By Robert J. Allison
A part of a sequence supplying targeted details at the eras of pre-twentieth century the US, this quantity contains articles masking headlines and headline makers, awards, achievements and different enlightening and interesting proof at the innovative period in the united states.
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A part of a chain delivering specified info at the eras of pre-twentieth century the United States, this quantity comprises articles masking headlines and headline makers, awards, achievements and different enlightening and pleasing proof at the progressive period in the united states.
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Additional info for American Eras: The Revolutionary Era 1754-1783 (American Eras)
Furnishing common people with simple religious ballads to be used in worship, psalms translated scripture from the Old Testament into metrical verses that were easy to remember and perform by nonliterate and literate people alike. In the eighteenth century alone more than 250 publications were devoted to psalmody, making such popular works as the Bay Psalm Book (1640) and Isaac Watts's Psalm of David Imitated in the Language of the New Testament (1719) as common in the colonies as almanacs and spellers.
As the first American tunebook to contain "ornaments," Urania moved colonial tastes towards neoclassical eloquence and paved the way for secu- AMERICAN ERAS: 1754-1783 Verse written by Phillis Wheatley, the first published African American poet. She married John Peters in 1778. (American Antiquarian Society. Worcester, Massachusetts) lar modifications of sacred music through hymns, anthems, and fuguing tunes. These compositions were more complex than psalms, requiring singers to master trills and graces, lengthy four-part choruses and other kinds of aesthetic embellishment.
West met Wollaston and copied his skills in capturing the shimmer of satin and silk, but he quickly left for Rome to study the Old Masters. An American in Rome and London. Leaving for Rome in 1760, West was the first of many Americans to 26 go to Europe to get an artistic education they could not find at home. In many ways his career and his work alike came to resemble that of any young European artist equipped with his talent and ambition. In Rome, West saw the Apollo Belvedere at the Vatican—in its day the most important surviving antique statue—and became friends with Johann Winkelmann, a founder of neoclassical art theory.