Song VI
Happy Muggletonians, who only
True faith have to receive;
Revelation ever new
Gave to great Muggleton and Reeve.
Song IX
Hail! hail! two prophets great,
Whose message does relate
To the state of Adam's seed, etc.
Song CXXXIII
I do believe in God alone,
Likewise in Reeve and Muggleton, etc.
In a work illustrating the musical performances of the various denominations even small and eccentric ones must not be omitted.
As regards the Protestant Church of the Scandinavians, the following remarks may perhaps serve as a guide for research: – Schiörring published in the year 1783 a Danish Chorale book, of which an improved edition, with figured basses, by P. E. Bach, appeared in 1794. An account of the old Swedish psalm-books of Swedberg, and others, is to be found in 'Den Nya Swenska Psalmboken framställd uti Försök till Swensk Psalmhistoria, of Johan Wilhelm Beckman,' Stockholm, 1845. A Lutheran hymn-book was printed in Skalholt, Iceland, in 1594, and went through many editions.
In the Baltic Provinces of Russia, J. L. E. Punschel published in Dorpat, in the year 1839, a Chorale book containing 364 different melodies in four-part harmony. A second edition appeared in 1843, and a third in 1850. Its title is – 'Evangelisches Choralbuch, zunächst in Bezug auf die deutschen, lettischen, und esthnischen Gesangbücher der russischen Ostsee-Provinzen, auf den Wunsch Livländischen Provinzial-Synode bearbeitet und angefertigt.' The preface contains some interesting notices of the old hymn-books formerly in use in Livonia, Esthonia and Courland.
The Greek Church of Russia obtained its music originally from Greece. The performances are entirely vocal, without instrumental accompaniment. Although the original music has in the course of time undergone several reforms, it is still very antique, characteristic, and beautiful. Among the works which have been written on the music of the Greek Church may be mentioned the following, which are more easily accessible to most musical inquirers in Western Europe than are the works written in the Russian language: Prince N. Youssoupoff published in the year 1862, in Paris, the first part of 'Histoire de la Musique en Russe,' which treats on 'Musique sacrée, suivi d'un choix de morceaux de Chants d'Eglise anciens et modernes.' Chaviara and Randhartinger published in 1859, at Vienna, a complete collection of the liturgical songs of the Greek Church, with the Greek words. Another work, being an 'Introduction to the Theory and Praxis of the Greek Church Music,' by Chrysanthos, written in Greek, was printed at Paris in 1821.
In Poland we have, besides the usual compositions of the Roman Catholic Church, some old books of metrical psalms with the music. The most noteworthy publication of this kind is by Nicolas Gomolka, dating from the year 1580. Gomolka was a celebrated Polish musician, who himself composed the psalms translated into his native language. A selection of them was published by Joseph Cichocki, Warsaw, 1838. Attention must also be drawn to a work by Ephraim Oloff, written in German, and entitled 'Liedergeschichte von Polnischen Kirchen-Gesängen,' etc., Danzig, 1744, which contains an account of the old Polish hymn-books. Furthermore, the Abbé Michel-Martin Mioduszewski published at Cracow, in 1838, a collection of ancient and modern songs used in the Roman Catholic Church of Poland. To this work supplements have more recently been issued. He likewise published at Cracow, in 1843, a collection of Polish Christmas Carols with the tunes. It may be remarked here that Christmas Carols of high antiquity and originality are to be found among several European nations. Interesting collections of them have been published in France and in England.
Turning to America, in the United States we meet with a remarkable variety of hymn-books for the use of different sects, many of which are but poor compilations, musically as well as poetically. A little treatise by George Hood, entitled 'A History of Music in New England, with biographical sketches of Reformers and Psalmists,' Boston, 1846, is the earliest and most noteworthy publication containing an account of the hymn-books popular in the United States during the seventeenth and eighteenth centuries. The student ought likewise to consult 'Church Music in America, comprising its history and its peculiarities at different periods, with cursory remarks on its legitimate use and its abuse; with notices of the Schools, Composers, Teachers and Societies; by N. D. Gould,' Boston, 1853. There is also a circumstantial account of American psalmody in J. W. Moore's 'Encyclopædia of Music,' Boston, 1854. The first psalm-book used in New England was a small edition of Henry Ainsworth's version of the psalms, which the Puritans brought with them when they came to this country in the year 1620. It was published in England in 1618, and had tunes resembling the German Chorale, printed over the psalms, without harmony. The notation was in the lozenge or diamond shape, and without bars. The first book of metrical psalms published in America was compiled by thirty ministers, and appeared at Cambridge in the year 1640. It was, in fact, the first book printed in the English Colonies of America. It passed through many editions. G. Hood says: "The history of music in New England for the first two centuries is the history of Psalmody alone," and this accounts for his calling his little publication before mentioned a "History of Music," although it treats exclusively of psalmody. But, if a history of the music of America should be written, it might commence with an account of the music, sacred and secular, of the aborigines, which, at any rate in Mexico, Central America, and Peru, had made some progress long before the arrival of the Puritans; and which, although it has not exercised any influence upon the cultivation of the music introduced into America from Europe, is well worthy of examination, inasmuch as it illustrates several curious questions relating to ethnology and national music. As in South and Central America the Indians, soon after the discovery of their countries, were appealed to by the Roman Catholic priests who made use of the help of sacred music, thus also in the United States the Protestant missionary, John Elliot, translated the psalms into Indian verse, and had them printed at Cambridge in 1661. The converted natives sung them with much fervour. Indeed, it is recorded that many of the Indians excelled as vocalists in the performance of the European tunes which had been taught them by the missionaries.
Among the enthusiastic promoters of congregational singing in that country, during the eighteenth century, deserves to be mentioned, William Billings, who, in 1770, published at Boston, 'The New England Psalm-Singer, or American Chorister; containing a Number of Psalm-tunes, Anthems and Canons, in four and five parts; never before published.' W. Billings, whose publications are recorded to have "opened a new era in the history of psalmody in the colonies," was in his youth a tanner by trade, and knew but little of the theory of music; nor did he care about it, although he composed sacred songs harmonized for different voices. The popularity which his productions obtained reveals the uncultivated taste of his contemporary countrymen. In his address "To all Musical Practitioners," he says: "Nature is the best dictator; for all the hard, dry, studied rules that ever were prescribed will not enable any person to form an air… For mine own part, as I do not think myself confined to any rules for composition laid down by any that went before me, neither should I think, were I to pretend to lay down rules, that any who came after me were any ways obliged to adhere to them any further than they should think proper. So, in fact, I think it best for every composer to be his own carver." And as to the effect of the music of his own "carving," he exclaims: "It has more than twenty times the power of the old slow tunes; each part straining for mastery and victory, the audience entertained and delighted, their minds surpassingly agitated and extremely fluctuated, sometimes declaring for one part and sometimes for another. Now, the solemn bass demands their attention – next, the manly tenor; now, the lofty counter – now, the volatile treble. Now here – now there – now here again. O, ecstatic! Rush on, ye sons of Harmony!"
In order to ascertain exactly the present condition of Church music in the United States, it is as necessary to refer to some of the tasteless publications of hymns, as to examine the valuable collections. The former are, however, only deserving of attention if they are very popular, or if they tend to illustrate the peculiarities of certain religious sects. The character of the following books is sufficiently indicated by their lengthy titles: —
'The Southern Harmony, and Musical Companion; containing a choice collection of Tunes, Hymns, Psalms, Odes, and Anthems, selected from the most eminent authors in the United States; together with nearly one hundred New Tunes which have never before been published; suited to most of the Metres contained in Watts's Hymns and Psalms, Mercer's Cluster, Dossey's Choice, Dover Selection, Methodist Hymn Book, and Baptist Harmony; and an easy Introduction to the Grounds of Music, and plain rules for Beginners. By William Walker. New Edition, thoroughly revised and greatly improved. Philadelphia, 1854.'
'The Golden Censer; A Musical offering to the Sabbath Schools, or Children's Hosannas to the Son of David; by W. B. Bradbury, author of the Golden Chain, Golden Shower, Oriola, Jubilee, Key-Note, etc., etc. New York, 1864.'
'Chapel Gems for Sunday Schools, selected from the Snow Bird, Robin, Red Bird, Dove and Blue Bird, by G. F. Root and B. R. Hanby; and from the Linnet, by F. W. Root and J. R. Murray. With additional pieces by D. P. Horton of Brooklyn, N. Y. Chicago, 1868.'
Publications of sacred songs for children, which are taught in school, especially deserve attention, inasmuch as they affect the musical taste of the people, and ensure the popularity of certain hymns.
Furthermore, the dances of the Shakers should be noticed, with examples of the songs to which they are performed. Sacred dancing was practised by the Hebrews at the time of King David, and is still one of the ceremonies observed by the Roman Catholic priests in the Cathedral of Seville, by the Dervishes of the Mohammedans, and by several pagan nations. It would be desirable to ascertain exactly the reason, or biblical warrant, which induces Christian sects to advocate its practice.
An interesting collection of Negro songs, mostly sacred, entitled 'Slave Songs of the United States,' was published at New York in the year 1867. The songs, which are from different districts of the United States, contain the musical notation with the words, and were collected by W. F. Allen, C. P. Ware, and L. M. Garrison. This curious publication supplies us with some information respecting the religious vocal performances of the American negroes, and the intense fervour which is displayed by the worshippers while they are singing. Moreover, they have also a kind of sacred dance, called "The Shout," which consists in shuffling round, one after the other, in a ring, with a jerking, hitching motion, which agitates the entire shouter, while they sing in chorus a "Spiritual." These performances are especially in favour with the Baptist negroes. The tunes, some of which exhibit traces of an African origin, are extremely interesting.
The Negro Baptists at Richmond, in Virginia, have in their church a choir consisting of about forty singers. An Englishman, who attended their service, records: "The voices were exquisitely sweet, well deserving the praise which I heard accorded to them. The hymn selected concluded with these words and direction: —
'Give the hand of friendship ere we part,
May heaven now embalm it in each heart!'
(Rise, and clasp hands.)
"Acting on this the large congregation, for the church was full, rose and clasped each other's hands."78
From the reports of missionaries in different parts of the world it would appear that the converted pagans not unfrequently prove excellent psalm-singers. Sometimes their own tunes have with good result been adapted to the sacred poetry translated for them into their native language. This, for instance, has been done in the 'Hindustani Choral Book, or Swar Sangrah; containing the Tunes to those Hymns in the Gi't Sangrah which are in Native Metres; compiled by John Parsons;' Benares, 1861. This book contains ninety Hindu tunes, most of which are evidently of secular origin. We therefore find here an expedient resorted to somewhat similar to that which we have observed with the Dutch more than three centuries ago.
Again, to render the survey more complete, it would be requisite to incorporate into it some specimens of church music of the Christian Abyssinians, Copts, Armenians, and other Eastern sects who possess peculiar liturgies, and notations of their sacred songs or chants.
The value of the collection might be further increased by an introductory essay surveying the sacred musical performances of non-Christian religions. Here the synagogical songs of the Jews, the chants of the Mohammedans, and the musical performances in the temples of the Buddhists and the Brahmins, would require special consideration: but the music used in the ceremonies of the pagan religions of the least civilized races should not be left unnoticed.