Title: The Enigma of the Mason Hymn-Tunes

Author(s): George Brandon

Source: Brandon, G. (1992, Fall). The enigma of the Mason hymn- tunes. The Quarterly, 3(3), pp. 48-53. (Reprinted with permission in Visions of Research in Music Education, 16(3), Autumn, 2010). Retrieved from http://www-usr.rider.edu/~vrme/

It is with pleasure that we inaugurate the reprint of the entire seven volumes of The Quarterly Journal of Music Teaching and Learning. The journal began in 1990 as The Quarterly. In 1992, with volume 3, the name changed to The Quarterly Journal of Music Teaching and Learning and continued until 1997. The journal contained articles on issues that were timely when they appeared and are now important for their historical relevance. For many authors, it was their first major publication. Visions of Research in Music Education will publish facsimiles of each issue as it originally appeared. Each article will be a separate pdf file. Jason D. Vodicka has accepted my invitation to serve as guest editor for the reprint project and will compose a new editorial to introduce each volume. Chad Keilman is the production manager. I express deepest thanks to Richard Colwell for granting VRME permission to re-publish The Quarterly in online format. He has graciously prepared an introduction to the reprint series. The Enigma Of The Mason HYfl1fl-Tunes By George Brandon Davis, California

orn into a familv of active amateur Many younger men of Mason's time, in- musicians, Lowell Mason attended cludingJ. S. Dwight and A. W. Thayer, prob- Bsinging schools conducted by local ably looked upon Lowell Mason as an elder figures such as Amos Albee and Oliver Shaw. statesman of the profession; these younger This gave him direct contact with some of associates seemed to carry on a continuing the earlier musical traditions of New England. campaign to help fill in the gaps in Mason's In addition, Mason's later experience as con- professional expertise and to see that he kept ductor of the Boston Handel and Haydn So- up to date on current developments in mu- ciety gave him an intimate practical knowl- sic. Thus, Lowell Mason's close association edge of the extant repertoire. with both older and younger musicians, plus However, Mason seems to have escaped his avid study of all the music and musical being a mere clone of the older generation literature that he could get his hands on, or of his contemporaries. Even before his made it almost certain that he would be very two trips to Europe, his frame of reference much aware of musical developments from was broader than that of almost any of his the late Middle Ages to the most current mu- acquaintances; he planned for the future, tak- sical events of his day. ing into account not only the present and the Musical Philosophy recent past, but the more distant past as well. Mason had a deep sense of being an active What did Mason gain from such a broad participant in the continuity of the Christian spectrum of domestic and foreign musical tradition, which in Mason's case included the mentors? Two basic convictions: First, music nineteenth-century belief that "the Kingdom must be practical and "of the people;" second, of Heaven was at hand," and that the world there is a right way to do things, which he in- was on the verge of a glorious new age. So tended to discover and follow. His musical Mason was both "backward looking" and styles reflect this orientation. His convictions "forward looking." forced him to compose according to accepted In fact, it appears that Mason was influ- ("scientific") standards, but at the same time to enced to an even greater degree by people compose for the people and places and insti- his own age, or younger, than he was by his tutions with which he felt familiar. elders. Possibly the most notable of these In regard to harmony and part -writing, this younger men was his own son William meant an overall concern for chord patterns (born in 1829), perhaps the chief of Lowell's that were convincing and satisfying for both many collaborators. William studied music listeners and performers; melodies that theory in Leipzig and piano under Liszt, seemed natural and effective, and that were knew Brahms and Wagner, and was closely enjoyable for the active participants and the associated with Lowell up to the time of audiences; bass parts that, where possible, Lowell's death in 1872, when the two were provided more than passive support for the working together on a harmony textbook musical superstructure; inner voice-parts that (still unpublished). were neither deadly dull nor intimidating in their technical demands; and rhythms that GeorgeBrandon is afree-lance composer/ were vital and compelling, while at the same arranger and church-music researcher in time simple enough not to upstage the text Davis, California.

48 T71eQuarterly Journal of Music Teaching and Learning or bewilder the inexperienced. It all had to rience as an extremely active musical leader "work"-whether it was performed by gar- made him fully aware of this array of easy-to- gantuan groups (as at the Boston Peace Jubi- reach harmonies, but that he deliberately lee in 1872), or by the village organist, or by chose to err in the direction of restraint and the tower bells of a great city church on self-denial rather than risk over-taxing the Christmas Eve, or by a few mourners at a abilities of the public for whom he wrote. burial service, or by an individual singing in Mason was not out to challenge the great utter solitude out on the western frontier. composers of the past or of his own day, but Some complained that Mason's music was too rather to help bring America into the main- simple and commonplace; and that it lacked stream of the music of Western civilization so glamour. They believed that as soon as American that the young nation could one day take its composers were better edu- rightful place in the life of cated and had become more the larger world of music. sophisticated, the hymn-tunes "Mason ~as not To this end, he began with of Mason would be consign- out to challenge the most elementary forms ed to the attic. Others com- of education and repertory plained that Mason was trying the great COITl- that he felt were needed by to make musical snobs out of posers of the the American public, thus plain Americans who were preparing the way for future happy with their old-time past or of his generations to compete on a fuguing tunes, folk-like revival own day, but world-class basis for recog- songs, and shape-note tunes. nition and glory. He pub- Mason seems to have as- rather to help lished music-including his sumed that most people were bring Arrlerica own compositions-for the on the side of "progress." He people with whom he proceeded to develop meth- into the rriairi- worked in the community, ods and materials that he felt strearri of the in the schools, in the would facilitate such progress churches, and at home. by giving the general popula- rrrusic of Western Mason usually avoided tion some musical common civilization so chromaticism in his own ground that would provide an writing. This may have enduring basis for future per- that the young saved his music from most sonal and social development. nation could one of the controversial "emo- The belief that Mason's har- tionalism" that some later monic language depended day take its right- musicians found unattractive basically on the three primary ful place in the in the music of many of triads (with a limited amount Mason's contemporaries. of simple modulation) has life of the larger He may be criticized as be- some validity. But it is a mis- ~orld of rrrusic." ing too plain or overly take to assume that a basic straightforward or even vocabulary of I - IV - V chords downright pedantic, but means that every tune in the key of G sim- hardly as being "vulgarly pious" or "blatantly ply plods along harmonized with nothing but effective." \X7hatMason wrote, at least what G, C, and D triads. Even if a piece modu- we know of the available works, was utility lates only to closely related keys (i.e., to the music of the highest degree of reliability, much key of CorD Major, or to the tonic-minor or of which even today can be useful to the great relative-minor of any of these keys), the sup- majority of the population. ply of chords is not meager but includes at We must remember, however, that we least the following: G Major, G minor, A Ma- know virtually nothing about the styles in jor, A minor, B minor, C Major, C minor, D which Mason improvised, and that in Mason's Major, D minor, E minor. My contention is day even the playing of a hymn often involved that Mason's musical training and wide expe- improvising an interlude after each verse. His

Volume III, Number 3, 1992 49 heritage as an organist would almost have obsolete musical layout and typography. guaranteed that his extempore performances Any discussion of Mason's music based on on that instrument (either for a few friends or the contents of such collections is likely to in a public worship service) would at least oc- be incomplete and possibly inaccurate. Ulti- casionally cany him beyond his usual sober mately, we are forced to depend on the few and decorous manner. Mason tunes that have become routine items It is true that Mason was self-taught, but in many commonplace collections of hymns only in the sense that it was Mason himself and tunes, and in some instances practically who was responsible for programming his part of oral tradition. life-long education process. He is said to Another problem in evaluating Mason's have commented in later years that he had hymn-tunes is that the attributions in such learned as much after age 46 as he had be- tune collections tend to be extremely unreli- fore age 46. His educational experiences able, due to the prevailing lack of detail, ac- were varied and continuous, but not haphaz- curacy, and uniformity in the attributions ard. He basically mapped out a career and (i.e., names of the composers and/or followed through on his plans, and to a large sources), and in the lack of adequate in- extent accomplished what he set out to do: dexes, lack of standardization of tune-names, Mason reshaped the musical life of America, and the extent to which varied forms of the with an eye to the future as he envisioned it. same music circulated anonymously or under Assessment of Mason's Place in fictitious names. Mason's tunes have evolved almost like folk songs, appearing in a variety Musical History of forms in different tune-books and hym- The music of Horatio Parker and many nals, subject to the alterations of compilers, other later "cultivated" composers has faded editors, and arrangers. In addition, Mason and perhaps is now on the verge of a revival, himself, like many other composers, was while the music of William Billings, folk constantly revising his own music. There- hymns, and shape-note music have already fore, no matter how well we think we know become objects of enthusiastic cults. But the hymn-tunes of Lowell Mason, it is wise to who can imagine a revival of Lowell Mason's take into account the possibility that we may music, or the development of a Lowell Ma- have been misled by faulty information. The son cult? For Mason's work is an ingrained results of exploration into the world of part of our common culture and is taken for Lowell Mason's hymn-tunes will inevitably be granted. The inherited standard tunes that tentative and unclear in regard to many criti- Mason helped to make part of the perennial cal details. The best we can hope for is a hymnic repertory are seldom thought of as reasonable assessment based on experience being part of his contribution to our musical and intuition, guided by as much logical life, while to many his hymn-tunes seem pro- analysis as we can muster, plus an acquain- saic and insignificant. tance with what appear to be the most au- The real extent and character of Mason's thentic examples at our disposal. contribution to the potential American hymn- tune repertory is not known with any degree Harmonic Vocabulary of exactness. His output is said to have in- Mason wrote (and/or arranged, adapted) at cluded well over 1,500 hymn-tunes-some least five different types of hymn-tunes: original, some merely arranged, some radi- (1) The classic hymn-tune, based on the cally adapted. However, only a handful re- models of the Lutheran chorale and the Cal- main generally known today. The problem vinist psalter tune, is an extremely compact is not merely that the hymn-tunes have never musical structure; that is, much music is con- been organized in an accessible multi-vol- densed into a few notes, and every note is ume anthology, but that the books in which Significant. It is simultaneously (a) a melody; they are to be found are scattered and not (b) a series of chord progressions, with a easily accessible. Some tunes are included strong bass line; (c) an example of simple only in old books using crude, misleading, four-part counterpoint; and (d) a rhythmic

50 The Quarterlyjournal of Music Teaching and Learning pattern that is emphatic, unobtrusive, and easily remembered (for example, "Uxbridge" in Mason, L., 1869, p. 136). (2) A less formal, more folk-like hymn-tune in which the melody may be enhanced by a second or third voice-part in parallel thirds or sixths, plus a bass that does at least a little more than merely supply the harmonic un- derpinning of the tune ("Work Song" in Ma- son, L., 1869, p. 350). (3) A more advanced version of this sec- ond style, using contrasting textures and ranges, with duets, trios, unison passages, brief hints of counterpoint, echoes, build- ups, and so on. Both (2) and (3) may get by on a quite simple harmonic structure, which is compensated for by the naive charm of the one, and the quasi-virtuoso effect of the other ("Sabbath" in Mason, L., 1869, p. 294). (4) A hymn-tune that combines the solid- ness of the classic hymn-tune plus a more This portrait of Lowell Mason is a copy from a demanding use of contrapuntal cross refer- Daguerreotype taken by an unknown photographer ences in the make-up of the lower voices; about 1850. Credit: Music Library, University of some of these tunes are somewhat canonic, Maryland at College Park. while others weave into the fabric some re- curring phrase or motif ("Boxford" in Mason, a Bach chorale harmonization (e.g., L., 1850, p. 140). "Mannheim" in Glover, 1985, no. 595). The (5) Hymn-tunes that often have neo-ar- more choir-oriented tunes (types 2 and 3) in- chaic harmonies, giving an unmistakable creasingly became "listening music" for the church-choir effect. They make generous congregation. Type 2 became the typical use of repeated notes (and chords) and make "special music" for semi-trained groups in in- little attempt to be "melodic." The model formal Sunday evening services and were seems to be Gregorian psalm-tone formulas used in midweek prayer meetings and other and Anglican chant ("Fabius" in Mason, L. & church events. Type 3 tunes continued to Webb, G., 1845, p. 39). serve as Sunday morning choir music until Tunes of types 1 to 4 often are not very they were eased out by more stylish anthems different in general effect from comparable of the period, by composers such as Dudley tunes from many traditions and eras, whereas Buck, Harry Rowe Shelley, H. P. Danks, P. A. tunes of type 5 seem to be a distinctive hall- Schnecker, or Caleb Simper. As the worship mark of Americans such as Mason. Other habits of the people settled into new patterns, than a few examples that made use of fairly some of the old favorite tunes of types 2 and 3 conventional harmonies (such as Bradbury's were reworked to make them more practical "Olive's Brow"), tunes of type 5 are rarely for congregational singing-sometimes losing found today. Probably they are too "liturgi- part of their attractiveness in the very process cal" for some, and not "authentic" enough for of becoming more formal (e.g., altered type 2: others. In any event, the classic hymn-tune "Diligence" in Hutchins, 1894, no. 583, first (type 1 noted above) in time became the tune; altered type 3: "Sabbath" in Abbott, L., norm for congregational singing (with the Morse and Abbott, v., 1893, no. 72). Type 5 choir) in the more formal Sunday morning tunes virtually faded out of existence. service; while in some austere churches the "standard" carne to include much of type 4, Conclusion the model for which is something approaching To gain a more adequate and realistic un-

Volume III, Number 3, 1992 51 derstanding of the character of the hymn- Hutchins, Charles L.(ed.). (1894) The Church Hymnal tunes that Mason provided for the churches (The Episcopal I-Iymnalof 1892, with music pro- vided by Hutchins) "Edition A." Boston: TIle Palish of his time, reprints of some of his represen- Choir. tative collections are needed, as well as a Jones, F. O. (ed.). (1971) A Handbook of American complete edition of his tunes in standard Music and Musicians (republication of 1886 first modern notation. But to fully understand the edition). New York: Da Capo Press, 91-92, 92-93, significance of the way his compositions ac- 181, 182. Kraege, Elfrieda A (980) "The Masons and the tually functioned in a service of worship- Beechers: Their Crusade for Congregational Singing how the hymn-words which the churches in Ametica." T7JeTracker 25(4), 11-17. mated with Mason's music filled a devotional Kraege, Elfrieda A. (981) "William Mason as an Org-an- need in the overall structure of the personal ist." The Tracker 25 0), 101-108. and corporate life of the church-going pub- Leaver, Robin A. (1987) "Dykes' NICEA [sic] An Origi- nal Hymn Tune or the Re-Working of Another?" lic-we need an in-depth study of the work The Hymn 38 (2), 21-24. of Mason in the total context of the religious Mason, Henry Lowell. (1941) "Lowell Mason: An Ap- institutions of his time and place. Then his- preciation of His Lfe and Work." 10. 8 of The Pa- torians could begin to make informed judg- pers cf the Hymn Society, Carl F. Price (ed.). New ments about the musical and societal values York: The Hymn Society of America. Mason, Henry Lowell. (1976) Hymn Tunes cfLouell that influenced, and were influenced by, Mason: A Bibliography (reprint from 1944 edition Lowell Mason. We have a long way to go! published by The University Press, Cambridge), ew York: AMS Press. Mason, Lowell and G.]. Webb (eds.). (845) ThePsaltry 0847 printing). Boston: Wilkins, Carter, and Co. References Mason, Lowell and G.]. Webb (eds.), (1850) Cantica Abbott, Lyman, Charles H. Morse and Herbert Vaughan Laudis, or TheAmerican Book of Church Music. Abbott (eds.). (1893) ThePlymouth Hymnal. New New York: Mason Brothers. York: The Outlook Co., vi-vii, viii-xiii(introductory Mason. Lowell (ed.), (1850) TheNew Carmina Sacra: or essay by Lyman Abbott). Boston Collection if Oiurcb Music (1853 printing). Benson, Louis F. (1956) TheHymnody of the Christian Boston: Rice and Kendall. Church (reprint from the 1927 printing by George Mason, Lowell. (1967) Musical Iettersfrom Abroad H. Doran Co., New York). Richmond: John Knox (republication of 1854 edition published by Mason Press, 227-277. Brothers, New York). New York: Da Capo Press. Brandon, George. (1969) "Some Classic Tunes in Lowell Mason, Lowell et al. (eds.). (1869) TheAmerican Tune Mason Collections." Tbe Hymn 18(3), 78f. Book Boston: Oliver Ditson and Co.; New York: Broyles, Michael. (1985) "Lowell Mason on European Charles H. Ditson and Co. Church Music and Transatlantic Cultural Identifica- Mason, William. (1970) Memories cf a Musical Iife tion: A Reconsideration." Journal of the American (republication of 1901 first edition published by The Musicological Society 38 (1), 316-348. Century Co., New York). New York: Da Capo Cheney, Simeon Pease. (1980) T7JeAmerican Singing Press. Book (republication of the 1879 first edition, Boston: McCue, George (ed.). (1977) Music in American Society White, Smith and Co.). New York: Da Capo Press. 1776-1976 F1Vm Puritan Hymn to Syrubesize: Christ-Ianer, Albert, Charles W. Hughes, and Carleton New Brunswick, NJ: Transaction Book, ch. 3. Sprague Smith. (1980) American Hymns Old and Ogasapian, John K. (1979) "Lowell Mason as a Church New (two volumes). New York: Columbia Univer- Musician." Journal if Church Music 21 (7), 6-10. sity Press. Pemberton, Carol A. (1971) Lowell Mason: His Life and Crawford, Richard. (1983) 'united States of America." Wom(dodoral dissertation), Ann AIDor: University 1n Denis Amold (ed.), TheNew O:ifard Companion Microfilms. to Music. New York: Oxford University Press, 187&- Pratt, Waldo Selden. (1928) "Mason, Lowell." 1nW. S. 1892. Pratt and C. N. Boyd (eds.), Groves Diaionary of Ellinwood, Leonard. (1961) "Hymns Ancient and Mod- Music and Musicians: American Supplement (1947 em in America." The Hymn 12 (4), 107ff. printing). New York: The Macmillan Co., 285f. Glover, Raymond F. (ed.). (985) T7JeHymnal 1982 Pratt, Waldo Selden. (1928) "Public Schools, Music in New York: The Church Hymnal Corporation. the." 1n W. S. Pratt and C. N. Boyd (eds.). G1V1X3S Graber, Kenneth. (989) William Mason (1829-1908): Dictionary of Music and Musicians: American An Annotated Bibliography and Catalog of Works. Supplement 0947 printing). No. 13 of Bibliographies in American Music, pub- Rasmussen, Jane. (986) Musical Taste as a Religious lished for the College Music Society, Michigan: Question in Nineteenth-Century America. Vol. 20 Harmonie Park Press. of Studies in American Religion. Lewiston, NY: Higginson,]. Vincent. (1967) "Notes on Lowell Mason's The Edwin Mellen Press. Hymn Tunes." TheHymn 18(2), 37ff.

52 Tbe Quarterly Journal of Music Teaching and Learning Ronander, Albert C. and Ethel K. Porter. (1966) Guide to the Pilgrim Hymnal. Philadelphia and Boston: Unired Church Press. MUS-ED-Graphs Saclie, Stanley and Alison Latham, (eds.). (1988) The Nonon/Grooe Concise Encyclopedia cf Musc. New This set of five charts tracks York: W. W. Norton & Co. Scholes, Percy A. (1943) "Church Musie." In P. A. the history ofthe music educa- Scholes, The Oxford Companion toMusic (2nd ed.). tion profession in America. Jew York: Oxford University Press. Scholes, Percy A. (1943) "Hymns and Hymn Tunes." In Shown in chronological order P. A. Scholes, The Oxford Companion toMusic (Znd are the people, ideas, events, ed.). New York: Oxford University Press. Scholes, Percy A. (1943) "United States." In P. A. publications, compositions,and Scholes, The Oxford Companion toMusic (2nd ed.). movements that have influ- New York: Oxford University Press. Slonimsky, Nicolas (ed.), (1958) Baker's Biographical enced the profession. Other Dictionary ofMusicians (Sth ed.). New York: G. significant and concurrent his- Schirmer, 1113yer, A. W. (1879) "Lowell Mason." In Dwight:'.1our- torical, musical, and educa- nalofMusicvol. 39, part 1, Nov. 22, 186-87; part 2, tional background information Dee. 6, 195-96. Boston. WiL'ion, John. (1986) "TIle Evolution of the Tune is also included. 'Antioch'." Bulletin q( the Hymn Society of Great Britain and Ireland 11 (5), 107-114. ~ • Chart 1: Religious Motive, 1620-1776 ArsNova • Chart 2: Political-Eco- Opera Trading Cards nomic Motive, 1776-1865 • Chart 3: Utilitarian The Encore Collection Opera Trading Cards Motive, 1865-1920 "Debut Series" of eight trading cards is now available. The series includes these great • Chart 4: Mass Educa- operatic artists: basso Jerome Hines, tion Motive: 1920-1957 mezzo-soprano Irene Dalis, heiden tenor William Lewis, tenor Chris Merritt, baritone • Chart 5: Technological Thomas Hampson, General Director of San Motive, 1957 -present Francisco Opera Lotti Mansouri, the leg- endary tenor Enrico Caruso, and the great coloratura soprano Luisa Tetrazzini. Each chart is II" x 20", printed black on gold, and suitable ei- The cards have a classic design featuring ther for framing or for use in a the artist on the front framed with a gold border. On the back of the card, the artist's 3-hole notebook. career is profiled with important debuts, notable roles, and interesting facts. One set is $15.00. Discount

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Volume III, Number 3, 1992 53