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28 Cards in this Set
- Front
- Back
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Cotton Mather
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-Reverend in favor of regular singing
-Wrote "The Accomplished Singer" (1721) -Equated regular singing with the dictates of God (Biblical argument) |
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John Tufts
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Wrote "An Introduction to the Singing of Psalm Tunes"
-Helped serve the cause of regular singing |
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Thomas Walter
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Wrote "The Grounds and Rules of Musick, Explained"
-Provided practical basis for regular singing |
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William Billings
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First American composer (also a writer, teacher, tradesman, and tunebook compiler)
-Wrote "The New England Psalm Singer" |
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Daniel Read
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Wrote "Sherburne"
Compilied tunebooks and composed psalm and hymn tunes |
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Jeremiah Ingalls
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Wrote "The Christian Harmony" or "Songster's Companion"
-Refrain based compositions -Many folk hymns -Ended up being a failure (folk hymnody unorthodox at the time) |
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Lowell Mason
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Wrote "The Boston Handel and Hadyn Society Collection of Church Music"
-Known as the "father" of public school music teaching -sacred music reformer and composer of hymn tunes -Wrote "Joy to the World" but signed Handel's name to glorify ancient music |
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George F. Root
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-Admirer and follower of Mason
-Assistant in Mason's public school music classes -Wrote "The Battle-Cry of Freedom" |
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George Pullen Jackson
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Wrote "White Spirituals in the Southern Uplands"
-provides first hand account of southern harmony singing (Sacred Harp tradition) |
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B. F. White
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Produced "Sacred Harp"
Founded the Southern Musical Convention which fostered the singing of sacred songs, dedicated to shape-note singing |
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Richard Allen
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-A founder of the AME church
-published a hymnal for Bethel Church in Philadelphia - first such book assembled by a black author for a black congregation |
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Harry T. Burleigh
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-One of Dvorak's 2 black students in NY
-Introduced Dvorak to negro spiritual music |
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Antonin Dvorak
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-czech composer brought to america to try to teach/compose american classical music
-was introduced to negro spiritual music and composed the "New World Symphony" -He didn't understand the barrier of racism... what prevented white americans from using his work, that incorporated black music, as their model |
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Roland Hayes
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-Tenor concert singer during the Harlem Renaissance
-Sang the Johnson arrangements which helped to connect African-american musical heritage to the concert stage -made his mark singing operatic and art-song repertory and spirituals |
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Paul Robeson
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-Baritone concert singer during the Harlem Renaissance
-Sang the Johnson arrangements which helped to connect African-american musical heritage to the concert stage -made his mark singing operatic and art-song repertory and spirituals |
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Marian Anderson
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-contralto concert singer during the Harlem Renaissance
-Sang the Johnson arrangements which helped to connect African-american musical heritage to the concert stage -made mark singing operatic and art-song repertory and spirituals |
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R. Nathaniel Dett
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Composer during the Harlem Renaissance who wrote choral and keyboard works based on African-american folk and popular music
-believed that spirituals should be sung in proper settings (church settings) so that the spiritual message would not be cheapened |
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Florence Price
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Black woman from Little Rock who symphonies, spirituals, etc.
-symphony in E minor premiered by the chicago symphony orchestra in 1933 |
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Thomas D. "Daddy" Rice
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-Created Jim Crow act
-Became famous for acting as Jim Crow -became an ethiopian delineator |
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Dan Emmett
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-an American songwriter and entertainer
-founder of the first troupe of the blackface minstrel tradition -organized the Virginia Minstrels |
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Stephen C. Foster
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-known as the "father of American music"
-His songs, such as "Oh! Susanna", "Camptown Races", "My Old Kentucky Home", "Old Black Joe", "Beautiful Dreamer" and "Old Folks at Home" -blended 2 genres of minstrel songs + civilized parlor songs -sought, in his own words, to "build up taste...among refined people by making words suitable to their taste, instead of the trashy and really offensive words which belong to some songs of that order." He instructed white performers of his songs not to mock slaves but to get their audiences to feel compassion for them. |
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E.P. Christy
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-American composer, singer, actor and stage producer
-founder of Christy Minstrels -introduced many of Fosters songs to the public. Got in a fight with Foster when he asked Christy to restore his name to its rightful place as writer as many of the songs Christy's group performed. |
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Alexander Reinagle
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-English and American composer, organist, and theater musician.
-moving force in revitalizing the musical life of Philadelphia in the 1790s, introducing that city to the music of Haydn and Mozart, as well as his own original compositions -wrote “Philadelphia Sonatas," four sonatas composed in the United States (first sonatas in U.S.) -partner of Aitken, who published first sheet music -Music Director for New Theater in Philly; had entrepeneurial tendencies (composed, taught, distributed music) |
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Henry Russell
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-English pianist, singer, and composer
-Many of his songs promoted social causes like abolition, temperance, and reform of mental asylums. -he discovered that sacred music, played quickly, "makes the best kind of secular music". Old Hundredth, played very fast, became the music for "Get out of de way, Ol' Dan Tucker". -reputation: performer whose words could always be heard. really theatrical.- commanding performance as a ballad singer |
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Hutchinson Family
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-professional entertainers and leading singers of activist songs in pre-Civil War years.
-quartet who stressed American origins. strength lay in performance. -unclear line between professional and personal behavior. antidrinking songs and antislavery songs -sung "Get off the Track". |
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John Philip Sousa
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-led the Keystone Band in postwar years, which brought musical performances to Americans
-leader of the U.S. marine band -prolific composer for the stage and concert hall; put a stamp on the popular march (which he filled with military purpose) -blend of showmanship and polished performance -known for his varied encores -had qualms about using phonograph to record his band's songs b/c he didn't like placing music in service of technology. |
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Charles K. Harris
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-banjo player/songwriter
-wrote After the Ball, which triggered an "economic bonanza" |
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Paul Dresser
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-wrote My Gal Sal
-the song's style distanced itself from teh straitlaced moral code of earlier songs |
