Timeline of music in the United States to 1819

Timeline of music in the United States
Music history of the United States
Colonial erato the Civil WarDuring the Civil WarLate 19th centuryEarly 20th century40s and 50s60s and 70s80s to the present

This is a timeline of music in the United States prior to 1819.

Contents: Before 1500: circa 500 - circa 1000 - circa 1300
16th century: 1540 - 1559 - 1564 - 1565 - 1598
17th century: 1607 - 1612 - 1619 - 1620 - 1626 - 1628 - 1633 - 1640 - 1642 - 1645 - 1651 - 1653 - 1655 - 1659 - 1667 - 1677 - 1680 - 1685 - 1687 - 1694 - 1698
18th century: 1704 - 1707 - 1710 - 1713 - 1714 - 1716 - 1717 - 1718 - 1719 - 1720 - 1721 - 1723 - 1725 - 1729 - 1730 - 1732 - 1733 - 1734 - 1735 - 1736 - 1737 - 1739 - 1741 - 1742 - 1744 - 1746 - 1750 - 1752 - 1753 - 1754 - 1755 - 1756 - 1757 - 1758 - 1759 - 1761 - 1763 - 1764 - 1766 - 1767 - 1768 - 1769 - 1770 - 1774 - 1775 - 1776 - 1777 - 1778 - 1779 - 1780 - 1781 - 1782 - 1783 - 1784 - 1786 - 1787 - 1788 - 1789 - 1790 - 1791 - 1792 - 1793 - 1794 - 1795 - 1796 - 1797 - 1798 - 1799
19th century: 1800 - 1801 - 1802 - 1803 - 1804 - 1805 - 1807 - 1808 - 1809 - 1810 - 1811 - 1812 - 1813 - 1814 - 1815 - 1816 - 1817 - 1818 - 1819
References - Notes - Further reading

circa 500

circa 1000

circa 1300

1540

1559

1564

1565

1598

1607

1612

1619

1620

1626

1628

1633

1640

1642

1645

1651

1653

1655

1659

1667

1677

1680

1685

1687

1694

1698

1704

1707

1710

1713

1714

1716

1717

1718

1719

1720

Early 1720s music trends
  • New England psalmody begins to grow more organized and disciplined, through singing schools and other institutions.[49] Public concerts, held alongside lectures or sermons, begin to be held in small towns throughout the region.[52]

1721

1723

Mid 1720s music trends

1725

1729

1730

1732

1733

1734

1735

1736

1737

1739

1741

1742

1744

1746

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.[86]

1750

1752

1753

1754

Francis Hopkinson, an early American composer

1755

1756

1757

1758

1759

Early 1760s music trends
  • Music instructor James Brenner begins teaching in a coffeehouse in Philadelphia.[103]
  • Francis Hopkinson begins playing harpsichord in concert; he would go on to be among the most influential composers of the colonial era,[104] and the first American composer for voice and harpsichord.[105]

1761

A scene from Love in a Village, a pasticcio of the 1760s

1763

1764

1766

1767

Late 1760s music trends
  • British patriotic songs begin to be changed into anti-British protests circulated through newspapers and broadsides.[119]
  • Itinerant music instructor John Stadler travels across Virginia, teaching music to families like the wealthy Carters and the Washingtons[103]

1768

1769

1770

1774

1775

1776

1777

1778

1779

1780

1781

1782

1783

1784

1786

1787

1788

1789

1790

1791

1792

1793

1794

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.[171]

1795

1796

1797

1798

1799

1800

1801

Early 19th century 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.[192][193]

1802

1803

1804

mid-19th century 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.[192]
  • 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[198]
  • 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-19th century.[198]

1805

1807

1808

1809

1810

1811

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.[208]

1812

1813

1814

1815

1816

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.[225]

1817

1818

1819

References

Notes

  1. 1 2 3 Haefer, Richard. "Musical Instruments". The Garland Encyclopedia of World Music. pp. 472–479.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. ISBN 0-226-14475-5. Cite uses deprecated parameter |coauthors= (help)
  2. Clint Goss (2010). "Anasazi Flutes from the Broken Flute Cave". Retrieved 16 December 2010.
  3. Crawford, pg. 17; Crawford calls de Padilla "most likely the first European to teach music to Native Americans".
  4. Crawford, pg. 17
  5. 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."
  6. 1 2 3 Koskof, "Musical Profile of the United States and Canada", pgs. 2–20, Garland Encyclopedia of the World Music
  7. 1 2 Cornelius, pg. 12
  8. Sheehy, Daniel; Steven Loza. "Overview". The Garland Encyclopedia of World Music. pp. 718–733.
  9. Crawford, pg. 22
  10. Chase, pg. 6
  11. 1 2 Crawford, pg. 102
  12. 1 2 3 4 5 Maultsby, Portia K.; Mellonee V. Burnin; Susan Oehler. "Overview". The Garland Encyclopedia of World Music. pp. 572–591.
  13. Crawford, pg. 21
  14. Abel, pg. 132
  15. 1 2 Leger, James K. "Música Nuevomexicana". The Garland Encyclopedia of World Music. pp. 754–769.
  16. Elson, University Musical Encyclopedia, pg. 4
  17. 1 2 3 4 5 6 U.S. Army Bands
  18. 1 2 3 Crawford, pg. 23
  19. 1 2 3 Goertzen, Christopher. "English and Scottish Music". The Garland Encyclopedia of World Music. pp. 831–841.
  20. 1 2 3 4 Southern, pg. 2
  21. Elson, University Musical Encyclopedia, pg. 25; Elson notes that it was the second book printed in the colonies.
  22. Horn, David. "Hymnals". The Continuum Encyclopedia of Popular Music. pp. 580–583. ISBN 0-8264-9112-X. Horn notes that it was the first book printed in English in the colonies.
  23. Birge, pg. 5
  24. 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. Bibcode:1955SciMo..81..215H.
  25. Southern, pg. 29
  26. 1 2 Chase, pg. 10
  27. 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.
  28. Burk, Meierhoff and Phillips, pg. 50
  29. 1 2 Haufman, pg. 18
  30. Hansen, pg. 97
  31. Burk, Meierhoff and Phillips, pg. 62
  32. Birge, p. 5
  33. Chase, pg. 48; Chase indicates that he is "supposedly" the first private organ-owner.
  34. Southern, pgs. 36–37
  35. 1 2 Darden, pg. 39
  36. Chase, pg. 38
  37. 1 2 3 Nicholls, pg. 53
  38. Nicholls, pg. 52
  39. Elson, The History of American Music, pg. 10
  40. 1 2 Southern, pg. 24
  41. 1 2 3 4 Elson, University Musical Encyclopedia, pg. 8
  42. Birge, pg. 6
  43. 1 2 3 4 5 Cockrell, Dale and Andrew M. Zinck, "Popular Music of the Parlor and Stage", pgs. 179–201, in the Garland Encyclopedia of World Music
  44. Elson, University Musical Encyclopedia, pg. 7
  45. Reyna, José R. "Tejano Music". The Garland Encyclopedia of World Music. pp. 770–782.
  46. 1 2 Cusic, pg. 42
  47. Crawford, pg. 25
  48. 1 2 3 4 Colwell, Richard; James W. Pruett; Pamela Bristah. "Education". New Grove Dictionary of Music. pp. 11–21.
  49. 1 2 3 Crawford, pg. 32
  50. 1 2 Levy, Mark. "Central European Music". The Garland Encyclopedia of World Music. pp. 884–903.
  51. 1 2 Chase, pg. 48
  52. 1 2 Chase, pg. 32
  53. Birge, pg. 8
  54. Crawford, pg. 73
  55. 1 2 Nicholls, pg. 57
  56. Crawford, pgs. 85–86
  57. Burk, Meierhoff and Phillips, pg. 140
  58. Birge, pg. 9
  59. 1 2 3 4 5 6 7 Kirk, pg. 385
  60. 1 2 Crawford, pg. 51
  61. 1 2 Seachrist, Denise A. "Snapshot: German Seventh-Day Baptists". The Garland Encyclopedia of World Music. pp. 904–907.
  62. Clarke, pg. 94
  63. 1 2 Darden, pg. 47
  64. Burk, Meierhoff and Phillips, pg. 28
  65. 1 2 Chase, pg. 16; Chase cites Owen, Barbara. The Organ in New England. ISBN 0-915548-08-9.
  66. Erbsen, pg. 20
  67. Epstein, pgs. 112–113
  68. 1 2 Abel, pg. 242
  69. Nicholls, pg. 56
  70. Chase, pgs. 40–41
  71. 1 2 Horn, David. "Hymnals". The Continuum Encyclopedia of Popular Music. pp. 580–583. ISBN 0-8264-9112-X.
  72. Stowe, pg. 1
  73. Clarke, pgs. 12–13
  74. Chase, pg. 96
  75. Elson, University Musical Encyclopedia, pg. 5
  76. Cohen, pg. xv
  77. Southern, pg. 34
  78. Peretti, pg. 23
  79. Crawford, pg. 115
  80. Klitz, pg. 45
  81. 1 2 Crawford, pg. 108
  82. Chase, pg. 50
  83. Chase, pg. 43, citing Jackson, George Pullen. White and Negro Spirituals. ISBN 0-306-70667-9.
  84. Chase, pg. 42
  85. Chase, pg. 46
  86. Crawford, pg. 111
  87. 1 2 Crawford, pg. 92
  88. Clarke, pg.10
  89. Crawford, pg. 95
  90. Southern, pg. 52
  91. Haufman, pg. 32
  92. Epstein, pg. 49
  93. Crawford, pg. 86
  94. Rahkonen, Carl. "French Music". The Garland Encyclopedia of World Music. pp. 854–859.
  95. Elson, The History of American Music, pg. 144
  96. Elson, University Musical Encyclopedia, pg. 81
  97. 1 2 Hansen, pg. 203
  98. 1 2 Crawford, pg. 37
  99. Elson, The History of American Music, pg. 42; Elson cites this claim to Henry M. Brooks, antiquarian
  100. 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 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 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.
  101. 1 2 3 4 Cusic, pg. 41
  102. 1 2 Clarke, pg. 14
  103. 1 2 Crawford, pg. 77
  104. Crawford, pg. 80
  105. 1 2 Chase, pg. 14
  106. Chase, pg. 114
  107. Birge, pg. 16
  108. 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.
  109. Abel, pg. 249
  110. 1 2 3 Chase, pg. 51
  111. 1 2 Wright, Jacqueline R. B. "Concert Music". The Garland Encyclopedia of World Music. pp. 603–613.
  112. Haufman, pg. 29
  113. Crawford. pg. 97
  114. Cousin, John William (1910). A Short Biographical Dictionary of English Literature. London and New York: J.M. Dent & Sons and E.P. Dutton.
  115. 1 2 Crawford, pg. 91
  116. 1 2 Southern, pg. 89
  117. Elson, The History of American Music, pg. 140
  118. Hansen, pg. 205
  119. Crawford, pg. 66
  120. 1 2 Tawa, pg. 103
  121. Crawford, pgs. 88–89
  122. Keeling, Richard. "California". The Garland Encyclopedia of World Music. pp. 412–419.Herzog, George (1928). "The Yuman Musical Style". Journal of American Folklore. American Folklore Society. 41 (160): 183–231. doi:10.2307/534896. JSTOR 534896. and Nettl, Bruno (1954). North American Indian Musical Styles. Philadelphia: American Folklore Society. ISBN 0-292-73524-3.
  123. Elson, The History of American Music, pg. 43
  124. Crawford, pgs. 38–39
  125. Chase, pgs. 115–116
  126. Elson, pgs. 12, 18–19
  127. Southern, pg. 68
  128. Chase, pg. 45
  129. Southern, pg. 44
  130. Southern, pg. 71
  131. 1 2 Southern, pg. 79
  132. Elson, The History of American Music, pg. 43; Elson cites Scharff and Westcott's History of Philadelphia (Volume II, pg. 879)
  133. 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.
  134. 1 2 Crawford, pg. 127
  135. U.S. Army Bands
  136. 1 2 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
  137. 1 2 3 4 U.S. Army Bands
  138. Crawford, pg. 44
  139. Chase, pg. 124
  140. Blum, Stephen. "Sources, Scholarship and Historiography" in the Garland Encyclopedia of World Music, pgs. 21–37
  141. 1 2 U.S. Army Bands
  142. 1 2 3 Southern, pg. 61
  143. U.S. Army Bands
  144. Chase, pg. 39
  145. 1 2 Crawford, pg. 119
  146. Burk, Meierhoff and Phillips, pg. 133
  147. 1 2 Kearns, Williams. "Overview of Music in the United States". The Garland Encyclopedia of World Music. pp. 519–553.
  148. Birge, pg. 10
  149. Hall, p. 3
  150. Elson, The History of American Music, pg. 27
  151. Chase, pg. 121
  152. 1 2 Crawford, pg. 223
  153. Chase, pg. 100
  154. Chase, pg. 52
  155. Southern, pg. 72
  156. Krasnow, Carolyn H. and Dorothea Hast, "Snapshot: Two Popular Dance Forms", pgs. 227–234, in the Garland Encyclopedia of World Music
  157. 1 2 3 4 Bergey, Barry, "Government and Politics", pgs. 288–303, in the Garland Encyclopedia of World Music
  158. Abel, pg. 243
  159. Sanjek, David and Will Straw, "The Music Industry", pgs. 256–267, in the Garland Encyclopedia of World Music
  160. Elson, The History of American Music, pg. 28
  161. Chase, pg. 69
  162. Nicholls, pg. 55
  163. Crawford, pg. 272
  164. 1 2 3 Hansen, pg. 209
  165. Chase, pgs. 98–99
  166. 1 2 Abel, pg. 254
  167. Chase, pg. 103
  168. Crawford, pg. 99
  169. Crawford, pgs. 119–120
  170. Chase, pg. 106
  171. 1 2 3 4 5 Crawford, pg. 129
  172. 1 2 Chase, pg. 126
  173. Crawford, pg. 191
  174. Cornelius, pg. 11
  175. Crawford, pg. 320
  176. Elson, University Musical Encyclopedia, pg. 14; Elson calls The Archers the first American opera.
  177. Clarke, pg. 13
  178. Chase, pg. 193
  179. Koskoff, pg. 31
  180. 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
  181. Burk, Meierhoff and Phillips, pg. 72
  182. Levine, Victoria Lindsay. "Northeast". The Garland Encyclopedia of World Music. pp. 461–465.Morgan, Henry Louis (1962) [1852]. League of the Ho-dé-no-sau-nee or Iroquois. Secaucus, New Jersey: Citadel Press. ISBN 0-665-38467-X.
  183. Chase, pg. 192
  184. Clarke, pg. 39
  185. Southern, pg. 82–83
  186. Mazzulli, Teresa F. (September 30, 2011). "Boston's Conservatorio — The First". The Boston Musical Intelligencer. Retrieved August 30, 2014.
  187. H. Earle Johnson, Musical Interludes in Boston 1795-1830 (Columbia University Press, 1943)
  188. Chase, pg. 219
  189. Crawford, pg. 109
  190. 1 2 Darden, pg. 40
  191. Erbsen, pg. 21
  192. 1 2 3 Crawford, pg. 121
  193. Livingston, Tamara E. and Katherine K. Preston, "Snapshot: Two Views of Music and Class", pgs. 55–62, in the Garland Encyclopedia of World Music
  194. Malone and Stricklin, pg. 8
  195. Chase, pg. 125
  196. Southern, pg. 54
  197. Crawford, pgs. 131–132
  198. 1 2 Crawford, pg. 132
  199. Crawford, pg. 131
  200. 1 2 Crawford, pgs. 132–133
  201. Crawford, pg. 295
  202. Oliver, Paul. "Nostalgia". Continuum Encyclopedia of Popular Music of the World. pp. 292–294.
  203. Wilson, Ruth M. "Eckhard, Jacob, Sr.". New Grove Dictionary of American Music. p. 8.
  204. Chase, pg. 108
  205. Hansen, pg. 213
  206. 1 2 U.S. Army Bands
  207. Laing, Dave. "Hit". The Continuum Encyclopedia of Popular Music of the World. pp. 547–548. ISBN 0-8264-7436-5.
  208. Crawford, pgs. 164–165
  209. Burk, Meierhoff and Phillips, pg. 128
  210. Elson, The History of American Music, pg. 155
  211. Peretti, pg. 20
  212. Abel, pg. 136
  213. Chase, pg. 204
  214. 1 2 3 U.S. Army Bands
  215. Crawford, pgs. 240–241
  216. Elson, University Musical Encyclopedia, pg. 89
  217. Crawford, pg. 293
  218. 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".
  219. Southern, pg. 99
  220. Abel, pg. 133
  221. Darden, pg. 121; Darden mentions claims for 1815, 1829 and 1832.
  222. Chase, pg. 139
  223. Darden, pg. 66
  224. Malone and Stricklin, pg. 9
  225. Crawford, pg. 133
  226. Chase, pg. 62
  227. Southern, pg. 107 indicates that Johnson was the first African American to publish sheet music.
  228. Crawford, pg. 20 indicates that John was the first American black to publish music.
  229. Hansen, pg. 213 indicates Johnson was the first African American to publish music.
  230. 1 2 3 Southern, pg. 107
  231. Clarke, pg. 20
  232. Clarke, p. 20
  233. Clark, pg. 21
  234. Southern, pgs. 80–81
  235. Southern, pg. 130
  236. Southern, pg. 267
  237. Southern, pg. 180
  238. Abel, pg. 239
  239. Abel, pg. 255
  240. Cornelius, pg. 17

Further reading

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