Quick viewing(Text Mode)

The Evolution of American Choral Music: Roots, Trends, and Composers Before the 20Th Century James Mccray

The Evolution of American Choral Music: Roots, Trends, and Composers Before the 20Th Century James Mccray

The Evolution of American Choral : Roots, Trends, and before the 20th Century James McCray

I hear America , the varied car- such as Chester, A Virgin Unspotted, ols I hear. David’s Lamentation, Kittery, I Am the —Walt Whitman Rose of Sharon, and The Lord Is Ris’n Leaves of Grass1 Indeed received numerous performanc- es in by , school, com- Prologue munity, and professional choirs. Billings Unlike political history, American cho- generally is acknowledged to be the most ral music did not immediately burst forth gifted of the “” composers with signifi cant people and events. Choral of eighteenth-century America. His style, music certainly existed in America since somewhat typical of the period, employs the Colonial Period, but it was not until fuguing tunes, unorthodox voice lead- the twentieth century that its impact was ing, open-fi fth cadences, melodic writing signifi cant. The last half of the twentieth in each of the parts, and some surpris- century saw an explosion of interest in ing .11 By 1787 his music was choral music unprecedented in the his- widely known across America. tory of the country. American choral mu- Billings was an interesting personal- sic came of age on a truly national level, ity as well. Because out-of-tune singing and through the expansion of music edu- was a serious problem, he added a ’ cation, technology, professional organiza- to double the lowest part.12 He had a tions, and available materials, the interest “church choir,” but that policy met re- in choral singing escalated dramatically. sistance from aging deacons, although It is possible to trace the history of by 1779 a gallery was placed in the American choral music from its two most church for “the singers”. It was Billings basic perspectives: who proclaimed: 1. Music that had a functional purpose (sacred) He who fi nds himself gifted with a tun- 2. Music created for artistic purposes able voice, and yet neglects to cultivate it, (secular) not only hides in the earth a talent of the highest value, but robs himself of that pe- In the early days of America, issues culiar pleasure, of which they only are con- such as food, shelter, and clothing were scious who exercise that faculty.13 foremost in the minds of the people. As , The New England Psalm-Singer, frontispiece engraved by Paul Revere America became more affl uent, the need It would seem that problems often faced for greater diversions increased. Music’s of a general negative attitude toward the Overview: the 18th century by today’s church choir directors were purposes reached beyond the amateur, arts, it nevertheless remains that their As the eighteenth century progressed, also present in the eighteenth century. and geographical tastes dictated ever- practice of church music could be sung in New England established a more solid, Extensive research in the music of this without , and noth- changing styles and requirements. 4 humanized social identity, and it is here period has provided contemporary con- Of course the true native Americans ing more. where the true “” had its foun- ductors with understanding of the style, were American Indians, but their music The early pioneers who came to this dations. European thinking continued to and background for . Two remained localized. As an oral tradition, country brought with them two types of dominate the music, but because Ameri- important studies are Alan C. Buechner, preservation through notation was not music: religious and folk. Both played can amateurs were the creators and Yankee Singing School and the Golden a major factor. They and their culture major roles in the musical milieu, but re-creators, a less professional posture Age of Choral Music in New England, became a minority, and, in many regret- the functional need for church music evolved. These stalwart American com- 1760-1800,14 and Dickson D. Bruce, And table ways, an unfortunate footnote in helped promote choral works. Nearly posers began to create a new personality They All Sang Hallelujah: Plain-Folk American . For a detailed forgotten are the Huguenot settlements that represented their culture. Camp-Meeting Religion, 1800–1845.15 account of this true American music in Florida, which occurred almost fi fty Some of these “native” American mu- see Daniel Kingman, American Music: years before the landing of the Pilgrims; sicians are familiar to today’s choral di- Overview: the 19th century A Panorama,2 and “Native Pioneers” in their music was transplanted and cer- rectors, not because of the compelling In the late nineteenth century, a group Gilbert Chase’s American Music.3 Their tainly not an original American style. quality of their music, but more often as of composers came to be known as “The infl uence on the development of Ameri- The in seventeenth-century an historical contrast to the sophisticated Second New England School.” They in- can choral music is negligible, although New England imported the Psalm-sing- European music of that time. It is highly cluded George W. Chadwick (1854– twentieth-century composers have em- ing traditions of the Reformation. Since doubtful that most conductors who pro- 1931), Arthur Foote (1853–1937), ployed some of its characteristics in se- religion dominated their lives and the gram early American choral music do Mrs. H.H.A. Beach (1867–1944), and lected works. lives of everyone in the community so because they and their audiences are Horatio Parker (1863–1937). Parker, The veritable seeds of American mu- even if they were not members of the attracted to the beauty and ingenuity professor of music at Yale from 1894– sic can be found in the religious tradi- church, naturally took of the music, but then that is true with 1919, was possibly the most important tions carried to the new world by trans- precedence over that of the secular many types of music. A high American choral of the cen- planted Europeans. The settlers came world. Percy Scholes, in The Puritans quality level of this music should not be tury. He, like many Americans, had been seeking religious freedom, but, in so and Music in England and New Eng- expected—these composers were “Yan- trained in Europe (Munich). His orato- doing, they helped create a narrowly fo- land, corrected the unfortunate stereo- kee tunesmiths”,6 as labeled by H. Wiley rio, Hora Novissima (1891), is a major cused view of choral music, which took type of the Puritans as being universally Hitchcock, because they did not have the work that established his place in the many years to nurture and broaden. In a opposed to music and the fi ne arts in cultural development and training of their history of American music. After its 1893 penetrating study, The in Eng- general.5 was used on spe- professional European counterparts. in New York, , and land and America by Elwyn A. Wien- cial occasions, but church music was Some of the early American compos- Cincinnati, in 1899 it became the fi rst andt and Robert H. Young, the authors always present. The folk music that ers whose music remains modestly pres- work by an American to be performed point out: survived continued to be transformed ent in today’s choral repertoire include: at the famous Three Choirs Festival in throughout succeeding generations, (1751–1836) Worcester, England. This resulted in Austerity also characterized Puritan re- and American folk art prospered and William Billings (1746–1800) commissions for prestigious English ligious musical expression. While it is true changed during the growth and expan- Elkanah Kelsay Dare (1782–1826) choir festivals and the acceptance of an that Puritans have been unjustly accused sion of the new civilization. Jacob French (1754–1817) American compositional school by the Christian Gregor (1723–1801) international community. Uri K. Hill (1802–1875) Parker’s music is rarely performed (1765–1844) today and exhibits Teutonic rather than Jeremiah Ingalls (1764–1838) American tendencies, yet his infl uence Stephen Jenks (1772–1856) through his teaching of such noted com- (1747–1738) posers as Douglas Moore (1892–1969), Timothy Olmstead (1759–1848) Quincy Porter (1897–1966), and the (1757–1856), and quixotic Charles Ives (1874–1954), in- Timothy Swan (1758–1842). directly makes him the father of twen- They had professions other than music. tieth-century American choral music. For example, Supply Belcher was a tavern Parker, and to a somewhat lesser degree keeper; William Billings, a tanner; Oliver Dudley Buck (1839–1909), serve as Holden, a carpenter; Justin Morgan, a transitional fi gures from the rudimen- horse breeder; and Daniel Read, a comb tary choral music that preceded them, maker. Their music is available in per- to the more solid styles and schools that forming editions because of the research came after them. In teaching Charles and effort of in the last half of Ives, Parker’s conservatism proved to AHIGHER L EVEL of E XCELLENCE the twentieth century such as Leonard be more negative than positive, and Van Camp,7 Irving Lowens,8 Lawrence Ives eventually abandoned the Roman- Bennett,9 Kurt Stone,10 and others. tic spirit and style of Parker to become Great musicians need extraordinary instruments Today it is William Billings whose America’s fi rst great composer.16 music receives the greatest frequency Parker, a dedicated , wrote in to deliver magnificent performances. of performance, and he has become a a variety of genres, including orchestral standard representative for music of this and operatic; however, it is in church P.O. Box 156 • Orrville, Ohio 44667 • P 800.416.7426 • F 330.683.2274 • www.schantzorgan.com period. The year 2000 was the 200th an- music where his contributions seem to niversary of his death, and choral works be most recognized. Erik Routley boldly

26 THE DIAPASON

May 2011 pp. 26-29.indd 26 4/14/11 10:08:31 AM Jeremiah Ingalls, Northfield larly in the North, there was a need to been traced from as early as the beginning have more refi ned music than that in of the Christian era, but the various spell- the standard “native” American reper- ings, forms and meanings in English begin tory. Stevenson explains: much later, perhaps not until around the eleventh century.25 Already by 1850 the American denomi- Of special musicological interest nations had so drawn their social lines that is the word “antine,” which was used some ministered to the wealthy and elite in American music in the early years. in big cities, while others served the com- mon folk on farms and frontiers. Speaking Kingman states: of one ‘elite’ denomination in a course of historical lectures given at Berlin in 1854, There is no such word in English usage. Philip Schaff claimed that the Protes- Baring-Gould, collector of the fi rst ver- tant Episcopal Church had addressed it- sions using it, postulates that it is a corrup- self ‘heretofore almost exclusively to the tion of the French antienne, which means higher classes of society, and had rather “antiphon.” Since an antiphon is a piece of discouraged the poor man from joining liturgical music, the image of every grove ringing ‘with a merry antine’ is a plausible it.’ With such a constituency, the music 26 published for use in Episcopal churches and indeed a rather happy one. at mid-century sounded quite a different note from that prevailing in publications As stated earlier, the concept of the for frontier churches, or even for middle- anthem was brought to this country. In class urban churches.23 the 1760s the publication of American by “native” composers (Francis Church repertoire Hopkinson [1737–91] and James Lyon Arguments persisted regarding the [1735–94]) led the way to an ever-expand- function of a church choir. Some felt ing market of this genre. In most churches that it should be to assist congregational today, the anthem serves as the standard states that Parker’s Mount Zion is “prob- ing music of merit were the Methodists, singing, while others wanted a group that presentation of choir performance. It be- ably one of the best tunes of its the Episcopalians, and the Presbyterians. had its own identity and quality. These came a work of several pages’ duration age.”17 His musical style, prudent and Men such as James Lyon (1735–1794) opinions on choir function have not based on a scriptural or poetic text that old-fashioned, still represented an el- and William Tuckey (1708–1781) ceased, and even at the beginning of the may or may not be accompanied and al- evation in the quality level of American helped develop church music through twenty-fi rst century, impassioned cries of most always is in English. choral music at the end of that century. composition, but their choral contribu- support or lack-of-support can be heard In European Catholic churches, com- He had developed a solid craft that gave tions were not particularly important. from some denominations and/or mem- plete musical Masses were at one time his music more depth than others of his The use of organs in churches was mildly bers within them. After 1865 churches very common, but today they are rare generation or before. His ability to write controversial in some denominations, developed their own , so that and generally found only in large and in larger forms raised the appreciation of but eventually that came to be common styles of music associated with certain very musically active churches; even the American composer in the interna- practice for most. Part of the problem denominations became even more es- then, they may only be used on special tional forum. was fi nding someone who could play the tablished. Congregational singing always occasions. Catholic churches through- The only other truly signifi cant Ameri- organ. According to Irving Lowens, was important, but stylistic differences at out America most often celebrate can choral composer between Billings this time were not limited to the Protes- with brief musical intonations by a priest and Parker was Dudley Buck. Typical As late as 1714, when after much dis- tant churches, and in the late twentieth and congregational singing. Those choirs of many nineteenth-century American cussion an organ imported three years century, even the Roman Catholic hym- may prepare special music, such as an composers, Buck studied in Europe. As earlier by Thomas Brattle was installed in nals moved toward a more folk-like or anthem, but their primary function is to Boston’s King’s Chapel, an had to with Horatio Parker, Buck wrote useful, be brought from England to Play skillfully gospel-style inclusion. help with congregational singing. yet conservative, anthems employing thereon with a loud noise.22 In most American churches today, the In many Protestant denominations solo in alternation with the full anthem serves as the standard vehicle for choral singing is used in other places . Before 1870 it was customary to As in the preceding century, Protestant choir performances. As traced by Wien- in the service (, responses, etc.). write anthems for solo without church music was the primary vehicle for andt and Young,24 its history has been Some do not employ the term anthem, the choir, and Buck had a “concern for choral music in America during the nine- long and varied. It is not an American but, even if called special music or some the differing characteristics of quartet teenth century. Much of the music was invention, but its development and use other term, its function is that of an an- and choral music.”18 He composed in all developed through music collections, was an important factor in the spread them. Often ministers and church choir musical forms and was highly regarded and often these publications contained of choral music. The anthem is an Eng- directors differ on the function of the in his lifetime. Wienandt and Young sug- European music, which helped to make lish derivative of the Latin , and as choir. For many ministers, church choirs gest that: them more commercially profi table. such was more musically complex than are, above all, a help for congregational Of the composers not previously men- simple sung by the congregation; singing, and the preparation of an an- Although Dudley Buck was not a threat tioned, some of the most important were therefore, more accomplished singers them is a bonus; for most church choir to the superiority of European composi- William B. Bradbury (1816–1868), and preparations were needed for use in conductors, the opposite may be true. tion, he was the best that America could George Kingsley (1811–1884), Joseph the service, and that concept has been in Regardless of their intended function, then bring to the fi eld of church music. . . . The American examples of this period are P. Holbrook (1822–1888), Thomas existence since ancient times. church choirs that have been successful shabby at best. 19 Hastings (1784–1872), and George K. serve in both capacities, and, for most Jackson (1745–1823). The word may be followed back to people, the blending of these functions There were, however, productive and In the fi rst half of the century, Eu- various forms of Antiphon, a term denot- has been benefi cial. relatively important nineteenth-century ropean music dominated concert halls ing the category of sung before The rise of choral music in America and after psalms and canticles. It was the composers in other fi elds of music. Men and other professional musical venues, function of antiphons to amplify the text of owes much to congregational singing. such as Louis Moreau Gottschalk but American church music fl ourished. scriptural material to which they were at- Congregational response has long been a (1829–1869), Stephen Foster (1825– Anthem collections by American com- tached. They were numerous because such part of liturgy. Group singing in worship 1894) and Edward MacDowell (1861– posers steadily increased. However, as scriptural sections were used several times has been a vital part in the development 1908) were successful in their areas of the sophistication levels rose, particu- each day. References to the antiphon have of choral music, especially in America. interest. Gottschalk’s music is considered to be among the best of the century. As a virtuoso, he toured Europe exten- sively. His adaptation of Creole melodies Region III Convention brought elements of the New World into the salons and concert halls of Europe Harrisburg, PA Chapter AGO and South America. This paved the way for the acceptance of an American style, which, even today, is very elusive.20 Invites You to Join Us for Undoubtedly, the most prominent choral musician of this middle period was (1792–1872), al- though his primary compositional con- “A Capital Event" tributions were in hymns and singing books. He helped fashion a more refi ned June27Ǧ30,2011 style of American hymnody, different from the popular of the time. His vital gift, however, was 11 Recitalists, featuring: Hilton Harrisburg Hotel is the Convention Headquarters in the development and advancement Hector Olivera offering a low hotel rate of $99.00 (plus tax) per night. of . His career reached Diane Meredith Belcher a pinnacle in 1838 when he became the Boston Superintendent of Public School Craig Cramer Registration includes admission and transportation to all Music, which was the fi rst such position Shelly Moorman-Stahlman events, a ticket to the Hector Olivera Recital, in the .21 Rhonda Sider Edgington plus three meals. For choral music, though, it was the Marcus Krieger church that continued to provide the Mark Laubach Register at: backbone for growth. Protestant Church harrisburgago.com/RegionalConvention2011.htm Music in America, by Robert Stevenson, John Tuttle is a brief but very thorough survey of people and movements from 1564 to the Commissioned Organ Works by: “Stars of the Future” Recital present. Throughout the eighteenth and Robert Lau Young recitalists from Curtis, Peabody, nineteenth centuries, there was a steady Jeremy Gill and Westminster Choir College rise in denominations and numbers of churches in America. Each had its own Scott Eggert perspective on what was needed musical- Email: [email protected] ly for their services of worship. Some of 18 Workshops the more active denominations produc-

MAY, 2011 27

May 2011 pp. 26-29.indd 27 4/14/11 10:08:56 AM The prevailing aspect of congregational Black spirituals, white spirituals, Dudley Buck, Thou wilt keep him in perfect peace singing can be found in hymnody. Briefl y, and gospel hymnody was an outgrowth of plainsong In the South, hymnody progressed in and originally a monastic technique. Mu- different directions. Folk hymnody was sical hymns were melodies that were, at a rural development that heavily relied fi rst, associated with the daily offi ces; on the shape-note tradition; this focused they most often were Psalms, but other on assisting uneducated people to learn Scriptural texts were used as well. Their how to sing. George Pullen Jackson has use continued to expand throughout the been a leader in tracing the history of early centuries of Christianity, and in the folk hymnody; he has authored three hands of Martin Luther (1483–1546) books dealing with the music and style congregational hymnody became a ma- associated with this genre.30 The white jor segment of worship services in the spiritual was a term sometimes used for Reformation. Melodies popular with the the hymnody of white settlers in south- people thrived, and it is in this context ern states. Music books for this hym- that American hymnody took shape.27 nody often use “” characters Erik Routley, in The Music of Chris- to assist in reading the music. There tian Hymns, states: were many publications of music which helped spread the shape-note concept. The American tradition of hymnody falls Some of those that merit attention in- into clearly defi ned streams which before clude John Wyeth, Repository of Sacred 1900 were culturally separate, and which Music (1810),31 Ananias Davisson, Ken- during the 20th century began to infl uence 32 each other . . . We classify these streams as tucky (1816), William Walk- er, Southern Harmony,33 B.F. White and (1) the New England Style (2) the South- 34 ern Folk Hymnody (3) the Black Spiritual E.J. King, . and (4) the Gospel Song. 28 Black spirituals were transmitted through oral tradition. The fi rst black The New England tradition of hym- college, Fisk University, began in 1866. Most of the early Moravian composers New England fi lled their quotas of sing- nody was an outgrowth of Psalm singing, A group of student singers known as The were clergymen who wrote music appar- ers, and each had a local leader who had especially linked to the Scottish Psalter Jubilee Singers toured America, England, ently as easily as they did sermons. . . . The been instructed in the so that ev- and the Ainsworth Psalter. America’s and other European countries. They were anthems and songs created by the Moravi- eryone was well prepared when they met fi rst printed book, the 1640 Bay Psalm responsible for spreading the knowledge ans were infl uenced primarily by contem- together to perform. 35 porary musical trends of Central Europe. Book, attempted to replace those psal- and interest in Negro spirituals. Since most of the choral and There were world’s fairs held in Phila- ters, and did so for many generations. An The gospel song was, as Routley by American Moravians is conceived for delphia in 1876 and Chicago in 1893, and important feature of the New England indicates: mixed voices accompanied by instruments, singing played an important part at these tradition was the establishment of sing- it is quite different both in structure and international events. For the centennial, ing schools. The intent was to improve Hymnody reduced to its simplest terms, content from other sacred music written in new choral works were commissioned congregational singing, but they also can it is cast in the form either of a solo song, or 18th-century America.37 from John Knowles Paine (A Centen- of a solo song with refrain, and this it has in be seen as an endemic factor in the de- 36 nial Hymn, text by John Greenleaf Whit- velopment of choral music in America, common with the Black Spiritual. Their musical past has been preserved tier) and Dudley Buck (The Centennial because as singing improved, so did the and made available through defi nitive Meditation of Columbia, text by Sidney need for music other than simple hymns. This style of hymnody grew out of the editions released under the title Moramus Lanier). Chicago’s 1893 World’s Co- In many ways, the interest in the sing- revivals that were particularly popular Editions. Three of the more signifi cant lumbian Exposition (which presented ing schools led the way for church choirs. in the South in the nineteenth cen- American composers were John Antes 36 choral concerts) featured music per- For example, through diligent tury. Evangelistic music existed in the (1740–1811), Johann Friedrich Peter formed by some of the younger American in the meeting houses, congregational 1730s and is associated with Jonathan (1746–1813), and Johannes Herbst composers, including G.W. Chadwick, members grew musically profi cient and Edwards (1703–1758), but the true (1735–1812). Peter, perhaps the most Edward MacDowell, and Arthur Foote. sought special recognition; eventually, gospel songs became a formidable style outstanding of the Moravian composers, Female composers were represented in people with training sat and performed around 1859. Typically, they sustain wrote over 100 anthems and arias, as well a concert heralding the opening of the together in the church’s “gallery,” today one chord for an entire measure and as six string in 1789, which may Woman’s Building, including music by called the choir loft. remain restricted to the three basic be the earliest extant examples of Ameri- Mrs. H.H.A. Beach.38 triads of tonic, subdominant, and domi- can chamber music. Antes composed Another important development that Musical literacy infl uences nant. This permitted strong rhythmic twenty-fi ve sacred anthems and twelve fostered choral singing in America was Two important early writers were fl uctuations and improvisation, which , and possibly made the earliest the establishment of music schools and Thomas Walter (1696–1725) and John helped generate and intensify the emo- violin in America in 1759. conservatories. Oberlin College had a Tufts (1689–1750). Walter’s pioneer tional drive, a primary feature of evan- Chair of Sacred Music in 1835. The fi rst book of instruction, The Grounds and gelistic denominations. Whereas the New secular directions music courses at America’s oldest institu- Rules of Musick Explained (1721), tried other three streams of hymnody (New Less dominant infl uences on the tion, Harvard College, were not offered to provide rules and methods for sight- England style, Southern folk hymnody, growth of choral music in America may until 1862. Other beginnings of note reading tunes. Tufts’ An Introduction to and Black spiritual) have roots in for- be seen in the development of secular were: 1865, Oberlin Music Conservato- the Singing of Psalm-Tunes in a Plain and eign cultures, seems to be organizations and events. A product of ry; 1867, New England Conservatory of Easy Method was also available in 1721, an American contribution. the singing schools, for example, was the Music; 1867, Cincinnati Conservatory of and he tried to instruct through letters One of many religious groups that formation of music clubs. Organizations Music and the Chicago Musical College. instead of notes.29 came to America and developed a music such as the Stoughton Musical Society These American schools did not elimi- Throughout the eighteenth century, for their denomination was the Shakers, developed by 1786 and Boston’s Handel nate the continuing process of seeking a singing schools and singing school teach- although this folk-like music was unison, and Haydn Society, which began in 1815, European musical education, but as they ers brought music to interested people. not harmonized, and unaccompanied, did much to stimulate interest in choral grew in quality and numbers, they made Emphasis remained on sacred music; and not pure choral music. Possibly singing. Often competitions between a musical education more accessible.39 however, the inclusion of secular tunes the most important may have been the organizations were held, which encour- Social amusements were the initial became more common. William Billings, Moravian tradition, which dates from the aged improvements in quality. reasons for the development of singing the most famous of the singing teachers, fi fteenth century and is rich in a choral In the nineteenth century, conventions on college campuses. Glee clubs were produced six tune books containing the heritage. These people settled in Penn- and fairs were held, and they helped formed, which performed local con- robust, energetic musical style found in sylvania before 1740 and established promote choral singing in America. Pat- certs for friends, and later they toured his anthems. Other later signifi cant mu- communities such as Bethlehem, Lititz, rick Sarsfi eld Gilmore (1829–1892), to sing for alumni. Eventually, more so- sical missionaries who contributed to the and Nazareth; by 1783 they had expand- through his Peace Jubilees, promoted phisticated groups developed; they per- spread of musical education were Low- ed south to North Carolina. Donald M. gigantic mass performances by choirs of formed the standard European favorites ell Mason (1792–1872), Thomas Hast- McCorkle, director and editor-in-chief 10,000! These festivals involved enor- by Handel, Haydn, Mozart, and others. ings (1784–1872), and Virgil C. Taylor of the Moravian Music Foundation sug- mous bands and ; a struc- Probably the earliest offi cial ensemble (1817–1891). gests that: ture was built to house an audience of was the University Choral Union of the 50,000. Villages and towns throughout University of Michigan in 1879. North- western University, in 1906, was the fi rst school to have an “” choir—Pe- ter Lutkin, dean of the at Northwestern University, founded the Northwestern A Cappella Choir.40 Availability of music was an important factor in helping to encourage music in America. Some noteworthy landmarks in the publishing of music included the 1698 ninth edition of the Bay Psalm Book, which contained the fi rst music printed in New England, and the 1761 James Lyon collection Urania, which was the fi rst published setting of Psalms and hymns by a native-born American. Lyon was also ac- tive in the establishment of the fi rst public subscription concerts in Philadelphia, and in other early musical ventures. John S. Dwight (1813–1893) was not a composer, but his work in advanc- ing standards of excellence was impor- tant. He was America’s fi rst music critic and editor of the fi rst signifi cant mu- sic journal, Dwight’s Journal of Music (1852–1881).

28 THE DIAPASON

May 2011 pp. 26-29.indd 28 4/14/11 10:09:16 AM Lowell Mason, music in the twenty-fi rst century, but the 21. Lowens, “The American Harmony.” 22. Robert Stevenson, Protestant Church swing away from signifi cant sacred cho- Music in America (New York: W.W. Norton & ral music probably will increase just as it Company, 1966). did in the twentieth century. ■ 23. Lowens, “The American Harmony.” 24. Stevenson, Protestant Church Music, p. Notes 106. 1. Walt Whitman, “Leaves of Grass” in The 25. Wienandt and Young, Anthem in Eng- Complete Poems (New York: Viking Press [pa- land and America. perback reprint], 1987), p. 47. 26. Ibid. 2. Daniel Kingman, “American Indian 27. Kingman, American Music, pp. 532– Music, and Spanish and French Folk Strains” 533. in American Music: A Panorama (New York: 28. Erik Routley, The Music of Christian Schirmer Books, 1979), pp. 65–95. Hymns (Chicago: GIA Publications, Inc., 3. Gilbert Chase, “Native Pioneers” in 1981), pp. 9–27. America’s Music (New York: McGraw-Hill 29. Ibid. Book Co., revised second edition, 1966). 30. George Pullen Jackson, Spiritual Folk- 4. Elwyn A. Wienandt and Robert H. songs of Early America (Locust Valley, New Young, The Anthem in England and America York: J. J. Augustin, 1937); White and Negro (New York: The Free Press, 1970), p. 171. Spirituals (New York: J. J. Augustin, 1944); 5. Percy Scholes, The Puritans and Music and White Spirituals in the Southern Uplands in England and New England (New York: (Chapel Hill: University of North Carolina Russell and Russell, 1962 [reissue of original Press, 1933). and music also tings of liturgical words into the secular 1934 edition]). 31. John Wyeth, Repository of Sacred Music infl uenced the growth of choral music arena. The twentieth century saw a pro- 6. H. Wiley Hitchcock, Music in the United (Harrisburg, Pa.: J. Wyeth, 1810) (standard in America. While these genres did not found growth of choral singing. States: A Historical Introduction (Englewood tunes in shape-notes). Cliffs, New Jersey: Prentice Hall, 1969). 32. Ananias Davisson, Kentucky Harmony have the benefi t of the church to encour- The church, which was the overriding 7. Leonard Van Camp has produced many age their evolution and maturation, they force in the development of choral sing- (Harrisonburg, Va., 1816, reprinted Augsburg editions of American choral music. Some Press, 1976, ed. Lowens). were able to secure ongoing support ing, is now somewhat less infl uential. In contain notes on history and performance 33. William Walker, The Southern Harmony from individual citizens. Most of the mu- today’s society, one of the controversial practices, such as his series “From Colonial and Musical Companion (New Haven, 1835). sic before the middle of the nineteenth issues in the choral fi eld is whether to America,” published by Concordia Publishing 34. B.F. White and E.J. King, The Sacred century was European; orchestras had include sacred music as part of the rep- House, which has various individual anthems. Harp (Philadelphia, 1844). been formed, but they performed reper- ertoire of public school ensembles; this He also co-authored an article with John 35. Sablosky, American Music, pp. 102–103. toire by continental composers. By 1876 is a refl ection of that secular expansion, Haberlen, “On Performing Music of William 36. Routley, Hymnody, p. 137. Billings,” in The Choral Journal, November 37. Donald M. McCorkle, “Introduction, subscription concerts had begun in Phil- even though a vast majority of quality 1973, p. 18, and December 1973, p. 16. adelphia. It was common for orchestras choral works are based on sacred texts. Early American Moravian Music” in Go, Con- 8. Irving Lowens has edited various early gregation Go, an anthem (Boosey & Hawkes, (and opera singers) from Europe to tour This change of attitude is a reversal of American choral works in The Arthur Jordan No. 5303, 1959). in this country, and they too, perpetuated the past. Singing schools were formed to Choral Series, published by Marks Music 38. Sablosky, American Music, pp. 99–106. the standard works by recognized Euro- help people learn to sing religious music, Corporation, New York, 1963. 39. Ibid., pp. 84–86. pean composers. but beginning in the middle of the twen- 9. Lawrence Bennett has produced many 40. Ray Robinson and Allen Winold, The Theodore Thomas (1835–1905) was tieth century some school systems or ad- editions of American choral music, published Choral Experience (New York: Harper’s Col- an avid young conductor who did much ministrations began forcefully working in an anthem series “The Western Wind lege Press, 1976), pp. 20–21. American Tune-Book” (New York: Broude 41. Sablosky, American Music, pp. 88–95. to advance the professional American to keep music with religious texts from Brothers Limited, 1974). . His Theodore Thomas Or- being performed. 10. Kurt Stone has published many editions chestra, founded in 1862, toured for Nevertheless, the church remains an James McCray, Professor of Music at Colo- of American choral music in the Cornwall rado State University in Fort Collins, retired many years; in Chicago, Thomas’s or- important advocate for music, especially Music Series (Hackensack, New Jersey: Jo- after more than 40 years of teaching. He taught chestra gained a permanent home and choral, yet its interest in styles has seen a seph Boonin, Inc., 1975). for 25 of them at CSU, and for 10 years he was evolved into today’s Chicago Symphony rapid shift during the past few decades. 11. Irving Lowens, “The American Harmo- the Chairman of Music, Theatre, and Dance Orchestra. His pioneering helped en- That shift has reduced the quality and ny,” record jacket notes on the of same Department. He has published 25 scholarly courage the formation of major profes- amount of choral singing, as may be title published by Washington Records, WR- articles in various national and international sional orchestras, and before 1900 there seen in the number of people in church 418. journals such as The American Organist, Mu- 12. Charles Hamm, “Search for a National sic Educator’s Journal, The Choral Journal, were ensembles in St. Louis, New York, congregations and ultimately church Identity,” in Music in the New World (New Chicago, Los Angeles, and other large choirs. The church gave impetus to cho- and several others. He served a two-year term York: W.W. Norton & Co., 1983), p. 147. as the head editor for The Choral Journal. cities. Most relied heavily on benefac- ral singing in this country, and today still 13. Wienandt and Young, Anthem in Eng- tors who subsidized them fi nancially. is responsible for a large portion of cho- land and America, p. 172. For over 30 years he has written a monthly column on choral music for THE DIAPASON. He Wealthy families such as the Vanderbilts, ral performances, as well as 14. Alan Clark Buechner, “Yankee Singing Schools and the Golden Age of Choral Music is the author of three books; a fourth will be the Rockefellers, and the Morgans were of new music. The difference is that it is published sometime next year. vital to the development of professional not the primary leader in the prolifera- in New England,” Ph.D. dissertation, Harvard University, 1960. As a composer, Dr. McCray has published orchestras needed to provide opportuni- tion of choral music, only an equal part- 15. Dickson D. Bruce, Jr., And They All over 100 choral works. He has had commis- ties for the performance of large-scale ner at best. sions from Yale University, Florida All-State 41 Sang Hallelujah: Plain-Folk Camp-Meeting choral works. America was founded on the need and Religion, 1800–1845 (Knoxville: University of Choirs, Texas Music Educators’ Association, Opera also depended on the contribu- search for freedom in both religious and Tennessee Press, 1974). and many other colleges, public and private tions of rich patrons. The public in the secular arenas. The church continues to 16. Scholes, The Puritans and Music. schools, and churches throughout the U.S. nineteenth century had come to opera evolve in society, and therefore its mu- 17. Erik Routley, The Music of Christian He has received the Professor of the Year Hymnody (London: Independent Press, award from two separate universities (in Vir- from a background in minstrelsy, so cul- sic, which has always been an important ginia and Florida). Dr. McCray was one of 11 tivation of understanding was slow. Even element, will also evolve. The same may 1957), p. 166. 18. Wienandt and Young, Anthem in Eng- Americans designated for the 1992–93 Out- today opera remains a genre that has less be said for the secular side of society in land and America, p. 242. standing Music Educator Award, and in 1992 universal appeal than many other musi- which music is a vital component. The 19. Lowens, “The American Harmony.” he received the Orpheus Award, the highest cal forms. By the end of the nineteenth confl uence of the two main forces (sa- 20. Irving L. Sablosky, American Music award given by Phi Mu Alpha Sinfonia. The century, however, there were major op- cred/secular) will continue to be a ma- (Chicago: The University of Chicago Press, award read “For signifi cant and lasting con- era houses in operation. They brought jor factor in the development of choral 1969), p. 61. tributions to the cause of music in America.” European performers to the States, which helped develop an established audience. In comparison with other ma- jor musical genres such as orchestral, 7KHQHZSLSHGLJLWDOFRPELQDWLRQRUJDQ choral, or chamber music, the number of composers who write in this medium DW0DVODQG0HWKRGLVW&KXUFKLQ6LEX remains limited. Cost, technical require- 0DOD\VLDGUDZVDOOH\HVWRWKHFHQWUDOFURVV ments, and available performances are restrictive factors that have not success- ZKHUHWKHVXUURXQGLQJSLSHVDUHDUUDQJHG fully encouraged a corresponding growth OLNHXSOLIWHGKDQGV5RGJHUV,QVWUXPHQWV to this vocal art form, yet it did have a modicum of infl uence on the growth of &RUSRUDWLRQZDVKRQRUHGWRSDUWQHUZLWK choral singing. 0RGHUQ3LSH2UJDQ6ROXWLRQVRIWKH8.RQ Summary WKHLQVWDOODWLRQ The commentary above is a brief ex- amination of some of the events involved in the establishment and evolution of 6HHPRUHSLFWXUHVDWZZZURGJHUVLQVWUX American choral music. There certainly were many other elements that could be PHQWVFRP)RUPRUHLQIRUPDWLRQDERXW pursued in a discussion of this type, but 5RGJHUVSLSHGLJLWDOFRPELQDWLRQRUJDQV Pipe-Digital Combinations space does not permit a more detailed survey. America is a blend of heteroge- FRQWDFW6DOHV0DQDJHU5LFN$QGHUVRQDW Digital Voice Expansions neous cultures, and throughout the en-  tire history of the country, people from Solutions for Old Pipe Organs other places have continued to come to her shores; they brought with them re- ligious, artistic, and social elements of their past, but the most signifi cant factor in any study on the evolution of Ameri- can choral music must be the infl uence of the church. Clearly, choral music began primar- ily because it was needed in religious www.rodgersinstruments.com ceremonies. In essence, the history of American choral music can be traced through the expansion of musical set-

MAY, 2011 29

May 2011 pp. 26-29.indd 29 4/14/11 10:09:40 AM

Top View