Search results
Results from the WOW.Com Content Network
Songs of the American Civil War (3 C, ... (1 C, 99 P) Pages in category "19th-century songs" ... The Caller (folk song)
It is one of the most distinctively Southern musical products of the 19th century. It was not a folk song at its creation, but it has since entered the American folk vernacular. The song likely rooted the word "Dixie" in the American vocabulary as a nickname for the Southern U.S.
The term American folk music encompasses numerous music genres, variously known as traditional music, traditional folk music, contemporary folk music, vernacular music, or roots music. Many traditional songs have been sung within the same family or folk group for generations, and sometimes trace back to such origins as the British Isles ...
An 1847 publication of Southern Harmony, showing the title "New Britain" ("Amazing Grace") and shape note music. Play ⓘ. The roots of Southern Harmony singing, like the Sacred Harp, are found in the American colonial era, when singing schools convened to provide instruction in choral singing, especially for use in church services.
Birch (song) Birmingham Jail; Birmingham Sunday; Black and White (Pete Seeger song) Black Betty; Black Is the Color of My True Love's Hair; Blind (SZA song) The Blinding of Isaac Woodard; Blowin' in the Wind; Blues Run the Game; Boat on the River; Boil Them Cabbage Down; Boundin' Breakaway (Kelly Clarkson song) Britney (song) Buffalo Gals; The ...
Thomas too championed works by leading European composers. He also conducted works by leading U.S. composers. Today, the vast majority of 19th century U.S. composers are all but lost to history. This was also the era when women composers and African-American composers started to see their music published in increased numbers.
Early 1820s music trends The Boston 'Euterpiad becomes the first American periodical devoted to the parlor song. [5]The all-black African Grove theater in Manhattan begins staging with pieces by playwright William Henry Brown and Shakespeare, sometimes with additional songs and dances designed to appeal to an African American audience. [6]
In his 19th-century autobiography, Narrative of the Life of Frederick Douglass, an American Slave (1845), Douglass gives examples of how the songs sung by slaves had multiple meanings. His examples are sometimes quoted to support the claim of coded slave songs.