Download - Part 2 The Tumultuous Nineteenth Century Chapter 5: Religious Music in the Early Nineteenth Century America’s Musical Landscape 6th edition © 2010 The

1

Part 2The Tumultuous Nineteenth

CenturyChapter 5: Religious Music in the Early

Nineteenth Century

America’s Musical Landscape 6th edition

© 2010 The McGraw-Hill Companies, Inc. All rights reserved

2© 2010 by The McGraw-Hill Companies, Inc. All rights reserved.

Part 2: The Tumultuous Nineteenth Century Chapter 5: Religious Music in the Early

Nineteenth Century 2

Part 2 Introduction: The Tumultuous Nineteenth Century Romanticism in America: Historical and Cultural Perspective

Nineteenth century European writers, painters, and musicians abandoned the coolly reasoned Classical style to reveal in their art characteristics associated with romanticism in the arts:

A fierce independence Fascination with the unknown Worshipful love of nature

1825-1900 Romanticism dominated the arts in Europe German musicians dominated music in the Western world




Romanticism in America: Historical and Cultural Perspective The artistic style newly dominant in Europe came

to America quite naturally because

Americans revealed strong romantic tendencies long before the nineteenth century and continue to do so today

Perhaps the pioneers bred their sense of adventure into later generations of Americans

Or perhaps the vast, wild land encouraged the demand for freedom and independence




The Emergence of Characteristically American Art From the 1830s one could travel from America to

Europe by steamship But such travel was neither safe nor reliable Most Americans remained isolated from European culture Little diplomatic exchange took place Few people immigrated to America during the mid-century Music and Art at this time in America:

American musicians shied away from the originality of the Yankee tunesmiths, instead emulating German music

American writers and visual artists often expressed romantic ideals in characteristically American ways




The Emergence of Characteristically American Art: Independence 1800s: Americans defended their new independence

Resisted French and British in skirmishes Fought the notorious Barbary pirates

1823: Monroe Doctrine Formalized America’s resistance to foreign interference in the

Western Hemisphere

1828: Populist hero Andrew Jackson was elected United States president This caused new American nationalism

Artists and writers began to create works on a variety of American subjects, due to patrons’ new interest in American art for Art’s sake




The Emergence of Characteristically American Art: Independence Claiming freedom from European

dominance, American writers developed distinctive ways to express the American experience A genuine American literature

evolved Prolific literary activity reflected a

new American nationalism Poets and novelists wrote on

American subjects, placed in American settings

View of Detroit in 1836Painted by William James Bennett (1787-1844)




The Emergence of Characteristically American Art: Independence In the mid-nineteenth century, Boston housed the

“transcendentalists”

Transcendentalists were writers and philosophers who

Trusted intuition, rather than reason, as the guide to truth

Shared Protestants’ and frontier people’s belief in the integrity and ability of the individual

Expressed in their writings love of nature and pride in America’s natural beauty




The Emergence of Characteristically American Art: Independence 1861-1865: Abraham Lincoln was President

Sermons, speeches, poems, articles, and proclamations addressed the slavery issue

Humorist, author and amateur musician Mark Twain (1835-1910) depicted scenes between blacks and whites

Twain wrote of songs and instruments Disliked piano Enjoyed the reed organ = parlor

organ= cabinet organ= cottage organ=melodeon

Melodeon




The Emergence of Characteristically American Art: The Unknown Romantic curiosity with the

unknown led pioneers to push America’s frontier farther west Optimistically defying great perils is

a Romantic characteristic Early nineteenth century surveyors

and engineers explored and mapped wilderness areas

New York, New England, the West

1825: The Erie Canal was opened Steam railroads arrived!

The Erie Canal




The Emergence of Characteristically American Art: The Unknown The unknown, and abnormal

psychology fascinated writers and artists Edgar Allen Poe (1809-1849) Nathaniel Hawthorne (1804-1864) Painters: Interested in science;

made discoveries James Audubon (1785-1851):

Painted watercolors of realistic American birds

Niagara Falls, by Frederic Edwin Church(1826-1900)




The Emergence of Characteristically American Art: The Unknown Samuel Morse (1791-1872)

Had interest and talent in science and art Helped make the pre-photographic process known as

daguerreotype popular with Americans Americans often had more interest in the new and

mechanical, not in art for its own sake Morse studied painting in Europe, then produced fine

paintings back home in America He became discouraged at Americans’ preference for local

landscapes over large European-type “history paintings”

Invented the telegraph




The Emergence of Characteristically American Art: Love of Nature Nature, formerly viewed as a menacing force to be

conquered and tamed, now received reverent admiration in American literature, painting, and music idealizing the natural beauty of the American continent

Writers expressed in American ways ideals similar to those of the British Romantic poets, portraying nature as good and beautiful

Poets William Cullen Bryant and Henry Wadsworth Longfellow

Essayists Ralph Waldo Emerson and Henry David Thoreau




The Emergence of Characteristically American Art: Love of Nature American paintings in the post-Revolutionary period reflected

New American nationalism Romantic love of nature caused artists to capture

Clear light, blazing sky, vast open spaces of landscape

American viewers lagged behind Europeans in appreciating art for its own sake, yet American artists produced Paintings and sculptural works in quantity and variety

Landscapes predominated, but also popular were scenes of everyday life such as cornhusking, dancing, work and play

Margaretta Angelica Peale (1795-1882): one of a very few professional women painters, known for still lifes




The Emergence of Characteristically American Art: Love of Nature Painters accompanying

explorers and adventurers across the American wilderness depicted the wild beauty of untamed areas George Catlin (1796-1872)

A dedicated artist-explorer Vividly portrayed the vast American

wilderness, complete with Indians and wild animals

George Catlin, Indian Boy




Fusion of the Arts The relationships between literature, painting, and music of

the Romantic period are striking in their strength and significance

Nineteenth-century artists in Europe and America drew inspiration from close association with each other and interest in each other’s work

Provided each other with moral and practical support

Artists were newly dependent on the approval of a public audience that lacked the training and experience of audiences of previous eras




Fusion of the Arts: The Hudson River School Hudson River School: The first important group of American

painters, led for a time by Thomas Cole (1801-1848)

Cole’s large landscape paintings capture the spaciousness and grandeur of the Catskill and Adirondack mountains of New York

Cole’s painting Scenes from the Last of the Mohicans (see

page 72) was based on his friend James Fenimore Cooper’s novel

This exemplifies the close Romantic period association between artists

Cooper is sometimes called a Hudson River painter using prose rather than pigment to depict landscapes




Fusion of the Arts: Writers and Artists The intertwined relationships among writers and artists is revealed

in the painting Kindred Spirits by Asher B. Durand (1796-1886)—see textbook page 73

Durand succeeded Cole as leader of the Hudson River School

Kindred Spirits embodies the feeling of Romantic artists of various media that reverence for the natural beauty of their homeland transcended the feelings of more mundane souls; this painting

Was a memorial to artist Thomas Cole, who is portrayed

Also portrays the poet William Cullen Bryan




Fusion of the Arts: Music Music proved a congenial medium for the romantic blending of the

arts

The Art Song was the setting of a poem to music Program music often depicted scenes from literature in musical

terms Musical theater including operas and operettas constituted

complex combinations of visual, literary, and musical arts

There was no Hudson River School of musicians

Leading composers and performers nonetheless found inspiration from the physical beauty of the Hudson River Valley




The Civil War Era 1860s: Reform movements begun in the early nineteenth

century gathered strength Tension heightened

Between blacks and whites Between supporters of slavery and of abolition

Northerners were repelled by slavery Southerners believed slavery was essential to the

plantation economy Organized workers forced enactment of tough new labor laws Feminists marched and demonstrated for women's rights

Social issues were reflected in literature, art and music




The Civil War Era: American Artists, 1850-1875 Painters shared European fascination with light

American art used light to capture American scenery

American artists idealized nature romantically as well as viewing it as morally uplifting

Andrew Jackson’s optimism and the idealism of the American pioneer were reflected in the scenes of mountain splendor and rural calm

Yet American patrons did not appreciate American art Great American artists, such as James McNeill Whistler (1834-

1903) left for Europe because of lack of a market in the US Whistler became famous in Europe, then later in the US




The Civil War Era: American Paintings and Sculpture, 1850-1875 American still-life painting

matured and flourished, largely independent of European influence Folk art became more individual

and expressive than ever Weather vanes, shop signs,

furniture

Music and LiteraturePainted by William Michael Harnett (1848-1892)




The Civil War Era: American Paintings and Sculpture, 1850-1875 Americans produced distinctive sculpture

sometimes with socially significant messages The Greek Slave, by Hiram Powers (1805-1873)

An American expression of sympathy for the Greek War of Independence as well as for slaves in the American South

The Indian (The Chief Contemplating the Progress of Civilization) by Thomas Crawford (1813-1857)

Sculptress Edmonia Lewis (1845-1909), whose mother was Native American and whose father was black, produced a stunning bust of Abraham Lincoln




The Civil War Era: Music Music became an increasingly significant

facet of nineteenth-century American life Music was newly liberated from its former

semifunctional position in worship and daily life Newly available to an ever wider public audience Religious and secular music for voices and for

instruments reflected every feature of American experience in the turbulent nineteenth century




Chapter 5: Religious Music in the Early Nineteenth Century As per Romantic emphasis upon individual rights and

preferences, the pioneers of the American frontier developed a fierce respect for the integrity of the individual

Puritans, Quakers, and other Protestants in Northeast cities initiated strong reform movements addressing human and civil rights

Women became active in social causes, including Abolition of slavery Founding of the American Temperance Society (1826) Improvements to conditions in prisons and asylums Increased aid to the disabled




The Great Revival Zeal for reform spawned the strong religious revival movement

called the Great Revival

Also called the Second Awakening

Rural Presbyterians, Baptists, Methodists, and others were attracted by the thousands to huge emotional camp meetings lasting for days

Itinerant preachers called circuit riders led praying, shouting, singing, often frenzied dancing

Men, women, blacks, whites, adults and children participated with equal enthusiasm




Shape-Note Notation Music, too, reflected the concern for reform

Singing school teachers created a method of reading music called shape-note notation—see textbook page 76, figure 5.2

Shape notes involved placing the first letters of the syllables fa, sol, la, and mi on the staff instead of traditional notes

Each syllable was assigned a different shape (square, circle, diamond, triangle) and placed appropriately on the staff

Although never adopted as the usual way of notating music The shape-note method was effective as a

Teaching tool Means of reading folk hymns and camp-meeting songs




Shape-Note Notation: Shape-Note Songbooks Shape-note music publishers popularized their music collections by

hiring vocal quartets to sing the music in the books

A demand for shape-note songbooks was created

These books featured three-part harmony with the melody in the middle voice, as was the custom

The Sacred Harp, published 1844, was among the most popular of these songbooks

The first edition included tunes of popular British ballads to which Americans had set favorite religious verses

Shape note music is still in use today




Spiritual Songs Camp meetings occurred in rural and frontier regions

Blacks and whites worshiped and socialized, often together Frontier Americans evolved distinctive music Camp meeting songs included…

Hymns with texts by famous English clergymen Popular American folk hymns Spiritual songs, called spirituals which were…

Strophic settings of religious texts to folk or popular tunes Available in shape note notation A comfort and inspiration




Spiritual Songs: “Amazing Grace” Perhaps the favorite of all white spirituals, or folk hymns The composer is unknown The words were written in the 1770’s by John Newton

An English abolitionist preacher Former captain of a slave ship

The words were sung to a variety of melodies “New Britain” is the melody now associated with the song The tune appeared as shape-note notation as early as 1831

It has been recorded on more than 1,000 recordings Is performed at both joyous and sad occasions Beautifully expresses deep feelings




Spiritual Songs: Black Spirituals Especially after the Civil War, blacks who had been converted to

Christianity participated enthusiastically in camp meetings

They sang psalm tunes and folk hymns with gusto They developed distinctive spirituals of their own, which were…

Simple and folklike, as were white hymns Yet more rhythmically vibrant Included joyful praise songs with hand clapping and other

African effects including

Call-and-response Melodic improvisation Exciting rhythmic complexities




Listening Example 17There’ll Be Joy, Joy, Joy (excerpt)Performed by the Carter Family:Sara on melody, singing altoListening guide page 78

Accompaniment: “Mother” Maybelle on guitar, Sara with autoharpForm: StrophicTypical of nineteenth-century simple but rousing white spirituals, this

song has new text only for the first phrase of each verse, enabling people who could not read to learn the song quickly.

There’ll be Joy, joy, joyUp in my father’s house,Up in my father’s house,Up in my father’s house.There’ll be joy, joy, joyUp in my father’s house,Where there’s peace, sweet peace.

We’ll all be happy there…(Instrumental verse)Don’t you want to go up there…There’ll be no drunkards there…




Listening Example 18Amazing GraceAnonymousWords by John NewtonSung by Judy CollinsListening guide page 79

Form: StrophicAccompaniment: HarpMelody: Hear the notes of the pentatonic scale; previously sung as the

American melody “New Britain,” the tune appeared in print 1831Meter: TripleTempo: Slow

Amazing grace, how sweet the soundThat saved a wretch like me.I once was lost, but now I’m found,Was blind, but now I see.

Through many dangers, toils, and snaresWe have already come.‘Twas grace that brought us safe thusfar,And grace will lead us home.

‘Twas grace that taught my heart tofeelAnd grace my fears relieved.How precious did that grace appearThe hour I first believed.




Listening Example 19Nobody Knows the Trouble I’ve

Seen (excerpt)Anonymous; arranged by Henry Thacker

BurleighPerformed by Paul Robeson (bass)Listening Guide page 80

Accompaniment: PianoForm: StrophicMelody: Based upon the pentatonic scale,

the simple tune retains its improvisatory flavor

(Chorus)Nobody knows de trouble I’ve seen,Nobody knows my sorrow.Nobody knows de trouble I’ve seen. Glory, Hallelujah.

(First verse)Sometimes I’m up, sometimes I’m Down,Oh, yes, Lord.Sometimes I’m almost to de ground,Oh, yes, Lord.

(Second verse)Although you see me goin’ along so,Oh, yes, Lord,I have my trials here below,

Oh, yes, Lord.




Spiritual Songs: Other Black Spirituals Expressed deep sorrow black people experienced each day

These are called slave hymns or sorrow songs

Often contained hidden references to hopes for release or escape…

From slavery, oppression, the harsh realities of the black experience in America, from life itself

With imagery from the Old Testament of the Bible, songs told of anguish in terms of another oppressed people: The Jews

References to “the promised land” somewhere “over Jordan” were veiled references to escaping safely up North

Slave owners did not understand the hidden meanings




Spiritual Songs: Spirituals as Concert Music During the Reconstruction era (the period following the Civil

War), black spirituals acquired a new dimension in the form of hymn-like choral harmonies

Beginning in 1871 spirituals were introduced to the world in this form by the Jubilee Singers

The Jubilee Singers was a small choral group touring to raise funds for their impoverished school, Fisk University, Nashville, Tennessee, which was…

A university founded to educate former slaves




Spiritual Songs: Spirituals as Concert Music Soon the black spiritual entered the solo singer’s

repertoire as a kind of black art song

Often performed in moving arrangements written for voice and piano by Henry (Harry) Thacker Burleigh (1866-1949)

Thus African American spirituals, many originally improvised and performed in the African style of call-and response have become familiar and loved by black people and white people




Singing Conventions The Great Revival and other revival movements increased the

popularity of music by the First New England School

The music was enjoyed wherever singing school masters traveled to and taught

New England, New York, New Jersey, Pennsylvania, Maryland, the Carolinas

Singing conventions every summer during the nineteenth century attracted shape-note singers

These singing conventions still exist today, albeit with less people

Musical tastes changed, however, and there was a decline in the number of singing conventions and shape-note singers




Further Movements to Reform Music Americans considered singing school music and shape-note

notation as inferior to the music of European contemporaries

They disparaged music of the First New England School Fuging tunes and shape notes were disparaged American musician/composers avoided the characteristics

of the music of singing school masters Professional American composers tried to imitate the

German masters who dominated European music

European pieces and their American imitations replaced indigenous American music in American music collections




Lowell Mason (1792-1872) The son of a singing school master and schoolteacher,

Mason led the movement to reform music in America

He advocated Traditional music notation (not shape notes) Music that sounded “European”

Mason earned his living as a banker, but Learned to play several musical instruments Became a

Church organist and choirmaster Composer of conventional sounding anthems and

hymns




Lowell Mason,Proponent of Music Education Mason believed schools should teach music

1838: Due in large part to Mason’s efforts, the Boston public schools added music to the curriculum

Soon other school districts followed Boston’s example

In addition, Mason Pioneered in training for music teachers Provided voice lessons to Boston area adults and children Conducted choral music performances Published choral music and hymn collections Composed religious vocal music Promoted improvement in American musical taste




Lowell Mason the Composer Wrote hymns and other religious music he considered of a

high (more European) quality

Revealing keen business sense, Mason Sometimes allowed his publisher to use shape-note

notation although he preferred traditional European notation

Included some fuging tunes in all published volumes This attracted buyers and ensured commercial

success




Lowell Mason as a Hymn Composer Less daring and less original than the efforts of the Yankee

pioneers, Mason’s hymns appealed to the sentimental taste of his day Many remain popular today, including

“Nearer, My God, to Thee” “My Faith Looks Up to Thee” “Work, for the Night is Coming” “When I Survey the Wondrous Cross”




Listening Example 20Nearer, My God, to TheeMusic by Lowell MasonWords by Sarah F. Adams (1805-1848)Performed by the Mormon Tabernacle ChoirListening Guide page 83

Accompaniment: OrganForm: StrophicMeter: QuadrupleMelody: Lies within a range of just over an octave: This hymn is said to be the final song played during the sinking of the Titanic

a a’ b a’

Nearer, My God, to Thee, nearer to Thee! E’en tho it be a cross that raiseth me; Still all my song shall be, nearer, my God, to Thee, Nearer, My God, to Thee, nearer to Thee!

(Men, a cappella) Tho’ like the Wanderer, the sun gone down,Darkness be over me, my rest a stone,Yet in my dreams I’d be nearer, myGod, to Thee, nearer to Thee!

(Organ transition, change of key)There let the way appear, steps intoHeav’n; all that Thou sendest me, in mercy giv’n—Angels to beckon me nearer, my God, to Thee,Nearer, my God, to Thee, nearer toThee!My God, to Thee!




Image Credits Slide 6: View of Detroit in 1836, painted by

William James Bennett (1787-1844) ©COREL Slide 8: A melodeon, ©Corbis Slide 9: The Erie Canal, ©Corbis Slide 10: Niagara Falls, by Frederic Edwin

Church (1810-1900) ©COREL Slide 14: Indian Boy, painted by George Catlin,

©COREL Slide 21: Music and Literature, painted by William

Michael Harnett (1848-1892) ©COREL

Download - Part 2 The Tumultuous Nineteenth Century Chapter 5: Religious Music in the Early Nineteenth Century America’s Musical Landscape 6th edition © 2010 The

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