From Wikipedia, the free encyclopedia
This is a timeline of music in the United States prior to 1825.
[edit] circa 500
- Approximate: The oldest archeological remains of rasps, made from sheep horn, wood, deer bone, antelope scapula and elk rib, can be dated to approximately this timeframe.[1]
[edit] circa 1000
- Approximate: Copper and clay bells can be dated to this era, and were traded across the Mississippi Valley and into Mexico.[1]
[edit] circa 1300
- The "first documented European music education" in the United States begins in a colony in New Mexico, founded by a group of Spanish friars accompanying Juan de Oñate.[7]
- Jamestown, Virginia becomes the first permanent settlement by the British in what is now the United States.[5]
- 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.[8][9]
- 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.[12]
- John Utie, the first fiddler in the United States, lands in Virginia.[13]
- The Dutch Reformed Church in New York colony orders the precentor (voorzanger) to "tune the psalm" for the congregation to sing along; this practice consisted of the leader singing a line, which is then repeated, and often elaborated upon, by the audience. This practice is later known as lining out and is a crucial feature of African American church music.[20]
- The Bay Psalm Book is published in its third edition, its definitive form, often called the New England Psalm Book. There is, as yet, no music provided in the collection.[21]
- The first documented music in New Sweden (now New Jersey) is from the military, when Governor Johan Rising exited a fort with drums and trumpets or fifes playing to meet with the Dutch forces to whom he was capitulating.[22]
- Fray Garcia de Sanfrancisco founds a Catholic mission in what is now El Paso, Texas, making him perhaps the first music teacher in the United States.[23]
- The General Assembly of East New Jersey ban the "singing of vain songs or tunes" on the Sabbath.[24]
- The Pueblo Revolt leads to the destruction of the Spanish missions in what is now New Mexico, obliterating all known printed music and other musical documentation.[14]
- Money is authorized by several Virginia counties to purchase drums and trumpets for use in their state militia.[25]
- Johanns Kelpius, leader of the German Pietists who settled near Philadelphia, brings an organ, becoming the first individual in the future United States to do so.[26][27]
- The ninth edition of the Bay Psalm Book is published. It is the first to feature printed music.[28]
- Christopher Witt comes to America, where he will build his own pipe organ, becoming the first private organ-owner in the United States.[29]
- Elias Neau is sent by the Society for the Propagation of the Gospel to minister to black slaves in North America; he opens a school, which includes psalm singing as part of the daily program.[30]
- The first concert in New York City is a private affair, at the home of a Mr. Broughton.[33]
- George Brownell of Boston becomes perhaps the first dancing master in the United States.[34]
- The first permanent church organ in the United States, the Brattle organ, imported by Thomas Brattle,[35] is installed in Boston at King's Chapel.[36]
- John Tufts publishes the first instructional book for singing in the country. It was extremely successful.[37]
- Africans are brought to New Orleans in large numbers, bringing with them new styles of music straight from Africa.[11]
- The lined-out style of hymnody begins to be criticized for abandoning conservative notation in favor of an oral tradition.[40]
- 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.[41]
- The Amish arrive in Pennsylvania, thus beginning the Amish music tradition in the United States.[42]
- The Ephrata Cloister is founded in Lancaster County, Pennsylvania; they will develop their own musical system and form of hymnody.[43]
| Early 1720s music trends |
- New England psalmody begins to grow more organized and disciplined, through singing schools and other institutions.[41] Public concerts, held alongside lectures or sermons, begin to be held in small towns throughout the region.[44]
|
- 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".[41] Walter's is particularly influential and highly-regarded, and is the first book to be printed (by James Franklin) with bar lines in British North America.[44][45]
- Nero Benson, a trumpeter of Farmingham, Massachusetts is the first documented black army musician in the United States.[17]
- The first music school in Louisiana is founded by Raphael de Luxembourg[47]
- The first public concert in the country is held in Boston, in a room used by a local dancing master for assemblies.[48][17]
- The first singing school in the United States is formed in Charleston, South Carolina, where music is taught by John Salter at a boarding school for girls run by his wife.[49][50]
- The first opera written by an American to be both published and produced is The Fashionable Lady; or, Harlequin's Opera by James Ralph, which is premiered this year in London.[51]
- John Wesley's A Collection of Psalms and Hymns is the "first book of religious music published in the colonies".[57]
- Charleston, South Carolina hosts the first performance of a ballad opera, Flora: Or Hob in the Well,[36] in the United States,[58] at the New World Theatre.[38][59] The city also hosts a production of The Adventures of Harlequin and Scaramouch, the first pantomime ballet in the United States.[60]
- Georgia's Governor Oglethorpe invites minister John Wesley to come with him to Georgia, on a ship with Moravian missionaries whose hymn-singing had a profound effect on Wesley, who would go on to lead the Great Awakening of Christianity, often expressed through music.[61]
- Theodore Pachelbel gives the first documented public concert in New York City.[62][63]
- The oldest surviving music from New Orleans date to this year. It is a piece of sacred music.[64]
- 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.[66] As a result, African American drumming is banned in South Carolina.[11]
- 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.[67]
- Religious persecution at home leads to a wave of German-speaking Moravian immigrants, who will play a vital role in establishing American concert music, become known for their brass choirs and become among the earliest instrument manufacturers in the country.[42] They will settle in Bethlehem, Pennsylvania this year, flourishing and becoming widely known for their music.[68]
- English hymn writer John Cennick publishes his first collection, Sacred Hymns for the Children of God; he will go on to become the "real founder of folky religious song in the rebellious eighteenth century movement".[69]
- The oldest extant manuscript of Das Gesäng de einsamen und verlassenen Turtel-Taub (Turtle-Taube), the central music text of the Ephrata Cloister, dates to this year; it is the first original hymnbook published in the American colonies.[53][72]
| 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.[73]
|
- 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".[74]
- 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.[75]
- Approximate: The African American 'Lection Day holiday, in which blacks paraded and elected an honorary ruler, is first celebrated, in Connecticut.[76]
- An organ at Zion Lutheran Church in New Germantown, New Jersey is the first documented organ in that state; the first organ in Pennsylvania also arrives in this year.[77]
- William Tuckey comes to New York City, where he will become a major fixture in the city's developing music scene.[78]
- The British Museum has had a drum since this date, made in Virginia from local wood and deer skin, but in a manner typical of the Ashanti of Ghana, a major piece of evidence for African retention in African American music.[11]
- An unused room in a building becomes the first concert hall in Boston.[79]
- The first documented performance by a military band in the British colonies comes in a Philadelphia parade this year.[82]
- The First Church of Boston forms a choir, the first of many New England churches to do so in the next decade.[84]
- The earliest known reference to music in a newspaper advertisement comes from the Newport Mercury of Newport, Rhode Island. The advertisement seeks a violinist.[85]
| Early 1760s music trends |
- Music instructor James Brenner begins teaching in a coffeehouse in Philadelphia.[87]
- Francis Hopkinson begins playing harpsichord in concert; he would go on to be among the most influential composers of the colonial era.[88]
|
- 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 offers "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".[84][89][90]
- 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.[91]
A scene from
Love in a Village, a
pasticcio that become an integral part of the repertory of American theater in the era.
a, rel
- Approximate: Newport Gardner, reportedly the first African American singing-school master is said to have composed the "Promised Anthem".[94]
- The only description of secular music among the Swedes in what is now New Jersey comes from Carl Magnus Wrangel, who reports that jubilant music and dance was common in private homes.[95]
| Late 1760s music trends |
- British patriotic songs begin to be changed into anti-British protests circulated through newspapers and broadsides.[103]
- Itinerant music instructor John Stadler travels across Virginia, teaching music to families like the wealthy Carters and the Washingtons[87]
|
- 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.[104]
- Roman Catholic missionary activity begins to "severely devastates" the civilizations of central coast and southern California, bringing new forms of Roman Catholic music to the indigenous peoples of California.[105]
- In Isaac Bickerstaffe's comic opera The Padlock, the actor Lewis Hallam the Younger performs "Dear Heart! What a Terrible Life I Am Led", the first documentation of a white stage presentation of an African American-styled song.[106]
- John Harris of Boston becomes the first spinet-maker in the United States.[107]
- 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.[108][109] Billings himself will go on to become one of the first major figures in American music history, and is said to have been the first to introduce both the pitch-pipe and the violoncello to the New England church choir.[110]
- William Tuckey, an organist and choirmaster in New York's Trinity Church, presents a performance from Handel's Messiah, the first performance from that piece in the United States.[111]
- The first Shakers arrive in the United States, beginning American Shaker music.[112]
- English traveler Nicholas Cresswell notes a song which he describes as a "Negro tune". This "may well represent the earliest record of the influence of slave music on the white colonists". His work also contains the first reference to a banjo.[113]
- George Leile, one of the first African Americans with official permission to preach, travels along the Savannah River preaching to slaves. He eventually formed one of the earliest self-governing black churches in the country, in Silver Bluff, South Carolina.[114]
- Samson Occom, a Native American minister, publishes the first hymnal to contain refrains.[115]
- John Behrent constructs a piano, and is said to have been the first person in what is now the United States to do so.[116][117]
- 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".[121]
- 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".[118][122]
- Thomas Jefferson presents a view common to many of the upper-class elite in North America, in a letter to Giovanni Fabbroni complaining that American music was in a state of "deplorable barbarism".[123]
- Captain Cook's arrival opens Hawaii open to regular outside contact and exposes European to the music of Hawaii.[119]
- Composer Johann Friedrich Peter moves to the Moravian settlement in Salem, North Carolina, where he will become a musical institution and found the Collegium Musicum, as well as collect a great number of musical manuscripts.[93]
- James Aird's Selection of Scotch, English, Irish and Foreign Airs is published, containing the earliest known printing of "Yankee Doodle".[124]
- The city of New Orleans bans slaves from dancing in public squares on holy days and Sundays until after evening church services.[126]
- The first Sunday school in the United States is established in Virginia; Sunday schools will become a major part of religious music instruction throughout the country.[127]
- The Stoughton Musical Society, which remains in existence today, is founded in Stoughton, Massachusetts; this is also the beginning of American choral societies.[119] It may be the oldest continuous musical organization in the country,[128] and has been called the "earliest musical organization of importance".[129]
- Johann Friedrich Peters founds the Collegium Musicum in Salem, North Carolina.[93]
- Daniel Read and Amos Doolittle begin issuing the American Musical Magazine, the earliest music periodical in Anglo North America.[130]
- John Aitken becomes the first American publisher of strictly music, and the first to publish secular sheet music in the United States. Most of the music was composed or arranged by Alexander Reinagle.[131][132]
- Johannes Herbst, a Moravian bishop and hymn writer, begins collecting music manuscripts, creating a massive archive that will not be made available until 1977.[133]
- The Constitution of the United States comes into effect, granting Congress the power to "promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries", the beginning of American copyright law.[136]
- A ban on theatrical music is lifted, for the first time since the American Revolution.[16]
- A slave named Newport Gardner wins a lottery and buys his freedom, opening a singing school and becoming one of the first African American music teachers.[140]
- The ban on theaters in Philadelphia is ended.[141]
- Congress passes a law requiring all able-bodied white males to join a state militia; the result helps spur the development of military bands, as opposed to fife-and-drum corps, which Congress authorizes for the first time the same year.[142][124] The Militia Act standardized the instrumentation of military bands.[143]
- Thomas Wignell forms a theatrical company in Philadelphia, with Alexander Reinagle as his music director.[144]
- The ban on theater entertainment in Boston ends.[74]
- 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.[131]
- Benjamin Carr opens a musical instrument shop in Philadelphia, and soon begins publishing music as well, one of the first music publishing ventures in the United States.[145] His periodical The Gentleman's Amusement included Philip Phile's "The President's March",[146] which is later the tune for "Hail Columbia".[147]
- 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.[148]
- 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.[149]
- Benjamin Carr's The Archers is one of the first major American operas to enter the standard repertoire.[150]
- The St. Thomas African Church of Philadelpia is the first independent African American church in the country.[151]
- Ann Julia Hatton and James Hewitt's Tammany; or, The Indian Chief is the both first American opera on a Native American subject[152] and the first on an American subject of any kind. It is also the first with a female librettist.[51]
| 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.[153]
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- Oliver Holden, with Hans Gram and Samuel Holyoke, publishes The Massachusetts Compiler, the most "up-to-date manual of music theory" from the United States to that time.[154]
- The Pocket Hymn Book is published in Philadelphia. It will become the standard collection of hymns for the camp meetings of the Great Awakening of the early 19th century.[156]
- William Smith and William Little successfully copyright a shape note system that would become the standard in the 19th century.[153]
- The first complete work to be copyrighted is a pair of ballads, "Ellen Arise: A Ballad" and "The Little Sailor Boy: A Ballad", both by Benjamin Carr.[136]
- The first governmental subsidy for music comes in the form of the United States Marine Band, led by Drum Major William Farr;[157] this is the first military musical establishment in the United States.[136]
- The first political campaign song is "Adams and Liberty", set to the tune of "To Anacreon in Heaven", by Robert Treat Paine Jr..[158]
- The song "Hail Columbia", set to the music of "The President's March", is published, with the intent of "arousing the American spirit"; it becomes one of the most popular and long-lasting patriotic songs in the country.[159]
- The New Jersey Immorality Act bans "dancing, singing, fiddling, or other music for the sake of merriment".[24]
- The Longhouse religion of the Iroquois is founded by Handsome Lake; music and dance are integral parts of the burgeoning religion.[160]
- Samuel Holyoke's first volume of The Instrumental Assistant is the first "comprehensive instrumental and collection of traditional music for band instruments published" in the United States.[161]
- The first camp meeting is held in Logan County, Kentucky.[162] Camp meetings will become an essential component of the Second Awakening of Christian fervor, which will dominate the "religious life of America's frontier communities". Hymn-singing was a major part of camp meetings.[163]
- James Hewitt and William Dunlap Pizarro in Peru is the first "important American operatic melodrama".[51]
- 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".[164][124] The collection includes works by Isaac Watts and others, as well as some that are unattributed and may have been composed by Allen himself.[165] It was also the first collection "to employ the so-called wandering refrains -- that is, refrain verses or short choruses attached at random to orthodox hymn stanzas".[166]
- 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.[153]
- Richard Allen publishes his own hymnal, A Collection of Spiritual Songs and Hymns, which becomes very popular.[167]
- The first camp meeting is held near the Gasper River in Logan County, Kentucky; the diverse crowd forces the song leaders to keep the songs simple, leading to a style known as the camp meeting spiritual.[168]
| Early 1800s music trends |
- Presbyterian clergy in Kentucky 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.[169] [170]
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- 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.[153][171]
- After the Louisiana Purchase, the Mayor of New Orleans is tasked with appointing a location for slaves to dance on Sundays; the place chosen will eventually be known as Congo Square.[11]
- The earliest full description of the African American Pinkster day holiday comes from a poem published in Albany, New York.[172]
- The earliest extant orchestral score for an American opera known to exist is The Voice of Nature by William Dunlap and Victor Pelissier, composed in this year.
- 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.[173]
| 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.[169]
- 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[174]
- 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.[174]
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- 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.[175]
- 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.[176]
- 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.[177]
- Richard McNemar converts to become a Shaker; he will become known as the "Father of Shaker music", and is the most prolific composer of Shaker hymns and anthems.[120]
- Librettist Lorenzo da Ponte emigrates to the United States, where he will help to introduce opera to mainstream Americans.[38]
- 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..[176]
- Congress ends the importation of new slaves.[10]
- The age of "parlor music with mass appeal" can be said to begin with the publication of Thomas Moore's Irish Melodies, which brought that style of music to "wider social and economic circles".[38] Two of the most important songs from the collection are "The Last Rose of Summer" and "The Harp That Once Thro' Tara's Halls".[119]
- The earliest extant full piano vocal score known to exist is from James Nelson Barker and [John Bray]]'s The Indian Princess; Or, La Belle Savauge, composed in this year.[51]
- The first African American Baptist church is formed in Philadelphia.[178]
- Johann Christian Gottlieb Graupner founds the Boston Philharmonic Society, the first semiprofessional orchestra in the city.[179]
- The keyed bugle is invented by Joseph Holiday, allowing that instrument to be played fully chromatically.[180]
- Russian visitor Pavel Svinin vists an African American church in Philadelphia; this is one of the first written depictions of black church muisic in the United States.[181]
| 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.[182]
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- A hymnbook, popularly called The Bridgewater Collection is first published; it will be used at least until well into the 20th century.[183]
- A musical celebration after the end of the War of 1812 leads to the formation of the Handel and Haydn Society of Boston.[184] The War's chief musical effect is in the composition of songs celebrating American naval victories, most importantly "Hull's Victory", which commemorates the capture of the Guerriere by the Constitution.[185]
- 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".[190][184][119][191] It remains an influential part of Bostonian culture.[192][193]
- The key bugle is introduced to the United States. The key bugle led to the development of a whole new class of valved brass instruments called saxhorns after their French inventor, Antoine-Joseph Sax[194]
- This is the earliest proffered date for the formation of the first minstrel troops.[195]
- The song "Backside Albany", with a melody borrowed from the British folk song "Boyne Water", is the first blackface air.[16]
- Thomas Hastings, a prolific publisher of church music and author, publishes his "first and most famous collection", Musica Sacra.[196]
| 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.[198]
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- The city government of New Orleans limits African American dancing to Sundays before sundown in Congo Square, which would become a hotbed of musical mingling and innovation.[126][199]
- Music teacher, keyed bugler and bandleader Frank Johnson publishes Six Sets of Cotillions, establishing a career that will make him the leader of the "Philadelphia School", the first African American "school of classically trained composers".[94] He also becomes the first African American to publish sheet music this year,[200][201] and will later become the first "to win wide acclaim in the nation and in England;... first to develop a 'school' of black musicians; first to give formal band concerts; first to tour widely in the nation; and first to appear in integrated concerts with white musicians". He will be the first American of any race to "take a musical ensemble abroad to perform in Europe and the first to introduce the promenade concert to the United States".[202]
- Richard Allen publishes a hymnal, the first for the African Methodist Episcopal church, which became the world's "first black denomination" when it was founded in 1816.[203]
- African Americans begin organizing their own camp meetings, start with one held this year by the African Methodist Episcopal church, in Bucks County, Pennsylvania.[204]
- Bohemian composer Anton Philipp Heinrich comes to the United States and is so impressed by the "natural scenery, (America's) exciting history, and the music of the Native American" that he began composing a string of works on these topics.[205]
- John Fanning 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 the music 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 American.[169] His chief complaint is the use of refrains "of their own composing", referring to those include in the hymnal of Richard Allen from 1801.[206]
- The "best-known stage for drama, concert music and opera" in Richmond, Virginia, the Richmond Theater, opens.[207]
- John Siegling opens a music publishing firm, Siegling Music Company, in Charleston, South Carolina, it will last for many years, and will be the oldest music publishing company in operation by the time the Civil War begins.[208][209]
[edit] References
- Abel, E. (2000). Singing the New Nation: How Music Shaped the Confederacy, 1861-1865. Mechanicsburg, Pennsylvania: Stackpole Books. ISBN 0811702286.
- Bird, Christiane (2001). The Da Capo Jazz and Blues Lover's Guide to the U.S.. Da Capo Press. ISBN 0306810344.
- Birge, Edward Bailey (2007). History of Public School Music - In the United States. ISBN 1406756172.
- Chase, Gilbert (2000). America's Music: From the Pilgrims to the Present. University of Illinois Press. ISBN 0-252-00454-X.
- Cornelius, Steven (2004). Music of the Civil War Era. Greenwood Publishing Group. ISBN 0313320810.
- Crawford, Richard (2001). America's Musical Life: A History. W. W. Norton & Company. ISBN 0-393-04810-1.
- Darden, Robert (1996). People Get Ready: A New History of Black Gospel Music. New York: Continuum International Publishing Group. ISBN 0826417523.
- Elson, Louis Charles (1915). The History of American Music. Macmillan & Co.
- Erbsen, Wayne (2003). Rural Roots of Bluegrass: Songs, Stories and History. Pacific, Missouri: Mel Bay Publications. ISBN 0786671378.
- Hansen, Richard K. (2005). The American Wind Band: A Cultural History. GIA Publications. ISBN 1579994679.
- Kaufman, Charles H. (1981). Music in New Jersey, 1655-1860. Fairleigh Dickinson University Press. ISBN 0838622704.
- Horowitz, Joseph (2005). Classical Music in America: A History of Its Rise and Fall. W. W. Norton & Company. ISBN 0393057178.
- Kirk, Elise Kuhl (2001). American Opera. University of Illinois Press. ISBN 0252026233.
- Koskoff, Ellen (ed.) (2000). Garland Encyclopedia of World Music, Volume 3: The United States and Canada. Garland Publishing. ISBN 0-8240-4944-6.
- Miller, James. Flowers in the Dustbin: The Rise of Rock and Roll, 1947-1977. New York: Simon & Schuster. ISBN 0684808730.
- Lankford, Jr., Ronald D. (2005). Folk Music USA: The Changing Voice of Protest. New York: Schirmer Trade Books. ISBN 0825673003.
- Nicholls, David (1998). The Cambridge History of American Music. Cambridge University Press. ISBN 0521454298.
- Southern, Eileen (1997). Music of Black Americans. New York: W.W. Norton & Co.. ISBN 0393038432.
- ^ a b c Haefer, Richard. "Musical Instruments", The Garland Encyclopedia of World Music, Diamond, Beverly; M. Sam Cronk and Franziska von Rosen (1994). Visions of Sound: Musical Instruments of First Nations Communities in Northeastern America, Chicago Studies in Ethnomusicology, Chicago: University of Chicago Press. , 472-479.
- ^ Crawford, pg. 17; Crawford calls de Padilla "most likely the first European to teach music to Native Americans".
- ^ Crawford, pg. 17
- ^ Crawford, pg. 20; Crawford notes that "Florida Indians liked the psalm melodies and continued to sing them years after the Spaniards had massacred the French colonists, as a way of testing strangers to determine whether they were friend (French) or foe."
- ^ a b c Koskof, "Musical Profile of the United States and Canada", pgs. 2-20, Garland Encyclopedia of the World Music
- ^ Cornelius, pg. 12
- ^ Sheehy, Daniel; Steven Loza. "Overview", The Garland Encyclopedia of World Music, 718-733.
- ^ Crawford, pg. 22
- ^ Chase, pg. 6
- ^ a b Crawford, pg. 102
- ^ a b c d e Maultsby, Portia K.; Mellonee V. Burnin and Susan Oehler. "Overview", The Garland Encyclopedia of World Music, 572-591.
- ^ Crawford, pg. 21
- ^ Abel, pg. 132
- ^ a b Leger, James K.. "Música Nuevomexicana", The Garland Encyclopedia of World Music, 754-769.
- ^ a b c Crawford, pg. 23
- ^ a b c Goertzen, Christopher. "English and Scottish Music", The Garland Encyclopedia of World Music, 831-841.
- ^ a b c d Southern, pg. 2
- ^ Birge, pg. 5
- ^ Levine, Victoria Lindsay; Judith A. Gray. "Musical Interactions", The Garland Encyclopedia of World Music, Howard, James H. (1955). "The Pan-Indian Culture of Oklahoma". Scientific Monthly 18 (5): 215-220. , 480-490.
- ^ Southern, pg. 29
- ^ Chase, pg. 10
- ^ Haufman, pg. 24; Haufman notes the use of drums and trumpets from a document by Israel Acrelius, writing in 1789, and the use of drums and fifes, attributed to John E. Pomfret, writing in 1956.
- ^ Burk, Meierhoff and Phillips, pg. 50
- ^ a b Haufman, pg. 18
- ^ Hansen, pg. 97
- ^ Burk, Meierhoff and Phillips, pg. 62
- ^ Birge, p. 5
- ^ Chase, pg. 10
- ^ Chase, pg. 48; Chase indicates that he is "supposedly" the first private organ-owner.
- ^ Southern, pgs. 36-37
- ^ Darden, pg. 39
- ^ Chase, pg. 38
- ^ Nicholls, pg. 53
- ^ Nicholls, pg. 52
- ^ Elson, pg. 10
- ^ a b Southern, pg. 24
- ^ Birge, pg. 6
- ^ a b c d e Cockrell, Dale and Andrew M. Zinck, "Popular Music of the Parlor and Stage", pgs. 179 - 201, in the Garland Encyclopedia of World Music
- ^ Reyna, José R.. "Tejano Music", The Garland Encyclopedia of World Music, 770-782.
- ^ Crawford, pg. 25
- ^ a b c Crawford, pg. 32
- ^ a b Levy, Mark. "Central European Music", The Garland Encyclopedia of World Music, 884-903.
- ^ Chase, pg. 48
- ^ a b Chase, pg. 32
- ^ Birge, pg. 8
- ^ Crawford, pg. 73
- ^ Nicholls, pg. 57
- ^ Crawford, pgs. 85-86
- ^ Burk, Meierhoff and Phillips, pg. 140
- ^ Birge, pg. 9
- ^ a b c d e f g Kirk, pg. 385
- ^ a b Crawford, pg. 51
- ^ a b Seachrist, Denise A.. "Snapshot: German Seventh-Day Baptists", The Garland Encyclopedia of World Music, 904-907.
- ^ Darden, pg. 47
- ^ Burk, Meierhoff and Phillips, pg. 28
- ^ a b Chase, pg. 16; Chase cites Owen, Barbara. The Organ in New England.
- ^ Erbsen, pg. 20
- ^ Abel, pg. 242
- ^ Darden, pg. 47
- ^ Nicholls, pg. 56
- ^ Chase, pgs. 40-41
- ^ Chase, pg. 96
- ^ Nicholls, pg. 53
- ^ Nicholls, pg. 57
- ^ Southern, pg. 34
- ^ Crawford, pg. 115
- ^ a b Crawford, pg. 108
- ^ Chase, pg. 50
- ^ Chase, pg. 43, citing Jackson, George Pullen. White and Negro Spirituals.
- ^ Chase, pg. 42
- ^ Chase, pg. 46
- ^ Chase, pg. 48
- ^ Crawford, pg. 111
- ^ a b Crawford, pg. 92
- ^ Crawford, pg. 95
- ^ Southern, pg. 52
- ^ Haufman, pg. 32
- ^ Nicholls, pg. 53
- ^ Crawford, pg. 86
- ^ Rahkonen, Carl. "French Music", The Garland Encyclopedia of World Music, 854-859.
- ^ Elson, pg. 144
- ^ Hansen, pg. 203
- ^ Hansen, pg. 203
- ^ a b Crawford, pg. 37
- ^ Elson, pg. 42; Elson cites this claim to Henry M. Brooks, antiquarian
- ^ Crawford, pgs. 81-82; Hopkinson himself claimed to be the first American composer in 1788, in a preface to the publication of Seven Songs for the Harpsichord or Forte Piano. Crawford notes that music historian Oscar G. Sonneck tested this claim in 1905, concluding that Hopkinson had a valid claim. Crawford also notes, however, that some historians would not consider any composer American until the ninth state ratified the United States Constitution in June of 1788, and thus it is possible that Hopkinson was, in fact, referring to the publication of Seven Songs for the Harpsichord or Forte Piano as the first American composition.
- ^ a b Crawford, pg. 77
- ^ Crawford, pg. 80
- ^ Chase, pg. 114
- ^ Birge, pg. 16
- ^ Crawford, pg. 113; Crawford notes that the Lew family's musicianship continued through a total of seven generations, counting Barzillai's father Primus Lew, a military field musician.
- ^ Abel, pg. 249
- ^ a b c Chase, pg. 51
- ^ a b Wright, Jacqueline R. B.. "Concert Music", The Garland Encyclopedia of World Music, 603-613.
- ^ Haufman, pg. 29
- ^ Crawford. pg. 97
- ^ Cousin, John William (1910). A Short Biographical Dictionary of English Literature. London and New York: J.M. Dent & Sons and E.P. Dutton.
- ^ Abel, pg. 242
- ^ a b c Crawford, pg. 91
- ^ Southern, pg. 89
- ^ Elson, pg. 140
- ^ Hansen, pg. 205
- ^ Crawford, pg. 66
- ^ Crawford, pgs. 88-89
- ^ Keeling, Richard. "California", The Garland Encyclopedia of World Music, Herzog, George (1928). "The Yuman Musical Style". Journal of American Folklore 41 (160): 183-231. and Nettl, Bruno (1954). North American Indian Musical Styles. Philadelphia: American Folklore Society. , 412-419.
- ^ Southern, pg. 89
- ^ Elson, pg. 43
- ^ Crawford, pgs. 38-39
- ^ Chase, pgs. 115-116
- ^ Elson, pgs. 12, 18-19
- ^ Southern, pg. 68
- ^ Chase, pg. 45
- ^ Southern, pg. 44
- ^ Southern, pg. 71
- ^ Southern, pg. 79
- ^ Elson, pg. 43; Elson cites Scharff and Westcott's History of Philadelphia (Volume II, pg. 879)
- ^ Hansen, pg. 205 describes a 1775 "beautiful mahogany piano-forte in the manner of a harpsichord", but does not call it the first piano Behrent constructs.
- ^ a b Crawford, pg. 127
- ^ a b c d e Kearns, Williams. "Overview of Music in the United States", The Garland Encyclopedia of World Music, 519-553.
- ^ a b Rycenga, Jennifer, Denise A. Seachrist and Elaine Keillor, "Snapshot: Three Views of Music and Religion", pgs. 129 - 139, in the Garland Encyclopedia of World Music
- ^ Crawford, pg. 44
- ^ Chase, pg. 124
- ^ Blum, Stephen. "Sources, Scholarship and Historiography" in the Garland Encyclopedia of World Music, pgs. 21-37
- ^ a b c Southern, pg. 61
- ^ Chase, pg. 39
- ^ a b Crawford, pg. 119
- ^ Burk, Meierhoff and Phillips, pg. 133
- ^ Birge, pg. 10
- ^ Elson, pg. 27
- ^ Chase, pg. 121
- ^ a b Crawford, pg. 223
- ^ Chase, pg. 100
- ^ Chase, pg. 52
- ^ Southern, pg. 72
- ^ Krasnow, Carolyn H. and Dorothea Hast, "Snapshot: Two Popular Dance Forms", pgs. 227 - 234, in the Garland Encyclopedia of World Music
- ^ a b c d Bergey, Barry, "Government and Politics", pgs. 288 - 303, in the Garland Encyclopedia of World Music
- ^ Abel, pg. 243
- ^ Sanjek, David and Will Straw, "The Music Industry", pgs. 256 - 267, in the Garland Encyclopedia of World Music
- ^ Elson, pg. 28
- ^ Chase, pg. 69
- ^ Nicholls, pg. 55
- ^ Crawford, pg. 272
- ^ Hansen, pg. 209
- ^ Chase, pgs. 98-99
- ^ Abel, pg. 254
- ^ Chase, pg. 103
- ^ Hansen, pg. 209
- ^ Crawford, pg. 99
- ^ Crawford, pgs. 119-120
- ^ Crawford, pg. 320
- ^ Darden, pg. 37
- ^ Chase, pg. 106
- ^ a b c d e Crawford, pg. 129
- ^ Chase, pg. 126
- ^ Cornelius, pg. 11
- ^ Chase, pg. 193
- ^ Hansen, pg. 209
- ^ Cornelius, Steven, Charlotte J. Frisbie and John Shepherd, "Snapshot: Four Views of Music, Government, and Politics", pgs. 304 - 319, in the Garland Encyclopedia of World Music
- ^ Burk, Meierhoff and Phillips, pgs. 72-72
- ^ Levine, Victoria Lindsay. "Northeast", The Garland Encyclopedia of World Music, Morgan, Henry Louis (1962 [1852]). League of the Ho-dé-no-sau-nee or Iroquois. Secaucus, New Jersey: Citadel Press. , 461-465.
- ^ Chase, pg. 126
- ^ Chase, pg. 192
- ^ Southern, pg. 82-83
- ^ Chase, pg. 219
- ^ Crawford, pg. 109
- ^ Southern, pg. 79
- ^ Darden, pg. 40
- ^ Erbsen, pg. 21
- ^ a b c Crawford, pg. 121
- ^ Livingston, Tamara E. and Katherine K. Preston, "Snapshot: Two Views of Music and Class", pgs. 55-62, in the Garland Encyclopedia of World Music
- ^ Chase, pg. 125
- ^ Southern, pg. 54
- ^ Crawford, pgs. 131-132
- ^ a b Crawford, pg. 132
- ^ Crawford, pg. 131
- ^ a b Crawford, pgs. 132-133
- ^ Crawford, pg. 295
- ^ Darden, pg. 39
- ^ Chase, pg. 108
- ^ Hansen, pg. 213
- ^ Darden, pg. 40
- ^ Crawford, pgs. 164-165
- ^ Burk, Meierhoff and Phillips, pg. 128
- ^ a b Burk, Meierhoff and Phillips, pg. 155
- ^ Elson, pg. 155
- ^ Abel, pg. 136
- ^ Abel, pg. 254
- ^ Chase, pg. 204
- ^ Crawford, pgs. 240-241
- ^ Crawford, pg. 293
- ^ Chase, pg. 109; Chase calls the Society a "prestigious and permanent feature of Boston's musical life, with ramifications that spread its influence far and wide".
- ^ Cornelius, pg. 12
- ^ Southern, pg. 99
- ^ Abel, pg. 133
- ^ Darden, pg. 121; Darden mentions claims for 1815, 1829 and 1832.
- ^ Chase, pg. 139
- ^ Darden, pg. 66
- ^ Crawford, pg. 133
- ^ Chase, pg. 62
- ^ Southern, pg. 107 indicates that Johnson was the first African American to publish sheet music.
- ^ Hansen, pg. 213 indicates Johnson was the first African American to publish music.
- ^ Southern, pg. 107
- ^ Southern, pgs. 80-81
- ^ Southern, pg. 130
- ^ Southern, pg. 267
- ^ Southern, pg. 180
- ^ Abel, pg. 239
- ^ Abel, pg. 255
- ^ Cornelius, pg. 17
