The early settlers who established colonies in what would eventually become the United States brought diverse musical traditions with them. Although Native Americans and African slaves also had rich musical traditions, these had little impact on early colonial music. The settlers were much too busy to be concerned with music for entertainment, and many of the Protestants thought that music was too distracting for church services.

Most Pilgrims enjoyed music, though, and many churches established a choral tradition. Most of the early music printed in the American colonies was in the form of hymns and other sacred music.

     By the eighteenth century secular music began to flourish, especially in the cities of New York, Boston, Philadelphia, and Charleston. Public concerts and other musical events were organized. Touring virtuosos from Europe appeared in American concert halls and also began giving lessons, primarily to gentlemen amateurs. These early patrons of the arts included Franklin and Jefferson.

     By the end of the eighteenth century a “school” of American composing had developed. It was led by the composer William Billings. Billings and others of this school often departed from European tradition. Billings also published several collections of his choral music, including anthems, rounds, and fuging tunes.

     During the nineteenth century, music making in the United States came to full flower. There were two significant developments. The first was that music became divided into two categories: “classical” and “popular.” Classical music was distinguished by its seriousness of purpose, whether for listening or religious worship. Popular music aimed primarily to entertain.

     The second development was that American composers began imitating German music. European immigrants, many of them German and Austrian, brought with them ideas of German romanticism. These ideas soon influenced all aspects of American life.

    The most successful composer of this period was Stephen Foster, who most definitely did not imitate German composers. He wrote songs intended for the musical amateur at home, as well as for minstrel shows. Rather than use established poets for his texts, he wrote his own lyrics, setting verses about ordinary experiences to memorable melodies.

     In addition to Foster a variety of composers created a diverse array of works. The New Orleans-born Louis Moreau Gottschalk composed works for piano and for orchestra, many incorporating such exotic elements as African-Caribbean rhythms and Creole melodies. Lowell Mason was a hymn composer who was responsible for introducing music into the public-school curriculum. Amy Cheney Beach was a successful composer who composed more than one hundred songs, numerous piano pieces, choral music, and a symphony.

     The late nineteenth century saw a period of growth and development spurred by the influence of the German romantic tradition. Concert halls were built, most notably Carnegie Hall. Many symphony orchestras were established, too. Alongside this activity, new music conservatories were created and music departments began appearing in colleges and universities.

QUESTIONS AND TOPICS 

1. The early settlers, while bringing a variety of musical traditions with them, had little time for music as entertainment. They also did not have the time or inclination to concern them selves with the musical traditions of the native peoples they displaced as they settled the colonies. Likewise, slave owners tried forcibly to acculturate their slaves by prohibiting their native customs, religious practices, and languages. Music became an important outlet for the African slaves, but was not a strong influence on American music until much later.

2. By the nineteenth century the music of African slaves began influencing American music making. As mentioned in the text, Louis Moreau Gottschalk incorporated Creole and African-Caribbean rhythms in his music. He was not alone. The banjo, widely used in minstrel shows and in home parlors, was an instrument developed in Africa and transformed in the United States. Although slave owners tried to curtail many African traditions, especially religions, many slaves converted to Christianity and incorporated their musical experiences with hymn singing. The black spiritual was an outgrowth of this event.

3. Singing in American churches took many forms. There was at one time both a white gospel style as well as black gospel style that developed from the church experience, especially in the segregated states, that continued well into the twentieth century. Likewise, numerous singing schools developed in the eighteenth century to train singers for church choirs and hymn singing. The shape-note tradition was an outgrowth of this movement.

4. Many of the orchestras established in the nineteenth century are still active, the New York Philharmonic, the Boston Symphony, the Philadelphia Orchestra, and the St. Louis Symphony among them. Most of the members of these groups were immigrants who had trained in Europe. Some were amateur musicians who had developed professional-level ability. These orchestras continued to be dominated by European musicians until after World War II and the impact of American conservatories, which were turning out numerous fine performers.

FURTHER TOPICS FOR DISCUSSION

1. What is different about the art song and the popular song, like “Jeanie” by Stephen Foster?

2. Is popular music of lesser quality than classical music? Does a person listen differently to one or the other?