The following article, published in Musical Magazine Vol. 1 No. 3 for July 1835, was part of a journal edited by Thomas Hastings, a prominent American composer and music educator who played a central role in advocating for the reform of sacred music in the United States.

This article provides a critical overview of American sacred music, with a particular focus on early collections like Lyon’s and Billings’, which it disparages as being of low quality. It reflects the growing efforts of the musical reform movement, or “better music movement,” which sought to replace the widely embraced shape note system with European-style round notes. The reformists viewed shape notes as unsophisticated and backward, and some of their criticisms became especially harsh. This article is notable for coining the term “dunce notes,” a derogatory label for shape notes, underscoring the hostility of reformers toward the tradition. However, the essay’s harsh stance on shape notes came just nine years before the publication of The Sacred Harp in 1844, a book that would go on to solidify the shape note tradition as an enduring and beloved American musical form.

Despite the reformers’ efforts to push European musical conventions, the shape note tradition persisted and even thrived in many communities. The article’s dismissive tone toward earlier American composers and popular singing practices like shape notes reflects a broader elitist attitude of the reform movement, which often prioritized formal musical education and round note systems over the accessibility and community-focused nature of shape note singing. While the reformists may have gained influence in cities like Boston, their push to homogenize American music overlooked the deep cultural roots and lasting appeal of the shape note tradition.

In its closing, the article calls for musicians to prioritize usefulness and service to God, but its bias against shape note singing reveals the reformers’ narrow vision, one that underestimated the lasting impact and value of shape note music in American sacred song.

–Kevin Isaac

MUSICAL AUTHORS AND PUBLICATIONS OF THE UNITED STATES.

Published in Musical Magazine Vol. 1 No. 3 for July 1835.

Among the singing books that have been published in this country, the earliest we recollect to have seen, was Lyon’s Collection, printed in one of the Southern States. The work was executed by a miserable engraver, and the subject matter was of a corresponding character. As early perhaps, as seventy or eighty years ago, it had some circulation.

Williams and Tansur’s well known collection, was reprinted “and sold by Daniel Bailey, at his house next door to St. Paul’s Church, Newburyport, 1771.” This contained the old parochial melodies, badly arranged. Subsequent corrections and improvements in the scores of these melodies, occasioned much dissatisfaction among a multitude of teachers, who were prone to regard every emendation, even to a “printer’s blunder,” as a felonious violation of the original; while at the same time nothing of the tunes in question, save the melodies, had the least claims to originality. Teachers are now better informed in this respect, but are ready to run into the opposite extreme of encouraging unnecessary alterations of standard tunes. This evil needs the application of a remedy.

Billings commenced his train of publications, we believe, not far from the same period above mentioned. He had some genius, but very little learning. His first publication, during the Revolutionary conflict, was ridiculous in the extreme. The theme of one of his anthems, was a mawkish parody upon a passage of the scriptures,—”And the enemy said, let us draw a line from York to Canada! Oh wonderful! Oh horrible!” &c. Some of his subsequent compositions had rather more merit. His Amherst is on the whole, a decent tune; his Brookfield has been deservedly popular; his Anthem for Easter, contains some interesting traits, and was formerly much admired. His Jordan, if indeed the melody was ever invented by him, had claims somewhat beyond mediocrity. It has lately found its way into one of the leading publications of Boston, an honor, however, of which it is not worthy.

Billings may be regarded as the father of fuging music in this country. He derived his models from some of the most insignificant publications of England. Old Milford, Thirty-fourth, and Luke Anthem, by Stevenson, and the compositions of W. Arnold, and others of a similar character, supplied him with models in abundance. The public taste was thus misled for a season, but good sense finally prevailed. Billings’ efforts as a whole, are not to be lightly spoken of. He did what he could; and who, with his opportunities, would have effected more?

Rev. Andrew Law, L.L. D., commenced his compilations not far from the same period with Billings, whom he greatly excelled in scientific qualifications. Though he felt compelled to aid in the circulation of much real trash under the name of music, which had gained the public favor, he introduced many pieces in connexion, derived from the best English works then extant, which exerted great influence in the progress of cultivation and refinement. His abundant labors in pursuance of this object, should be remembered with lasting gratitude. In his latter days, he sickened with discouragement at the public apathy, and as a last resort, took up the “lozenge characters,” threw aside the musical staff, and endeavored by thus paying court to the general indolence of singers, to arouse them to a more active and vigorous cultivation. The end in view was worthy of a better expedient. But if he here erred in judgment, as most certainly he did, his case is not a solitary one. The late Dr. G. K. Jackson, once lent his name to such an object. Even at the present time, there are some excellent men who are filling the Valley of the Mississippi, with patent notes, which are destined, we fear, to hold back the progress of musical improvement in that region, for half a century to come.

Mr. Law was a good man. His own compositions were of little note, except the single tune Archdale, which is beginning to be revived in a new harmonic dress.

Sometime after Mr. Law commenced his earlier labors, productions of an ephemeral character began greatly to multiply. Men who could pitch a tune correctly and distinguish themselves in the noble art of fuging, thought proper to turn composers and offer their wares to the public. Some of the better read, among them, had caught a glimpse of Tansur’s notable Grammar, which, illiterate as it was, held the highest place on the mount of privileges. The writer of this article, was at that time, among the many who coveted in vain the exalted favor. Of some fifty or a hundred composers, most of them too inconsiderable for special notice, we recollect the names of Benham, Bronson, Gillet, Swan, Shumway, French, Morgan, Little, and Smith. Passing over the first five of this list, we may mention French the sixth, as remarkable for his theory of concords. He said there could be no discords in heaven, ergo there ought to be none on earth. So he made up a collection of mangled specimens of music, in illustration of his favorite principle.

Morgan is a name of more notoriety. His Huntington and Montgomery were universal favorites among the lovers of the fuguing style. His Judgment Anthem was quite famous. Had he really intended it as a burlesque, he could scarcely have invented a worse thing. But public taste was then extensively perverted. The man, as we well recollect, was in good standing when he wrote the piece, and he doubtless did his best to produce good music. The words were awfully solemn, and this circumstance gave for a while, great celebrity to the tune.

Little and Smith, we regret to say, are names which must stand in musical history, closely connected with wholesale quantities of patented “dunce notes.” Probably no other book in the country had ever such an amount of purchasers as theirs; or did so much, in the day of it, to hinder the progress of taste. This, however, was to be attributed, chiefly to the enterprise of money making publishers. The compilers, we believe, were never the richer for their undertaking. Had there been no such practice as literally forcing books into the market, the work last mentioned, we are bold to say, would have never come into general notice. And yet the fact, that some fifty thousand copies of any book, can, within a few years, in this manner, be palmed upon the public, is triumphantly quoted, as evidence of its great utility. What if the same inference were to be drawn in reference to the sales of the Life of Stephen Burroughs, and of Paine’s Age of Reason! We mean not the slightest reflection upon the character of individuals. There is a dearth of correct information. Let the public be better informed, and more can be trusted to the discrimination of purchasers.

For a long while after the period of the revolution, there was a general disposition to dispense, as far as possible, with foreign fabrics and inventions. This was very consonant with national pride and the love of independence in an infant republic. It had its advantages and its disadvantages. Among the latter are to be reckoned some of the musical incidents above enumerated. The general disposition to which we have alluded, was strongly felt by the untutored minstrels and compilers of sacred song. It grew at one period, almost to a mania which threatened the total vitiation of taste; and but for such men as Mr. Law and his successors, it is difficult to see how such a crisis would have been prevented. But the leaven of a better taste, slow and almost imperceptible in its operations, was continually at work till its influence had pervaded the general mass of performers. As the demand for good music increased, American authors and compilers began to improve the character of their publications.

Reed’s compositions manifested some traits of genius. His Stafford was comparatively of a chaste and durable character. His Windham is yet in favor, and has been on the whole a very useful tune. Though he did not wholly discard the fuguing style, he gave it some check, and indulged himself in it, with moderation. He was a worthy man, and for aught we can tell, may be still living, in anticipation of a holier minstrelsy in the regions above.

Bull’s collection, published at Hartford, Connecticut, contained many melodies of a chaster character, with simple harmony, not very scientifically arranged. But it was a great improvement upon the fuguing style and led the way for better things. Report says, that the author was remarkable for having conquered the difficulties of a bad voice and imperfect ear. The teacher who had repeatedly pronounced him incorrigible, became at length his docile pupil. This, when the old notion of instinctive qualifications prevailed, was thought to be a strange thing, an event almost equal to a Popish miracle. The man, who thus succeeded in the face of such a discouraging theory, was entitled to much credit for his perseverance.

The names of Gram, Holyoke, Holden, Mann, and Kimball might have been sooner mentioned. The first three of this number, living at Boston, Salem, and Charlestown, published in 1795, a small quarto of about one hundred pages, entitled the Massachusetts Compiler. Full one third of the work was devoted to musical theory, in the presentation of which, there was more of technicality than of sound science or rational simplicity. This portion of the work was ill-digested: but the musical selections were highly creditable. Gram was a well bred organist, of the German school. During the American revolution, or soon afterwards, he published in the Worcester collection, a patriotic anthem “Bind Kings with chains.”

Holyoke, a man also of liberal education, published a large quarto collection, of 489 pages, embracing Watts’ Psalms and Hymns, each set to a special piece of music in score. A large quantity of the music was original, which had scientific merit, but nothing more. It is presumptuous for any musician of any age to draw so largely upon his own resources, for such an object, in such a limited space of time. The unwieldy Repository sunk by its own weight into speedy oblivion.

Holden also published a separate collection which had little merit compared with the Compiler. His compositions partook of the light phraseology of the day, but were less illiterate than the generality of contemporaneous specimens.

Mann, who, in his latter days resided in Northampton, published considerable music, which was somewhat above mediocrity; and gained the reputation of a worthy, skilful teacher. His compositions would about rank with Holden’s.

Kimball, so far as we can learn, never published a book of psalmody: but the few pieces he wrote manifested some genius and cultivation. He was a musician of the secular school, and his compositions are somewhat in a corresponding style.

Tukey, an organist of Boston, was author of a full anthem, and perhaps of nothing more that was published. The Ninety-seventh Psalm tune, which bears his name, is an extract from his anthem, dressed up by other hands.

Gardiner some forty or fifty years ago, was distinguished as a violinist of “astonishing powers.” He had been a pupil of Giardini, and left England for this country, probably on account of some real or alleged misdemeanor. Many anecdotes are related of him as he went about incog to astonish the natives; but he did little for the cause of sacred music, except as an accompanist, and a theoretical instructor.

Chandler, an American, who spent his last days in Catskill, New-York, deserves a passing notice. He left a quantity of unpublished music which evinces industry and cultivation. A complete musical education would have done wonders for him.

But to return to Hartford: Olmsted’s Musical Olio, succeeded to Bull’s Collection, and passed through two editions. He had a better taste than his predecessor, and was by no means destitute of genius. Had his opportunities been greater, he might have been the Handel of America.

The Olio was succeeded by Robert’s collection, which passed through one edition, and gave place to the American Psalmody, by Messrs. Dutton and Ives which is now in circulation.

Benjamin’s Collection might have been sooner mentioned. It was an earlier work, issued but a little time previous to the death of its compiler, who is said to have fallen a victim to the undue exercise of his vocal powers. His collection was made from the best English books of that period; and he published the pieces we believe, without the slightest alteration, which was a matter of some importance at a time when few men were good judges of music.

Boston, for a long period, held its course steadily onward in the march of improvement, unaffected by the surrounding changes; and that city is still more remarkable than any other place in the Union, for its success in musical cultivation. Its example has had great influence upon other portions of the country; never greater perhaps than at the present moment. The worthy musicians of that city therefore are placed in circumstances of trying responsibility. What they do well (and there is much of it) must ultimately stand; and what they do amiss, though it be never so little, will find a multitude of luckless imitators. This is indeed, more or less true, of all distinguished musicians of the present day, who labor in the sacred department; and it becomes them to look well to the character of their influence. A musical reform has for several years past been in progress; and though its march has been slow and its influence not very widely extended, it seems destined to ultimate success; and very possibly, the foundations of a genuine national taste, may very soon be laid.

Within the last twenty-five years there has been a gradual improvement in the character of our musical publications. The various editions of the Worcester Collection, followed by those of the Village Harmony, and the Songs of the Temple, opened the way for the “Handel and Haydn Society” collection of psalmody, published by Mr. Lowell Mason, of Boston; who also issues among other useful works, Lyra Sacra, the Choir, and the Boston Academy’s Collection; which last work is of recent date and destined no doubt to have an extensive circulation.

The works of Zeuner, of a recent date in that city, though less extensively known, are certainly not destitute of merit. Of these and many others, we may chance to speak on future occasions, should we find sufficient leisure for a thorough perusal of their contents.

We shall not include, our own publications in this brief sketch. Some of them have been long before the public and others are of a recent date. Many other collections now in use, have more or less merit, but as our list of titles is imperfect, and as we are unwilling to appear invidious, we shall omit the enumeration, at the present time. Among works of a miscellaneous and scientific character, it may suffice our purpose to name a few of the most prominent. Kollman’s Essay on Harmony, and Callcott’s Musical Grammar, both European works republished in this country, the latter of which has passed to a second edition: Burroughs’ Musical Primer, an important little work on thorough base reprinted at Boston: Ives and Mason’s manuals of elementary instruction: dissertation on musical taste: oratorios of the Messiah and the Creation, republished: Old Colony Collection of Anthems, Choruses &c.: Handel and Haydn Collection, of oratorial extracts. Collections similar to the latter, though less in size, have occasionally been issued in this city; and as to catalogues of secular music, one might as well attempt to count the leaves of the forest which after flourishing for a season are withered by the Autumnal frost and scattered by the winds of heaven.