]
• Reverend Thomas Symmes publishes an essay in which he proposes schools to educate the public in psalm singing. Such schools were to become a major musical institution in New England in the 18th and 19th centuries.^[9]

Early 1720s music trends
New England psalmody begins to grow more organized and disciplined, through singing schools and other institutions.[9]

[edit] 1721

• Two psalm collections are published in Boston, the first two emphasize the music and instructions for singing the tunes over the sacred verses of the psalms. These were John Tuft's An Introduction to the Singing of Psalm Tunes and Thomas Walters' The Grounds and Rules of Musick, Explained. These two publications "began a new era in American music history: between them they formed a point of contact between music as an art with a technical basis and a public motivated to learn that technique".^[9]

Mid 1720s music trends
Group country dancing become popular, both in the North American colonies and Great Britain, especially line dances known as longways.[10]

[edit] 1729

• The first public concert in the country is held in Boston, in a room used by a local dancing master for assemblies.^[11]

[edit] 1732

• Conrad Beissel founds the Ephrata Cloister in Pennsylvania; the Cloister embraces hymn-singing enthusiastically.^[12]

[edit] 1737

• St. Philip's Church in Charleston, South Carolina hires Charles Theodore Pachelbel as its organist, one of the earliest churches to hire a high-profile organist in the country.^[12]

[edit] 1739

• The slaves of the Stono Rebellion in South Carolina are reported to use drums to recruit fighters, and music and dancing for emboldening the rebels.^[13]

[edit] 1741

• Trinity Church in New York begins instructing African Americans in psalmody, one of the earliest examples of formal African American music instruction; the teacher is organist Johann Gottlob Klem.^[14]

Early 1750s music trends
The custom of giving African American workers vacations during the spring election period begins in Connecticut; the workers establish secular festivals that include song and dance, with elections of "governors" and "kings" as part of the celebrations.[15]

[edit] 1750

• Though the ban may not have been strictly or effectively enforced, the city of Boston prohibits theater entertainment, due to a Puritan influence that treated theater as a negative institution that symbolized a "preference for idleness and pleasure over hard work and thrift".^[16]
• The Beggars Opera by John Gay is first performed, in New York City; it goes on to become hugely successful, and among the most popular pieces of the period.^[17]

[edit] 1754

• An unused room in a building becomes the first concert hall in Boston.^[18]

[edit] 1758

• The First Church of Boston forms a choir, the first of many New England churches to do so in the next decade.^[19]

[edit] 1759

• An ode by James Lyon for Princeton College's graduation and Francis Hopkinson's "My Days Have Been So Wondrous Free" are both composed; these two pieces are each cited as the first original musical composition by an American composer.^[20]

Early 1760s music trends
Music instructor James Brenner begins teaching in a coffeehouse in Philadelphia.[21]
Francis Hopkinson begins playing harpsichord in concert; he would go on to be among the most influential composers of the colonial era.[22]

[edit] 1761

• James Lyon publishes in Philadelphia the "first American tunebook to address the needs of both congregation and choir", Urania, or a Choice Collection of Psalm-Tunes, Anthems, and Hymns. This tunebook "offered something for every kind of sacred singer" and "was the first American tunebook to bring psalmody straight into the commercial arena", showing "how psalmody... could find a niche in the marketplace".^[19]
• Barzillai Lew, a free-born African American musician from Massachusetts, becomes an Army fifer and drummer during the French and Indian War. His wife, Dinah Bowman, was the first black woman in history to be identified as a pianist. The Lew family are prominent in the area around Dracut, Massachusetts, and the family remains musically renowned well into the 20th century.^[23]

[edit] 1766

• A pasticcio called Love in a Village, with music by Thomas Augustine Arne and based on a play by Isaac Bickerstaffe, becomes a major part of the American theater repertory after performances in Charleston and Philadelphia^[24]; it is also considered the first English comic opera.^[25]

[edit] 1767

• Andrew Barton's The Disappointment is the first American ballad opera. It is not, however, performed until the 20th century.^[26]

Late 1760s music trends
British patriotic songs begin to be changed into anti-British protests circulated through newspapers and broadsides.[27]
Itinerant music instructor John Stadler travels across Virginia, teaching music to families like the wealthy Carters and the Washington family's Mount Vernon[21]

[edit] 1769

• A concert is organized by John Gualdo in Philadelphia; this consisted of a wide range of pieces, much of which was composed by Gualdo himself, leading some historians to refer to this as the first "composers'-concert" in the United States.^[28]

[edit] 1770

• William Billings' The New-England Psalm-Singer is the "first published compilation of entirely American music" and the first "American tunebook devoted wholly to the music of one composer". Its publication begins a flourishing of distinctively American New England publications of sacred tunes.^[29]

[edit] 1775

• Psalmodist Andrew Law graduates from Rhode Island College, soon becoming an influential tunebook publisher and singing master.^[30]

[edit] 1778

• William Billings' The Singing Master's Assistant includes songs that link the plight of the Israelites in Egyptian captivity with the lives of Bostonians of the time. This tunebook influentially "treated Scripture not only as a guide to spiritual inspiration and moral improvement, but as a historical epic that, bringing past into present, offered timeless parallels to current events".^[31]
• Andrew Law and his brother form a tunebook-printing company in Cheshire, Connecticut, beginning with 1779's Select Harmony, which reveals Law as a "champion of American composers, at a time when the notion that Americans could compose music at all was a new one".^[30]

[edit] 1786

• The city of New Orleans bans slaves from dancing in public squares on holy days and Sundays until after evening church services.^[32]

[edit] 1787

• John Aitken becomes the first American publisher of strictly music, and the first to publish secular sheet music in the United States. Most the music was composed or arranged by Alexander Reinagle.^[33]

[edit] 1792

• Congress passes a law requiring all able-bodied white males to join a state militia; the result helps spur the development of military bands.^[34]

[edit] 1793

• The ban on theater entertainment in Boston ends.^[16]
• John Aitken ends his music publishing career for a time, as composer Alexander Reinagle become music director for the New Theater in Philadelphia. One impetus for Aitken's ending his business comes from increased competition, as the American music publishing industry diversifies and competitors arise in New York, Boston and Baltimore.^[33]

[edit] 1794

• A comic opera called The Children in the Wood premiers in Philadelphia; with music by Samuel Arnold and libretto by Thomas Morton, the opera becomes wildly popular in the United States.^[35]
• Andrew Law publishes The Art of Singing, a trio of books aimed at educating Americans in music; these publications "represent nothing less than a conversion in musical taste", as he abandoned American composers in favor of European principles of composition.^[36]
• Benjamin Carr's The Archers is one of the first major American operas to enter the standard repertoire.^[37]

Mid 1790s music trends
Though the publisher Andrew Law had gained fame for compiling American and British compositions in his tunebooks as equals, his increasingly British-oriented compilations begin to lose commercial ground to works that mix both American and British compositions, indicating a growing American musical sensibility.[38]

[edit] 1796

• The French opera tradition in New Orleans begins with a production of an opera by André Ernest Modeste Grétry.^[39]

[edit] 1798

• William Smith and William Little successfully copyright a shape note system that would become the standard in the 19th century.^[38]

[edit] 1801

• Reverend Richard Allen publishes A Collection of Spiritual Songs and Hymns for Bethel Church in Philadelphia; this is the first such collection "assembled by a black author for a black congregation". The collection includes works by Isaac Watts and others, as well as some that are unattributed and may have been composed by Allen himself.^[40]
• William Smith and William Little publish The Easy Instructor in Philadelphia; it is the first shape note tunebook, which would become the standard for American shape note singing in the 19th century.^[38]

Early 1800s music trends
Presbyterian clergy begin to hold camp meetings to promote Christian spirituality; these would go on to be run by Baptist and Methodist preachers as part of the Great Awakening of religious fervor.[41]

[edit] 1802

• Publisher Andrew Law abandons traditional musical notation and copyrights his own system.^[38]

[edit] 1803

• Publisher Andrew Law begins to publish in shape notes, with the publication of the fourth edition of The Musical Primer. His system had been copyrighted, but was beat by William Little and William Smith's The Easy Instructor, which used a slightly different system and quickly became the standard for American shape note singing.^[38]

[edit] 1804

• In Salem and western Middlesex County, Massachusetts, clergymen and other local leaders and singers begin advocating for a more formal and European style of religious musical expression.^[42]

Mid 1800s music trends
Presbyterian clergy begin to hold camp meetings to promote Christian spirituality; these would go on to be run by Baptist and Methodist preachers as part of the Great Awakening of religious fervor.[41]
Musical reformers in New England continue advocating for a return to traditionally European religious music, as organizations like the Middlesex Musical Society and the Essex Musical Association are formed[43]
Two important British-dominated tunebooks are published in 1805 and 1807. These lead to an increase in European-dominated tunebooks being published after the mid-1800s.[43]

[edit] 1805

• Shape note singing grows in popularity and expands in influence after William Smith and William Little's The Easy Instructor is picked up by an Albany, New York publisher.^[44]
• The Salem Collection of Classical Sacred Musick is published in Salem, Massachusetts; it is described by traditionalist psalmodist Nathaniel D. Gould as a spearhead for musical reform in New England churches.^[45]
• Approximate: Musical reformers of psalmody, who promote "European standards and 'correct taste'", begin using the name of George Frideric Handel to symbolize the idealized music they prefer.^[46]

[edit] 1807

• The Middlesex Collection of Church Musick is published in Boston; it is described by traditionalist psalmodist Nathaniel D. Gould as a spearhead for musical reform in New England churches..^[45]

[edit] 1808

• Congress ends the importation of new slaves.^[5]

Early 1810s music trends
Three regions of shape note publishing take form, outside of New England: one was based in the South, especially Georgia and South Carolina, another was dominated by Germans between Philadelphia and the Shenandoah Valley, and the last stretched from Pennsylvania and the Shenandoah Valley westward to Cincinnati and St. Louis.[47]

[edit] 1814

• Francis Scott Key writes what will become "The Star-Spangled Banner", which will become the official national anthem of the United States in 1931. It uses the tune of an English drinking song called "To Anacreon in Heaven" by John Stafford Smith.^[48]

[edit] 1815

• The Boston Handel and Haydn Society is formed to "improve sacred music performance and promote the sacred works of eminent European masters". This marks "a new stage in Americans' recognition of music as an art".^[49]

[edit] 1816

• The African Methodist Episcopal Church is founded in Philadelphia, which "established a racial division in American Protestantism; music was to remain a major part of the Church's spiritual expression.^[14]

Late 1810s music trends
Thomas Hastings begins composing works that use European harmonic techniques; he is one of the few American composers of the era considered to have mastered these techniques.[50]

[edit] 1817

• New Orleans limits African American dancing to Sundays before sundown in Congo Square. Congo Square would become a hotbed of musical mingling and innovation.^[32]

[edit] 1819

• John F. Watson, a "Wesleyan Methodist", publishes a tract called Methodist Error, which criticizes clergy that hold camp meetings, on the basis that they were relatively racially egalitarian, and poorly-composed and performed, especially by African Americans. Though his criticism is not entirely aimed at African Americans, the features he most identifies as religiously inappropriate are characteristically African.^[41]

[edit] 1820

• Anthony Philip Heinrich publishes a set of instrumental and vocal pieces, The Dawning of Music in Kentucky, his first published work in a long series that will make him the "chief composer of orchestral music".^[51]

[edit] 1822

• Lowell Mason publishes the Boston Handel and Haydn Society Collection of Church Music, which quickly becomes one of the most popular tunebooks of the era.^[52]
• Thomas Hastings publishes his Dissertation on Musical Taste, the "first American treatise of its kind".^[53]

[edit] 1823

• Henry Rowley Bishop's Clari, or the Maid of Milan, with libretto by the American John Howard Payne, is premiered, both in London and New York. The melodrama becomes wildly popular into the 1870s, and one song, "Home! Sweet Home!", becomes one of the most popular of the 19th century.^[54]

[edit] 1824

• James Caldwell, an Englishman in New Orleans, begins to show English opera at the Camp Street Theater; this is the beginning of English opera in New Orleans. Caldwell's company became rivals of John Davis' Théâtre d'Orléans.^[55]

[edit] 1825

• The Park Theatre in New York City hosts a performance of The Barber of Seville by an opera led by Manuel García. The show was very successful, and helped establish a market for continental opera in the United States. Maria García, the show's female lead, became the first female star singer in New York.^[56]
• The American piano industry begins with the patenting of a new construction for the instrument by Alpheus Babcock of Boston, which used a metal frame rather than a wooden one.^[57]

[edit] 1827

• New Orleans' Théâtre d'Orléans begins touring the major cities of the Northeast with non-English operas.^[39]

Late 1820s music trends
The banjo spreads from African Americans to whites, with the first documentation coming from Joel Sweeney in Virginia.[58]
Marches have become the most prominent part of military and other large band repertories throughout the United States. These are commonly characterized as using "fanfare-like melodies and a characteristic dotted rhythm motive.[59]

[edit] 1828

• Elizabeth Austin, a famed English singer from London, begins traveling across the eastern half of the United States. She becomes a major singing sensation.^[60]
• Thomas D. Rice, an actor, creates a stage character called Jim Crow, based on a crippled African American stable groom's singing and dancing. Jim Crow became a stock character in blackface minstrel shows.^[61]

[edit] 1830

Early 1830s music trends
Quicksteps begin to replace marches as the most prominent music of the military and other large band repertory. This is, in part, spurred by the development of brass instruments, whose aptitude for playing melodies is reflected in the sprightly and flowing melodic style of quicksteps. Marches remain common in country dancing, as accompaniment for dances like the cotillion and the quadrille..[59]

• Approximate: Lowell Mason forms the earliest known singing school for children. The school is free.^[62]

[edit] 1831

• Joshua Leavitt, a Congregationalist minister, publishes The Christian Lyre, the "first American tunebook to take the form of a modern hymnal, with music for every hymn (melody and bass only) and the multistanza hymns printed in full, under or beside the music. The Christian Lyre and this year's Spiritual Songs for Social Worship, compiled by Thomas Hastings and Lowell Mason, were widely adopted tunebooks in the 1830s New England Revivalism movement.^[63]
• Elizabeth Austin, an English singing star, stars in the premier of Michael Rophino Lacy's Cinderella, or the Fairy and the Little Glass Slipper, which made her a household name across much of the United States.^[64]
• Anthony Philip Heinrich composes Pushmataha, a Venerable Chief of a Western Tribe of Indians; this has been called the influential composer's artistic peak, and is also when Heinrich became the first "American composer to celebrate the customs of North America's native peoples".^[65]

[edit] 1833

• The Mexican government secularizes the Roman Catholic missions of California and sends the local priests back to Spain. The music of these missions had been rooted in plainsong and polyphonic singing.^[66]
• Lorenzo Da Ponte and others back the building of New York City's first opera house.^[67]
• Lowell Mason and George James Webb found the Boston Academy of Music, which would teach both secular and religious music.^[62]

Mid 1830s music trends
John Hill Hewitt and other composers of popular parlor songs begin adopting influences from Italian opera, bringing a "new source of grace and intensity, as well as a tone of accessible elevation.[68]
The Boston Academy of Music moves from education and sacred song into the cultivation of instrumental music by recognized European masters.[69]

[edit] 1835

• William Walker's The Southern Harmony is published in New Haven, Connecticut, and compiled in Spartanburg, South Carolina. It became one of the most popular tunebooks of the mid-19th century, and had a lasting influence on shape note singing.^[70]
• James Caldwell shows an English adaptation of Giacomo Meyerbeer's Robert le diable, upstaging John Davis' Théâtre d'Orléans performance of the French version of the same opera. This production heightens English opera's prestige in New Orleans.^[39]

[edit] 1837

Late 1830s music trends
Percussion instruments, especially the triangle, bass drum, cymbal and tambourine (referred to as Janissary instruments) have become a standard part of American ensembles, especially military bands.[71]

• Lowell Mason begins teaching singing, without pay, in Boston's public schools.^[62]

[edit] 1838

• Encouraged by the success of Lowell Mason's experiment in volunteer singing instruction, the Boston school board declares music a school subject and hired Mason as Superintendent of Music.^[62]

Early 1840s music trends
E. P. Christy's Christy's Minstrels in Buffalo, New York tour across the state and help broaden the appeal of minstrel shows.[72]

[edit] 1841

• William B. Bradbury, an organist and choir leader in a Baptist church in New York, publishes The Young Choir, a highly successful tunebook aimed at Sunday schools.^[73]
• Ludwig van Beethoven's Symphony No. 1 is performed for the first time in Boston, indicating a growing acceptance for the work of European composers, led by the likes of music critic John Sullivan Dwight^[74]

[edit] 1842

• The Hutchinson Family Singers began performing across the United States, and become some of the first performers to make social causes, such as abstaining from alcohol and abolitionism, a part of their concerts and their image.^[75]
• The oldest professional orchestra in the United States, the New York Philharmonic Society, forms as a cooperative venture among performers. Among the performers at the first concert is Anthony Philip Heinrich.^[76]

[edit] 1843

• Performances in New York and Boston by the Virginia Minstrels herald the beginning of the American minstrel show tradition.^[77]

[edit] 1844

• Benjamin Franklin White and Elisha J. King publish The Sacred Harp, a collection of old American songs, and one of the greatest commercial successes in music publishing; the book remains in print as of 2001.^[70]
• The polka is introduced to the United States at a theater in New York.^[78]

Mid 1840s music trends
Minstrel shows spread across the United States and become a major part of American popular music.[77]

[edit] 1845

• Henry Rowe Schoolcraft publishes Onéota, or Characteristics of the Red Race of America, one of the first publications to include a Native American song, specifically one called "Death Song" and collected from the Ojibwa. It is published without music.^[79]
• Justin Miner Holland, a freeborn African American, begins his composing career; he was, perhaps, the first black composer whose "African roots... played little or no role in his professional life".^[80]

[edit] 1846

• Musical activity in the Catholic missions of California cease, the result of Mexican secularization and selling, which began in 1833.^[66]
• Christy's Minstrels of Buffalo, New York, settle in New York City and become one of the most popular minstrel troupes in the city.^[72]
• New York's Trinity Church completes the construction of an organ, which is the largest organ in the country, reflecting the growing importance of the organ in American life.^[81]
• William Henry "Master Juba" Lane, a popular African American performer on the musical stage, becomes the first black member of a white performing troupe when he joins Charley White's minstrel show as a dancer and tambourine player.^[82]

[edit] 1848

• The Germania Musical Society, which debuts in New York in 1848, is the most prominent of several German orchestras that tour the United States, bringing new popularity to performances by Classical and Romantic composers.^[83]

[edit] 1849

• Louis Moreau Gottschalk, then living in Paris, composes Bamboula, La savane, Le bananier and Le mancenillier, all based on American melodies; these works helped establish Gottschalk as a "musical representative of the Old World in the New".^[84]

[edit] 1850

• One of the biggest star singers of the day is Jenny Lind, who demands the unheard-of sum of $187,000 from promoter P.T. Barnum to go on a national concert tour. Barnum raises the money, and promotes her so successfully that an estimated thirty thousand people arrived to watch her ship land in New York Harbor.^[85]
• The first theater opens in San Francisco, California.^[86]
• Stephen Foster's "Gwine to Run All Night", or "De Camptown Races", becomes a minstrel show hit, helping to launch Foster's career; he would go on to become the most famous songwriter of the 19th century.^[87]

Early 1850s music trends
The San Francisco opera tradition begins in 1850 and boasts international stars and a lively set of local performers by the middle of the decade.[88]

[edit] 1851

• The first opera performed in San Francisco is Vincenzo Bellini's La sonnambula, performed by a troupe led by an Italian tenor formerly employed in Peru and Chile.^[86]
• Ex-slave Elizabeth Greenfield begins performing in Buffalo, New York, under the sponsorship of the Buffalo Musical Association. She quickly begins touring across North America, and becomes a star singer.^[89]

[edit] 1852

• A series of star singers give prominence to the fledgling San Francisco opera tradition, including the Bostonian Eliza Biscaccianti and the Irishborn Catherine "Kate" Hayes.^[86]
• The piano has become a major manufacturing industry in the United States, led by market leader Chickering and Sons. A fire destroys Chickering's Boston factory this year, and it is soon rebuilt to be the largest building in the country after the United States Capitol building.^[90]

[edit] 1853

• Louis Antoine Jullien, a French conductor, forms an orchestra in New York, to great acclaim; his prominent use of the quadrille helps to spur the development of sheet music for that dance.^[91]

Mid 1850s music trends
Minstrel shows begin their second decade of popularity, by growing towards a "more limited, stereotyped portrayal of black characters."[92]
Saxhorns have come to dominate the music of military bands.[93]

[edit] 1854

• The English singer Anna Thillon stars in a series of opera performances in San Francisco, in the city's first professional season. A local Italian opera company forms as well, performing fourteen operas, half of them by the rising composer Giuseppe Verdi.^[86]

[edit] 1855

• Longfellow publishes a long poem called The Song of Hiawatha, which sparks a surge of interest in Native American culture; this helps to inspire many later attempts at fusing elements of Native American and European-derived musics.^[94]

Late 1850s music trends
At New York's Academy of Music, Max Maratzek leads an effort that will create the first permanent home for opera in New York City.[95]

[edit] 1859

• The song "Dixie" by Dan Emmett premiers onstage in New York. The song will become a rallying cry for both sides of the Civil War, but eventually becomes an iconic symbol of the South.^[96]
• Patrick Gilmore, an Irish-American bandleader, debuts his band in New York; the ensemble's professional and grandiose performances will make it one of the most popular of the Civil War era.^[97]
• One of the first observors to transcribe a melody from an African American slave song is James Hungerford, who publishes a novel with a "boat song" from Southern Maryland.^[98]

[edit] 1860

• San Francisco is home to 145 opera performances, making this year a watershed for opera, both in San Francisco and in the United States. An estimated 217,000 seats were sold in the year, in a city with a population of about 60,000. This level of popularity is unheard of in any North American city at any point in history.^[99]
• Dan Emmett's "Dixie", which had premiered in a New York theater in 1859, becomes a top hit in New Orleans. It will go on to become one of the most enduring and well-known pro-Confederate songs.^[96]

[edit] 1861

• The American Civil War begins. Before it ends, it will have a profound impact on American music, spurring the publishing of patriotic songs on both sides, the migration of African Americans to new locales and the mixing of the musics of many peoples and regions in diverse military units.^[100]
• A secessionist attack on Union troops in Baltimore inspire James Ryder Randall to write "Maryland, My Maryland". The song became perhaps the most enduring of the era and reflects the bitter partisanship of border states like Maryland. It is eventually chosen as the state song of Maryland.^[101]
• Thomas Baker publishes the first "sheet-music publication of any black spiritual", Song of the Contrabands.^[102]

[edit] 1862

• "The Battle Hymn of the Republic", with words by Julia Ward Howe, is first published; it, and "Battle Cry of Freedom" by George Frederick Root, become perhaps the most influential pro-Union songs of the Civil War.^[103]

Mid 1860s music trends
Community professional bands begin flourishing across the country. Wind ensembles are especially popular.[104]
A distinctive Irish-American song tradition takes shape, while the Irish begin to enter the theater business in large numbers.[105]

[edit] 1865

• Theodore Thomas forms an orchestra that he led both artistically and financially, in stark contrast to the norm at the time. Under his leadership, the orchestra is soon viewed as perhaps the best in the country.^[106]

[edit] 1867

• Slave Songs of the United States is the first collection of spirituals to be published; the collectors were Northern abolitionists, William Francis Allen, Lucy McKim Garrison and Charles Pickard Ware.^[107]

[edit] 1869

• Bandleader Patrick Gilmore organizes a National Piece Jubilee in Boston, featuring more than 11,000 performers - solists, a choir, an orchestra and others - the Jubilee becomes the "high-water mark in the influence of the band in American life".^[108]

[edit] 1870

• A choir forms at the African American Fisk University - the Fisk Jubilee Singers; the choir will soon begin touring, bringing spirituals to wider audiences.^[109]

Early 1870s music trends
African American spirituals begin to be codified into a written repertory, including the popular and influential "Go Down Moses" in 1872.[109]

[edit] 1872

• Theodore Seward begins publishing his arrangements of African American spirituals, in book form like a hymnal.^[110]

[edit] 1873

• American preacher Dwight L. Moody and his musical director Ira D. Sankey have inspired a wave of interest in American Christian music in Scotland, leading to American tours.^[111]

[edit] 1876

• "Home on the Range" is first published; it is the earliest song known to depict a "romanticized image of the cowboy".^[112]

[edit] 1879

• The Bureau of American Ethnology is created at the Smithsonian Institution; the Bureau studies and documents Native American music and culture.^[113]

[edit] 1881

• Henry Lee Higginson forms the Boston Symphony Orchestra; Higginson would personally run the Orchestra for almost four decades.^[114]

[edit] 1882

• Theodore Baker's Über die Musik de nordamerikanischen Wilden is the first scholarly work to study Native American music; it is Baker's doctoral disseration at the University of Liepzig.^[115]

[edit] 1883

• The Metropolitan Opera opens in New York City.^[116]

[edit] 1885

• Charles Fletcher Lummis begins one of the earliest collections of Spanish folk songs soon after he arrives in Los Angeles.^[117]

[edit] 1888

Late 1880s music trends
The Metropolitan Opera becomes financially solvent as it establishes a specialization in German opera.[116]

• The American Folklore Society is formed, modeled after the Folklore Society of Britain, and dedicated to gather and publish the folk songs and stories of North America.^[118]

[edit] 1889

• The composer Edward McDowell premiers his Piano Concerto No. 2 in New York, establishing him as one of the most prominent composers of the era.^[119]

[edit] 1890

• An era that has been called a "golden age" begins, centered around a group of composers in Boston including John Knowles Paine, Horatio Parker, George Whitefield Chadwick, Arthur Foote and Amy Beach. This group is variously called the Second New England School, the Boston Classicists or the Boston Academics^[120]
• Native American music is recorded for the first time.^[121]
• The Tin Pan Alley neighborhood begins to form in New York City, and Oliver Ditson & Co. becomes the most prominent music publisher of the era.^[122]

[edit] 1891

• The Chicago Symphony Orchestra forms, with income from backers who pledged $1000 for each of three years. The backers formed an Orchestral Association, which hired a music director. Many cities subsequently used the same model, including Pittsburgh, Philadelphia, St. Louis, Cincinnati and Minneapolis.^[114]
• Leopold Vincent publishes the Alliance and Labor Songster, a pioneering early collection of labor songs.^[123]
• Carnegie Hall is built in New York City as a venue for classical performances.^[124]

[edit] 1892

• Bohemian composer Antonin Dvorak arrives for a stay in the United States. He becomes a fierce advocate for cultural and musical nationalism, and is very interested in American music incorporating African American and Native American music.^[125]
• John Philips Sousa forms a band that set a new standard for American professional bands.^[126]
• Charles K. Harris premiers "After the Ball", which becomes the most popular song of the decade.^[127]

Early 1890s music trends
The end of the Irish-American dominance in musical theater.[105]

[edit] 1893

• Alice Fletcher begins her prolific scholarly career with a study of the music of the Omaha tribe of Native Americans.^[128]
• Scott Joplin's performance at the World's Columbian Exposition in Chicago introduces ragtime to new audiences.^[129]

[edit] 1896

• Edward McDowell's Indian Suite is premiered; it is an influential work that incorporates aspects of Native American music.^[130]
• Six booking agents pool their resources to form the Syndicate, which came to control theaters in New York and across the country.^[131]
• The first "distinctively syncopated songs (are) published under the 'ragtime' label".^[132]

[edit] 1897

• The "golden age" of composition in the Second New England School ends.^[120]

[edit] 1898

• Ragtime songs begin to appear on the stage.^[133]

[edit] 1899

• Scott Joplin's "Maple Leaf Rag" is published by John Stillwell Stark in Sedalia, Missouri; the song is a "landmark in American music history" and is a great commercial success, unprecedented for a black composer.^[134]

[edit] 1900

• Violinist and cornetist Helen May Butler's Ladies Military Band begins touring, bucking "stereotypes of the time by showing that women could endure the rigors of touring life and lease enough paying customers to survive in the music business".^[135]
• The vaudeville musical theater format begins to take shape.^[136]
• Symphony Hall is built in Boston.^[124]

[edit] 1901

• Composer Arthur Farwell founds the Wa-Wan Press in Newton Center, Massachusetts, dedicated to music by American composers. The work will not be published until 1923.^[137]

[edit] 1902

• Charles Ives begins a private career as a composer, forging a new style that was "radically forward-looking in style yet rooted in American musical traditions and celebrating American life."^[138]

[edit] 1903

• Will Marion Cook's In Dahomey, is the "first black-produced show to run at a regular Broadway theater".^[139]

[edit] 1904

• Composer Arthur Farwell begins transcribing the recordings of Spanish folk songs made by Charles Fletcher Lummis.^[137]
• Orchestra Hall is built in Chicago.^[124]

[edit] 1905

Mid-1900s music trends

[edit] 1906

• At a Congressional hearing, John Philips Sousa testifies that the phonograph was discouraging Americans from performing themselves.^[140]
• The United Booking Office of America forms to connect theater managers and performers in the eastern United States.^[136]

[edit] 1907

• Richard Strauss' Salome premiers in New York at the Metropolitan Opera, to great controversy over the scandalous subject matter.^[116]
• Beginning with Franz Lehár's The Merry Widow, light operettas, or comic operas, begin to dominate the theaters of Broadway.^[141]
• Scott Joplin publishes "Gladiolus Rag" with Joseph W. Stern, intending to "reposition ragtime in the sheet music marketplace by playing down its African American roots."^[142]

Late 1900s music trends

[edit] 1908

• Arturo Toscanini becomes the conductor of the Metropolitan Opera; he is lauded for "his energy, the command he brought to the podium, his demands for perfection, and his uncanny musical memory."^[143]

[edit] 1909

• A copyright law is passed to secure royalties for composers on the sale of recordings.^[144]

[edit] 1910

• The New York Philharmonic Society ceases to be a musician-run cooperative, and is taken over by a board of directors.^[114]
• James Reese Europe and others form the Clef Club, the first booking agency for African American performers.^[145]
• John Lomax publishes a collection of cowboy songs, Cowboy Songs and Other Frontier Ballads, a ground-breaking publication that launched his career; he is shortly afterwards elected president of the American Folklore Society.^[146]

Early 1910s music trends
Dances like the turkey trot are introduced to New Orleans.[147]

[edit] 1911

• Alice Fletcher and Francis La Flesche publish The Omaha Tribe, a monograph that documents the music and culture of the Omaha; it is often called the first ethnomusicological work.^[148]
• Irving Berlin's "That Mysterious Rag" is the first ragtime song to not revolve around explicitly black lyrical themes. Berlin shifts to describing his work in this style as "syncopated", rather than "ragtime".^[149]
• Charles Griffes moves away from a German Romantic style and towards a more free-form style that comes to include French, East Asian and other influences.^[150]
• The first permanent orchestra is established in San Francisco.^[151]

[edit] 1912

• W. C. Handy publishes "Memphis Blues", the first "blues number in sheet music form".^[152]
• Community dance halls begin to grow more common, as a number of new dances become a part of the American music scene. ^[153]
• Leopold Stokowski becomes the conductor of the Philadelphia Orchestra, becoming well-known for his showmanship.^[154]

[edit] 1913

• The word jazz is used in print for the first time, in San Francisco in reference to "speed and excitement" in a game of baseball.^[155]

[edit] 1914

• The operetta ends its period of dominating the Broadway stage.^[141]
• The American Society of Composers, Authors, and Publishers (ASCAP) is founded to ensure that composers are paid for performances of their work.^[144]
• W. C. Handy publishes "St. Louis Blues", "the most widely popular and enduring commercial success of all blues songs"^[152]
• Dance is becoming a major part of social life in New York and other cities, while certain dancers become national symbols, including Vernon and Irene Castle, and Maurice Mouvet and Florence Walton.^[156]
• The Boston Symphony Orchestra hosts the American premier of Arnold Schoenberg's Five Pieces for Orchestra, a composition that experimented with atonality and other new elements; the premier scandalized the musical establishment of Boston.^[157]
• The United States Department of Education declares itself "on a 'rescue mission' for folk songs and ballads, in the belief that they were an endangered species".^[158]

[edit] 1915

Mid-1910s music trends
The United States begins to become an "outpost where new European works were seldom heard into an important international center for the presentation of new music."[159]

[edit] 1916

• The Original Dixieland Jass Band first performs in New York City; the band consists of white New Orleanians. From a modern perspective, it is clear that the line between jazz, blues and ragtime was too fluid to point to a single origin of jazz, the Original Dixieland Jazz Band was, at the time, perceived as "something new and different", and their performances and recordings were pivotal events in the early history of jazz.^[160]

[edit] 1917

• The U.S. Navy appropriates the St. Thomas Juvenile Band, led by Alton Adams; this is the first black band and bandmaster in the Navy.^[161]
• The Original Dixieland Jazz Band makes the first recordings to be considered jazz.^[162]
• English folk song collector Cecil Sharp publishes an anthology of songs from western North Carolina, Folk Songs of the Southern Appalachians, with Olive Dame Campbell; this is the "first major scholarly collection of the mountain people's music".^[163]

[edit] 1918

Late 1910s music trends
The wind ensembles that have dominated local community bands since the Civil War begin to decline in importance.[164]

[edit] 1919

• Popular bandleader James Reese Europe is murdered; he bcomes the first African American honored with a public funeral in New York City.^[165]
• Tin Pan Alley publishes songs that spark a fad for blues-like music; these songs include syncopated foxtrots like "Jazz Me Blues", pop songs that were marketed as blues like "Wabash Blues", as well as actual blues songs.^[160]
• Prohibition begins, driving the consumption of alcohol into secret clubs and other establishments, many of which became associated with the developing genre of jazz.^[166]
• The first permanent orchestra is established in Los Angeles.^[151]

[edit] 1920

• Singer Mamie Smith records "Crazy Blues", the first blues song recorded by an African American singer; the song was a surprising commercial success.^[160]

Early 1920s music trends
In jazz bands, the cornetist becomes more and more frequently assigned to the melody of a piece, rather than shifting that responsibility among various instrumentalists.[167]
American audiences begin to turn away from predominately German classical music towards works by the like of Frenchman Erik Satie and the Russian Alexander Scriabin.[168]
An organized country music industry begins to evolve, though commercial recording and radio broadcasting.[169]

[edit] 1921

[edit] 1922

• Rural folk performers begin to perform for local radio stations in Atlanta and Fort Worth.^[169]

[edit] 1923

• Spanish folk songs recorded by Charles Fletcher Lummis and transcribed by Arthur Farwell in the mid-1900s are finally published in an anthology called Spanish Songs of Old California.^[137]
• Arnold Schoenberg, an innovative experimental composer of the period, begins to be performed more frequently in New York City after this year's production of Pierrot Lunaire.^[170]
• Ralph Peer of OKeh records fiddling and singing from Fiddlin' John Carson in Atlanta; he is convinced to release the singing records by a local distributor, and Carson's songs become a surprise hit.^[169]

[edit] 1924

• The end of the Tin Pan Alley-led fad for blues and blues-like songs among mainstream listeners.^[160]
• George Gershwin premiers Rhapsody in Blue, an historically significant piece that fused three strands of American music: modernist classical music, instrumental jazz and popular blues; the piece "played a role in defining American musical modernism" in the 1920s.^[171]
• Serge Koussevitzky becomes the conductor of the Boston Symphony Orchestra; under his tenure, he will influentially promote new works by American and European composers.^[172]

[edit] 1925

Mid-1920s music trends

• John Harrington Cox, archivist and editor for the West Virginia Folklore Society, publishes a collection of folk songs called Folk-Songs of the South: Collected Under the Auspices of the West Virginia Folk-Lore Society.^[118]
• Barn dance programs become a major part of the radio industry, led by the WSM Barn Dance in Nashville.^[169]

[edit] 1926

• The first permanent orchestra is established in Seattle.^[151]
• Serge Koussevitzky leads the Boston Symphony Orchestra in the "first live network concert", presented by NBC.^[173]

[edit] 1927

• The United Booking Office of America on the East Coast combines with the Orpheum Circuit in the West.^[136]
• OKeh executive Ralph Peer records the Carter Family in Virginia, becoming an historic part of the burgeoning country music industry.^[169]

[edit] 1928

Late 1920s music trends

• The Archive of American Folk Song is founded at the Library of Congress.^[174]

[edit] 1929

• The first commercially sponsored radio broadcast features Leopold Stokowski and his orchestra.^[154]

[edit] 1930

Early 1930s music trends

[edit] 1931

[edit] 1932

• American composer Aaron Copland visits a Mexico City dance hall, and is inspired to begin the composition of El Salón México, which used Mexican melodies and other musical elements.^[175]

[edit] 1933

• John Lomax finds support from Macmillan Publishers and Carl Engel at the Library of Congress, for a collection of American folk songs. With his son Alan, John records a wide variety of folk music, much of it collected from African Americans at prisons and work camps. They also discover the pioneering blues musician Leadbelly. This recording trip helped inspire the American roots revival.^[176]

[edit] 1934

Mid-1930s music trends

• The first permanent orchestra is established in Kansas City.^[151]
• The Metropolitan Opera forms an Opera Guild to sponsor informative lectures, organize inexpensive concerts for children and involve other organizations in fundraising efforts.^[177]

[edit] 1935

• The Works Progress Administration's Federal Project Number One establishes the Federal Music Project to help unemployed musicians, which was then estimated to be about 70% of all musicians in the country. The project will employ 16,000 people, fund twenty-eight symphony orchestras teach music classes to more than fourteen million people.^[178]

[edit] 1936

[edit] 1937

Late 1930s music trends

• The Library of Congress' Archive of American Folk Song begans receiving a budget from Congress, after functioning since 1928 by donations and other sources of income.^[179]
• Woody Guthrie's performing career begins as a radio personality for KFVD in Los Angeles, as the host of Here Comes Woody and Lefty Lou.^[180]

[edit] 1938

• Aaron Copland's El Salón México is premiered in London, published by Boosey & Hawkes, and then premiered in Boston. The work is a surprise success across the country.^[181]

[edit] 1939

• Roy Harris composes his Third Symphony in One Movement, a self-consciously American piece that drew upon his perception of American music as focused on rhythm, especially the "asymmetrical balancing of rhythmic phrases".^[182]

[edit] 1940

Early 1940s music trends

• Leopold Stokowski appears onscreen with Mickey Mouse in the movie Fantasia, becoming the "first conductor to achieve the status of entertainment star".^[154]

[edit] 1941

• Henry Cowell marries ethnomusicologist Sidney Robertson, who introduces him to the shape note tunes of Southern Harmony, which inspires many of his later works.^[183]
• Alan Lomax brings out an album featuring field recordings of black convicts singing a work song and a field holler, the first commercially-released field recording.^[184]
• Pete Seeger joins with Woody Guthrie, Millard Lampell and Lee Elhardt Hays to form the Almanac Singers, who have been called the "first urban folk-singing group".^[185]

[edit] 1942

[edit] 1943

[edit] 1944

[edit] 1945

Mid-1940s music trends

[edit] 1946

[edit] 1947

[edit] 1948

Late 1940s music trends

[edit] 1949

[edit] 1950

Early 1950s music trends

[edit] 1951

[edit] 1952

[edit] 1953

[edit] 1954

[edit] 1955

Mid-1950s music trends

[edit] 1956

[edit] 1957

[edit] 1958

Late 1950s music trends

[edit] 1959

[edit] 1960

Early 1960s music trends

[edit] 1961

[edit] 1962

[edit] 1963

[edit] 1964

[edit] 1965

Mid-1960s music trends

[edit] 1966

[edit] 1967

[edit] 1968

Late 1960s music trends

[edit] 1969

[edit] 1970

Early 1970s music trends

• A ragtime revival begins, centered around the works of Scott Joplin^[186]

[edit] 1971

[edit] 1972

[edit] 1973

[edit] 1974

[edit] 1975

Mid-1970s music trends

[edit] 1976

[edit] 1977

[edit] 1978

Late 1970s music trends

[edit] 1979

[edit] 1980

Early 1980s music trends

[edit] 1981

[edit] 1982

[edit] 1983

[edit] 1984

[edit] 1985

Mid-1980s music trends

[edit] 1986

[edit] 1987

[edit] 1988

Late 1980s music trends

[edit] 1989

[edit] 1990

Early 1990s music trends

[edit] 1991

[edit] 1992

[edit] 1993

[edit] 1994

[edit] 1995

Mid-1990s music trends

[edit] 1996

[edit] 1997

[edit] 1998

Late 1990s music trends

[edit] 1999

[edit] 2000

Early 2000s music trends

[edit] 2001

[edit] 2002

[edit] 2003

[edit] 2004

[edit] 2005

Mid-2000s music trends

[edit] References

• Crawford, Richard (2001). America's Musical Life: A History. W. W. Norton & Company. ISBN 0-393-04810-1. 
• (2000) in Koskoff, Ellen (ed.): Garland Encyclopedia of World Music, Volume 3: The United States and Canada. Garland Publishing. ISBN 0-8240-4944-6. 

[edit] Notes