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Part I. The first three centuries. First European contacts. French protestant psalm tunes in Florida. Nicholas Le Challeux, from Brief Account of a Voyage in Florida (1579) ; Jacques Le Moyne de Morgues, from Brief narrative of What Occurred in the French Colony in Florida (1562-65) ; The Huguenot Psalter, psalms 128 and 130 (1547) -- The Indians of Quebec. Father Paul Le Jeune, from report on the Indians of Quebec (1634) -- Early christian music making in New England. Spanish Catholic missionaries. Fray Alonso de Benavides, from Revised Memorial (1634) -- The Ainsworth Psalter. The Ainsworth Psalter, psalms 128 and 130 (1644) -- The Bay Psalm Book. John Winthrop, journal entry (1640) ; The Bay Psalm Book, first edition, "An admonition to the reader" (1640) ; The Bay Psalm Book, third edition, "To the Godly reader" (1651) ; The Bay Psalm Book, first and third editions, three psalms (1640, 1651) ; The Bay Psalm Book, ninth edition, "The tunes of the psalms" (1698) -- Agitating for regular singing. Thomas Symmes, from The Reasonableness of Regular Singing (1720) ; Cotton Mather, from The Accomplished Singer (1721); Cotton Mather, from letter to Thomas Hollis (1723) ; Cotton Mather, from letter to Thomas Bradbury (1724) -- The flowering of sacred music. The tunebooks of John Tufts and Thomas Walter. Thomas Walter, from The Grounds and Rules of Musick Explained (1721) -- A significant tunebook. James Lyon, from Urania (1761) William Billings, singing master. William Billings, from The Singing Master's Assistant (1778) -- The utopian spirit. Jacob Gass? and Johann Peter Miller, from Chronicon Ephratense (1786) ; Jacob Duche, from letter to the Lord Bishop of B-l (1774) -- The Moravians and their music. Benjamin Franklin, diary entry (1756) ; Henry Leavitt Ellsworth, diary entry (1811) ; James Henry, from Sketches of Moravian Life and Character (1859) -- Colonial song, dance, and home music making. Yankee Doodle rides into town. Text of Yankee Doodle, or The Lexington march (1775?) ; Text of The Farmer and His Son's Return from a Visit to the Camp (1786?) ; Text of Yankee Doodle (c. 1798) -- Philadelphia's birthday balls for George Washington. Henry Wansey, from The Journal of an Excursion (1796) ; Julian Ursyn Niemcewicz, travel diary entries (1798; pub. 1959) -- Francis Hopkinson, composer and statesman. Francis Hopkinson, from Seven Songs for the Harpsichord or Forte Piano (1788) -- Early concert and theater music and music publishing. Alexander Reinagle. Anonymous, "Mr. Reinagle" (1822) -- African music in early America. The gospel labors of Richard Allen. Richard Allen, from The Life, Experience, and Gospel Labors (c. 1793; pub. 1887) ; Richard Allen, ed., Two Hymns (1801) -- Reform of New England psalmody. American tunebook prefaces around 1800. Samuel Holyoke, preface to Harmonia Americana (1791) ; Oliver Holden, preface to American Harmony (1792) ; William Cooper, preface to The Beauties of Church Music (1804) ; From preface to The Salem Collection of Classical Sacred Musick (1805) ; Elias Mann, preface to The Massachusetts Collection of Sacred Harmony (1807) -- Andrew Law, psalmodist. Andrew Law, from The Art of Singing (1803) -- |
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Part II. The nineteenth century. Furthering the cause of musical reform. John Hubbard, mathematician and philosopher. John Hubbard, from An Essay on Music (1808) -- Nathaniel D. Gould and sacred music in New England. Nathaniel D. Gould, from An Address Delivered at New-Ipswich, N. H. (1818) ; Nathaniel D. Gould, from Church Music in America (1853) -- Edification and economics: the careers of Lowell Mason and George F. Root. Lowell Mason, music educator. Lowell Mason, "Method of teaching," from The Pestalozzian Music Teacher (1871) -- George F. Root, songwriter and music publisher. George F. Root, text of The Battle-Cry of Freedom (1862) ; George F. Root, from The Story of a Musical Life (1891) -- Folk and devotional music. The music of camp meetings. Lorenzo Dow, from History of Cosmopolite (1814) ; Peter Cartwright, from Autobiography (1856) ; Grace Reviving the Soul, hymn text (1809) -- Shape-note hymnody. Ananias Davisson, from Kentucky Harmony (1816) -- The enduring qualities of Fasola. William Walker, from preface to The Southern Harmony (1835) ; B. F. White and E. J. King, preface to The Sacred Harp (1844) ; George Pullen Jackson, from White Spirituals in the Southern Uplands (1933) -- Joshua Leavitt and religious revivals. Joshua Leavitt, from The Christian Lyre (1831) -- Theater and opera, 1800-1860. Two prima donnas: Maria Malibran and Elizabeth Austin. Richard Storrs Willis?, from "Biography of Malibran" (1854) ; Anonymous, "Mrs. Ausin" (1830) -- Jenny Lind, the Swedish Nightingale. Jenny Lind, letter to her parents (1850) ; Charles G. Rosenberg, from Jenny Lind in America (1851) ; Two reviews of Jenny Lind's second Washington concert (1850) -- New England traditions revisited. Robert J. Kemp, from Father Kemp and His Old Folks (1868) -- Blacks, whites, and the minstrel stage. Negro minstrelsy. Richard Storrs Willis?, from "Negro minstrelsy" (1853) ; Anonymous, "Negro minstrels on the western rivers, by one who has been there" (1852) -- Jim Crow and The Coal Black Rose. Thomas Dartmouth "Daddy" Rice, text of Jim Crow (c. 1830) ; Francis Courtney Wemyss, from "Mr. Thomas Rice" (1848) ; George Washington Dixon, text of The Coal Black Rose (c. 1830) -- Dan Emmett and the Virginia minstrels. Daniel Decatur Emmett, text of The Fine Old Colored Gentleman (1843) -- Peedee or Swanee? Stephen Collins Foster. Stephen Foster, sketches for text of Old Folks at Home (1851) ; Stephen Foster, published text of Old Folks at Home (1851) ; Morrison Foster, from Biography, Songs, and Musical Compositions of Stephen C. Foster (1896) ; Stephen Foster, letter to Edwin P. Christy (1852) ; News item on Old Folks at Home (1852) ; Anonymous, text of Great Democratic Song (c. 1853) -- Sheet music and the music business. Patriotic songs. Alexander Reinagle, text of America, Commerce, and Freedom (1794?) ; Thomas Paine, text of Adams and Liberty (1798) ; Francis Scott Key, text of Defence of Fort M'Henry (1814) ; Text of A New Song (1793) ; Samuel Francis Smith, text of America (1831) -- The brothers chickering. News item on the new piano factory (1854) -- S. Brainard's Sons: the model music house of America. Karl Merz, "Half a century: S. Brainard's Sons' golden anniversary" (1886) -- Parlor songs and social reform. John Hill Hewitt: writer, publisher, and composer. John Hill Hewitt, from Shadows on the Wall (1877) ; John Hill Hewitt, three poems (1838) -- The Hutchinson family. Hutchinson family singers, journal entries (1843-1844) ; John Wallace Hutchinson, from Story of the Hutchinsons (1896) -- Shouting the jubilee of temperance. Arba Lankton, from Incidents in the Life of Arba Lankton (1891); Arba Lankton, texts of two songs (1889) -- Bands and orchestras, 1800 to the 1870s. The Dodworth band. Allen Dodworth, from Dodworth's Brass Band School (1853) ; Review of Dodworth's band concert (1849) -- Patrick S. Gilmore and his magnificent vision. Patrick S. Gilmore, from History of the National Peace Jubilee (1871) -- From church to concert hall. A new vision of concert life: Boston's Handel and Haydn society. Concert advertisement (1815) ; Concert review in the Boston Patriot (1816) ; Concert review in the Columbian Centinel (1816) ; From preface to The Boston Handel and Haydn Society Collection of Church Music (1822)-- Henry Erben and his splendid organ. "Trinity organ" (1846) -- John Sullivan Dwight and his Journal of Music. John Sullivan Dwight, from a statement on American music (1854) ; John Sullivan Dwight, "Native musical talent" (1854) -- Louis Jullien and New York's musical congress. "The musical congress: great gathering at the crystal palace" (1854) ; George Templeton Strong, diary entry (1854) -- Theodore Thomas, traveling virtuoso. News item on the march from sea to sea (1883) ; Theodore Thomas, from "The methods of a great conductor" (1883) ; Theodore Thomas, from "Musical possibilities in America" (1881) -- From log house to opera house. Anthony Philip Heinrich, the Beethoven of America. Anthony Philip Heinrich, preface to The Dawning of Music in Kentucky (1820) ; Anonymous, "Musical diary. A. P. Heinrich" (1823) -- Notable American opera. William Henry Fry, from prefatory remarks to Leonora (1845) ; Francis Courtney Wemyss, from Theatrical Biography (1848) ; Announcements and review of George Frederick Bristow's Rip Van Winkle (1855) -- The American perspective: Fry and Bristow again. William Henry Fry, open letter to Richard Storrs Willis (1853) ; George Frederick Bristow, open letter to Richard Storrs Willis (1854) -- South versus north: slavery and the Civil War. The music of slavery. Frederick Douglass, from Narrative of the Life of Frederick Douglass (1845) ; William Wells Brown, from My Southern Home (1880) -- Let my people go. The Contrabands' freedom hymn (1861) ; News item on the Contrabands' freedom hymn (1862) ; Song of the Negro Boatmen (1862) ; Julia Ward Howe, text of Battle Hymn of the Republic (1862) -- Voices of Abolition. Two songs from The Anti-Slavery Harp (1854) ; Lucy McKim, open letter to John Sullivan Dwight (1862) ; William Francis Allen, from Slave Songs of the United States (1867) -- Rallying 'round the flag: songs of the Civil War. S. Brainard's Sons, from Our War Songs North and South (1887) ; Ethel Lynn Beers, text of All Quiet along the Potomac To-night (1863) ; James Ryder Randall, text of Maryland, My Maryland (1861); Anonymous, text of Our Maryland (c. 1862)-- Music afloat. Raphael Semmes, from Memoirs of Service Afloat during the War between the States (1869) -- After the war. James M. Trotter and the music of black Americans. James M. Trotter, from Music and Some Highly Musical People (1881) -- Spirituals after the War: improvising troubles into art forms. R. Nathaniel Dett, from Religious Folk-Songs of the Negro (1927) -- A New Orleans original. Louis Moreau Gottschalk, our quintessential Romantic. William Mason, from Memories of a Musical Life (1901) ; Louis Moreau Gottschalk, "Notes of a Pianist, III" (1865) -- Two Boston Composers. Arthur Foote and the Boston group. Arthur Foote, from An Autobiogrpahy (c. 1930; pub. 1946) ; Arthur Foote, "A Bostonian remembers" (1937) -- Amy Beach and the gender issue. Rupert Hughes, from "The Women Composers" (1896) ; Arthur Elson, from Woman's Work in Music (1903) -- Classic German Romanticism. Edward MacDowell. Edward MacDowell, from "Suggestion in music" (1890s; pub. 1912) -- Musical nationalism. Antonin Dvorak and the development of national music. Antonin Dvorak, from "Real value of Negro melodies" (1893) ; Antonin Dvorak, from "An interesting Talk about 'From the New World' symphony" (1893) ; Antonin Dvorak, from "Music in America" (1895) -- Amy Beach replies to Antonin Dvorak. Amy Beach, from letter to the editor of The Boston Herald (1893) -- Patronage by notable American Women. From "The national conservatory of music of America" (1890) ; Olin Downes, from "Servant of Music" (1953) -- Native American music and music in Hawaii. Frank Mitchell (Olta'i Tsoh), Navaho Blessingway singer. Frank Mitchell, from Navaho Blessingway Singer (1960s; pub. 1978) -- Singing for power and Wakan'tanka. Black Elk, from Black Elk Speaks -- "Speech to cleanse the village of sickness" (1938) ; Left handed, from Son of Old Man Hat -- Songs from the northwest coast and the far north. Haida and Eskimo song texts (pub. 1934) -- Hawaii. Adelbert von Chamisso, from "Remarks and opinions of the naturalist of the expedition" (1821) ; William Ellis, from Narrative of a Tour through Hawaii (1823) -- Music and religion. The Shakers. Benson J. Lossing, from "The Shakers" (1857) ; Shaker song texts (pub: 1940) -- The Mormons: long live Brother Brigham Young. Richard F. Burton, from The City of the Saints (1862)-- Ira D. Sankey and the power of the gospel. Two gospel song texts (1875); Ira D. Sankey, from My Life and the Story of the Gospel Hymns (1907) -- Sousa, the phonograph, and Tin Pan Alley. John Philip Sousa. John Philip Sousa, from Marching Along (1928) -- The business of music. Edward B. Marks, from They All Sang (1934) ; Thomas Alva Edison, from The Diary and Sundry Observations of Thomas Alva Edison, (1920-25; pub. 1948) -- The American cowboy. Cowboy songs. Nathan Howard Thorp, from "Banjo in the cow camps" (pub. 1945) ; Nathan Howard Thorp, The Old Chisholm Trail (pub. 1942) ; John A. Lomax, "Collector's note" and Whoopee Ti Yi Yo (1910) -- |
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Part III. The twentieth century. Music for America. Arthur Farwell and music for a democracy. Arthur Farwell, from "Pioneering for American music" (1935) ; Arthur Farwell, from "The new gospel of music" (1914) -- Henry Gilbert: promoting American music. Henry Gilbert, from "The American composer" (1915)-- To stretch our ears: the music of Charles Ives. Charles Ives. Winthrop P. Tryon, from "A composer in Wall Street" (1924) ; Charles Ives, from Memos (1932; pub. 1972) ; Henry Bellamann, from "Charles Ives: the man and his music" (1933) ; Henry Cowell, from American Composers on American Music (1933) ; Charles Ives, from "Some 'quarter-tone' impressions" (c. 1920; pub. 1962) ; Charles Ives, from Essays before a Sonata (1920) ; Charles Ives, from "Music and its future" (1933) ; Aaron Copland, from Music and Imagination (1952) -- "Come on and hear": The early twentieth century. W. C. Handy: Memphis, Mr. Crump, and the blues. W. C. Handy, from Father of the Blues: An Autobiography (1941) -- Ragtime: Joplin, Berlin, and J. R. Europe. Monroe H. Rosenfeld, "The king of ragtime composers is Scott Joplin" (1903) ; Scott Joplin, from School of Ragtime (1908) ; From "Great composers get little; popular writers well paid" (1911) ; "Ragtime by U. S. army band gets everyone 'Over there'" (1918) -- Reminiscing with Sissle and Blake. Anonymous ("Ibee"), "Shuffle along" (1921) -- The jazz age: America and Europe. Louis Armstrong remembers New Orleans. Louis Armstrong, from A Self-Portrait (1966) -- George Gershwin: stretching the boundaries. George Gershwin, from "The relation of jazz to American Music" (1933) ; George Gershwin, "Rhapsody in catfish row" (1935) -- Darius Milhaud: A European composer looks at jazz. Darius Milhaud, from Notes without Music (1953) -- Classical music through the Depression and beyond. European composers in America. Ernst Krenek, from "The transplanted composer" (1938) ; Arnold Schoenberg, lecture (1934) ; Robert Craft, Igor Stravinsky and The Star-Spangled Banner (1960) -- Virgil Thomson: the lure of France. Virgil Thomson, Letter to Victor Yellin (1949) ; Virgil Thomson, from Virgil Thomson (1966) -- Aaron Copland and the American artist. Aaron Copland, from "The composer and his critic" (1932) ; Aaron Copland, "Creativity in America" (1952) -- Roy Harris and the American composer. Roy Harris, from "Problems of American composers" (1933) -- Edgard Varese, "Statements by Edgard Varese" (pub. 1976) ; Edgard Varese, "Freedom for Music" (1939) -- Evenings on the roof. Peter Yates, from Evenings on the Roof: Fourth Report (1946) -- The American Communist party. Proletarian music. Charles Seeger, "On proletarian music" (1934) -- American folk song and its collectors. Cecil Sharp and English folk song in America. Cecil Sharp, from English Folk Songs from the Southern Appalachians (1917) -- Alan Lomax: the map sings. Alan Lomax, from introduction to The Folk Songs of North America (1960) -- Jazz goes national. Jelly Roll Morton: the diamond king. Mabel Morton, on her husband, Jelly Roll Morton (1949) -- The business of music. ASCAP: protection of performing rights. News article, "Trust for control of music business" (1914) ; News article, "Radio's battle of music (1940) ; News article, "Peace on the air" (1941) -- William Grant Still, African-American composer. William Grant Still, from "Can music make a career?" (1948) -- Ellington, Basie, and the swing band. Count Basie. Count Basie, from Good Morning Blues (1985) -- Duke Ellington. Duke Ellington, from Music is My Mistress (1973) -- The American musical. The Broadway melody. Reviews in Variety (1929) -- Nationalism, optimism, and Oklahoma!. Lewis Nichols, review of Oklahoma! (1943) -- Classical music in the postwar years. Elliot Carter. Allen Edwards, from Flawed Words and Stubborn Sounds: A Conversation with Elliot Carter (1971) -- Milton Babbitt and the American avant-garde. Milton Babbitt, "Who cares if you listen?" (1958) -- John Cage: the perpetual process of artistic discovery. John Cage, "The future of music: credo" (1937; pub. 1961) ; John Cage, from "Cosmopolitan" (1952) ; John Cage, from Silence (1961) ; Steven Montague, "John Cage at seventy: an interview" (1985) -- Rock and roll. An underground look at rock. Chester Anderson, "Notes for the new geology" (1967) -- Rock criticism: Lester Bangs and Greil Marcus. Lester Bangs, from "A final chat with Lester Bangs," interview by Jim DeRogatis (c. 1982; pub. 1999) ; Greil Marcus, from "Do politics rock?" interview by Billy Bob Hargus (1997) -- Bluegrass and gospel. Bluegrass: Bill Monroe and the blue grass boys. Alan Lomax, "Bluegrass background: folk music with overdrive" (1959) ; Ralph Rinzler, from "A visit to Rosine and other observations" (1993) -- Mahalia Jackson and gospel songs of hope. Mahalia Jackson, from Movin On Up (1966) -- Jazz, Bernstein, and third stream. Innovators in Jazz: Charlie Parker and John Coltrane. Michael Levin and John S. Wilson, from "The Chili parlor interview" (1949) ; John Coltrane, "Coltrane on Coltrane" -- Leonard Bernstein: the measure of the man. Leonard Bernstein, "The mountain disappears" (1954) ; Leonard Bernstein, from "Speaking of music" (1957) ; Robert Chesterman, from "Leonard Bernstein in conversation" (1976) -- Gunther Schuller and the third stream. Gunther Schuller, "'Third stream' redefined" (1961) ; Gunther Schuller, from "Third stream revisited" (1981) -- Performance art, minimalism, and the new romanticism. Pauline Oliveros and performance art. Pauline Oliveros, from "And don't call them 'lady' composers" (1970) -- Minimalism and beyond. Steve Reich, from interview by William Duckworth (1995) ; Philip Glass, from interview by William Duckworth (1995) ; John Adams, from interview by Reinder Pols (1991) -- The late twentieth century. The music business. Robert Osmun, interview by J. Heywood Alexander (1996) ; Walter Holtkamp, Jr., Interview by J. Heywood Alexander (1994) -- Wynton Marsalis, spokesperson for jazz. Wynton Marsalis, two interviews by Ted Panken (1993-94; pub. 1997) ; Wynton Marsalis, from Sweet Swing Blues on the Road (1994) -- Supporting new music. John Duffy, interview by J. Heywood Alexander (1998) ; Libby Larsen, interview by J. Heywood Alexander (1998). |
| Abstract |
This text provides a collection of source readings that covers a variety of areas of American music history. Texts have been reliably transcribed from the original sources and presented with introductions, explanations and footnotes. |
| Local note | Little-348525--305131054951. |
| Bibliography note | Includes bibliographical references and index. |
| LCCN | 2001044816 |
| ISBN | 0393974111 (pbk.) |
