part 2 the tumultuous nineteenth century chapter 5: religious music in the early nineteenth century...
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1
Part 2The Tumultuous Nineteenth
CenturyChapter 5: Religious Music in the Early
Nineteenth Century
America’s Musical Landscape 6th edition
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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
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Nineteenth Century 3
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
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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
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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
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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)
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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
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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
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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
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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)
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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)
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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
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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
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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
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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
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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
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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
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Part 2: The Tumultuous Nineteenth Century Chapter 5: Religious Music in the Early
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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
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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
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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
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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…
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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.
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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.
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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
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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
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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
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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
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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
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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
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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
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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
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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”
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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!
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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