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Learning to Sing: Presbyterian hymnals and psalters Early American churches lacked musical education not only for the congregation but church leaders as well. To correct this problem, singing schools sprang up across America. With increased musical education, the desire for additional tunes grew and by 1800, over 130 different collections of tune books were in print. Initially, singers held two books, one with the words and one with the tune. By the mid-1800s, many tune books adopted a split format. In these books, tunes and words were printed on the same page but with the pages cut so that the two could be mixed and matched. After the Civil War, most hymnals conformed to what we have today, the text printed with the tune. Andrew Adgate. Philadelphia Harmony, or a Collection of Psalm Tunes, Hymns, and Anthems…Together with the Rudiments of Music on a New and Improved Plan. Philadelphia: Printed by A. Adgate, 1791. One example of an American singing school was the Uranian Academy organized by Andrew Adgate (d. 1793) and founded in Philadelphia as an institution to promote the knowledge of psalmody. Another American music instructor, William Little, developed a four-shape notation which is the basis for many Southern gospel books used in the twentieth century. William Little. The Easy Instructor, A New Method of Teaching Sacred Harmony. Albany: Websters & Skinners and Daniel Steele, 1817. Lowell Mason. The Sacred Harp: Beauties of Church Music… Boston: Shepley and Wright, 1841. One of the dominant influences on American musical education, Lowell Mason (1792-1872) introduced music classes in public schools, trained singing instructors, and published many tune books during his career. This is an example of the “split” book which enabled the user to mix and match tunes and text. Note how each psalm lists its appropriate tunes. The Book of Psalms and Sacred Harmonies with the Words Printed for Expressive Singing. London: T. Nelson and Sons, 1862. <<previous page | Heritage Sunday 2005 | next page>>

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