part 1: music in early north america chapter 3: religious music in the colonial, revolutionary, and...
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Part 1: Music in Early North America
Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
America’s Musical Landscape 5th edition
PowerPoint by Myra Lewinter MalamutGeorgian Court University
© 2006 The McGraw-Hill Companies, Inc. All rights reserved
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
2© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Religious music in the Colonial, Revolutionary, and Federal Periods
As early as the sixteenth century, inhabitants of the New World experienced a variety of native and imported musics Including Roman Catholic Music
French and Spanish visitors accompanied their own worship with music
The missionaries taught the music to the Indians in Florida and in the Southwest as part of the conversion process to Roman Catholicism
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
3© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Music at the Spanish Missions Taught by missionaries, American Indians learned
To sing and perform Christian songs and prayers, including choral singing
To play instruments in church orchestras To create simple European-style instruments To sing traditional Spanish music, praise songs or hymns,
and Gregorian Chant To perform at Christmas in musical nativity plays called
Las Posadas (The Lodgings), about the struggles of Mary in finding a place to deliver the baby Jesus
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
4© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Spanish missions Remained active in California
Catholic church music was regularly performed there By missionaries By Native Americans
But the Mexican government ordered missions closed in 1833
Musical instruments and music manuscripts of mass settings and church music have been found at mission sites
Catholic music remained important in regions inhabited by Spanish, French, or Mexican people
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
5© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The Protestant Influence The Protestant custom of singing psalms
and hymns dominated the religious music experience in this country
Religious songs inspired and comforted people in the North and South
New England’s practices exerted the strongest and longest-lasting influence on American music
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
6© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Psalm Tunes: Martin Luther and the Protestent Reformation 1517 in Europe: German Catholic cleric
Martin Luther (1483-1546) instigated the Protestant Reformation, protesting practices of the Roman Catholic church Other people in northern European countries
then formed their own Protestant sects Protestants sang hymns in their vernacular
(common) language Hymns: Had simple folklike tunes, easy to sing
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
7© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Psalm Tunes: The Pilgrams and Puritans Pilgrams and
Puritans in New England in the early seventeenth century were Protestants The protestations
against Roman Catholicism included religious music
Pilgrams Going to ChurchPainted by George H. Boughton
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
8© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Psalm Tunes: The Pilgrams and Puritans
Followers of Swiss reformer John Calvin (1509-1564) believed the only texts suitable for singing in a worship service were the psalms,150 inspirational verses from the Old Testament of the Bible
Hymns, forbidden in a worship service, had freely written texts not necessarily based on Biblical passages or from church liturgy
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
9© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Psalm tunes and the Calvinists Calvinists retranslated the psalms into verses
having a regular number of lines with patterns of weak and accented beats suitable for setting to music
Calvinists believed the only purpose for music in a church service was to enhance expression of a religious text, not to stir emotions and not for the music itself In worship, sang a cappella (unaccompanied), in unison Outside of worship Calvinists enjoyed harmony and
instrumental accompaniment with their psalm tunes
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
10© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Psalm tunes became a folk tradition
Psalm tunes were Folklike in nature Learned from oral experience Strophic in form
4-line stanzas Ornamentation and variation in the singing was
typical of folk song singing
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
11© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Psalm tunes and psalters Psalter: A book containing the metered and
rhymed psalm verses, for use in congregational singing Some psalters contained notated melodies Others had no music but only the words, which could be
sung to familiar tunes 1539: The first collection of psalm tunes was
printed in Switzerland 1551: The first edition of the Geneva Psalter
appeared in Geneva, Switzerland
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
12© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Listening Example 11Old HundredBy Louis Bourgeois (c. 1510-c. 1560)Listening guide page 51
Form: Strophic (only 1 stanza is heard)Meter: Quadruple, as well as long meter, entailing four line
stanzas with eight syllables; any psalm in long meter could be sung to any long meter tune
Rhythm: Altered from the original rhythm sung long ago
Also known as the Doxology, “Praise God, from Whom All BlessingsFlow,” this setting of Psalm 100 is the most famous psalm tune of all
A four-part choir sings a cappella in this examplewith soprano melody
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
13© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Psalm tunes and psalters: Sternhold and Hopkins A psalter named after
The man who printed the first metrical psalter in English, and… The man who wrote the most translations to the new version
Printed for Calvinists in England in 1562
The West’s most important religious text next to the Bible for more than a century, Sternhold and Hopkins included Some tunes from the Geneva Psalter Several folklike melodies people most likely already knew 17 metrical patterns to which psalm verses could be sung
All verses with the same metrical pattern could be sung to the same melody
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
14© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Psalm tunes and psalters: Ainsworth Psalter (Amsterdam, 1612) English Calvinists fled persecution in England in
the sixteenth century They sought religious freedom in Holland Became known in Holland as Separatists In exile from England, they printed Ainsworth Psalter
Included greater metric variety than Sternhold and Hopkins
Both of these psalters contain lively, merry tunes that some referred to as “Geneva jigs,” just like popular Renaissance dances
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
15© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Psalm tunes and psalters:The Bay Psalm Book Most English settlers left their homeland without instruments
Settlers brought their psalters
Communication wasn’t like today; settlers lost touch with current music abroad
Settlers’ music experience consisted of singing psalm tunes A cappella for worship in church In harmony and acompanied for home entertainment
1640: The first book printed in the New World was The Whole Booke of Psalms Faithfully Translated into English Metre Popularly called the Bay Psalm Book, printed in Massachusetts
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
16© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Other Protestant Music John Calvin proscribed all music but the singing
of unaccompanied psalm tunes in church
Martin Luther encouraged joyful singing of simple tunes and lighthearted texts in worship, some of which he composed Lutherans sang hymns, many of which are still sung today The famous “A Mighty Fortress is Our God” was by Martin
Luther
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
17© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Other Protestant Music: German-Speaking Protestant Sects Included
Mennonites Moravians
Responding to William Penn’s policy of religious toleration, German-speaking Protestants fled persecution in Europe and settled in Pennsylvania, then in other regions as well In America, they kept much of their culture intact Their language and religious practices isolated them from
the Protestant Anglo-American mainstream in the colonies
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
18© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Other Protestant Music:Mennonites 1683: Mennonites arrived in the US, mostly
from Germany
Background 1520s: Mennonites were founded in Europe Refused on religious grounds to perform military
service Rejected a state church, resulting in European
persecution
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
19© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Mennonite Music Mennonites had their own hymnals
and psalters, some with notated music for hymns and psalms
But the old hymn tunes were preserved by oral tradition
Mennonite schoolmasters compiled tune books with traditional texts and tunes:
Title pages were decorated with Fraktur, a Pennsylvania-German Mennonite folk art with highly ornamental combination of calligraphyand script, including flowers, figures, and geometric designs
Example of Fraktur
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
20© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Other Protestant Music:Moravians and others The late seventeenth century and early
eighteenth century Waves of emigrant Protestants came to America including
Members of the English Society of Friends, called the Quakers
The Shakers, a later offshoot from the Quakers Shakers were so called because of the trembling
induced by religious emotion during worship Methodists Moravians had a significant effect upon music in America
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
21© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Moravians: Background Moravians arrived in 1735 together with Methodist
missionaries and hymn writers John and Charles Wesley
Moravians Were persecuted in their homelands of Moravia and
Bohemia Desired to serve as Christian missionaries to African and
Native Americans Settled first in Georgia, then moved north to Bethlehem,
Pennsylvania, as well as Salem (Winston-Salem), North Carolina and other areas in the East
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
22© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Moravian Music Music had been important to the Moravians in
Europe
Moravians Composed and performed beautiful music in America Integrated hymns and other religious music into daily life Wrote both sacred and secular music
Songs and instrumental music The music was sophisticated and complex beyond the
music of other early Americans Moravian music revealed their strong German and Czech
heritage
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
23© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Moravian Music: John Antes (1740-1811) Antes
The first important American-born Moravian composer Composed anthems, which are
Religious songs Longer and more complex than hymns Intended to be sung by a trained soloist or choir Anthem text is often biblical, nonmetric, and nonrhyming The form is usually through-composed, which means
There is little or no repetition of melodic phrases The text unfolds to new music throughout the piece
Several of Antes’ athems are still sung today
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
24© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Listening Example 12Surely He Has Borne Our GriefsComposed by John AntesPerformed by string ensemble and choirListening Guide page 56
Form: Through-composed
Meter: Quadruple
Harmony: Key of C minor (based upon C minor scale, with C as tonic)
Hear the rubato at relaxed phrase endings. Rubato is the term for this expressive “robbing from” and “returning to” within some pieces.
Text:Surely He has borne our griefs and carried our sorrows. He waswounded for our transgressions. He was bruised for our iniquities.The chastisement of ourpeace lay upon Him: And with His stripes we are Healed.
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
25© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Other Protestant Music:The Great Awakening began in 1735 The Great Awakening was a series of religious revival
movements along the eastern seaboard Started in New England cities
Many Puritans perceived a lessening of moral rectitude and an increase in intellectual interests
People on farms had a hard life on difficult land; abandoned religious customs of parish life
The Great Awakening spread from North to South, stirring religious fervor
Religious enthusiasm stimulated the rise of psalm singing and hymn singing
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
26© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Early Efforts at Musical Reform Most colonials had no opportunity to hear or
practice good music Few people could read the notated tunes in editions of the
Bay Psalm Book printed after 1698 Old tunes were remembered differently in New England
towns and villages There was disagreement as to how to sing the tunes
Lining Out came to be used for congregational singing: A leader sang one line of a psalm, the congregation repeated, each line performed successively in this manner
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
27© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The Singing School Movement: Background Lining out caused problems
Leaders were not musically trained themselves They often had unattractive voices Often sang songs in uncomfortable voice ranges Embellished and distorted tunes
Better educated ministers printed collections of tunes with instructions in reading music notation
Amateur teachers often attempted simpler methods to teach music notation These amateurs replaced the teaching ministers and became
known as singing school masters
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
28© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The Singing School Movement and the Singing School Masters Singing school masters were former shopkeepers,
merchants, farmers or tradesmen Became itinerant teachers Traveled from town to town Held singing schools in the local meetinghouse, church or
school until the congregation learned to read music
Singing schools were popular social events in addition to their educational purposes People attended singing school several times per week A final performance demonstrated students’ accomplishments The singing school master then traveled to teach elsewhere
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
29© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The Spread of the Singing School Movement 1720: The Singing School Movement began in Boston
1760-1800: The movement spread into Canada, New York, New Jersey, Pennsylvania, Maryland, and the Carolinas
Into the 1800s: Singing school masters offered instruction and inspiration especially in rural and remote areas
Pedagogy: Singing school masters devised their own teaching materials
Compiled collections of familiar psalm tunes and other religious songs, often with written instruction about syllables to sing and elements of music
Composed their own tunes
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
30© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The First New England School of Composers A “school” of artists generally includes people
Living at the same time Living in the same geographic region Sharing certain artistic goals and similarities of style
The singing school masters were the First New England School of Composers, who were The first Americans to write music with an American sound
Their simple folklike songs had religious texts The tunes were suitable for congregational and home singing
Shared the goals of teaching people to read music and sing Music they composed did not conform to anyone’s rules
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
31© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The First New England School of Composers: William Billings Billings (1746-1800) became famous as a singing school master and
composer
The first American to produce a book of tunes all of his own, the New England Psalm Singer was produced by Billings in 1770
Ineffective copyright laws back then; he made meager profits
Billings considered “nature” as the best music teacher Judged musical quality according to personal taste
Ignored conventional rules of music composition He and others of the First New England School made
unorthodox musical decisions to please their own ears Considered in his era as eccentric but extremely talented
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
32© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Listening Example 13ChesterBy William BillingsListening guide page 60
Form: StrophicMeter: Quadruple; march tempoMelody: Lies within a one octave rangeTexture: Homophonic; melody in tenor voiceTimbre: A cappella four-part singing
“Chester” (1770): The principal marching song of New England troops during the Revolutionary War; the first American popular song
Let tyrants shake their iron rod, And Slav’ry clank her galling chains.We Fear them not, we trust in God.New England’s God forever reigns.
The foe comes on with haughty stride,Our troops advance with martial noise,Their vet’runs flee before our youth,And Generals yield to beardless boys.
What grateful off’ring shall we bring,What shall we render to the Lord?Loud Hallelujahs let us SingAnd praise his name on ev’ry Chord.
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
33© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The First New England School of Composers: Performance Practices The listening example “Chester” is a cappella on our CD
But instruments might have doubled the voice parts
Belief that church music must enhance—never detract from—worship caused prejudice against instrumental accompaniment of church music Instruments were sensuous and could not express text Prejudice lessened at the time of the First New England School
Organ, string, or wind accompaniments began to be used Violin, the “devil’s fiddle” associated with dancing, slowly
gained acceptance; bass viol, flute, clarinet, bassoon were used
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
34© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The First New England School of Composers: Canons Canon: A melody that forms meaningful harmonies when
performed with “staggered entrances” Successive voices begin the same melody at later times Each voice continues to the end of the tune, dropping out at the
end while remaining voices continue until they drop out in turn “Voice”—A line of music, whether sung or played by musical
instruments Each line is actually the same melody; a canon is polyphonic
Circular Canon: A round, which continues to make harmonic sense when repeated any number of times
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
35© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Listening Example 14When Jesus WeptBy William BillingsListening guide page 62
Form: four-part circular canon or roundTexture: Monophonic when the melody is performed in unison;
polyphonic when performed in canonMeter: TripleTimbre: May be performed by four women’s voices, four men’s
voices, or by a mixed chorus of soprano, alto, tenor, and bass
When Jesus wept, the falling tearIn mercy flow’d beyond all bound;When Jesus groan’d, a trembling fearSeiz’d all the guilty world around.
This is one of Billings’ best-knownand best-loved songs
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
36© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
The First New England School of Composers: Fuging Tunes Fuging tune: A new popular kind of song, late eighteenth century
Form: Two sections, A and B: A is homophonic : Melody in one voice (usually tenor); other
voices (soprano, alto and bass) supply chordal harmony B is polyphonic, begins with staggered entrances, gives
each voice melodic interest B is repeated Four similar but independent lines of music, which end
together on a chord
By 1800 about 1,000 fuging tunes had been written Fuging tunes offered interest, variety, challenge, and fun!
A B B
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
37© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Listening Example 15SherburneBy Daniel ReadListening guide page 63
Texture: The first section (A) is homophonic, consisting of the first two lines of text; the second section (B) is repeated and has staggered entrances, each melodic line imitative of, but not identical to, the others
While shepherds watched their flocks by nightAll seated on the groundThe angel of the Lord came down,And glory shone around.
The words are from a famous hymnWritten in 1700 by Nahum Tate
Daniel Read was the most popularcomposer of fuging tunes
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
38© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Impact of Singing School Masters upon American Culture Besides Billings and Read, many singing school masters
composed for their pupils Psalm tunes Hymns Canons Fuging tunes
They considered their music as teaching material Today we value it as strong, beautiful, and genuinely American Recent American composers have used the tunes of the First
New England School of Composers and their contemporaries as inspiration and source material for current music
Part 1: Music in Early North America Chapter 3: Religious Music in the Colonial, Revolutionary, and Federal Periods
39© 2006 by The McGraw-Hill Companies, Inc. All rights reserved.
Chapter 3 Image Credit: Slide 7: Pilgrams Going to Church, painted
by George H. Boughton. © COREL Slide 19: An example of Fraktur.
© Philadelphia Museum of Art/ Corbis
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