Revision as of 14:33, 11 May 2008 by TUF-KAT(talk | contribs)(→1770: *William Tuckey, an organist and choirmaster in New York's Trinity Church, presents a performance from Handel's ''Messiah'', the first performance from that piece in the United)
This is a timeline of music in the United States prior to 1825.
circa 500
Approximate: The oldest archeological remains of rasps, made from sheep horn, wood, deer bone, antelope scapula and elk rib, can be dated to approximately this timeframe.[1]
circa 1000
Approximate: Copper and clay bells can be dated to this era, and were traded across the Mississippi Valley and into Mexico.[1]
The first permanent European settlement in what is now the United States is St. Augustine, Florida, created by the Spanish.[5]
1598
The "first documented European music education" in the United States begins in a colony in New Mexico, founded by a group of Spanish friars accompanying Juan de Oñate.[6]
1607
Jamestown, Virginia becomes the first permanent settlement by the British in what is now the United States.[5]
1612
The Book of Psalmes: Englished Both in Prose and Metre is published in Amsterdam by Henry Ainsworth. This book will be the basis for the psalmody of the Pilgrims who colonize New England.[7][8]
The Pilgrims arrive in Plymouth, Massachusetts, who begin the well-documented sacred song tradition of New England. The psalmody of the Pilgrims and other early New England Protestants was "spare and plain", reflecting their Calvinist theology.[11]
The oldest known liturgical book in what is now New Mexico can be dated to this year.[13]
1640
The Bay Psalm Book is published in Cambridge, Massachusetts; it is the first full-length book published in the English colonies, and became the basis for psalmody in the Protestant congregations of New England until the 18th century.[14][15][16]
The Dutch Reformed Church in New York colony orders the precentor (voorzanger) to "tune the psalm" for the congregation to sing along; this practice consisted of the leader singing a line, which is then repeated, and often elaborated upon, by the audience. This practice is later known as lining out and is a crucial feature of African American church music.[18]
1651
The Bay Psalm Book is published in its third edition, its definitive form, often called the New England Psalm Book. There is, as yet, no music provided in the collection.[19]
The Pilgrim congregation in Salem, Massachusetts votes to stop using the Henry Ainsworth psalm collection because the tunes were considered too difficult.[14]
1680
The Pueblo Revolt leads to the destruction of the Spanish missions in what is now New Mexico, obliterating all known printed music and other musical documentation.[13]
Johanns Kelpius, leader of the German Pietists who settled near Philadelphia, brings an organ, becoming the first individual in the future United States to do so.[21]
1698
The ninth edition of the Bay Psalm Book is published. It is the first to feature printed music.[22]
1704
Christopher Witt comes to America, where he will build his own pipe organ, becoming the first private organ-owner in the United States.[23]
Isaac Watts' Hymns and Spiritual Songs revitalizes church music in the colonial United States.[25] The book's influence on African American hymnody is "enormous",[16] and it is "well known and greatly admired" throughout North America.[26]
The first Spanish colony in Texas is established at San Antonio, thus marking the beginning of Tejano music.[29]
1719
Africans are brought to New Orleans in large numbers, bringing with them new styles of music straight from Africa.[10]
1720
The lined-out style of hymnody begins to be criticized for abandoning conservative notation in favor of an oral tradition.[30]
Reverend Thomas Symmes publishes an essay in which he proposes schools to educate the public in psalm singing. Such schools were to become a major musical institution in New England in the 18th and 19th centuries.[31]
The Amish arrive in Pennsylvania, thus beginning the Amish music tradition in the United States.[32]
New England psalmody begins to grow more organized and disciplined, through singing schools and other institutions.[31] Public concerts, held alongside lectures or sermons, begin to be held in small towns throughout the region.[34]
1721
Two psalm collections are published in Boston, the first two emphasize the music and instructions for singing the tunes over the sacred verses of the psalms. These were John Tuft's An Introduction to the Singing of Psalm Tunes and Thomas Walters' The Grounds and Rules of Musick, Explained. These two publications "began a new era in American music history: between them they formed a point of contact between music as an art with a technical basis and a public motivated to learn that technique".[31] Walter's is particularly influential and highly-regarded, and is the first book to be printed (by James Franklin) with bar lines in British North America.[34]
Group country dancing becomes popular, both in the North American colonies and Great Britain, especially line dances known as longways.[35]
1729
The first public concert in the country is held in Boston, in a room used by a local dancing master for assemblies.[36][16]
1730
The first singing school in the United States is formed in Charleston, South Carolina, where music is taught by John Salter at a boarding school for girls run by his wife.[37]
Georgia's Governor Oglethorpe invites minister John Wesley to come with him to Georgia, on a ship with Moravian missionaries whose hymn-singing had a profound effect on Wesley, who would go on to lead the Great Awakening of Christianity, often expressed through music.[46]
John Wesley publishes A Collection of Psalms and Hymns, inspired by the Moravians of Pennsylvania; the hymnal launches his career.[48]
1739
The slaves of the Stono Rebellion in South Carolina are reported to use drums to recruit fighters, and music and dancing for emboldening the rebels.[49] As a result, African American drumming is banned in South Carolina.[10]
1741
Trinity Church in New York begins instructing African Americans in psalmody, one of the earliest examples of formal African American music instruction; the teacher is organist Johann Gottlob Klem.[50]
Religious persecution at home leads to a wave of German-speaking Moravian immigrants, who will play a vital role in establishing American concert music, become known for their brass choirs and become among the earliest instrument manufacturers in the country.[32] They will settle in Bethlehem, Pennsylvania this year, flourishing and becoming widely known for their music.[51]
English hymn writer John Cennick publishes his first collection, Sacred Hymns for the Children of God; he will go on to become the "real founder of folky religious song in the rebellious eighteenth century movement".[52]
The custom of giving African American workers vacations during the spring election period begins in Connecticut; the workers establish secular festivals that include song and dance, with elections of "governors" and "kings" as part of the celebrations.[56]
1750
Though the ban may not have been strictly or effectively enforced, the city of Boston prohibits theater entertainment, due to a Puritan influence that treated theater as a negative institution that symbolized a "preference for idleness and pleasure over hard work and thrift".[57]
The Beggars Opera by John Gay is first performed, in New York City; it goes on to become hugely successful, and among the most popular pieces of the period.[58]
Approximate: The African American 'Lection Day holiday, in which blacks paraded and elected an honorary ruler, is first celebrated, in Connecticut.[59]
1753
The British Museum has had a drum since this date, made in Virginia from local wood and deer skin, but in a manner typical of the Ashanti of Ghana, a major piece of evidence for African retention in African American music.[10]
1754
An unused room in a building becomes the first concert hall in Boston.[60]
The British begin expelling the French-speaking Acadians from Canada, many of whom will go to Louisiana, providing an important foundation for both Cajun music and Louisiana Creole music.[61]
1758
The First Church of Boston forms a choir, the first of many New England churches to do so in the next decade.[62]
Music instructor James Brenner begins teaching in a coffeehouse in Philadelphia.[64]
Francis Hopkinson begins playing harpsichord in concert; he would go on to be among the most influential composers of the colonial era.[65]
1761
James Lyon publishes in Philadelphia the "first American tunebook to address the needs of both congregation and choir", Urania, or a Choice Collection of Psalm-Tunes, Anthems, and Hymns. This tunebook offers "something for every kind of sacred singer" and "was the first American tunebook to bring psalmody straight into the commercial arena", showing "how psalmody... could find a niche in the marketplace".[62][66]
Barzillai Lew, a free-born African American musician from Massachusetts, becomes an Army fifer and drummer during the French and Indian War. His wife, Dinah Bowman, was the first black woman in history to be identified as a pianist. The Lew family are prominent in the area around Dracut, Massachusetts, and the family remains musically renowned well into the 20th century.[67]
A scene from Love in a Village, a pasticcio that become an integral part of the repertory of American theater in the era.
A pasticcio called Love in a Village, with music by Thomas Augustine Arne and based on a play by Isaac Bickerstaffe, becomes a major part of the American theater repertory after performances in Charleston and Philadelphia[71]; it is also considered the first English comic opera.[72]
Andrew Barton's The Disappointment is the first American ballad opera. It is not, however, performed until the 20th century.[74] The scheduled debut in Philadelphia is cancelled because the opera "contained personal Reflections [sic] (and) is unfit for the stage", according to the Pennsylvania Gazette.[28]
Late 1760s music trends
British patriotic songs begin to be changed into anti-British protests circulated through newspapers and broadsides.[75]
Itinerant music instructor John Stadler travels across Virginia, teaching music to families like the wealthy Carters and the Washingtons[64]
1769
A concert is organized by John Gualdo in Philadelphia; this consisted of a wide range of pieces, much of which was composed by Gualdo himself, leading some historians to refer to this as the first "composers'-concert" in the United States.[76]
Roman Catholic missionary activity begins to "severely devastates" the civilizations of central coast and southern California, bringing new forms of Roman Catholic music to the indigenous peoples of California.[77]
1770
William Billings' The New-England Psalm-Singer is the "first published compilation of entirely American music" and the first "American tunebook devoted wholly to the music of one composer". Its publication begins a flourishing of distinctively American New England publications of sacred tunes.[78][79]
William Tuckey, an organist and choirmaster in New York's Trinity Church, presents a performance from Handel's Messiah, the first performance from that piece in the United States.[80]
English traveler Nicholas Cresswell notes a song which he describes as a "Negro tune". This "may well represent the earliest record of the influence of slave music on the white colonists". His work also contains the first reference to a banjo.[82]
The Shakers, led by Ann Lee, settle at Niskayuna, New York, forming a communal religious society that used dance and music as an essential and sacred element of the religion.[85]
1778
William Billings' The Singing Master's Assistant includes songs that link the plight of the Israelites in Egyptian captivity with the lives of Bostonians of the time. This tunebook influentially "treated Scripture not only as a guide to spiritual inspiration and moral improvement, but as a historical epic that, bringing past into present, offered timeless parallels to current events".[86]
Andrew Law and his brother form a tunebook-printing company in Cheshire, Connecticut, beginning with 1779's Select Harmony, which reveals Law as a "champion of American composers, at a time when the notion that Americans could compose music at all was a new one".[83][87]
Thomas Jefferson presents a view common to many of the upper-class elite in North America, in a letter to Giovanni Fabbroni complaining that American music was in a state of "deplorable barbarism".[88]
James Aird's Selection of Scotch, English, Irish and Foreign Airs is published, containing the earliest known printing of "Yankee Doodle".[89]
1784
Joel Barlow of Connecticut edits the very popular hymns of Isaac Watts to remove content supporting British sovereignty.[90]
1786
The city of New Orleans bans slaves from dancing in public squares on holy days and Sundays until after evening church services.[91]
The first Sunday school in the United States is established in Virginia; Sunday schools will become a major part of religious music instruction throughout the country.[92]
Daniel Read and Amos Doolittle begin issuing the American Musical Magazine, the earliest music periodical in Anglo North America.[93]
1787
John Aitken becomes the first American publisher of strictly music, and the first to publish secular sheet music in the United States. Most of the music was composed or arranged by Alexander Reinagle.[94][95]
Johannes Herbst, a Moravian bishop and hymn writer, begins collecting music manuscripts, creating a massive archive that will not be made available until 1977.[96]
1788
John Griffiths, an itinerant New England dancing master, publishes A Collection of the Newest and Most Fashionable Country Dances and Cotillions, the first collection of country dances in the United States. [97]
1789
The Constitution of the United States comes into effect, granting Congress the power to "promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries", the beginning of American copyright law.[98]
A ban on theatrical music is lifted, for the first time since the American Revolution.[15]
The first copyright act is passed in the United States.[100]
The first piece of music to be copyrighted is Andrew Adgate's Rudiments of Music.[98]
1792
Congress passes a law requiring all able-bodied white males to join a state militia; the result helps spur the development of military bands, as opposed to fife-and-drum corps, which Congress authorizes for the first time the same year.[101][89]
The ban on theater entertainment in Boston ends.[57]
John Aitken ends his music publishing career for a time, as composer Alexander Reinagle become music director for the New Theater in Philadelphia. One impetus for Aitken's ending his business comes from increased competition, as the American music publishing industry diversifies and competitors arise in New York, Boston and Baltimore.[94]
Benjamin Carr opens a musical instrument shop in Philadelphia, and soon begins publishing music as well, one of the first music publishing ventures in the United States.[103] His periodical The Gentleman's Amusement included Philip Phile's "The President's March".[104]
1794
A comic opera called The Children in the Wood premiers in Philadelphia; with music by Samuel Arnold and libretto by Thomas Morton, the opera becomes wildly popular in the United States.[105]
Andrew Law publishes The Art of Singing, a trio of books aimed at educating Americans in music; these publications "represent nothing less than a conversion in musical taste", as he abandoned American composers in favor of European principles of composition.[106]
James Hewitt's Tammany; or, The Indian Chief is the first "American opera on an Indian subject".[109]
Mid 1790s music trends
Though the publisher Andrew Law had gained fame for compiling American and British compositions in his tunebooks as equals, his increasingly British-oriented compilations begin to lose commercial ground to works that mix both American and British compositions, indicating a growing American musical sensibility.[110]
1795
Oliver Holden, with Hans Gram and Samuel Holyoke, publishes The Massachusetts Compiler, the most "up-to-date manual of music theory" from the United States to that time.[111]
The Pocket Hymn Book is published in Philadelphia. It will become the standard collection of hymns for the camp meetings of the Great Awakening of the early 19th century.[113]
The first complete work to be copyrighted is a pair of ballads, "Ellen Arise: A Ballad" and "The Little Sailor Boy: A Ballad", both by Benjamin Carr.[98]
The first governmental subsidy for music comes in the form of the U.S. Marine Band, the first military musical establishment in the United States.[98]
The song "Hail Columbia", set to the music of "The President's March", is published, with the intent of "arousing the American spirit"; it becomes one of the most popular and long-lasting patriotic songs in the country.[115]
1799
The Longhouse religion of the Iroquois is founded by Handsome Lake; music and dance are integral parts of the burgeoning religion.[116]
1800
Samuel Holyoke's first volume of The Instrumental Assistant is the first "comprehensive instrumental and collection of traditional music for band instruments published" in the United States.[117]
Reverend Richard Allen publishes A Collection of Spiritual Songs and Hymns for Bethel Church in Philadelphia; this is the first such collection "assembled by a black author for a black congregation".[119][89] The collection includes works by Isaac Watts and others, as well as some that are unattributed and may have been composed by Allen himself.[120]
William Smith and William Little publish The Easy Instructor in Philadelphia; it is the first shape note tunebook, which would become the standard for American shape note singing in the 19th century.[110]
Richard Allen publishes his own hymnal, A Collection of Spiritual Songs and Hymns, which becomes very popular.[121]
Presbyterian clergy in Kentucky begin to hold camp meetings to promote Christian spirituality; these would go on to be run by Baptist and Methodist preachers as part of the Great Awakening of religious fervor.[123][124]
Publisher Andrew Law begins to publish in shape notes, with the publication of the fourth edition of The Musical Primer. His system had been copyrighted, but was beat by William Little and William Smith's The Easy Instructor, which used a slightly different system and quickly became the standard for American shape note singing.[110][125]
The earliest full description of the African American Pinkster day holiday comes from a poem published in Albany, New York.[126]
1804
In Salem and western Middlesex County, Massachusetts, clergymen and other local leaders and singers begin advocating for a more formal and European style of religious musical expression.[127]
Mid 1800s music trends
Presbyterian clergy begin to hold camp meetings to promote Christian spirituality; these would go on to be run by Baptist and Methodist preachers as part of the Great Awakening of religious fervor.[123]
Two important British-dominated tunebooks are published in 1805 and 1807. These lead to an increase in European-dominated tunebooks being published after the mid-1800s.[128]
1805
Shape note singing grows in popularity and expands in influence after William Smith and William Little's The Easy Instructor is picked up by an Albany, New York publisher.[129]
The Salem Collection of Classical Sacred Musick is published in Salem, Massachusetts; it is described by traditionalist psalmodist Nathaniel D. Gould as a spearhead for musical reform in New England churches.[130]
Approximate: Musical reformers of psalmody, who promote "European standards and 'correct taste'", begin using the name of George Frideric Handel to symbolize the idealized music they prefer.[131]
Richard McNemar converts to become a Shaker; he will become known as the "Father of Shaker music", and is the most prolific composer of Shaker hymns and anthems.[85]
Librettist Lorenzo da Ponte emigrates to the United States, where he will help to introduce opera to mainstream Americans.[28]
1807
The Middlesex Collection of Church Musick is published in Boston; it is described by traditionalist psalmodist Nathaniel D. Gould as a spearhead for musical reform in New England churches..[130]
Russian visitor Pavel Svinin vists an African American church in Philadelphia; this is one of the first written depictions of black church muisic in the United States.[134]
Early 1810s music trends
Three regions of shape note publishing take form, outside of New England: one was based in the South, especially Georgia and South Carolina, another was dominated by Germans between Philadelphia and the Shenandoah Valley, and the last stretched from Pennsylvania and the Shenandoah Valley westward to Cincinnati and St. Louis.[135]
1812
A hymnbook, popularly called The Bridgewater Collection is first published; it will be used at least until well into the 20th century.[136]
The Boston Handel and Haydn Society is formed to "improve sacred music performance and promote the sacred works of eminent European masters". This marks "a new stage in Americans' recognition of music as an art".[142][137][84][143]
The key bugle is introduced to the United States. The key bugle led to the development of a whole new class of valved brass instruments called saxhorns after their French inventor, Antoine-Joseph Sax[144]
This is the earliest proffered date for the formation of the first minstrel troops.[145]
Thomas Hastings, a prolific publisher of church music and author, publishes his "first and most famous collection", Musica Sacra.[146]
1816
The African Methodist Episcopal Church is founded in Philadelphia, which "established a racial division in American Protestantism; music was to remain a major part of the Church's spiritual expression.[50]
The earliest description of a specifically African American Christian music performance comes from George Tucker, who witnessed the song in Portsmouth, Virginia.[147]
Late 1810s music trends
Thomas Hastings begins composing works that use European harmonic techniques; he is one of the few American composers of the era considered to have mastered these techniques.[148]
1817
The city government of New Orleans limits African American dancing to Sundays before sundown in Congo Square, which would become a hotbed of musical mingling and innovation.[91][149]
1818
Music teacher, keyed bugler and bandleader Frank Johnson publishes Six Sets of Cotillions, establishing a career that will make him the leader of the "Philadelphia School", the first African American "school of classically trained composers".[70]
1819
John F. Watson, a "Wesleyan Methodist", publishes a tract called Methodist Error, which criticizes clergy that hold camp meetings, on the basis that they were relatively racially egalitarian, and poorly-composed and performed, especially by African Americans. Though his criticism is not entirely aimed at African Americans, the features he most identifies as religiously inappropriate are characteristically African.[123]
John Siegling opens a music publishing firm in Charleston, South Carolina, it will last for many years, and will be the oldest music publishing company in operation by the time the Civil War begins.[151]
The Euterpeiad, published in Boston, becomes the first periodical entirely about music in the United States.[88]
Early 1820s music trends
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.[154]
The black African Grove theater in Manhattan opens to the public, one of the earliest theaters to feature African American performers in full productions, also training the renowned Ira Aldridge.[154]
Lowell Mason publishes his first book of hymns, the Boston Handel and Haydn Society Collection of Church Music, which quickly becomes one of the most popular tunebooks of the era.[156][157][158]
1822
Thomas Hastings publishes his Dissertation on Musical Taste, the "first American treatise of its kind".[159]
John Cole forms an influential music publishing business with his son, located in Baltimore.[160]
English comedian Charles Matthews tours the United States, including a song in his act, "Possum up a Gum Tree", which he hears on his trip by African Americans at a theater in New York. His use of the song is the "first certain example of a white man borrowing (African American) material for a blackfaced act."[161]
The Park Theatre in New York City hosts a performance of The Barber of Seville by an opera led by Manuel García and aided by exptriate Lorenzo da Ponte[28]. The show was very successful, and helped establish a market for continental opera in the United States. Maria García, the show's female lead, became the first female star singer in New York.[166]
The American piano industry begins with the patenting of a new construction for the instrument by Alpheus Babcock of Boston, which used a metal frame rather than a wooden one.[167]
Abel, E. (2000). Singing the New Nation: How Music Shaped the Confederacy, 1861-1865. Mechanicsburg, Pennsylvania: Stackpole Books. ISBN 0811702286. {{cite book}}: Unknown parameter |middle= ignored (help)
Crawford, Richard (2001). America's Musical Life: A History. W. W. Norton & Company. ISBN 0-393-04810-1.
Erbsen, Wayne (2003). Rural Roots of Bluegrass: Songs, Stories and History. Pacific, Missouri: Mel Bay Publications.
Koskoff, Ellen (ed.) (2000). Garland Encyclopedia of World Music, Volume 3: The United States and Canada. Garland Publishing. ISBN 0-8240-4944-6. {{cite book}}: |first= has generic name (help)
Miller, James. Flowers in the Dustbin: The Rise of Rock and Roll, 1947-1977. New York: Simon & Schuster. ISBN 0684808730.
D. Lankford, Jr., Ronald (2005). Folk Music USA: The Changing Voice of Protest. New York: Schirmer Trade Books. ISBN 0825673003.
Darden, Robert (1996). People Get Ready: A New History of Black Gospel Music. New York: Continuum International Publishing Group. ISBN 0826417523.
Bird, Christiane (2001). The Da Capo Jazz and Blues Lover's Guide to the U.S. Da Capo Press. ISBN 0306810344.
Notes
^ abcHaefer, Richard. "Musical Instruments". The Garland Encyclopedia of World Music. Diamond, Beverly (1994). Visions of Sound: Musical Instruments of First Nations Communities in Northeastern America. Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help). pp. 472–479. {{cite book}}: templatestyles stripmarker in |others= at position 1 (help)
^Crawford, pg. 17; Crawford calls de Padilla "most likely the first European to teach music to Native Americans".
^Crawford, pg. 20; Crawford notes that "Florida Indians liked the psalm melodies and continued to sing them years after the Spaniards had massacred the French colonists, as a way of testing strangers to determine whether they were friend (French) or foe."
^ abcKoskof, "Musical Profile of the United States and Canada", pgs. 2-20, Garland Encyclopedia of the World Music
^Sheehy, Daniel. "Overview". The Garland Encyclopedia of World Music. pp. 718–733. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
^ abcdeMaultsby, Portia K. "Overview". The Garland Encyclopedia of World Music. pp. 572–591. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help)
^Levine, Victoria Lindsay. "Musical Interactions". The Garland Encyclopedia of World Music. Howard, James H. (1955). "The Pan-Indian Culture of Oklahoma". Scientific Monthly. 18 (5): 215–220.. pp. 480–490. {{cite book}}: Unknown parameter |coauthors= ignored (|author= suggested) (help); templatestyles stripmarker in |others= at position 1 (help)
^Crawford, pgs. 81-82; Hopkinson himself claimed to be the first American composer in 1788, in a preface to the publication of Seven Songs for the Harpsichord or Forte Piano. Crawford notes that music historian Oscar G. Sonneck tested this claim in 1905, concluding that Hopkinson had a valid claim. Crawford also notes, however, that some historians would not consider any composer American until the ninth state ratified the United States Constitution in June of 1788, and thus it is possible that Hopkinson was, in fact, referring to the publication of Seven Songs for the Harpsichord or Forte Piano as the first American composition.
^Crawford, pg. 113; Crawford notes that the Lew family's musicianship continued through a total of seven generations, counting Barzillai's father Primus Lew, a military field musician.
^Keeling, Richard. "California". The Garland Encyclopedia of World Music. Herzog, George (1928). "The Yuman Musical Style". Journal of American Folklore. 41 (160): 183–231. and Nettl, Bruno (1954). North American Indian Musical Styles. Philadelphia: American Folklore Society.. pp. 412–419. {{cite book}}: templatestyles stripmarker in |others= at position 1 (help)
^ abcdeKearns, Williams. "Overview of Music in the United States". The Garland Encyclopedia of World Music. pp. 519–553.
^ abRycenga, Jennifer, Denise A. Seachrist and Elaine Keillor, "Snapshot: Three Views of Music and Religion", pgs. 129 - 139, in the Garland Encyclopedia of World Music
^Cornelius, Steven, Charlotte J. Frisbie and John Shepherd, "Snapshot: Four Views of Music, Government, and Politics", pgs. 304 - 319, in the Garland Encyclopedia of World Music
^Levine, Victoria Lindsay. "Northeast". The Garland Encyclopedia of World Music. Morgan, Henry Louis (1962 [1852]). League of the Ho-dé-no-sau-nee or Iroquois. Secaucus, New Jersey: Citadel Press. {{cite book}}: Check date values in: |year= (help). pp. 461–465. {{cite book}}: templatestyles stripmarker in |others= at position 1 (help)
^Chase, pg. 109; Chase calls the Society a "prestigious and permanent feature of Boston's musical life, with ramifications that spread its influence far and wide".
