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Table of Contents
Beginning Swift
Why Subscribe?
PacktPub.com
Contributors
About the Authors
Packt is Searching for Authors Like You
Preface
What This Book Covers
What You Need for This Book
Who This Book is for
Conventions
Reader Feedback
Customer Support
Downloading the Example Code
Errata
Piracy
Questions
1. Swift Basics
Lesson objectives
Swift Program Structure
Hello, World!
Swift Variables and Constants
Declaring Swift Variables
Variables Versus Constants
Type Inference
Variable Naming
Working with Variables
Tuples
Creating a Tuple
Optionals
Declaring an Optional
Working with Optionals
 Optional nil Values
Accessing Optional Values
Force Unwrapping an Optional
Conditionally Unwrapping Optionals
Using Optionals
The Swift guard Statement
Activity: Variable Summary
Swift Data Types
Numeric Data Types
Int on 64-Bit Versus 32-Bit Platforms
Built-In Numeric Data Types
Choosing the Appropriate Numeric Data Type
Declaring and Assigning Integer Variables
Declaring and Assigning Floating Point Numbers
Numeric Literal Grouping
Numeric Type Conversions
Using Numeric Types
Boolean
Character
Assigning a Character
Constructing a Character Literal
String
Instantiating a String
String Concatenation
Extracting Characters
String Length
Activity: Data Type Summary
Enums
Basic Enum Syntax
Enum with Raw Values
Activity: Using Swift Enums
Summary
2. Swift Operators and Control Flow
Lesson objectives
Swift Operators
Assignment Operator
 Arithmetic Operators
Standard Arithmetic Operators
Remainder Operator
Unary minus Operator
Compound Assignment Operators
Comparison Operators
Equality
Inequality
Comparison between Two Values
Ternary Conditional Operator
Logical Operators
Bitwise Operators
Nil-Coalescing Operator
Range Operators
Closed Range Operator
Half-Open Range Operator
One-Sided Range Operator
Activity: Operators
Branching
The if Statement
Condition Lists
Optional Unwrapping with if
The switch Statement
switch Statement Rules
The break Keyword
The fallthrough Keyword
Matching Non-Scalar Values
Multiple Patterns in a Single Case
Using the where Statement within case
Evaluating Optionals with a switch Statement
Activity: Converting Code from if to switch
Loops
The for…in Statement
Iterating over Objects
Iterating over Array Objects with index
The for Loop where Clause
 The break Control Transfer Statement
The continue Control Transfer Statement
The while Loop
The repeat…while Loop
Activity: Implementing Loops
Summary
3. Functions, Classes, and Structs
Lesson Objectives
Functions
Defining a Function
Argument Labels
Excluding Argument Labels
Parameter Default Values
Activity: Implementing a Function
Returning Values from Functions
Using @discardableResult
Function Attributes
Variadic Parameters
inout Parameters
Recursion
Functions as Parameters
Closures
Creating a Function to Receive Content from an
Asynchronous Web Service Call
Error Handling
The do…catch Statement
Multiple catch Blocks
Using do without catch
The guard Statement
Activity: Exception Handling
Object-Oriented Features
Object-Oriented Principles
Classes Versus Structs
Illustration
Defining Classes and Structures
Activity: Creating a Customer Struct and Class
 Summary
Challenge
4. Collections
Lesson Objectives
Arrays
Working with Arrays
Index
Common Operations with Index
ArraySlice
Creating Slices
Activity: Working with Arrays
Sets
Working with Sets
Combining Sets
Comparing Sets
Activity: Removing Duplicates from a Sequence
Dictionaries
Working with Dictionaries
Activity: Using Dictionaries
Summary
5. Strings
Lesson Objectives
String Fundamentals
Character
Collection
Index
Working with String Index
Debugging
Activity: All Indices of a Character
Using Strings
Creating Strings
Common Operations
Activity: All Ranges of a Substring
Activity: Counting Words, Sentences, and Paragraphs
Substring
Creating Substrings
 Parsing Strings
Converting NSRange to Range
Activity: CamelCase
Summary
6. Functional Programming and Lazy Operations
Lesson Objectives
Function Type
Functional Methods
filter
Using the filter Method
map
Using the map Method
flatMap
Using the flatMap Method
reduce
Using the reduce Function
Activity: Using Functional Programming
Lazy Operations
Lazy Sequences
Sequence Internals
Creating Lazy Operations
sequence(first:next:)
sequence(state:next:)
Activity: Implementing a Lazy Version of a Method
Swifty Code
Naming
Organizing Code
Miscellaneous
Writing Swifty Code
Summary
Further Study
Challenge
Index
Beginning Swift
Beginning Swift
Copyright © 2018 Packt Publishing

All rights reserved. No part of this book may be reproduced, stored

in a retrieval system, or transmitted in any form or by any means,
without the prior written permission of the publisher, except in the
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have been caused directly or indirectly by this book.

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First published: July 2018

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PacktPub.com
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Contributors
About the Authors
Rob Kerr is a mobile software architect based in United States. He
has been working professionally with Swift since its introduction,
delivering applications to the public App Store and through
enterprise distribution. His current focus is developing state-of-the-
art iOS applications using Swift in the IoT space.

Kåre Morstøl is an independent software developer from Norway,

with a bachelor's degree in software development. He has
programmed almost exclusively in Swift since it was announced. He
thinks it's a great language that is continually getting better.
Packt is Searching for Authors
Like You
If you're interested in becoming an author for Packt, please visit
authors.packtpub.com and apply today. We have worked with
thousands of developers and tech professionals, just like you, to help
them share their insight with the global tech community. You can
make a general application, apply for a specific hot topic that we are
recruiting an author for, or submit your own idea.
Preface
Swift is a multi-paradigm language. It has expressive features
familiar to those used to working with modern functional languages,
whilst also keeping the object-oriented features of Objective-C. Swift
vastly streamlines the developer experience, and Apple's Xcode
playground is a real game-changer.

The book begins by teaching you the basic syntax and structure of
Swift, and how to correctly structure and architect software using
Swift. It then builds expertise in the core Swift standard library you
will need to understand to complete real-world Swift programming
projects. We will work through concepts such as operators,
branching and loop structures, functions, classes, structs, collections,
and strings. We end the book with a brief look at functional
programming and lazy operations.

After reading and understanding this book, you will be well-prepared

to begin developing native end-user applications for iOS or macOS,
or to develop server-side (backend) application and web services
using Swift on Linux.
What This Book Covers
Lesson 1, Swift Basics, covers the fundamentals of using the Swift
programming language. In this lesson, you'll learn basic Swift syntax
and program structure. You'll also learn how to use Swift built-in
data types and enums, and how to declare and use Swift variables
and constants.

Lesson 2, Swift Operators and Control Flow, shows you how to use
the fundamental flow control structures and language elements that
form the building blocks of Swift programs. We will specifically cover
operators, branching statements, and loops in this lesson.

Lesson 3, Functions, Classes, and Structs, teaches you how to

develop fully featured Swift functions, catch unexpected errors, and
use asynchronous programming paradigms. You'll learn how to
create your own data types, and create object-oriented applications
using classes and structs.

Lesson 4, Collections, shows you how to work with Swift's

collections, such as arrays, sets, and dictionaries.

Lesson 5, Strings, covers Swift strings in detail. We will create and

use strings and substrings, and see the various common operations
available for them.

Lesson 6, Functional Programming and Lazy Operations, introduces

functional programming and explains what lazy operations are. We
will end with an important but often overlooked topic—writing Swifty
code.

The first three lessons are written by Rob Kerr, and lessons 4-6 are
written by Kåre Morstøl.
What You Need for This Book
This book will require the following hardware:

A Mac computer capable of running macOS Sierra 10.12.6+

An internet connection

Please ensure you have the following software installed on your

machine:

Operating system: macOS Sierra 10.12.6+

Xcode 9.1
Safari browser
Who This Book is for
This book is ideal for developers seeking fundamental Swift
programming skills, in preparation for learning to develop native
applications for iOS or macOS. No prior Swift knowledge is expected
but object-oriented programming experience is desirable.

You should have basic working knowledge of computer programming

in a procedural/object-oriented language, such as Objective-C,
BASIC, C++, Python, Java, or JavaScript.
Conventions
In this book, you will find a number of text styles that distinguish
between different kinds of information. Here are some examples of
these styles and an explanation of their meaning.

Code words in text are shown as follows: "Finally, use the console
print function to output the content of each error variable."

Folder names, filenames, file extensions, pathnames, include file

names in text are shown as follows: "Launch Xcode as before, and
create a new playground named Create a Variable.playground."

A block of code is set as follows:

let name = "John Doe"

var address = "201 Main Street"
print("\(name) lives at \(address)")

New terms and important words are shown in bold. Words that you
see on the screen, for example, in menus or dialog boxes, appear in
the text like this: "Choose Blank as the playground template, and
then press the Next button."

Important new programming terms are shown in bold.

Conceptual terms are shown in italics.

Note
Important additional details about a topic appear like this, as in a
sidebar.

Tip
Important notes, tips, and tricks appear like this.
Reader Feedback
Feedback from our readers is always welcome. Let us know what
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To send us general feedback, simply e-mail

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If there is a topic that you have expertise in and you are interested
in either writing or contributing to a book, see our author guide at
www.packtpub.com/authors.
Customer Support
Now that you are the proud owner of a Packt book, we have a
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Downloading the Example Code

You can download the example code files from your account at
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Errata
Although we have taken every care to ensure the accuracy of our
content, mistakes do happen. If you find a mistake in one of our
books—maybe a mistake in the text or the code—we would be
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other readers from frustration and help us improve subsequent
versions of this book. If you find any errata, please report them by
visiting http://www.packtpub.com/submit-errata, selecting your
book, clicking on the Errata Submission Form link, and entering
the details of your errata. Once your errata are verified, your
submission will be accepted and the errata will be uploaded to our
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section of that title.

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Piracy
Piracy of copyrighted material on the Internet is an ongoing problem
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bring you valuable content.

Questions
If you have a problem with any aspect of this book, you can contact
us at <[email protected]>, and we will do our best to address
the problem.
Chapter 1. Swift Basics
Swift is a relatively new programming language designed by Apple
Inc., and was initially made available to Apple developers in 2014—
primarily intended as a replacement for the aging Objective-C
language that was the foundation of OS X and iOS software
development at the time.

Unlike many object-oriented languages, which are based on older

procedural languages—for example, C++ and Objective-C are based
on C—Swift was designed from the ground up as a new, modern,
object-oriented language that makes programming faster and easier,
and helps developers produce expressive code that's less prone to
errors than many languages.

While not based on an older language, Swift, in the words of its

chief architect, Chris Lattner, " was inspired by drawing ideas from
Objective-C, Rust, Haskell, Ruby, Python, C#, CLU, and far too many
others to list." (Chris Lattner home page: http://nondot.org/sabre/).

Swift was initially a proprietary language, but was made open source
software in December 2015 as of its version 2.2. While Swift remains
primarily used by developers targeting the Apple macOS and iOS
platforms, Swift is also fully supported on Linux, and there are
unofficial ports under development for Windows as well.

The objective of this lesson is to learn the fundamentals of using the

Swift programming language. In this lesson, you'll learn basic Swift
syntax and program structure. You'll also learn how to use Swift
built-in data types and enums, and how to declare and use Swift
variables and constants. Let's get started.

Lesson objectives
By the end of this lesson, you will be able to:

Explain the program structure and syntax of Swift programs

Declare and use Swift variables and constants
Use the various built-in Swift data types
Use the Swift enum language syntax
Swift Program Structure
In this first section, we'll look at the basic language syntax for Swift,
and you'll write your first fully functional Swift program.

Like many modern programming languages, Swift draws its most

basic syntax from the programming language C. If you have
previous programming experience in other C-inspired languages,
such as C++, Java, C#, Objective-C, or PHP, many aspects of Swift
will seem familiar, and many Swift concepts you will probably find
quite familiar.

We can say the following about Swift's basic syntax:

Programs are made up of statements, executed sequentially

More than one statement are allowed per editor line when
separated by a semicolon (;)
Units of work in Swift are modularized using functions and
organized into types
Functions accept one or more parameters, and return values
Single and multiline comments follow the same syntax as in
C++ and Java
Swift data type names and usage are similar to that in Java, C#,
and C++
Swift has the concept of named variables, which are mutable,
and named constants, which are immutable
Swift has both struct and class semantics, as do C++ and C#

If you have prior experience in other C-inspired languages, such as

Java, C#, or C++, Swift has some improvements and differences
that will take some time and practice for you to become accustomed
to:

Semicolons are not required at the end of statements—except

when used to separate multiple statements typed on the same
 line in a source file.
Swift has no main() method to serve as the program's starting
point when the operating system loads the application. Swift
programs begin at the first line of code of the program's source
file—as is the case in most interpreted languages.
Functions in Swift place the function return at the right-hand
side of the function declaration, rather than the left.
Function parameter declaration syntax is inspired by Objective-
C, which is quite different and often at first confusing for Java,
C#, and C++ developers.
The difference between a struct and a class in Swift is similar to
what we have in C# (value type versus reference type), but not
the same as in C++ (both are the same, except struct members
are public by default).

For those coming to Swift from Java, C++, C#, and similar
languages, your previous experience with other C-inspired languages
will help accelerate your progress learning Swift. However, be sure to
study the language syntax carefully and be on the lookout for subtle
differences.

Hello, World!
When learning a new language, it's traditional for a first program to
make sure the development environment is installed and properly
configured by writing a program that outputs something to the
screen. That's what we'll do next.

Now, let's use an Xcode playground to create a simple Swift program

to display the string Hello, World to the playground console, by
following these steps:

1. Begin by launching Xcode. You should be presented with a

Welcome to Xcode screen with the following commands listed
on the left:
 1. Get started with a playground
2. Create a new Xcode project
3. Clone an existing project
2. Since we'll be writing code but not building an application in this
lesson, choose the Get started with a playground option to
open an interactive code window.

Note
Xcode playgrounds are provided to allow developers to
quickly experiment with Swift code. In addition to learning
Swift, as we are in this lesson, you can use playgrounds to
develop functions and test whether a specific fragment of
Swift code will do what you expect.

3. Choose Blank as the playground template, and then press the

Next button.
4. Next, Xcode will prompt where to save the playground. This will
save your code in a file with a playground file extension. Name
the playground HelloWorld, and save it to your desktop.
5. When Xcode creates a new playground, it adds some default
code to the editing window. Press ⌘ A on your keyboard and
then the Delete key on the keyboard to delete the sample code.
6. In the now-blank editor window, add the following two lines of
code:
let message = "Hello, World."
print(message)

Congratulations! You've just written your first Swift program. If you

see the text Hello, World. output in the bottom pane of the
playground window, your program has worked.
Before we move on, let's look at the structure of the playground
window:

Note the following regions in the playground window, as indicated by

the numbers within the red circles:

1: At the top of the window is a status bar which tells you the
state of the playground.
2: The editing pane of the window is where you type the code
to run in the playground.
3: The right-hand pane of the playground window shows
information about the effect of each line of code. In this simple
program, it shows the value message has been set to ("Hello,
World."), and the text that was sent to the console ("Hello,
 World.\n"). Note the right pane discloses that the print()
function added a newline (\n) character to the output.
4: The output pane of the playground window shows the debug
console, which in this case displays what the Swift program has
output. If your code has errors, the debug console will output
information about those errors as well.

Now that we have a development environment up and running

where we can create and run Swift code, let's move on to learning
about and using the Swift language.
Another Random Scribd Document
with Unrelated Content
“The orchestra department was under the direction of Manager
Reinagle, and the musicians were deemed equal in ability with the
stage artists. In truth the orchestra contained about twenty
accomplished musicians, many of them of great notoriety as
concerto players on their respective instruments.
“The concentration of that early date of so much dramatic, operatic
and instrumental talent, introduced a new era of theatricals here.
“Who that once saw old manager Reinagle in his official capacity,
could ever forget his dignified personne. He presided at his piano
forte, looking the very personification of the patriarch of music—
investing the science of harmonious sounds, as well as the dramatic
school, with a moral influence, reflecting and adorning its salutary
uses with high respectability and polished manners. His appearance
was of the reverent and impressive kind, which at once inspired the
universal respect of the audience. Such was Reinagle’s imposing
appearance, that it awed the disorderly of the galleries, or the fop of
annoying propensities, and impertinent criticism of the box lobby
into decorum.
“It was inspiring to behold the polished Reinagle saluting from his
seat (before the grand square piano forte in the orchestra) the
highest respectability of the city, as it entered the boxes to take
seats. It was a scene before the curtain that suggested a picture of
the master of private ceremonies receiving his invited guests at the
fashionable drawing room.
“Mr. Reinagle was a gentleman and a musician. His compositions
evinced decided cleverness and originality, and some of his
accompaniments to the old opera music were much admired by
good judges.”[227]
An article by William McKoy presents a clearer picture of Mr.
Reinagle. He says:
“Mr. Reinagle, one of the Managers, and a Professor of Music, used
to be seen, but only on particular occasions, seated at the Piano
Forte, then standing against the stage, in the rear of the band
[orchestra] for the mere purpose of touching a few notes solo, by
way of accompaniment to the silvery tones of Mrs. Wignell. * * * Mr.
Reinagle, while thus enjoying the effect of her inimitable chant,
exhibited to the audience a head not unlike that of Louis the XIV but
divested of the simplicity, bushy, powdered hair, large high forehead,
and round full face, illuminated by silver mounted spectacle glasses,
a perceptible smirk at all times about the mouth, and an
extraordinary depth of dimple in his cheek, while sitting there and
surveying the irritability of Mr. Gillingham, the Leader of the Band,
on his being obliged to leave the music of Händel and Mozart, and
strike off into the ‘President’s March.’”[228]
In Durang’s account, the compositions of Reinagle are spoken of
highly; there is the testimony of another man, an actor in Reinagle’s
company, to substantiate the above eulogy, as follows (1804):
“By the death of Wignell * * * the management devolved upon his
widow and Reinagle. * * * The musical department fell of course to
the charge of Reinagle, whose compositions and adaptations were
deserved favorites with the public.”[229]
Again, there is the testimony of a man of our own times to show
that the above praise was not undeserved. Speaking of some of
Reinagle’s sonatas, O. G. Sonneck says:
“These sonatas follow closely in the footsteps of Ph. Em. Bach and
the early Haydn without being void of individuality. If the larger
works of Reinagle all were as fine and effective as these sonatas he
must have been a composer of merit.”[230]
Sonneck has published titles of forty-two works ascribed to Reinagle,
[231] to which we have added several others some of which are still
in existence. These compositions include sonatas, overtures,
preludes, songs, opera music, adaptations, accompaniments, etc.
From all this evidence it will appear that Alexander Reinagle must
have been a great force in music in Philadelphia, and did much to
shape the taste of the people for good music—especially for German
music, and may thus be called the greatest German American
musician of that century.
Concerning his home life, it is known that Reinagle was married and
had two sons, Hugh, a scenic painter of some note, and Thomas.
The later years of his life Reinagle spent in the management of a
theatre in Baltimore, where he died September 21, 1809.[232]
Note: For a list of Reinagle’s compositions, Cf. Appendix.

FOOTNOTES:
[187] Sonneck, Early Concert Life, p. 79.
[188] Sonneck, Quarterly Magazine of International Music
Society, October-December, 1906, p. 112.
[189] O. G. Sonneck first called attention to this book in his
article in the Quarterly Magazine of the International Music
Society quoted above p. 113.
[190] Cf. Articles on Hugh Reinagle, in Grove’s Dictionary of
Music, and in “Dictionary of National Biography.”
[191] The originals are deposited in the Library of Congress.
[192] Quoted from History of the Pianoforte in America, by Daniel
Spillane.
[193] Sonneck, Early Concert Life, p. 78.
[194] Quoted from ditto, p. 81.
[195] Sonneck, Early Concert Life, p. 87.
[196] Cf. American Daily Adv., Jan. 19, 1791.
[197] Am. Daily Adv., Feb. 1, 1791.
[198] Am. Daily Adv., Feb. 16, 1791.
[199] Am. Daily Adv., Mar. 4, 1791.
[200] Am. Daily Adv., Mar. 23, 1791.
[201] Am. Daily Adv., April 13, 1791.
[202] Am. Daily Adv., Apr. 29, 1791.
[203] Am. Daily Adv., Feb. 3, 1791.
[204] Am. Daily Adv., Mar. 3, 1791.
[205] Am. Daily Adv., Mar. 17, 1791.
[206] Am. Daily Adv., Apr. 2, 1791.
[207] Am. Daily Adv., Aug. 30, 1791.
[208] Am. Daily Adv., May 17, 1791.
[209] Am. Daily Adv., May 25, 1791.
[210] Am. Daily Adv., Sept. 2, 1791.
[211] Sonneck, Early Concert Life, p. 87.
[212] Am. Daily Adv., Nov. 9, 1791.
[213] Am. Daily Adv., Nov. 19, 1791.
[214] Am. Daily Adv., Dec. 1, 1791.
[215] Am. Daily Adv., Dec. 15, 1791.
[216] Am. Daily Adv., Dec. 30, 1791.
[217] Am. Daily Adv., Jan. 12, 1792.
[218] Am. Daily Adv., Jan. 28, 1792.
[219] Am. Daily Adv., Feb. 11, 1792.
[220] Am. Daily Adv., Mar. 8, 1792.
[221] Am. Daily Adv., Mar. 31, 1792.
[222] For a full discussion of concert life Cf. Sonneck, (Early
Concert Life), as well for French, English, and German influence.
[223] Cf. D. Spillane, History of the Am. Pianoforte, p. 99.
[224] Durang, History of the Stage in Philadelphia, chapter 15.
[225] Durang, History of the Stage in Philadelphia, chapter 19.
[226] Durang, History of the Stage in Philadelphia, chapter 19.
[227] Durang, chapter 19.
[228] Poulson’s Daily Advertiser, January 13, 1829.
[229] Wood, Personal Recollections of the Stage, p. 104.
[230] Sonneck, Early Secular American Music, p. 13.
[231] Cf. Sonneck, Early Secular American Music, p. 139.
[232] Durang, chapters 19 and 24.
 CHAPTER VIII.
Philip Roth and Philip Phile
Although Alexander Reinagle was the greatest musician of this
period there were others of importance as Juhan, Moller, Capron,
Brown, Schetky, Wolff, etc., etc. It is not our intention to take up
these men separately, as material is too scanty to warrant it.
Sonneck has given short biographies of most of these men.[233]
There are two men, however, Philip Phile and Philip Roth about
whom we know considerable. They were both musicians of no mean
calibre, appeared frequently in the concerts given in Philadelphia,
and were also composers of music.
Philip Roth’s first public appearance, as far as is known, was in 1771
at the benefit concert of John M’Lean, when an overture composed
by him “for the occasion” was performed.[234] This piece was,
perhaps, the first of importance composed by a German in
Philadelphia. The advertisement speaks of him as “Master of the
Band, belonging to his Majesty’s Royal Regiment of North British
Fusileers.” However, as will be shown later, he was undoubtedly a
true German.
From 1771 to 1785 we lose sight of Roth, but then he appears as a
music teacher in Philadelphia.[235] It is quite likely that he was here
still earlier. He lived in Philadelphia from 1785 on until his death in
1804.
The importance of Philip Roth lies in the fact that it has been
claimed by some, that he is the composer of “The President’s March”
to which the song “Hail Columbia” was set. Others claim that Philip
Phile was the author. The claims of Philip Roth, which at the most
are meagre, rest upon an article in a newspaper of 1829, written by
Wm. McKoy, twenty-five years after Roth was dead. This article, as
will be shown, contains one error, and may contain others. The
article in question reads thus:
“The seat of the Federal Government of the thirteen
United States being removed to Philadelphia, and in honor
of the new President Washington, then residing at No. 190
High Street, the March, ever since known as the
President’s March, was composed by a German Teacher of
Music, in this city, named Roth, or Roat, designated
familiarly by those who knew him, as ‘Old Roat.’ He taught
those of his pupils who preferred the flute, to give to that
instrument the additional sound of the drone, while
playing in imitation of the Scotch Bagpipe. His residence
was at one time in that row of houses back from Fifth,
above Race street, at that time known as ‘The Fourteen
Chimnies’ some of which [1829] are still visible in the rear
ground, north eastward of Mayer’s Church. In his person
he was of the middle size and height. His face was truly
German in expression; dark gray eyes, and bushy eye-
brows, round pointed nose, prominent lips, and parted
chin. He took snuff immoderately, having his ruffles and
vest usually sprinkled with grains of rappee. He was
considered an eccentric and a kind of drole. He was well
known traditionally at the Sampson and Lion, in Crown
Street, where it seems, his company, in the Olden Time
was always a welcome addition to the Pewter Pint
Customers, gathered there, at their Pipes and Beer, while
listening to his facetious tales and anecdotes, without
number, of High Life about Town, and of the Players: Nick
Hammond, Miss Tuke, Hodgkinson, Mrs. Pownall, and Jack
Martin of the Old Theatre in Southwark. This said
President’s March, by Roat, the popular songs of Markoe,
[236] the City Poet, in particular the one called ‘The Taylor
done over,’ and the beautiful air of ‘Dans Votre Lit,’ ... were
 sung and whistled by everyone who felt freedom (of mind)
to whistle and sing.

“Public opinion having ... released itself from a passion for

French Revolutionary Musick and Song, experienced a
vacuum in that particular, which was immediately supplied
by the new, National American Song of ‘Hail Columbia
happy Land,’ written in ’98, by Joseph Hopkinson, Esq.
[237] of this city, and the measure adapted by him very
judiciously, to the almost forgotten President’s March.
Even since 1798, the song of Hail Columbia, by Joseph
Hopkinson, and the President’s March, by Johannes Roat,
being indiscriminately called for, have become, in a
manner synonymous to the public ear and understanding,
when they are actually and totally distinct in their origin,
as above mentioned.
“Such was the popularity of the song, that very frequently
has Mr. Gillingham, Leader of the Band, [Orchestra], been
forced to come to a full stop in the foreign music, he had
arranged for the evening by the deafening calls for this
march, or song to the march.”[238]
In the first place, we wish to pick out a few errors, which will show
why we must use this testimony with caution. The writer says that
Roth was “well known traditionally,” evidentially not personally
known to him. Again he says that the “President’s March” at the time
“Hail Columbia” was written was “almost forgotten,” but on the
contrary the actor, Gilbert Fox, urged Joseph Hopkinson to set words
to that tune on account of its popularity. Thirdly, he says that the
march was written by Johannes Roat. This is evidently an error in
the Christian name due to traditions as we will try to show. We have
gone carefully through the city directories from 1785 (when they
were first printed,) to 1806; also the newspapers of that time, and
wills and letters of administration but find no record of a “Johannes”
Roat. We find a Philip Roth, and we shall strive now to give proof
that they were one and the same, as so far there has been no
adequate statement of this fact.
To recapitulate: Philip Roth, we have already discovered, was a Band
Master in a British regiment in Philadelphia, and wrote an overture in
1771.[239] All trace of him is lost during the war, but he probably
continued to fill his position in the British Army, or possibly the same
position in the U. S. army.
In 1785 there is the name Philip Roots in the city directory. In 1788
he has an advertisement in the newspaper,[240] while in 1789 we
have the following:
“Mr. Roth, Music Master, In Pennington Alley running from
Race to Vine Streets, between Fourth and Fifth Streets.
“Teaches all kinds of Instrumental Music in the shortest
manner, viz. Harpsichord or Piano Forte, Guitar, Flute,
Hautboy, Clarinet, Bassoon, French Horn, Harp and
Thorough-Bass, which is the Ground of Music, etc.”[241]
In this advertisement we have Mr. Roth; not Philip nor Johannes.
This would imply that the above-mentioned man was the only
person in Philadelphia by the name of Roth who was a music
teacher. There was no city directory after 1785 until 1791. In this
year there appears this entry:
“Philip Roth, musician 25 Crown St.”[242]
Now turning to the advertisement again we read that Mr. Roth lived:
“In Pennington Alley running from Race to Vine Streets, between
Fourth and Fifth streets.” But the city directory informs us that
Crown St., and Pennington Alley were one and the same.[243] To go
a step further, let us compare the article on the ‘President’s March,’
above quoted, as to the abode of Johannes Roat, which says:
 “His residence was at one time in that row of houses back
from Fifth, above Race street, at that time known as ‘The
Fourteen Chimneys’ ... north-eastward from Mayer’s
Church.”[244]
Now comparing these three dwelling places, we find that they were
on the same street—at least two of them—and the third in the same
neighborhood; but we find that there was only one man, which our
evidence gives, so we may be perfectly sure that the other two men
may be fused into the one—Philip Roth. This man lived, while he was
in Philadelphia in one locality as the directories show.
1791 Philip Roth, musician, 25 Crown St.
1795 Philip Roth, 31 Race St.
1798 Philip Roth, Crown St.
1797 Philip Roth musician, Crown St.
1798 Philip Roth, musician Crown St.
1799 Philip Roth, teacher of music, 33 Crown St.
1800 Philip Roth, teacher of music, 33 Crown St.
1801 Philip Roth, music master, 33 Crown St.
1802 Philip Roth, music master, 33 Crown St.
1803 Philip Rote, music master, 33 Crown St.
1804 Philip Rote, music master, 33 Crown St.
His name is also given in the directory of 1805, but nevertheless he
died in 1804.
From the above, it is seen that he lived on the same street all the
time he was in Philadelphia, with the exception of the year 1795
when he dwelt at 31 Race St., which however, was not far away. We
see, too, the different appellations given to him, as “musician,”
“teacher of music,” and finally “master of music,” Evidently he was
skilled as a musician, and was respected as such.
Little else is known about Philip Roth, but we may presume that he
played in the orchestra of the “Old Southwark Theatre”—perhaps
was even the leader, since we know that he was well acquainted
with the actors.[245] We do know that he composed a piece of
music, or rather set to music a “Hunting Song,” which was printed in
the “Universal Asylum,” April, 1790. He must indeed, have been a
skilful musician to be able to give lessons on all the instruments in
his advertisement—nine in all—although he could not have been
proficient on all. Still he must have been talented.
The date of his death has been misstated by the only author, who
has mentioned it at all. O. G. Sonneck, in his book “Early Secular
American Music” (1905) page 190, and in an article “Critical Notes
on the Origin of Hail Columbia” printed in the “Sammelbände der
Internationalen Musikgesellschaft” (1901) states that Philip Roth
died in 1805.
It is true that in the City Directory for 1805 his name is found while
in the directory for 1806 the following entry appears:
“Rote, widow of Philip, music master, 94 N. 7th St.”[246]
To offset the above evidence there is the documentary proof as
follows:
“On the 24th day of September, 1804, Letters of Administration were
granted unto Mary Roth on the Estate of her Husband, Philip Roth
deceased.
$200. Henry Lies of Philadelphia, Victualler. Jacob Grace of Nor.
Liberties, Carter. Sureties.”[247]
Philip Roth could not have amassed much wealth during his musical
career, since his surety was only $200.
So much for Philip Roth and his claims as author of the “President's
March.” The other claimant is Philip Phile, about whom we know as
little as about Philip Roth. As early as 1784 Phile was in Philadelphia;
as there is a concert advertised for his benefit in that year.[248]
Somewhat later than this Durang, a contemporary of Phile tells us
that:
“The orchestra at the beginning of the “Old American
Company” production was Mr. Philo, leader; Mr. Bentley,
 harpsichord; Mr. Woolf, principal clarinet, Trimmer, Hecker,
and son, violoncello, violins, etc. Some six or seven other
names, now not remembered, constituted the musical
force. The latter were all Germans.”[249]
Mr. Phile was occupying a somewhat important position—the
leadership of a German orchestra numbering some twelve or
thirteen men. From now on until his death in 1793,[250] Phile
wandered back and forth between New York and Philadelphia. In
1784 he appears on the concert programs in the latter city. In 1786
with Alexander Reinagle he played a duet for violin and ’cello in New
York,[251] while the next year he is back again in Philadelphia.[252]
In 1792 he takes part in a concert together with Philip Roth and
other Germans.[253] Perhaps Roth was a member of his orchestra.
After 1789 he apparently settled down in Philadelphia, and lived on
Race St., between Front and Second.[254]
Such is the knowledge we have concerning Phile’s life. Let us
consider what are his claims to the authorship of the “President’s
March.” As in the case of Roth, the march was claimed for Phile by
his friends; but in his case there are two different accounts of its
origin as follows: 1. First it was claimed for him by his son, who says
he was present when it was played. He says that the march was
composed by his father, and played at Trenton Bridge in 1789 in
honor of Washington, who was on his way to New York to be
inaugurated.[255] 2. Second, it is said by the nephew of Washington,
G. W. Custis (1860), that this march was played in the John St.
Theatre, N. Y., Nov. 24, 1789 in honor of Washington, who was
present that evening. The composer is said to be a German named
Feyles.[256] “Feyles” is a corruption of Phile and we also find it
spelled Philo, Phylo, Phyla, Phyle, Phyles, Fyles, etc.
There are, then, two different statements as to the composition of
this piece by Phile, which would lead us to think, that, in the minds
of the people it was a doubtful question as to how and when this
march was composed. To add to this, the claim that Philip Roth
composed this march, only makes the situation more confused.
Sonneck has pointed out in his article “Critical Notes on the Origin of
Hail Columbia,”[257] that there was no account in the daily papers of
that time concerning this march, as there probably would have been,
had it been composed in honor of so important a man as
Washington. He, however, inclines to the belief that Phile did write
the march; but until a manuscript with the name of the composer
thereon is discovered, we cannot say with surety who did write it.
[258] We have, then, these two composers before us and can pay
our money and take our choice.
Concerning the compositions of these two men we know little. The
overture composed by Roth in 1771 has already been mentioned.
Sonneck also gives a “Hunting Song” set to music by Mr. Roth in
1790. Sonneck credits Phile with the following compositions.
1787

1. Violin Concerto by Mr. Phile.

1790

2. Harmony Music, Phile.[259]

In addition to these we have:

1791

3. Overture by P. to be played at Vauxhall Concert, May 27.[260]

4. Concerto Violin by Mr. Phile. At Vauxhall Sept. 2.[261]

FOOTNOTES:
[233] Sonneck, Early Secular American Music, Index.
[234] See Above, p. 54.
[235] Cf. City Directory of Philadelphia, 1785.
[236] Peter Markoe (1768-1792) born at Santa Cruz, West Indies,
educated in Eng., died at Phila.
[237] Son of Francis Hopkinson mentioned above as an important
figure in Phila. musical development, Cf. Above, pp. ff.
[238] Poulson’s Daily Advertiser, Jan. 13, 1829.
[239] Cf. Above, p. 54.
[240] Pa. Jour., Sept. 10, 1788.
[241] Pa. Jour., Jan. 7, 1789.
[242] City Directory, 1791, p. 110.
[243] City Directory, 1795, p. 81.
[244] Cf. Above p. 77.
[245] Cf. Above, p. 89.
[246] City Directory, 1806.
[247] Cf. Letters of Administration, Book K, No. 156, p. 178 in
office of Recorder of Wills, City Hall, Philadelphia.
[248] Pa. Packet, Mar. 6, 1784.
[249] Durang, History of the Stage in Phila., Chapter 12, [A rare
book].
[250] Sonneck, Early Secular American Music, p. 189.
[251] N. Y. Packet, Jul. 13, 1786.
[252] Pa. Packet, Jan. 13, 1787.
[253] See Above, Note to 72.
[254] Sonneck, Article in Sammelbände (1901), p. 156.
[255] Baltimore Clipper, 1841.
[256] G. W. Custis, Recollections and Private Memoirs of Washing.
p. 368. Also Diary of Geo. Wash. 1789-1791, (ed. B. J. Lossing,
1860), p. 56.
[257] Sammelbände der Internationalen Musikgesellschaft, 1901.
[258] Many writers have expressed an opinion, but evidently their
information consisted of a knowledge of only one claim.
[259] Cf. Sonneck, Early Sec. Am. Music for these compositions.
[260] Am. Daily Adv., May 25, 1791.
[261] Am. Daily Adv., Sept. 2, 1791.
 CONCLUSION.
We have tried to show the gradual growth of musical taste in
Philadelphia, especially the taste for German music. As before
mentioned this taste was undoubtedly stimulated mostly by the
English musicians, at least until the last period. In that period the
English, and German musicians, seem to have worked in conjunction
to keep up the standard set by their predecessors. It must not be
thought that German music alone ruled in Philadelphia. During the
French Revolution, especially, many refugees arrived in Philadelphia
and concerts of French music were given and great enthusiasm was
aroused among the American citizens. However, on looking over the
whole century, German music seems to predominate over the music
of other nations in Philadelphia. Musical taste in Philadelphia after
the Revolution will compare favorably with the taste shown in
Europe at the same period.
 APPENDIX.
Works of Alexander Reinagle.
Unless otherwise noted this list has been taken from O. G. Sonneck’s
“Early Secular American Music.” They are given here according to
date of production.
1787.
1. Overture.
2. “A Select Collection of the most favorite Scots tunes. With
variations for the pianoforte or harpsichord.”
3. A song (newly composed).
1788.
4. “Federal March, as performed in the grand procession in
Philadelphia, the 4th of July, 1788. Composed and adapted for the
pianoforte, violin, or German flute.”
1789.
5. Song.
“Adieu thou dreary pile.”
Arranged for pianoforte or harpsichord by Reinagle.
6. Chorus, sung before Gen. Washington, as he passed under the
triumphal arch on Trenton Bridge, April 21, 1789. “Set to music and
dedicated by permission to Mrs. Washington.”
7. Song. “In vain fond youth you would conceal.”
8. Song. “My soul is thine, sweet Nora.”
9. Song. “The Soldier tried, etc.”
10. Song. “Tantive back forward.”
11. Song. “Tis not the bloom on Damon’s cheek.”
(These songs were arranged by R. for pianoforte or harpsichord.)
12. Overture. “La Schiava” (Piccini.)
13. Overture to opera “Maria” (Shield).
(These overtures arranged for pf. by R.)
1791.
14. Song. “Winter.” Set to music by R. with pf. acc.
15. Miscellaneous Quartet. Played at the “City Concert” Mar. 5, 1791
and often the remainder of the season.[262] This composition is
dated by Sonneck 1793.
16. New Miscellaneous Quartet. To be played at the “City Concert”
Dec. 17, 1791.[263]
1794.
17. Song. “America, Commerce and Freedom.” By. R.
18. “La Chasse” (Rosetti). Arranged for pianoforte or Harpsichord by
R.
19. “Concerto On the Improved Pianoforte with Additional keys.”
20. “La Foret Noire (serious pantomime. Overture, etc., entirely new,
composed by Mr. Reinagle.”)
21. Occasional Overture.
22. “Preludes in three classes, for the improvement of practitioners
on the pianoforte.”
23. “Robin Hood” (comic opera,) original overture by Baumgarten,
additional airs by R.
24. “Slaves in Algiers” (play interspersed with songs), Music by R.
25. “Spanish Barber” (opera translated from Beaumarchais, by G.
Colemann), additional airs by Reinagle and Carr.
1795.
26. “Harlequin shipwreck’d” (Pantomime). New music by R.
27. “Harlequins invasion” (Pantomime.) New medley overture by R.
28. “Volunteers” (comic opera). Music and overture entirely new.
29. “The Purse” (musical drama by J. J. Cross), accompaniments and
new airs by R.
30. “Auld Robin Gray” (opera), new music and a Scottish medley
overture by R.
1796.
31. “Mountaineers” (comic opera), accompaniments by R.
32. “Pierre de Province and La Belle Magulone” new music by R. This
was also called “The Rival Knights” or La “Belle Magalone” a
pantomime.[264] Probably this was the same thing as “Pierre de
Province” although the latter was advertised as a “ballet.”
33. “Grand Divertisement in the Temple of Liberty taken from the
celebrated Ballet, called, Warriors Welcome Home. The Overture and
Music compiled by Mr. Reinagle in which is introduced a number of
Irish and Scotch Airs.”[265]
34. “The Shamrock” (Irish dance), Irish medley Overture by R.[266]
35. “Witches of the rocks or Harlequin everywhere” (Pantomime),
“with an entire new overture, songs, choruses, and recitations
composed by Mr. Reinagle.”
1797.
36. “Columbus” (historical play), incidental music by R.
37. Savoyard (musical farce), music by R.
1798.
38. “‘The Gentle Shepherd’, written by Allan Ramsay. With original
airs and the accompaniment by Mr. Reinagle.” This was called “the
favorite comical Scot’s Pastoral” and was to be performed at the New
Theatre.[267]
39. “Italian Monk” (opera), music and accompaniment by R.
1799.
40. Monody. “On the Death of the much lamented, the late
Lieutenant-General of the Armies of the United States. The Music
composed by R. Taylor, and Mr. Reinagle.” To be given at the New
Theatre.[268]
41. “Blue Beard” (opera accompaniments by R.)
42. “The Arabs of the desert, or Harlequins flight from Egypt,” with a
new Overture and Music, composed by Mr. Reinagle.[269]
Probably before 1800 (date not known).
43. “Collection of favorite songs, divided into books. The basses
rendered easy and natural for the pianoforte or harpsichord by Alex.
Reinagle.”
1800.
44. Masonic overture.
45. “Naval pillar” (musical entertainment), accompaniments by R.
46. “Pizarro,” by Kotzebue; adapted by R. B. Sheridan; music by
Reinagle and Raynor Taylor.

FOOTNOTES:
[262] Cf. Am. Daily Adv., Mar. 4, 1791. Also programs given in this
book for 1791.
[263] Cf. Am. Daily Adv., Dec. 15, 1791.
[264] Cf. Am. Daily Adv., Jun. 27, 1796.
[265] Cf. Am. Daily Adv., Mar. 28, 1796.
[266] Perhaps the same as advertised in Am. Daily Adv., May 7,
1794.
[267] Am. Daily Adv., Apr. 16, 1798.
[268] Am. Daily Adv., Dec. 23, 1799.
[269] Cf. Am. Daily Adv., Apr. 13, 1799.
 Americana Germanica
NEW SERIES

MONOGRAPHS DEVOTED TO THE COMPARATIVE STUDY OF

THE

Literary, Linguistic and Other Cultural

Relations of Germany and America

EDITOR

MARION DEXTER LEARNED

University of Pennsylvania

CONTRIBUTING EDITORS
H. C. G. Brandt
W. H. Carpenter
W. H. Carruth
Hermann Collitz
Starr W. Cutting
Daniel K. Dodge
A. B. Faust
Kuno Francke
Adolph Gerber
Julius Goebel
J. T. Hatfield
W. T. Hewett
A. R. Hohlfeld
Hugo K. Schilling
 H. Schmidt-Wartenberg
Hermann Schoenfeld
Calvin Thomas
H. S. White
Henry Wood

PHILADELPHIA

AMERICANA GERMANICA PRESS

Berlin
MAYER & MÜLLER
New York
CARL A. STERN
Leipzig
F. A. BROCKHAUS
London
KEGAN, PAUL, TRENCH, TRÜBNER & CO., Ltd.
Paris
H. Le SOUDIER
 Transcriber’s note
Minor punctuation errors have been changed
without notice. Inconsistencies in hyphenation have
been standardized.
The spelling of the surnames was standardized. The
exception is Tannenberger/Tannenberg which was
left as published because a footnote refers to the
alternate spelling.
Page 58: Dashes were removed from the table for
readability purposes.
Page 68: For the “VAUXHALL CONCERT, SEPT. 2”
section. Duplicate #3 and #4 were removed.
The following printer errors have been changed.
Page “The Influencs of “The Influence of
Ads: Salomon” Salomon”
Page “Hymnology and the “Hymnology and the
Ads: Souces” Sources”
Page
“anfangs ein sternger” “anfangs ein strenger”
7:
Page “Scylla Theologiae, “Scylla Theologica,
7: aliquot” aliquot”
Page “of the Bohemian “of the Bohemian
10: Bretheren” Brethren”
Page
“Unparteysche Lieder” “Unparteiische Lieder”
10:
Page “Neues und “Neues und
10: vesbessertes” verbessertes”
Page
“services, epecially” “services, especially”
13:
Page “Christina, Dlaware, “Christiana, Delaware,
13: to” to”
Page
“on the Wissakickon” “on the Wissahickon”
18:
Page “court of arms “coat of arms
41: containing” containing”
Page “of musical “of musical
42: merchandise” merchandize”
Page “was popular, and “was popular, and
46: prabably” probably”
Page “and in 1763 recieved “and in 1763 received
47: the” the”
Page
“Provinicial Council of” “Provincial Council of”
47:
Page “Pepush (Alex’s a “Pepush (Alexis a
49: Cantata!)” Cantata!)”
Page
“least a semi-worldy” “least a semi-worldly”
52:
Page
“ji suis et serai” “je suis et serai”
59:
Page “trés humble
“très humble Serviteur.”
59: Serviteur.”
Page
“mois de Fevrier” “mois de Février”
59:
Page “öffenthich kundthun; “öffentlich kundthun;
60: und” und”
Page “Sie noch nene “Sie noch neue
60: Rondos” Rondos”
Page “niemand etwas “niemand etwas
60: nachgedcrukt” nachgedruckt”
Page “einen solchen “einen solchen
60: Nachdrucken” Nachdrucker”
Page
“Eerlaubnis zu Ihrem” “Erlaubnis zu Ihrem”
60:
Page
“4. Quartete, Clarinet” “4. Quartette, Clarinet”
64:
Page “evidentally not “evidentially not
78: personally” personally”
“Sammelbaende der “Sammelbände der
Page
Internationalen Musik- Internationalen
80:
Gesellschaft” Musikgesellschaft”
Page “states that Philp
“states that Philip Roth”
80: Roth”
Page “24. “Spanish
“25. “Spanish Barber””
86: Barber””
Footnote Corrections:
Italics for Footnotes 158-162, 164 were
standardized.
“Sasche, Justus “Sachse, Justus
32:
Falckner” Falckner”
55: “Hist., XVI” “Hist., Vol. XVI”
“The Voyage, Shiprack “The Voyage, Shipwreck
76:
and” and”
78: “March 5-14, 172-7/8” “March 5-14, 1727-8”
80: “Hist. of Phita.” “Hist. of Phila.”
88: “Haendel & Haydn” “Handel & Haydn”
112: “P. Gazette, May 1” “Pa. Gazette, May 1”
“Mittelbergers
115: “Mittelberger’s Journey”
Journey”
224: “History of Stage” “History of the Stage”
“Personal
229: “Personal Recollections”
Recollections”
 “Sammelbaender “Sammelbände der
257: Internationalen Musik Internationalen
Gesellschaft” Musikgesellschaft”
*** END OF THE PROJECT GUTENBERG EBOOK EARLY GERMAN
MUSIC IN PHILADELPHIA ***

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