History of American Religious Music: Reformation to 19th Century Gospel - Study Notes

Page 1

• Advocated vernacular worship (people’s language).
• Anglo settlers brought aversion to state-sponsored religion and church hierarchy.
• Congregational singing = simple, monophonic, participatory. (everyone together, one melody)
• Psalm Books:
  • Long Meter = $8.8.8.8$
• Exam Study Notes – History of American Music Readings:
  • Chapter 1 – “Nature Must Inspire the Thought”
  • Chapter 3 – “How Sweet the Sound”
  • Chapter 8 – “After the Ball” (Industrialization and the Rise of Gospel Music)
• THE PROTESTANT REFORMATION
  • Martin Luther ($1483–1546$)
  • Criticized Catholic Church: hierarchy, corruption, and Latin-only services.
  • John Calvin ($1509–1564$)
  • Decentralized religious authority.
  • Emphasized plain song (simple congregational music).
• EARLY AMERICAN RELIGIOUS MUSIC
  • Settlers didn’t like rigid church hierarchy.
  • Book of Psalmes (Henry Ainsworth).
  • Brought by pilgrims.
  • Bay Psalm Book ($1640$) → simplified meters.
• PSALM METER
  • Based on syllables per line:
  • Common Meter = $8.6.8.6$
  • Short Meter = $6.6.8.6$
  • “Usual Way” → leader sings line, congregation repeats.
  • Praise = direct, simple, everyday worship.
  • Edification = intellectual, moral uplift (urban/middle-class).
  • Run by traveling “singing masters” (esp. New England).
  • Publications:
  • Used subscription sales to fund books.
  • Allowed many texts to be sung to same melody.
  • Music as vehicle for words.
  • 🎧 Listen: “Macedonia” (common meter).
• LINING OUT
  • Criticism: “praising God by piece-meal.”
  • 🎧 Listen: “Guide Me, O Thou Great Jehovah” (pg. 28).
• TWO PHILOSOPHIES OF WORSHIP
  • SINGING SCHOOL TRADITION
  • Promoted “regular singing” & notation literacy.
  • (Other philosophy not detailed in transcript.)
• WILLIAM BILLINGS ($1746–1800$)
  • “First American composer of note.”
  • Known for individuality & rough style.
  • The New England Psalm-Singer ($1770$).
  • The Singing Master’s Assistant ($1778$).
  • 🎧 Listen: “Chester” ($pg. 34–35$) → Revolutionary War anthem.

Page 2

• Democratic → “of, for, and by the people.”
• Boston Handel & Haydn Society Collection of Church Music ($1821$) → sold 50,000 copies.
• Founded children’s singing schools ($1830$).
• By $1838$, music entered the Boston public school curriculum.
• System of Teaching: SHAPE NOTE SINGING
  • Popular in South & rural North.
  • Fa–sol–la–mi system; melody in middle voice.
  • The Sacred Harp ($1844$).
  • Critics: called it “dunce notes.”
  • 🎬 Video: contemporary Sacred Harp singing.
• BLACK SACRED HARP
  • Cross-cultural tradition (Black & white communities).
  • The Colored Sacred Harp ($1934$).
  • African American composers emphasized participatory worship.
• LOWELL MASON ($1792–1872$)
  • Born into singing school tradition.
  • 🎧 Listen: “Olivet” ($pg. 73$).
• Mason’s Role in Music Education
  • Wrote Manual of the Boston Academy of Music.
  • 1. Singing before notation.
  • 2. Active learning.
  • 3. One element at a time.
  • 4. Mastery before progression.
  • 5. Theory follows practice.
  • Blended artistry + business → secured royalties & widespread adoption.

Page 3

• Democratic → “of, for, and by the people.” (reiterated emphasis on democratic participation in church music and public culture)
• The Boston collection and educational movements continued to expand accessibility and literacy in music.
• The Shape Note movement (SHAPE NOTE SINGING) emphasized accessibility and communal participation in repertoire.
• The Sacred Harp (1844) continued to influence southern and rural musical life and inspired later revivals.
• Black Sacred Harp traditions highlighted participatory worship across racial lines, culminating in the Colored Sacred Harp ($1934$).
• Lowell Mason ($1792–1872$) pushed reforms in music education that linked teaching methods to broader professionalization of music.
• Mason’s Manual of the Boston Academy of Music articulated a modern pedagogy:
  • 1. Singing before notation.
  • 2. Active learning.
  • 3. One element at a time.
  • 4. Mastery before progression.
  • 5. Theory follows practice.
• Outcome: Blended artistry + business → royalties and widespread adoption.

Page 4

• 19TH CENTURY URBAN GOSPEL
  • Leaders: Dwight L. Moody ($1837–1899$) & Ira Sankey ($1840–1908$).
  • Black Gospel Music: Thomas A. Dorsey → “Father of Gospel,” promoted black gospel commercially & culturally.
  • Shaped by urbanization & camp revivals.
  • Verse–chorus hymns for mass participation.
  • 🎧 Listen: “In the Sweet By-and-By” ($pg. 172$).
• FOLK GOSPEL & BLACK GOSPEL
  • Folk gospel = ballad tradition + participatory singing.
  • 🎧 Listen: “Dry Bones” (Bascom Lamar Lunsford).
  • Roots in African American spirituals.
  • Emphasized participatory culture & dynamic spirituality.
• CONCLUSION
  • American music = interplay of religion, community, class, race, and education.
  • Evolved from Reformation plain song → shape note & singing schools → Mason’s reforms → urban/folk/black gospel.
• Action Items (Lecture-Based):
  • Review shape note video & discuss.
  • Research Lowell Mason’s life/work.
  • Prepare listening guide for “Chester” (Billings).