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 |
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Shape notes are a musical notation designed to facilitate congregational and social singing. The notation, introduced in late 18th century England, became a popular teaching device in American singing schools. Shapes were added to the noteheads in written music to help singers find pitches within major and minor scales without the use of more complex information found in key signatures on the staff.
A hymnal or hymnary is a collection of hymns, usually in the form of a book, called a hymnbook. They are used in congregational singing. A hymnal may contain only hymn texts ; written melodies are extra, and more recently harmony parts have also been provided.
William Billings is regarded as the first American choral composer and leading member of the First New England School.
The colonial history of the United States began in 1607 with the colonization of Jamestown, Virginia. Music of all genres and origins emerged as the United States began to form. From the Indigenous spiritual music to the African banjos, music in the United States is as diverse as its people. In New England, the music was very religious and was vitally important in the rising of American music. The migration of people southward led to the settling of the Appalachian Mountains. There many poor Europeans inhabited and brought country blues and fiddling. As music spread, the religious hymns were still just as popular. The first New England School, Shakers, and Quakers, which were all music and dance groups inspired by religion, rose to fame. In 1776, St. Cecilia Music Society opened in the Province of South Carolina and led to many more societies opening in the Northern United States. African slaves were brought to the United States and introduced the music world to instruments like the xylophone, drums and banjo. The diverse music of the United States comes from the diverse type of people who first colonized this country.
The music of Baltimore, the largest city in Maryland, can be documented as far back as 1784, and the city has become a regional center for Western classical music and jazz. Early Baltimore was home to popular opera and musical theatre, and an important part of the music of Maryland, while the city also hosted several major music publishing firms until well into the 19th century, when Baltimore also saw the rise of native musical instrument manufacturing, specifically pianos and woodwind instruments. African American music existed in Baltimore during the colonial era, and the city was home to vibrant black musical life by the 1860s. Baltimore's African American heritage to the start of the 20th century included ragtime and gospel music. By the end of that century, Baltimore jazz had become a well-recognized scene among jazz fans, and produced a number of local performers to gain national reputations. The city was a major stop on the African American East Coast touring circuit, and it remains a popular regional draw for live performances. Baltimore has produced a wide range of modern rock, punk and metal bands and several indie labels catering to a variety of audiences.
The city of Philadelphia, Pennsylvania, is home to a vibrant and well-documented musical heritage, stretching back to colonial times. Innovations in classical music, opera, R&B, jazz, soul, and rock have earned the music of Philadelphia national and international renown. Philadelphia's musical institutions have long played an important role in the music of Pennsylvania, as well as a nationwide impact, especially in the early development of hip hop music. Philadelphia's diverse population has also given it a reputation for styles ranging from dancehall to Irish traditional music, as well as a thriving classical and folk music scene.
A hymn tune is the melody of a musical composition to which a hymn text is sung. Musically speaking, a hymn is generally understood to have four-part harmony, a fast harmonic rhythm, with or without refrain or chorus.
This is a timeline of music in the United States from 1950 to 1969.
This is a timeline of music in the United States from 1970 to the present.
The Second New England School or New England Classicists is a name given by music historians to a group of classical-music composers who lived during the late-19th and early-20th centuries in New England. More specifically, they were based in and around Boston, Massachusetts, then an emerging musical center. The Second New England School is viewed by musicologists as pivotal in the development of an American classical idiom that stands apart from its European ancestors.
This is a timeline of music in the United States from 1820 to 1849.
This timeline of music in the United States covers the period from 1850 to 1879. It encompasses the California Gold Rush, the Civil War and Reconstruction, and touches on topics related to the intersections of music and law, commerce and industry, religion, race, ethnicity, politics, gender, education, historiography and academics. Subjects include folk, popular, theatrical and classical music, as well as Anglo-American, African American, Native American, Irish American, Arab American, Catholic, Swedish American, Shaker and Chinese American music.
This is a timeline of music in the United States from 1880 to 1919.
This is a timeline of music in the United States from 1920 to 1949.
Slave Songs of the United States was a collection of African American music consisting of 136 songs. Published in 1867, it was the first, and most influential, collection of spirituals to be published. The collectors of the songs were Northern abolitionists William Francis Allen, Lucy McKim Garrison, and Charles Pickard Ware. The group transcribed songs sung by the Gullah Geechee people of Saint Helena Island, South Carolina. It is a "milestone not just in African American music but in modern folk history". It is also the first published collection of African-American music of any kind.
The Puritan culture of the New England colonies of the seventeenth century was influenced by Calvinist theology, which believed in a "just, almighty God," and a lifestyle of pious, consecrated actions. The Puritans participated in their own forms of recreational activity, including visual arts, literature, and music.
Thomas Baker was an English composer, music arranger, conductor, violinist, and musical producer who was primarily active in New York City. He is best known for composing the music for The Black Crook; a work which is widely cited as the first precursor to the twentieth-century musical.
Elam Ives Jr. (1802–1864) was a New England-based music teacher whose work with William Channing Woodbridge helped introduce the ideas of Johann Heinrich Pestalozzi into music education in the United States. His work also influenced Lowell Mason, whose work with Woodbridge eventually led to music education being introduced into the public schools of Boston.
"Lo! He comes with clouds descending" is a Christian hymn by Charles Wesley (1707–1788), based on an earlier hymn, "Lo! He cometh, countless Trumpets" by John Cennick (1718–1755). Most commonly sung at Advent, the hymn derives its theological content from the Book of Revelation relating imagery of the Day of Judgment. Considered one of the "Great Four Anglican Hymns" in the 19th century, it is most commonly sung to the tune Helmsley, first published in 1763.
Yankee tunesmiths were self-taught composers active in New England from 1770 until about 1810. Their music was largely forgotten when the Better Music Movement turned musical tastes towards Europe, as in Thomas Hastings's 1822 Dissertation on Musical Taste and other works. The principal tunesmiths were William Billings, Supply Belcher, Daniel Read, Oliver Holden, Justin Morgan, Lewis Edson, Andrew Law, Timothy Swan, Jacob Kimball Jr., and Jeremiah Ingalls. They composed primarily psalm tunes and fuging tunes, which differ enough from European fugues to warrant the spelling "fuge".
Horn notes that it was the first book printed in English in the colonies.