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Aspects of the history of music in early America and the history of early American music.
Scattered in archives and historical societies across the United States are hundreds of volumes of manuscript music, copied by hand by eighteenth-century amateurs. Often overlooked, amateur music making played a key role in the construction of gender, class, race, and nation in the post-revolution years of the United States. These early Americans, seeking ways to present themselves as genteel, erudite, and pious, saw copying music by hand and performing it in intimate social groups as a way to make themselves--and their new nation-appear culturally sophisticated. Following a select group of amateur musicians, Cultivated by Hand makes the case that amateur music making was both consequential to American culture of the eighteenth century and aligned with other forms of self-fashioning. This interdisciplinary study explores the social and material practices of amateur music making, analyzing the materiality of manuscripts, tracing the lives of individual musicians, and uncovering their musical tastes and sensibilities. Author Glenda Goodman explores highly personal yet often denigrated experiences of musically "accomplished" female amateurs in particular, who grappled with finding a meaningful place in their lives for music. Revealing the presence of these unacknowledged subjects in music history, Cultivated by Hand reclaims the importance of such work and presents a class of musicians whose labors should be taken into account.
An illustrated history of America's musical heritage ranges from the earliest examples of Native American traditional song to the innovative sound of contemporary rock and jazz.
The early decades of American popular music--Stephen Foster, Scott Joplin, John Philip Sousa, Enrico Caruso--are, for most listeners, the dark ages. It wasn't until the mid-1920s that the full spectrum of this music--black and white, urban and rural, sophisticated and crude--made it onto records for all to hear. This book brings a forgotten music, hot music, to life by describing how it became the dominant American music--how it outlasted sentimental waltzes and parlor ballads, symphonic marches and Tin Pan Alley novelty numbers--and how it became rock 'n' roll. It reveals that the young men and women of that bygone era had the same musical instincts as their descendants Louis Armstrong, Elvis Presley, James Brown, Jimi Hendrix, and even Ozzy Osbourne. In minstrelsy, ragtime, brass bands, early jazz and blues, fiddle music, and many other forms, there was as much stomping and swerving as can be found in the most exciting performances of hot jazz, funk, and rock. Along the way, it explains how the strange combination of African with Scotch and Irish influences made music in the United States vastly different from other African and Caribbean forms; shares terrific stories about minstrel shows, "coon" songs, whorehouses, knife fights, and other low-life phenomena; and showcases a motley collection of performers heretofore unknown to all but the most avid musicologists and collectors.
Musicians’ Migratory Patterns: The African Drum as Symbol in Early America questions the ban that was placed on the African drum in early America. It shows the functional use of the drum for celebrations, weddings, funerals, religious ceremonies, and nonviolent communication. The assumption that "drums and horns" were used to communicate in slave revolts is undone in this study. Rather, this volume seeks to consider the "social place" of the drum for both blacks and whites of the time, using the writings of Europeans and colonial-era Americans, the accounts of African American free persons and slaves, the period instruments, and numerous illustrations of paintings and sculpture. The image of the drum was effectively appropriated by Europeans and Americans who wrote about African American culture, particularly in the nineteenth century, and re-appropriated by African American poets and painters in the early twentieth century who recreated a positive nationalist view of their African past. Throughout human history, cultural objects have been banned by one group to be used another, objects that include books, religious artifacts, and ways of dress. This study unlocks a metaphor that is at the root of racial bias—the idea of what is primitive—while offering a fresh approach by promoting the construct of multiple-points-of-view for this social-historical presentation.
Scattered in archives and historical societies across the United States are hundreds of volumes of manuscript music, copied by hand by eighteenth-century amateurs. Often overlooked, amateur music making played a key role in the construction of gender, class, race, and nation in the post-revolution years of the United States. These early Americans, seeking ways to present themselves as genteel, erudite, and pious, saw copying music by hand and performing it in intimate social groups as a way to make themselves--and their new nation-appear culturally sophisticated. Following a select group of amateur musicians, Cultivated by Hand makes the case that amateur music making was both consequential to American culture of the eighteenth century and aligned with other forms of self-fashioning. This interdisciplinary study explores the social and material practices of amateur music making, analyzing the materiality of manuscripts, tracing the lives of individual musicians, and uncovering their musical tastes and sensibilities. Author Glenda Goodman explores highly personal yet often denigrated experiences of musically "accomplished" female amateurs in particular, who grappled with finding a meaningful place in their lives for music. Revealing the presence of these unacknowledged subjects in music history, Cultivated by Hand reclaims the importance of such work and presents a class of musicians whose labors should be taken into account.
Examines America's early reception to Beethoven, the use of his work and image in American music, movies, stage works, and other forms of popular culture, and related topics.
This book provides a chronological look at American music from colonial times to the end of the 20th century revised and updated to reflect the latest scholarship and critical views. It uses extensive citation of phonorecordings, especially CD's from New World Records, Composers Recordings, Inc., and the Smithsonian Institution (all of which maintain catalogs in print). Readers will find a comprehensive treatment of both "serious" and "popular" music in the United States with a final chapter on contemporary American music from composer/critic, Kyle Gann. Part of the highly acclaimed Prentice Hall History of Music Series. the colonial and federal eras to 1820, the romantic century (1820-1920), between the wars (1920-1945) and World War II through the present. Musicians especially those interested in American music.