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Ainsworth Psalter
Psalmody, 1610 |
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| I Am A Poor Pilgrim of Sorrow |
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Traditional Old Regular Baptist
Hymn (lined out), Traditional |
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William Billings
Hymn, 1770 |
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Daniel Read
Fuging Tune, 1780 |
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John Dickinson
Ballad, 1770 |
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William Billings
Anthem, 1790 |
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Janaziah Sumner
Anthem, 1790 |
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Anonymous
Dance Tune, 1800 |
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Sacred Harp
Shape Note Hymn, 1860 |
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Trad. Georgia Sea Islands
Hymn, Traditional |
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Henry Rowley Bishop
Songs from Melodrama, 1820 |
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Stephen Foster
Minstrel, 1850 |
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Hutchinson Family Singers
Abolition song, 1840 |
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| Jeanie With the Light Brown Hair |
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Stephen Foster
Parlor song, 1850 |
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Louis Moreau Gottschalk
Character piece, 1850 |
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| “Death Song of the Cherokee Indian” |
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| Song created by Anne Hunter, inspired by Native culture and imagery 1780 |
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| Congregations of a church |
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| The first full length music book printed in the English speaking colonies |
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| Singing psalms as a congregation |
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| Song that provides ability for prayer and reaching out to God |
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| Type of song that involves different groups of singers singing the same words at different times and in different tones |
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| One sound, a single melody, people singing in unison |
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| Different melodies, same rhythm |
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| Consisting of two or more melodic voices with accompaniment |
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| Singing with rules notated by the songbook singers would follow |
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| Singers were free to sing and praise God with their own musical fashion |
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| One person sings a line of a song and the congregation responds to it with another line or repeats the same line, continues as such |
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| Songs printed on “broadsides”, special sheets, commenting on current events and matched with a familiar tune |
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| Taking the melody of an existing song and putting new words to it |
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| African Methodist Episcopal Church |
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| created by Rev. Richard Allen in 1820. African American denomination of Methodists, all who wanted independence from the white Methodists |
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| Singing in church with a call/response structure |
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| A series of religious revivals in the late 18th century |
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| The gathering of people (blacks and whites, sometimes) to worship and sing together for days on end. Some priests would be there and lead, and would travel to other meetings and participate |
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| Invented the FASOLA system during the Singing School era in the 18th century |
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| Established to teach people to learn to read music and sing in shape notes, such as FASOLA |
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| praise is for establishing a relationship with God (no rules), and edification is for personal, spiritual improvement. |
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| 18th century cultural revolution, in which reason was used as a source for answers instead of religion |
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| Part of Shape Note singing, took place in the South. Used as a venue for people to get together, learn a short piece of music and sing together using these Shape Notes (fa, sol, la, mi) |
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| Hymn writer. Emphasized European music being sung in American churches. Introduced music into American schools, was one of the first music educators |
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| Boston Handel and Haydn Society |
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| Boston rooted performance group that performs choral and period instruments, highly influenced by Lowell Mason |
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| Minstrel performer. One of the creators of Blackface performance, popularized Jim Crow character |
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| Minstrel performer. Founder of Blackface troupe Christy Minstrels |
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| Entertainment acts including songs, dances, skits and variety acts performed by white people in blackface, acting like buffoons. |
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| Character created by Thomas D. Rice, parodying the character of a black person to be a buffoonish, tattered person |
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| A song using the tune of “Turkey in the Straw”. Popularized by George Washington Dixon |
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| a minstrel tradition. Whites would perform in black makeup to simulate being black and act buffoonish. |
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| Group of American singers who became very popular in the 1840s. Sang in 4 part harmony, sang about abolitionism, women’s rights, etc. |
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| Founder of Barnum and Bailey circus, show business millionaire, promoted celebrated hoaxes |
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| The “Swedish Nightengale” |
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| Song by Adolf Lindblad, 19th century. Written for Jenny Lind, stating his affection for her |
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| Printed music, available for use of the public |
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| performance by an ensemble or a solo artist to show off virtuosity and skill |
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| A parlor instrument, used to entertain guests or the family, or used to teach music |
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Reports on the Indians of Quebec
1630 |
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The Singing Master’s Assistant
1780 |
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Method of Teaching, from the Pestalozzian Music Teacher
1870 |
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Preface to the Sacred Harp
1840 |
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Two Reviews of Jenny Lind’s Second Washington Concert
1850 |
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Preface to the Boston Handel and Haydn Society Collection of Church Music
1820 |
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Narrative of the life of Frederick Douglass
1840 |
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