Musical Myths and Facts Volume I Part 22

Among the enthusiastic promoters of congregational singing in that country, during the eighteenth century, deserves to be mentioned, William Billings, who, in 1770, published at Boston, 'The New England Psalm-Singer, or American Chorister; containing a Number of Psalm-tunes, Anthems and Canons, in four and five parts; never before published.' W.

Billings, whose publications are recorded to have "opened a new era in the history of psalmody in the colonies," was in his youth a tanner by trade, and knew but little of the theory of music; nor did he care about it, although he composed sacred songs harmonized for different voices.

The popularity which his productions obtained reveals the uncultivated taste of his contemporary countrymen. In his address "To all Musical Pract.i.tioners," he says: "Nature is the best dictator; for all the hard, dry, studied rules that ever were prescribed will not enable any person to form an air.... For mine own part, as I do not think myself confined to any rules for composition laid down by any that went before me, neither should I think, were I to pretend to lay down rules, that any who came after me were any ways obliged to adhere to them any further than they should think proper. So, in fact, I think it best for every composer to be his own carver." And as to the effect of the music of his own "carving," he exclaims: "It has more than twenty times the power of the old slow tunes; each part straining for mastery and victory, the audience entertained and delighted, their minds surpa.s.singly agitated and extremely fluctuated, sometimes declaring for one part and sometimes for another. Now, the solemn ba.s.s demands their attention--next, the manly tenor; now, the lofty counter--now, the volatile treble. Now here--now there--now here again. O, ecstatic! Rush on, ye sons of Harmony!"

In order to ascertain exactly the present condition of Church music in the United States, it is as necessary to refer to some of the tasteless publications of hymns, as to examine the valuable collections. The former are, however, only deserving of attention if they are very popular, or if they tend to ill.u.s.trate the peculiarities of certain religious sects. The character of the following books is sufficiently indicated by their lengthy t.i.tles:--

'The Southern Harmony, and Musical Companion; containing a choice collection of Tunes, Hymns, Psalms, Odes, and Anthems, selected from the most eminent authors in the United States; together with nearly one hundred New Tunes which have never before been published; suited to most of the Metres contained in Watts's Hymns and Psalms, Mercer's Cl.u.s.ter, Dossey's Choice, Dover Selection, Methodist Hymn Book, and Baptist Harmony; and an easy Introduction to the Grounds of Music, and plain rules for Beginners. By William Walker. New Edition, thoroughly revised and greatly improved. Philadelphia, 1854.'

'The Golden Censer; A Musical offering to the Sabbath Schools, or Children's Hosannas to the Son of David; by W. B. Bradbury, author of the Golden Chain, Golden Shower, Oriola, Jubilee, Key-Note, etc., etc. New York, 1864.'

'Chapel Gems for Sunday Schools, selected from the Snow Bird, Robin, Red Bird, Dove and Blue Bird, by G. F. Root and B. R. Hanby; and from the Linnet, by F. W. Root and J. R. Murray. With additional pieces by D. P.

Horton of Brooklyn, N. Y. Chicago, 1868.'

Publications of sacred songs for children, which are taught in school, especially deserve attention, inasmuch as they affect the musical taste of the people, and ensure the popularity of certain hymns.

Furthermore, the dances of the Shakers should be noticed, with examples of the songs to which they are performed. Sacred dancing was practised by the Hebrews at the time of King David, and is still one of the ceremonies observed by the Roman Catholic priests in the Cathedral of Seville, by the Dervishes of the Mohammedans, and by several pagan nations. It would be desirable to ascertain exactly the reason, or biblical warrant, which induces Christian sects to advocate its practice.

An interesting collection of Negro songs, mostly sacred, ent.i.tled 'Slave Songs of the United States,' was published at New York in the year 1867.

The songs, which are from different districts of the United States, contain the musical notation with the words, and were collected by W. F.

Allen, C. P. Ware, and L. M. Garrison. This curious publication supplies us with some information respecting the religious vocal performances of the American negroes, and the intense fervour which is displayed by the wors.h.i.+ppers while they are singing. Moreover, they have also a kind of sacred dance, called "The Shout," which consists in shuffling round, one after the other, in a ring, with a jerking, hitching motion, which agitates the entire shouter, while they sing in chorus a "Spiritual."

These performances are especially in favour with the Baptist negroes.

The tunes, some of which exhibit traces of an African origin, are extremely interesting.

The Negro Baptists at Richmond, in Virginia, have in their church a choir consisting of about forty singers. An Englishman, who attended their service, records: "The voices were exquisitely sweet, well deserving the praise which I heard accorded to them. The hymn selected concluded with these words and direction:--

'Give the hand of friends.h.i.+p ere we part, May heaven now embalm it in each heart!'

(_Rise, and clasp hands._)

"Acting on this the large congregation, for the church was full, rose and clasped each other's hands."[78]

From the reports of missionaries in different parts of the world it would appear that the converted pagans not unfrequently prove excellent psalm-singers. Sometimes their own tunes have with good result been adapted to the sacred poetry translated for them into their native language. This, for instance, has been done in the 'Hindustani Choral Book, or Swar Sangrah; containing the Tunes to those Hymns in the Gi't Sangrah which are in Native Metres; compiled by John Parsons;' Benares, 1861. This book contains ninety Hindu tunes, most of which are evidently of secular origin. We therefore find here an expedient resorted to somewhat similar to that which we have observed with the Dutch more than three centuries ago.

Again, to render the survey more complete, it would be requisite to incorporate into it some specimens of church music of the Christian Abyssinians, Copts, Armenians, and other Eastern sects who possess peculiar liturgies, and notations of their sacred songs or chants.

The value of the collection might be further increased by an introductory essay surveying the sacred musical performances of non-Christian religions. Here the synagogical songs of the Jews, the chants of the Mohammedans, and the musical performances in the temples of the Buddhists and the Brahmins, would require special consideration: but the music used in the ceremonies of the pagan religions of the least civilized races should not be left unnoticed.

END OF VOL. I.