The music in the New World depended on musical imports from the european countries. The part-music imported to Mexico consisted of conservative Spanish church music. In the second part of the seventeenth century Lima, Per� was an important center of musical activity. Here Jos� Diaz composed on American soil the music to the stage works of Calderon. A Peruvian codex of the seventeenth century, one of the very few musical documents of the seventeenth century that have survived in the Western Hemisphere, contain some part-music written in a popular Spanish style.
The luxury exhibited in the Araujo CD is reflective of that used by the Spanish to impose their domination in South America. Here the influences are not only European, but also indigenous, American Indian. The two other CDs are anthologies showing all the links between old and new wolds, in both sacred and secular repertoires.
 
Juan de Araujo (1648-1712) : L'or et l'argent du haut Perou
Performer: Ens. Elyma - Ma�trise Bor�ale - G. Garrido
Record: K617 038
 
Nueva Espa�a : Close encounters in the new world, 1590-1690
Performer: A. Az�ma, D. Hanchard, D. Lee Ragin -
the Boston Camerata - Joel Cohen
Record: Erato 2292 45977-2
 
Il Secolo d'Oro nel Nuovo Mondo : Villancicos e orationes del '600 Performer: M.C. Kiehr, A. Fernandez, J. Cabr� - Ensemble Elyma - G. Garrido
Record: Symphonia SY 91S05
 

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The music of the early settlers in North America was restricted mainly to psalm singing. The immigrants had brought over from England the traditional psalters of which only those of Ainsworth and Ravenscroft belong to the baroque period. Secular music, especially instrumental music, was a hotly contested issue among the Puritans. That some secular music was cultivated can be proved by implication, namely by the numerous prohibitions of the use of instruments and of dancing. However, practically no music of the seventeenth century has survived save the psalms. The German and Swedish immigrants who settled in Pennsylvania introduced polyphonic chorale singing into America.
In 1741 , the first Moravians in Bethlehem organized a musical life in their secluded community. The music they brought over was dependent on the German late baroque style.
Carl Pachelbel, a son of the famous German organist, was perhaps the most distinguished professional musician in America before 1750. He gave a public concert in New York (1736) and served as organist, first in Newport, Rhode Island, and then, until his death (1750), in Charleston. An impressive Magnificat for soli and chorus, written in a vigorous late baroque style, attests to his attainment as composer, but the piece was not performed in this country during his lifetime.