Timeline of music in the United States (1820–49)

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 from 1820 to 1849.

1820

Early 1820s music trends
  • The Boston 'Euterpiad becomes the first American periodical devoted to the parlor song.[5]
  • The all-black African Grove theater in Manhattan begins staging with pieces by playwright William Henry Brown and Shakespeare, sometimes with additional songs and dances designed to appeal to an African American audience.[6] Ira Aldridge, the first renowned actor of African descent, is among the performers. He will later popularize "Opossum Up a Gum Tree", the earliest known slave song.[7]
  • John Cromwell becomes the leading African American singing school master in Philadelphia; his students will include other prominent masters, such as Robert Johnson and Morris Brown, Jr.[8]

1821

1822

1823

1824

Mid 1820s music trends
  • African American churches begin sponsoring concerts of sacred music in Eastern cities.[8]

1825

1827

1828

Cover to sheet music for "Jump Jim Crow", depicting Thomas D. Rice in his blackface costume.
Late 1820s music trends
  • The banjo spreads from African Americans to whites, with the first documentation coming from Joel Walker Sweeney in Virginia.[43] Sweeney will change the body of the banjo from the traditional gourd to a European drum shell.[44]
  • Showboats begin traveling along the Chattahoochee River, bringing the first professional entertainers to Columbus, Georgia and other towns along the river.[45]
  • 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.[46]

1829

1830

1831

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.[46]

1832

1833

1834

Mid 1830s music trends
  • The Boston Academy of Music moves from education and sacred song into the cultivation of instrumental music by recognized European masters.[62]
  • 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.[63]

1835

1836

1837

Late 1830s music trends
  • Touring by European bands becomes commonplace across North America, as more inhabited areas have grown large enough to make performances commercially viable.[66]
  • American military bands and other ensembles adopt the "Turkish" or "Janissary" percussion instrumentation of triangle, bass drum, cymbal and tambourine.[73]
  • The banjo begins to be used as a solo instrument in minstrel shows, which will soon settle on the standard quartet of banjo, fiddle, tambourine and bones.[74]

1838

1839

Early 1840s music trends
  • Brass bands spread across the United States, and are a well-established part of local musical life.[85]
  • Pianos have become an increasingly common household item, and are owned by most families that are capable of affording one.[86]
  • An African American dance technique using the heel of the foot without raising the rest of front of the foot dates back to this era; it will eventually become the basis for the stop-time ragtime dance.[87]

1840

1841

1842

1843

1844

1845

1846

1847

Late 1840s music trends

1848

1849

References

Notes

  1. Crawford, pg. 314
  2. Chase, pg. 270
  3. 1 2 Blum, Stephen. "Sources, Scholarship and Historiography" in the Garland Encyclopedia of World Music, pgs. 21–37
  4. Elson, pg. 44
  5. Tawa, pg. 18
  6. 1 2 3 4 Riis, Thomas L. "Musical Theater". The Garland Encyclopedia of World Music. pp. 614–623.
  7. Crawford, pg. 21
  8. 1 2 Southern, pg. 105
  9. 1 2 Darden, pg. 67
  10. Southern, pg. 116
  11. Crawford, pg. 142
  12. Burk, Meierhoff and Phillips, pg. 129
  13. Chase, pg. 132
  14. Horowitz, pg. 29 gives the year as 1822
  15. 1 2 U.S. Army Bands
  16. Crawford, pg. 151
  17. Abel, pg. 255
  18. Chase, pg. 233, quoted from Toll, Robert C. Blacking Up. p. 27.
  19. Crawford, pgs. 177–178
  20. Clarke, pg. 19
  21. Abel, pg. 171
  22. Abel, pg. 257
  23. Clarke, pg.20
  24. Clint Goss (2011). "The Beltrami Flute". Retrieved 2011-04-16.
  25. 1 2 3 Crawford, pg. 191
  26. Kirk, pg. 385
  27. 1 2 3 4 5 6 7 Cockrell, Dale and Andrew M. Zinck, "Popular Music of the Parlor and Stage", pgs. 179–201, in the Garland Encyclopedia of World Music
  28. Crawford, pg. 180
  29. Crawford, pg. 234
  30. 1 2 3 Hansen, pg. 215
  31. Abel, pg. 65
  32. 1 2 Clarke, pg. 14
  33. 1 2 Kirk, pg. 386
  34. Southern, pgs. 101–102
  35. 1 2 Malone and Stricklin, pg. 8
  36. Crawford, pg. 185
  37. Southern, pg. 125
  38. Hester, pg. 48
  39. 1 2 Southern, pg. 128
  40. Southern, pg. 603
  41. Crawford, pg. 201
  42. Peretti, pg. 22
  43. Crawford, pg. 205
  44. 1 2 Wondrich, pg. 22
  45. Abel, pg. 244
  46. 1 2 Crawford, pg. 277
  47. 1 2 Chase, pg. 233
  48. Birge, pg. 18
  49. 1 2 3 4 Crawford, pg. 147
  50. 1 2 3 4 5 6 7 U.S. Army Bands
  51. Crawford, pg. 317
  52. Sanjek, David and Will Straw, "The Music Industry", pgs. 256–267, in the Garland Encyclopedia of World Music
  53. Crawford, pg. 185–186
  54. Crawford, pg. 169
  55. Darden, pgs. 81–82
  56. 1 2 Loza, Steven. "Hispanic California". The Garland Encyclopedia of World Music. pp. 734–753.
  57. Crawford, pg. 181
  58. 1 2 3 4 5 6 7 8 9 10 Colwell, Richard; James W. Pruett; Pamela Bristah. "Education". New Grove Dictionary of Music. pp. 11–21.
  59. Birge, pgs. 25–26
  60. 1 2 Crawford, pg. 18
  61. Elson, pg. 102
  62. Crawford, pgs. 302–303
  63. Crawford, pgs. 242–243
  64. Chase, pg. 244
  65. Burk, Meierhoff and Phillips, pg. 144
  66. 1 2 3 Preston, Katherine K.; Susan Key; Judith Tick; Frank J. Cipolla; Raoul F. Camus. "Snapshot: Four Views of Music in the United States". The Garland Encyclopedia of World Music. pp. 554–569.
  67. Chase, pg. 210
  68. 1 2 Crawford, pg. 165
  69. Horn, David. "Oliver Ditson and Company". The Continuum Encyclopedia of Popular Music. pp. 584–585.
  70. Chase, pg. 134; all single quotes in original; Chase quotes from the Collection that the songs "must be republished as originally written, or the elderly and middle-aged must be deprived of the satisfaction and delight they have heretofore experienced."
  71. 1 2 3 4 5 Birge, pg. 65, citing Francis M. Dickey's The Early History of Public School Music in the United States
  72. Tawa, pg. 55
  73. Crawford, pgs. 272–273
  74. Klitz, pg. 48
  75. Burk, Meierhoff and Phillips, pg. 168
  76. Elson, pg. 45
  77. Chase, pg. 208
  78. Laing, Dave; John Shepherd. "Tour". The Continuum Encyclopedia of Popular Music of the World. pp. 567–568.
  79. Horn, David; David Sanjek. "Sheet Music". The Continuum Encyclopedia of Popular Music. pp. 599–605.
  80. Southern, pg. 109
  81. Chase, pg. 133
  82. Birge, pg. 1
  83. Abel, pg. 239
  84. 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
  85. Abel, pg. 133
  86. Abel, pg. 139
  87. Chase, pg. 414, citing Nathan, Hans (1887). "Early Banjo Tunes and American Syncopation". The Complete American Banjo School. Philadelphia.
  88. 1 2 Wright, Jacqueline R. B. "Concert Music". The Garland Encyclopedia of World Music. pp. 603–613.
  89. Chase, pg. 131
  90. Crawford, pg. 302
  91. Crawford, pg. 152
  92. Chase, pg. 143
  93. Southern, pg. 180
  94. Chase, pg. 305
  95. Southern, pg. 132
  96. Chase, pg. 237
  97. 1 2 Crawford, pg. 212
  98. Crawford, pgs. 255–257
  99. Chase, pg. 162
  100. Southern, pg. 94
  101. Upkopodu, pg.
  102. Darden, pg. 121
  103. Southern, pg. 99
  104. Crawford, pg. 304
  105. Burk, Meierhoff and Phillips, pg. 165
  106. 1 2 3 4 Kearns, Williams. "Overview of Music in the United States". The Garland Encyclopedia of World Music. pp. 519–553.
  107. Chase, pg. 202
  108. 1 2 3 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
  109. Abel, pg. 140
  110. Crawford, pg. 203
  111. Darden, pg. 122
  112. Southern, pg. 92
  113. Maultsby, Portia K.; Mellonee V. Burnin; Susan Oehler. "Overview". The Garland Encyclopedia of World Music. pp. 572–591.
  114. Goertzen, Christopher. "English and Scottish Music". The Garland Encyclopedia of World Music. pp. 831–841.
  115. Erbsen, pg. 16
  116. Southern, pg. 62
  117. Burnim and Maultsby, pg. 9
  118. 1 2 Chase, pg. 160, cites Tick, Judith. American Woman Composers Before 1870. p. 146.
  119. Crawford, pg. 238
  120. Chase, pg. 251
  121. Clarke, pg. 22
  122. Crawford, pg. 391
  123. Crawford, pg. 428
  124. Reyna, José R. "Tejano Music". The Garland Encyclopedia of World Music. pp. 770–782.
  125. Chase, pg. 144
  126. Snell and Kelley, pg. 31
  127. Erbsen, pg. 21
  128. 1 2 Chase, pg. 182
  129. Crawford, pg. 425
  130. Southern, pg. 16
  131. Crawford, pg. 298
  132. Chase, pg. 252
  133. Levy, Mark. "Central European Music". The Garland Encyclopedia of World Music. pp. 884–903.
  134. Chase, pg. 135
  135. Abel, pg. 248
  136. Southern, pg. 129
  137. Burk, Meierhoff and Phillips, pg. 177
  138. Darden, pg. 45
  139. Crawford, pgs. 283–284
  140. Southern, pg. 111
  141. Darrow and Heller, pg. 270
  142. Zheng, Su. "Chinese Music". The Garland Encyclopedia of World Music. pp. 957–966.
  143. Chase, pg. 342
  144. Crawford, pg. 334
  145. Southern, pg. 267
  146. Snell and Kelley, pg. 45
  147. Southern, pg. 141
  148. Clarke, pg. 17, Clarke notes that the "British thespian was seen to represent an aristocratic elitism."
This article is issued from Wikipedia - version of the Sunday, May 01, 2016. The text is available under the Creative Commons Attribution/Share Alike but additional terms may apply for the media files.