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In New England, the music was very religious and was vitally important in the rising of American music. The migration of people southward led to the settling of the Appalachian Mountains. There many poor Europeans inhabited and brought country blues and fiddling. As music spread, the religious hymns were still just as popular
17th-century ballads (1 C, 4 P) H. 17th-century hymns (1 C, 17 P) Pages in category "17th-century songs" The following 61 pages are in this category, out of 61 total.
The triple harp appeared in the British Isles early in the 17th century. In 1629, the French harpist Jean le Flelle was appointed "musician for the harp" at the court of King Charles I. Flelle played the Italian triple harp with gut strings. [2] The triple harp was quickly adopted by the Welsh harpers living in London during the 17th century ...
The 17th century lasted from January 1, ... music, visual arts, and philosophy). ... 1633–1639: Japan transforms into "locked country".
The hornpipe is a style of dance music thought to have taken its name from an English reed instrument by at least the 17th century. [10] In the mid-18th century it changed from 3/2 time to 2/2, assuming its modern character, and probably reaching the height of its popularity as it became a staple of theatrical performances. [ 76 ]
Surviving sources indicate that there was a rich and varied musical soundscape in medieval Britain. [1] Historians usually distinguish between ecclesiastical music, designed for use in church, or in religious ceremonies, and secular music for use from royal and baronial courts, celebrations of some religious events, to public and private entertainments of the people. [1]
The music was composed between the 14th and 16th centuries, transmitted orally, then written down in a unique tablature and later copied in the early 17th century. This manuscript contains the earliest body of harp music from anywhere in Europe and is one of the key sources of early Welsh music. [7]
The revival of baroque music in the 1960s and '70s sparked renewed interest in 17th and 18th century dance styles. While some 300 of these dances had been preserved in Beauchamp–Feuillet notation , it wasn't until the mid-20th century that serious scholarship commenced in deciphering the notation and reconstructing the dances.