I do believe in God alone,
Likewise in Reeve and Muggleton, etc.
In a work illustrating the musical performances of the various
denominations even small and eccentric ones must not be omitted.
As regards the Protestant Church of the Scandinavians, the following
remarks may perhaps serve as a guide for research:--Schiˆrring published
in the year 1783 a Danish Chorale book, of which an improved edition,
with figured basses, by P. E. Bach, appeared in 1794. An account of the
old Swedish psalm-books of Swedberg, and others, is to be found in 'Den
Nya Swenska Psalmboken framst‰lld uti Fˆrsˆk till Swensk Psalmhistoria,
of Johan Wilhelm Beckman,' Stockholm, 1845. A Lutheran hymn-book was
printed in Skalholt, Iceland, in 1594, and went through many editions.
In the Baltic Provinces of Russia, J. L. E. Punschel published in Dorpat,
in the year 1839, a Chorale book containing 364 different melodies in
four-part harmony. A second edition appeared in 1843, and a third in
1850. Its title is--'Evangelisches Choralbuch, zun‰chst in Bezug auf die
deutschen, lettischen, und esthnischen Gesangb¸cher der russischen
Ostsee-Provinzen, auf den Wunsch Livl‰ndischen Provinzial-Synode
bearbeitet und angefertigt.' The preface contains some interesting
notices of the old hymn-books formerly in use in Livonia, Esthonia and
Courland.
The Greek Church of Russia obtained its music originally from Greece.
The performances are entirely vocal, without instrumental accompaniment.
Although the original music has in the course of time undergone several
reforms, it is still very antique, characteristic, and beautiful. Among
the works which have been written on the music of the Greek Church may
be mentioned the following, which are more easily accessible to most
musical inquirers in Western Europe than are the works written in the
Russian language: Prince N. Youssoupoff published in the year 1862, in
Paris, the first part of 'Histoire de la Musique en Russe,' which treats
on 'Musique sacrÈe, suivi d'un choix de morceaux de Chants d'Eglise
anciens et modernes.' Chaviara and Randhartinger published in 1859, at
Vienna, a complete collection of the liturgical songs of the Greek
Church, with the Greek words. Another work, being an 'Introduction to
the Theory and Praxis of the Greek Church Music,' by Chrysanthos,
written in Greek, was printed at Paris in 1821.
In Poland we have, besides the usual compositions of the Roman Catholic
Church, some old books of metrical psalms with the music. The most
noteworthy publication of this kind is by Nicolas Gomolka, dating from
the year 1580. Gomolka was a celebrated Polish musician, who himself
composed the psalms translated into his native language. A selection of
them was published by Joseph Cichocki, Warsaw, 1838. Attention must also
be drawn to a work by Ephraim Oloff, written in German, and entitled
'Liedergeschichte von Polnischen Kirchen-Ges‰ngen,' etc., Danzig, 1744,
which contains an account of the old Polish hymn-books. Furthermore, the
AbbÈ Michel-Martin Mioduszewski published at Cracow, in 1838, a
collection of ancient and modern songs used in the Roman Catholic
Church of Poland. To this work supplements have more recently been
issued. He likewise published at Cracow, in 1843, a collection of Polish
Christmas Carols with the tunes. It may be remarked here that Christmas
Carols of high antiquity and originality are to be found among several
European nations. Interesting collections of them have been published in
France and in England.
Turning to America, in the United States we meet with a remarkable
variety of hymn-books for the use of different sects, many of which are
but poor compilations, musically as well as poetically. A little
treatise by George Hood, entitled 'A History of Music in New England,
with biographical sketches of Reformers and Psalmists,' Boston, 1846, is
the earliest and most noteworthy publication containing an account of
the hymn-books popular in the United States during the seventeenth and
eighteenth centuries. The student ought likewise to consult 'Church
Music in America, comprising its history and its peculiarities at
different periods, with cursory remarks on its legitimate use and its
abuse; with notices of the Schools, Composers, Teachers and Societies;
by N. D. Gould,' Boston, 1853. There is also a circumstantial account of
American psalmody in J. W. Moore's 'EncyclopÊdia of Music,' Boston, 1854.
The first psalm-book used in New England was a small edition of Henry
Ainsworth's version of the psalms, which the Puritans brought with them
when they came to this country in the year 1620. It was published in
England in 1618, and had tunes resembling the German Chorale, printed
over the psalms, without harmony. The notation was in the lozenge or
diamond shape, and without bars. The first book of metrical psalms
published in America was compiled by thirty ministers, and appeared at
Cambridge in the year 1640. It was, in fact, the first book printed in
the English Colonies of America. It passed through many editions. G.
Hood says: "The history of music in New England for the first two
centuries is the history of Psalmody alone," and this accounts for his
calling his little publication before mentioned a "History of Music,"
although it treats exclusively of psalmody. But, if a history of the
music of America should be written, it might commence with an account
of the music, sacred and secular, of the aborigines, which, at any rate
in Mexico, Central America, and Peru, had made some progress long before
the arrival of the Puritans; and which, although it has not exercised
any influence upon the cultivation of the music introduced into America
from Europe, is well worthy of examination, inasmuch as it illustrates
several curious questions relating to ethnology and national music. As
in South and Central America the Indians, soon after the discovery of
their countries, were appealed to by the Roman Catholic priests who made
use of the help of sacred music, thus also in the United States the
Protestant missionary, John Elliot, translated the psalms into Indian
verse, and had them printed at Cambridge in 1661. The converted natives
sung them with much fervour. Indeed, it is recorded that many of the
Indians excelled as vocalists in the performance of the European tunes
which had been taught them by the missionaries.
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
Practitioners," 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 surpassingly agitated
and extremely fluctuated, sometimes declaring for one part and sometimes
for another. Now, the solemn bass 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 illustrate the peculiarities of certain
religious sects. The character of the following books is sufficiently
indicated by their lengthy titles:--
'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 Cluster,
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, entitled '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
worshippers 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 friendship 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.