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We do not know a great deal about the history of American music as it relates to children. The early English colonists were limited as to what they could bring across the Atlantic. Thus music in colonial America was limited. Another limiting factor was the attitude of the Puritans toward dancing and music. This attitude gradually faded, bith with the arival of the Scotts-Irish. And of course the southern colonies were never burdened with the Purtitan disdain toward meriment. Some of the most popular instruments were the violin, guitars (Baroque and English), dulcimer, harpsicord, and flute. Without modern electronic equipment, people had to make their own music. Most children who learned music probably did so from their parents. As the colonies became more established, the wealthy elite could afford to hire music and dancing teachers. Other children probably had limited opportunities to learn music unless their parents could teach them. The colonial music tradition was primarily English with the exception of the Scotts-Irish tradition. There was little cultural exchnge with Native Americans. There was, however, a significant interchnge with Aftrican slaves, although it was generally disguised until the more open ebvironment of the late 20th century. The only real original American music style is jazz which came from the Afro-American cultural tradition. The musical experience of American children did not begin to change until the late 19th century. The tremendous wealth generated by indistrialization significantly expanded the middle class and many of the newly affluent families, especially the mothers, wanted their children to acquire cultural refinements like music. In addition, for the first time in America, it was not just wealthy families that could afford a piano in the family. Children were required to take music lessons which quite a number of boys did not particularly enjoy. It is at this time that large numbers of immigrants come to America from a wide range of different mostly European countries. This significantly broadened and enriched the American musical tradition. Interestingly, while cultural refinements (music and dance) were forced upon many boys (girls seemed more receptive) was forced upon many boys in the late-19th and early-20th century, it would be music and dance that teenagers would most agressively use in the mid- and late-20th century to create a new indepehdent cultural identity. Our knowledge of music is very limited so we hope that readers will provide their insights here.
We do not know a great deal about the history of American music as it relates to children. The early English colonists were limited as to what they could bring across the Atlantic. Thus music in colonial America was limited. Another limiting factor was the attitude of the Puritans toward dancing and music. This attitude gradually faded, bith with the arival of the Scotts-Irish. And of course the southern colonies were never burdened with the Purtitan disdain toward meriment. Some of the most popular instruments were the violin, guitars (Baroque and English), dulcimer, harpsicord, and flute. Without modern electronic equipment, people had to make their own music.
Most children in colonial America who learned music probably did so from their parents. As the colonies became more established, the wealthy elite could afford to hire music and dancing teachers. Other children probably had limited opportunities to learn music unless their parents could teach them. The musical experience of American children did not begin to change until the late 19th century. The tremendous wealth generated by indistrialization significantly expanded the middle class. Many of the newly affluent families, especially the mothers, wanted their children to acquire cultural refinements like music that they did not have as children. In addition, for the first time in America, it was not just wealthy families that could afford instruments. Even an instrument as wealthy as a piano was within the reach of middle-class families. Parents insisted that their children were required to take music lessons which quite a number of boys did not particularly enjoy. We get the impression from the photographic lessons that until after World War I, more boys than girls received music lessons. We suspect that European immigration was a factor affecting music instruction. Many of the immigrants came from European countries with strong musical traditions. Jews in particular seem to have promoted musical skills with their children. We are not sure why this was. We note both home instruction and music schools. We believe that music schools becme increasingly important with urbanization.
The colonial music tradition was primarily English with the exception of the Scotts-Irish tradition. Here religionn was a factor. The Pilgrims were desenting English puritans which in the Calvanist tradition who were very suspicious of anything sensual such as dance and music. And even Anglican England was not at the center of the European music world. There was little cultural exchnge with Native Americans. There was, however, a significant interchnge with African slaves, although it was generally disguised until the more open environment of the late-20th century. Another major contribution to music in America was the European immogrants of the 19th and early-20th century. The American musical traditions was signifcantly broadened with the arrival of a wider range of Europen immigrants in the late-19th century. This significantly broadened and enriched the American musical tradition. The Germans were the most important group and the cGermans were at the center of the Western music tradition. While German immigrants broufht their love of music and music tastes with them, most of the most talented muscicians stayed in Germany. This did not change until the rise of the NAZIs which drove many talented musicians from Germany. Another major contribution was made by the Jews driven from the Tsarist Empire by the Russians. Of all the European groups, Jews seem to have had a particularly important impact on American music. The only real original American music style is jazz which came from the Afro-American cultural tradition.
There are various way to learn a musical instrument. A few particularly adept children teach themselves, but most children need lessons to learn to play an instrument or improve their skills. There are severl ways to obtain lessons. Children can be taught at home if they come from a musical family. Or their parents can arrange for home instruction. A child taking music lessons at home might have a teacher provide one-on-one training sessionss ranging from 30 minutes to one hour weekly. The teacher will leave practice exercises to prepare for next lesson. Another option was lessons at a music school. Here there is a wide range of schools. Some are schools for younger children with a wide range of abilities. Others are institutiins for older, advanced students. A conservatory is a school providing advanced instruction in one or more of the fine or dramatic arts, but commonly a school of music. It is up to the managers what to name a school. Thus some very basic schools to give a upsacale impage, called themselves conservatories. Lone lessons and musuc schools meant fees parents had to pay. Another way of getting music lessons is at school. Many schools, escpecially secondary schools, offered music lessons. This was a way for low income children to learn a musical instrument. Private schools often gaive more attenbtion to music and allow children to receive instruction at school.
We note American children playing many different musical instruments. We do not have alot of information on indidual insruments. The one we see the most commonly seems to be the violin. I'm not sure why the violin was so popular, but the photographic record certainly suggests that it was the single most common instrument in the late-19th and early-20th centuries. We think a lot of children also laned the piano, but many families could not afford a piano and of course home practice is critical to learning an instrument. We think the range of instruments became even more varied in the 20th century. I think the saxaphone became much more commn in the 1920s with the popularity of jazz. And in the 1950s the guitar began to becomne very popular.
We note the formation of many town or village bands in the 19th and early 20th centuries. Some of these bands had elaborate uniforms. These appaer to have been all-male bands. We do not know yet, however, to what extent boys were involved in these bands. After World War I, these bands declined in importance as many high schools organized marching bands which tended to act as local community or civic bands. We have some early 20th century images, but we are not always sure if these are civic or school bands. Most American high schools have marching bands and their uniforms vary widely, although military styles in the John Philip Souza tradition have perhaps been the most common. We also note some Scout bands in the 1910s and 20s.
An ensemble is a small music group which has a single unifying feature such as the particular genre performed or the instruments used. Some ensembles have a mix of instruments, but are much smaller than orchestras.
They difer from orchestras both in the this specialization and in size. There are many types of ensembles. Choirs and bands might be considered ensembles, but we have addressed them seprately. Ensembles might include cerastain stypes oy instruments such as string emnsmbles. Ensembles specializing in music genre might include medieval, classical, jazz, and many other specialties. In recent years esemles relecting ethnic music from America's increasing diversity have vecome popular. For children and youth not yet ready for orchestral erformance, ensembles allow them to hone their skills as well as pursur musival genre of particular interest. Ensenmles are organized at many secondary schools and even more so at universities. The first music first composed for small ensenbles was writen by German Baroque composers, including mudic for strings, brass, and woodwinds, as well as choirs, pipe organ, harpsichord, and clavichord. We are not sure when Americans began to organize ensembles in which children participated. We begin to see them in the late-19th century as secondary schools became well established.
Chamber music was one of the most important types of musics performed by ensembles. Ensemble groups are small enough that a small number of interested individfuals can organize and in whih they can participate. Chamber music is seen as more intimate because of the small size of the groupos than symphonic works requiring large uniforms. It also brings music to aider audience as many people can not attend symphonic performances held in large cities.
An orchestra is a large instrumental ensemble usually meaninhg Western classical musicians. It is compposed of different families--usually four sevtions. Normally this includes bowed string instruments (violin, viola, cello, and double bass), brass instruments (horn, trumpet, trombone and tuba), woodwinds (flute, oboe, clarinet and bassoon), and percussion instruments (timpani, bass drum, triangle, snare drum, cymbals, and mallet instruments). Each are grouped in sections. Other instruments such as the piano, celesta,m and harp may sometimes be included in a fifth sevtoion for a formal orcestras. Finger picking string instruments (guitar, bamjo, and mandalin rarely appear. We areaely see all of this for boys. This is because it takes time to master an instrument and their are few groups that pull together enough talented children to form an orchestra. It just would not work with chiukdren still trying tom master an instrument. Bands and instruments are much more common.
Boy choirs are strongly associated with Europe. A very large numbers of choirs have been founded in the United States based on the European tradition. Here the principal influence has been the choral tradition of the English Anglicn church. I believe that almost all american boy choirs have been founded in the 20th century, many after World War I. Most have adopted contemporary uniforms, most commonly blazers. A few have destinctive uniforms reflecting their state and community.
Hand bells have been reported in tyhe ancient world. The earliest known report dates to China (5th Century BC). The oldest existing bells with handles have been found in China (1600 BC). Subsequently bells of various kinds and shapes have been found in many dfifferent cultures and civilizations around the world. The modern hand bell traditiom seems to have originsted in England and relates to tower bell ringing. A sophisticated art of tower bell ringing was developing in Tudor England (16th century). It was called 'change ringing'. As it developed, a set of 5 to 12 tower or belfry bells were rung in a numerical sequence rather than the traditional melodic pattern.
This necesitated hours of practic, pulling on thetower ropes that caused the bells to ring in various sequebces creating intricate melody patterns. It became so common, that many villigerrs found itv distrurbing. This appears to have resulted in smasll bells being developed. The ringers found that this also alloeed then to ractice in comfortable, heated indoor settings. And gradually the hand bells became its own special art, becoming more and more dophisticated (18th century). Larger sets of haabd bells were cast to accomodate the ringers and their expanding reportoires. The popularity of 'Tune ringing' increased. Ringing melodies and simple harmonies were vset to music for festive occasions, especially Chridstmas. This all peaked (mid-19th century), but not before transplanting the art to America. We note an American hand bell choir (about 1890). Yjos was mostly done by adulys. Unlike vocal choirs, where the crirline siound ofsoprano voices made bioy choirs unique, adults were more sccomlished sat hand bell ringing. In addition the bell sets were expensive. Thevpopulariry of bell einging declined (early-(20th century). But for some reason there was a revival after World War II. There is now quite a number of hand bell ringing choirs in America. The only child choir we know of was the Melody Bells from Evansville, Indiana which was active in the 1980s, oerforming at the White House.
Interestingly, while cultural refinements (music and dance) were forced upon many boys (girls seemed more receptive) was forced upon many boys in the late-19th and early-20th century, it would be music and dance that teenagers would most agressively use in the mid-and late-20th century to create a new indepehdent cultural identity.
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