In comparison to other early American colonies, the Carolina’s were unique in respect to their heightened culture and social entertainment. Charleston was particularly interested in upholding a luxurious, high-class reputation, rather than enforcing a spiritual focal point. During the pilgrimage days, people who settled in Northern New England lands had a diverse outlook on how to live their lives; due to strict forms of orthodox religion, most other colonies persecuted anything that swayed from biblical ideals, whether that be music, literature, theater etc. (Chase). However, the Carolina colony, which was later established in favor of those who supported King Charles II during his exile from England, soon became home to a much more flamboyant society.
After King Charles returned to the throne, he bestowed the land from Virginia to Spanish Florida–otherwise known as South Carolina–to eight Lord Proprietors. Then, they were given reign to control the land in any desirable fashion, as long as it was “under the realm of British conventions” (Butler 2). Eventually, Carolina was divided into two distinguishable regions, North and South of Cape Fear; although this innovation was not legitimate until the original Proprietors sold the entire venue to Britain in 1729. Thus, it is not surprising that Carolina mimicked a culture similar to England’s. From here on, the Carolina’s were used as an economical and agricultural port that served as a beneficiary for trade across the Atlantic. The city of Charleston was specifically useful due to its location, but it also seemed desirable to outsiders for things like agriculture, climate, and a differentiated social culture. Travelers from all over the world began to recognize Charleston as the “place to be” in America, partly because at the time, people in this town knew how to live lavishly.
Music is a notable feature that served to define segments of South Carolina’s culture at the time of its colonization. What is extraordinary about South Carolina and Charleston’s musical background is how the development of different genres of music spread through various groups of people. In the beginning, Charleston, South Carolina was the primary center for musical entertainment, but within just a few years, all regions of South Carolina were practicing and performing music. African slaves, who significantly enabled the high-society lifestyle described above, dedicated an important amount of musical understanding to the history of music in South Carolina. Early notices for escaped slaves would often refer to a slave’s talent in fiddling, drumming, or even whistling.
Starting chronologically though, Charleston has the first and oldest musical society in the United States of America originated. This organization was first titled The St. Coecilia’s Society and was officially created on November 22nd, 1766. The concerts that were put on by this group included anything from hymnals to love songs to nationalistic ballads. At first, music was only open to a select audience, which excluded anybody but women and wealthy patrons.
Popular music was only one genre of music that was appreciated by South Carolinians during this time period. Religious hymnals and gospels were prevalent in this colony, as is evident in the score music composed by Samuel Peyre. The music composed by this man can be found in the Porcher Family commonplace book. Even though Samuel Peyre was not a member of the St. Coecilia Society, he performed music that was appreciated for large church audiences in South Carolina during earlier times in history. The abundance of information about music in colonial South Carolina suggests that music was a prominent factor for all sorts of Southern life.
- Psalms and Hymns by Samuel Peyre
- Rules Mandated for The St. Coecilia Society
- Slave Songs of the Sea Islands
Bibliography
Butler, Nicholaus Michael. Votaries of Apollo: The St. Cecilia Society and the Patronage of Music in Charleston, South Carolina. 1. 1. Columbia, SC: University of South Carolina Press, 2007. 1-412. Print.
Dargan, William. “Congregational Singing Traditions in South Carolina.” Black Music Research Journal. 1.15 (1995): 29-73. Web. 16 Apr. 2014.
Parrish, Lydia. Slave Songs of the Georgia Sea Islands. 1. 1. Athens,Georgia: University of Georgia Press, 1992. 1-252. Print.
Sonneck, Oscar. Early Concert-Life in America. 1. 1. Harvard: Breitkopf & Härtel, 1907. 1-65. eBook.