Popular parlor songs were the main form of secular musical entertainment in the early years of the United States. They were heard regularly in the homes of our principal statesmen, authors, intellectuals, professionals, and businessmen. Laborers and slaves also sang them. They were the principal fare of concert and stage performances, and were freely interpolated into Italian operas, Shakespearean plays, lyceum lectures, and church services. In short, parlor songs played a dominant role in American cultural history. This was the music that Jefferson, Lincoln, Longfellow, Whitman, and Emily Dickinson enjoyed. Yet, whether owing to prejudice or misinformation, we still know little about the songs they listened to and sang: why and for whom written; when heard; or how performed. This book attempts to contribute that knowledge. Contemporary diaries, biographies, fiction, newspapers, periodicals, and books on music were studied and the music itself exhaustively analyzed in order to reach accurate conclusions about the popular culture that emerged between the American Revolution and the Civil War. The reader comes away with a sympathetic understanding of the human hopes, fears, and joys embodied in the songs, and with a curiosity about the countless melodic gems awaiting exploration.
... see Einstein, The Italian Madrigal, 1: 107–27; Fenlon and Haar, The Italian Madrigal in the Early Sixteenth Century, 3–7; Cummings, The Maecenas and the Madrigalist, 3–13. Using various ways of concealment: Baldesar Castiglione, ...
Ω In 1764 Henry Timberlake tried to capitalize on the notoriety of the 1762 visit by escorting yet another party of Cherokees to England. Cheulah of Settico headed the three-man delegation. Again, the sachems were billed as ''kings'' or ...
A definitive history of music in the United States, written by a team of scholars and first published in 1998.
... believed by those who have been present at his exhibition. Scarcely less singular is the rapidity with which he sings one of his favorite songs." From the perspective of a century, Marian Winters in Chronicles of the American Dance, ...
Who really wrote the classic song "Dixie"? A white musician, or an African American family of musicians and performers?
Beginning with the emergence of commercial American music in the nineteenth century, Volume 1 includes essays on the major performers, composers, media, and movements that shaped our musical culture before rock and roll.
167 “It's Tight like That,” 77 “It Wasn't God Who Made Honky Tonk Angels,” 97 Ives, Burl, 33 “I Wanna Grow Up to Be a Politician,” 144 Jackson, Alan, 169 Jackson, Aunt Molly, 80, 81, 82, 145 Jackson, Mahalia, 77, 118–19 Jackson, ...
In The Battle of New Orleans in History and Memory, distinguished experts in military, social, art, and music history sift the real from the remembered, illuminating the battle’s lasting significance across multiple disciplines.
This book tells the fascinating story behind the song, from its composition in 1918 by Irving Berlin, to its first performance by Kate Smith in 1938, to its post 9/11 popularity.
Kornfeld, Creating an American Culture, 67; Shaffer, Public Culture, x. 1 / Insecurity and Nationalism: The Call to Create a Unified American Music Culture 1. Tamarkin, Anglophilia, xxvi. 2. Knobel, Paddy and the Republic, 8–9; ...