The Singing School: An American Tradition
The Singing School was an institution that was uniquely American. it was established to serve a dual purpose: the desire to create music and the need for sociability. Generations were taught to read and sing music by itinerant singing masters, who developed characteristic methods and materials of instruction, and distinctive performance practices. Through this institution, many people were given the opportunity to participate in music, either as a singer, a teacher, or as a composer. The Singing School foreshadowed the development of church choirs and musical societies.
Early settlers in this country brought with them their native English music, both sacred and secular. They made use of various Psalters compiled in
Europe. It was not until 1640, however, that the Puritan ministers in America made their own translation of the psalms. The Bay Psalm Book was the first book printed in British North America and was widely used. The most distinguishing feature of this book was its rhymed and metered English poetry. This allowed a few tunes, having the same rhythms as the poetry, to be used as melodies for many psalms. In addition, the text employed the vernacular, and consequently promoted memorization. The ninth edition of the Bay Psalm Book, published in
1698, was the first edition published with tunes. This edition had printed the letters F-S-L-M, representing the solmization syllables fa, sol, la, and mi, under the notes. This indicates that there was a familiarity with and an interest in music instruction as applied to psalmody.
It was not until the early 18th century, however, that as a direct result of agitation by ministers for a reformation in congregational singing, arguments were advanced promoting regular singing and the eventual establishment of singing schools.
The singing school grew out of the employment by the churches in New
England of regular singing. Records indicate that the first singing school was probably established in Boston, the most advanced town in New England, around
1720.
The singing school gradually spread throughout New England during the next twenty-five years. Throughout the eighteenth century, the scope and span of the singing schools continued to grow. The advent of the 19th century saw singing schools established from Maine to Pennsylvania.
The first singing schools were church-oriented, due to the face that the original purpose of the schools was to improve congregational singing. After selecting a date (usually two to four weeks during the winter or between planting and harvesting of crops), a teacher was secured (in most cases, the local school master or an itinerant singing teacher), and location was established (either in the local school house or some other public building).
The sonf has a definite rhyme scheme which lends itself well to the theme of the poem.
On March 13th the Rochester Oratorio Society and Houghton College Choir performed at the Hochstein Performance Hall in the city of Rochester. It was a predominately vocal concert with an accompanying pianist. The main performance of the evening was the Rochester Oratorio Society’s rendition of Johannes Brahms’ “Ein deutsches Requiem,” in which vocal soloists Elena O’Connor and Benjamin Bloomfield took the front stage, and Linda Boianova joined Kevin Nitsch as a second pair of hands behind the piano.
In the article “The Case against College,” Linda Lee argues that upper-level education should only be for those who intend to go into jobs where a degree is essential such as medicine, law, and education. Lee dismantles the hope for higher education for those who are unsure of what they want to do or simply see it as the next step in life. Lee’s case is not specifically about why not to go to college; it is more about who belongs there and who does not. Receiving a degree, especially in the creative department of the music industry, may not be as important as society makes it out to be. Creativity is natural, and people are born with ingenuity; it cannot be taught. Lee’s argument is very fitting to those in the field of music. As a music business major, pursuing a career as a singer-songwriter, it is common knowledge that success in the music industry depends upon whom you know and how talented you are, not whether or not you have a degree.
In Bruno Nettl's article A Place for All Musics? Confrontation and Mediation he talked about how the “School of Music” and “Departments of Music” are so far from the reality of accepting all music. These schools typically only study Western European art music and Nettl through this article is pointing out the major flaws with this system as a distant observer. He wrote, “Even the various sorts of Western art music may not be included on equal terms. Actually, there are some ways in which the music school functions almost as an institution for the suppression of certain musics. Its library may avoid the purchase of popular music, and in decades past some music deans forbade students to play popular music or jazz in their spare time. . .” Nettle continued to discuss how music schools understandably are out to decontaminate music students of wasteful music such as popular music. He said, “In its judgment of the interrelationships of musics in its community, the music school is very much concerned with the concept of pollution.” Even though Nettle pointed out these issues within the musi...
If one were to look back into the world’s history, one would find that an important and consistent element is the world of music. Music has presented itself in various forms throughout its spread and through our identification of its magical realm, people have been fortunate enough to come across a means of relation. Whether it is blues and reggae or rap and pop rock, there is music out there for everyone. Music can serve as a stabilizer for some, a relaxant to others, and to many a form of inspiration.
Lehman, Paul R. et all. The School Music Program: A New Vision. (1994). Reston, VA. Music Educators National Conference.
characters are in engaged in a dialogue which is common for a mother and a daughter to
..., D. (1993). Music and the Mind. MENC, Retrieved August 25, 2003 from MENC, Academic Achievement and Music database.
In this essay I will address racial issues in Musical theatre, specifically the black and white divide. I have chosen this subject because I find it interesting how racism used to be so accepted in society, and although it’s decreasing presence it is still an issue today. I will be looking at two similar yet contrasting musicals written at different times. Both these musicals have racial issues through their storyline. I will look at the similarities and differences between these two musicals and how racial issues are expressed. Additionally I will consider when the shows were written; what impact these musicals had on society and vice versa.
Steven, Kelly, N. (2002). A Sociological Basis For Music Education. International Journal of Music Education. 43. Pp. 40-49
middle of paper ... ... Music was not taught in the high school I was in. To satisfy my interest in learning about music and how to play musical instruments, I had to find a source of education other than school; a great depiction in agreement with Graff’s claim that students are being limited by not considering their interests when creating curricula (Graff 197). In conclusion, education is broader than just falling into what the contemporary school system has to offer. Both Gatto and Graff proved this by explaining how conforming students to certain perspectives of education limits their potential in other educational branches that interest the students.
Introduction: In the past, music has been a costly business, where only people with a lot of money could enter and be successful in the industry. Changes in the music industry, coupled with new computer technology, have made it much easier for people without a lot of money to compose, produce, and distribute their creations. In order to get a better understanding of the music industry in comparison to 2014, one has to look at its history. There were many things that happened from the 1980’s onward, and they brought on a significant impact towards the music industry.
Brown, L. L. (2012, May 25). The Benefits of Music Education. Retrieved September 29, 2017.
Music education plays an enormous role in student’s overall well being, outweighing the costs of it. In 1994, Congress passed the Improving America’s Schools Act, concluding that “...the arts are forms of understanding and ways of knowing that are fundamentally important to education” (Ford, AdamMcMahon, Maureen). Congress recognized the importance of music education. Now the effort must be made to make a difference. If people really do want the best for the future, music education is key. Ramon Cortines, former chancellor of the New York City public schools stated, “We engage in the arts, we ought to teach the arts, because this is part of what it means to be human” (“Arts Education”). When people eventually realize this, the benefits will be vast.
"The Purpose of Music." EzineArticles Submission - Submit Your Best Quality Original Articles For Massive Exposure, Ezine Publishers Get 25 Free Article Reprints. Web. 23 Feb. 2010. .