ROUTLEDGE LIBRARY EDITIONS: ART AND CULTURE IN THE NINETEENTH CENTURY
Volume 5
AMERICAN MUSICAL LIFE IN CONTEXT AND PRACTICE TO 1865
AMERICAN MUSICAL LIFE IN CONTEXT AND PRACTICE TO 1865
Edited by
JAMES R. HEINTZE
First published in 1994 by Garland Publishing, Inc.
This edition first published in 2019
by Routledge
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1994 James R. Heintze
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British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
ISBN: 978-1-138-35894-2 (Set)
ISBN: 978-0-429-42671-1 (Set) (ebk)
ISBN: 978-1-138-36584-1 (Volume 5) (hbk)
ISBN: 978-0-429-43056-5 (Volume 5) (ebk)
Publishers Note
The publisher has gone to great lengths to ensure the quality of this reprint but points out that some imperfections in the original copies may be apparent.
Disclaimer
The publisher has made every effort to trace copyright holders and would welcome correspondence from those they have been unable to trace.
AMERICAN MUSICAL LIFE IN CONTEXT AND PRACTICE TO 1865
edited by
James R. Heintze
Copyright 1994 James R. Heintze
All rights reserved
Library of Congress Cataloging-in-Publication Data
American musical life in context and practice to 1865 / edited by James R. Heintze.
p. cm. (Essays in American music ; vol. 1)
(Garland reference library of the humanities ; vol. 1583)
Includes index.
ISBN 0-8153-0816-7
1. MusicUnited States19th centuryHistory and criticism. 2. Music and society. I. Heintze, James R. II. Series. III. Series: Garland reference library of the humanities ; vol. 1583.
ML200.4.A4 1994
780.9739034dc20
93-44465
CIP
MN
Printed on acid-free, 250-year-life paper
Manufactured in the United States of America
Essays in American Music celebrates the rich and varied heritage of this countrys music by bringing together articles written by distinguished scholars, researchers, and teachers about significant and unique musical events, persons, and places. Although the historiography of American music has advanced considerably since the first calls went out in the early 1800s for the collecting of historical data, and today, readers may now choose from a vast body of literature on American music, including several excellent histories and surveys, numerous critical studies and facsimile editions, monographs on individual musicians, topical studies, reference works, including bibliographies, indexes, encyclopedias and dictionaries as well as articles in journals devoted specifically to American music, the content of the subjects addressed in the articles contained in this series offers evidence for the fact that there is still much to discover about this countrys musical past. The purpose of this series is to provide a sampling of areas of research currently under pursuit and, nearing the onset of the twenty-first century, to provide a stimulus for future research into American music.
The volumes in the series progress chronologically, beginning with the period prior to 1865. Volume two focuses on 1865-1918 and subsequent volumes examine the remainder of the twentieth century. All of the contributors to the series are recognized authorities in their respective areas of investigation and represent prominent organizations devoted to the study of American music, including, for example, the College Music Society, Somieck Society for American Music, Hymn Society in the United States and Canada, and others. Within the space allotted to them, all contributors have provided essays on topics of their choice and were encouraged to apply their own critical points of view.
James R. Heintze
Michael Saffle
American Musical Life in Context and Practice to 1865 covers a wide cross-section of topics, individuals, groups, and musical practices representing various regions and cities. The subjects discussed reflect the religious, ethnic, and social plurality of the American musical experience as well as the impact on cultural society provided by the arrival of new musical immigrants and the internal movements of musicians and musical practices. The essays are arranged principally on the basis of the historical chronology of the cultural practices and subjects discussed. Each article helps to shed additional light on cultural expressions through music in eighteenth- and nineteenth-century America.
Sterling E. Murray presents a vivid example of secular musical life in Philadelphia in the late 1700s, and the significance of the City Tavern as a place where gentlemen met and concerts and balls were given.
Two of the essays discuss different denominational contributions to musical life in America: Edward C. Wolf traces the development of American Lutheran hymnody through the work of Peter Erben, a New York organist and organ-builder, and his publication of the first Lutheran tunebook published in English in 1817; Richard D. Wetzel describes the significance of the publisher W. C. Peters in making accessible published Catholic church music in the Midwest. Another aspect of the impact of publishing on the development of music in America is given by David W. Music who examines in detail the occurrence of the anthem in four-shape shape-note tunebooks published in the South and offers a compilation of anthem repertory and sources for the works cited.
James R. Heintze introduces Gaetano Carusi, an Italian immigrant musician who was active principally in the mid-Atlantic area from Philadelphia to Norfolk and who, through persistence and initiative, successfully established his musical identity in America and left his mark on the cultural development of several cities.
The essay contributed by Barbara Owen on Edward Little White, the Massachusetts organist, teacher, composer, arranger, and publisher, provides valuable insight into this versatile musician.
Katherine K. Preston addresses the significance of the European influence on American music by the travelling virtuosi Jane Shirreff and John Wilson and chronicles their success as performers in the United States. An enlightened contextual comparison of the enthusiastic acceptance by American audiences of European musicians like Shirreff and Wilson versus the struggling attempts by American musicianssuch as Charles Jerome Hopkins, Charles Hommann, and othersto have their works heard emerges with a reading of Richard Jacksons extensive essay on the first organization devoted to the performance of American concert worksthe short-lived but historically significant, New York American-Music Association.
