THE

BOSTON ACADEMY'S

COLLECTION OF
OF CHURCH MUSIC:

CONSISTING OF THE MOST POPULAR

PSALM AND HYMN TUNES, ANTHEMS, SENTENCES, CHANTS, &c.
Old and New;

TOGETHER WITH MANY BEAUTIFUL PIECES, TUNES AND ANTHEMS, SELECTED FROM THE MASSES AND OTHER WORKS OF

Haydn, Mozart, Beethoven, Pergolesi, Righini, Cherubini, Romberg, Winter, Weber, Nägeli,
Kübler, and other distinguished composers, arranged and adapted to
English words expressly for this work :

INCLUDING, ALSO, ORIGINAL COMPOSITIONS BY GERMAN, ENGLISH AND AMERICAN AUTHORS.

Entered according to Act of Congress, in the year 1836, by JULIUS A. PALMER, Treasurer of th

Poston Academy of Music, in the Clerk's Office of the District Court of Massachusetts.

ADVERTISEMENT.

The BOSTON ACADEMY'S COLLECTION is published in conformity with one of the principal designs of the Institution, viz: to aid in the cultivation and advancement of Church Music.

It may be proper here to state that in the preparation of this work, no labor or expense has been spared to render it correct, and to enrich it with new and valuable music, while most of those approved tunes which have long been in general use, and which are associated with our most hallowed feelings the editors have been tenacious to retain. Numerous foreign publications have been obtained, particularly from the German schools, from which, selections and adaptations have been made. To modify and suit these to the style and measure of psalmody in this country, has cost an amount of time and labor which can scarcely be estimated by those unacquainted with the task. By an extensive correspondence, a number of original tunes have been procured, written by eminent foreign composers; also several valuable pieces from the pens of our own countrymen, in addition to those furnished by the Professors of the Academy. The work is particularly rich in set pieces, anthems, &c., which are numerous and suitable for singing societies and concerts, as well as for the various services of the church.

The Rudiments or Instructions in Singing, prefixed to the work, have been prepared on the Pestalozzian,-or, as it may properly be termed, "Nature's own system,"-by Mr. L. Mason, being principally an abstract of the author's "Manual of Iustruction," and which exhibits in a simple and clear manner, the very successful mode of instruction adopted in the schools of the Academy.

The Boston Academy of Music was established in January, 1833, and incorporated in March of the same year. The following is a list of the officers at the present time:

COUNSELLORS.

THEOPHILUS PARSONS,
GEORGE H. SNELLING,
BENJAMIN PERKINS,
GEORGE E. HEAD,

GEORGE W. CROCKETT.

GEORGE JAMES WEBB.

SHEPLEY & WRIGHT, PRINTERS,

32, CONGRESS STREET.

The contents of the following work may be conveniently classed as follows, namely:

FIRST CLASS. Gregorian Chants, arranged as metrical tunes. The Gregorian Chant is the most ancient church music extant, and can be traced back with certainty to the time of Gregory, or even of Ambrose, in the fourth century. There is a beautiful simplicity in these chants, which renders their performance peculiarly appropriate to religious purposes. Indeed, their devotional effect cannot be exceeded, and is but seldom equalled. It gives great additional interest to the performance of these tunes, to know that they are derived from the songs of the earliest Christian worshippers, and, it may be, from the very tunes sung by Paul and Silas in prison, or at the institution of the Lord's supper. Hamburgh, p. 75, Patmos, p. 88, Lathrop, p. 135, Olmutz, p. 138, Calmar, p. 139, and Nashville, p. 157, are of this class.

SECOND CLASS. The old metrical psalm and hymn tunes; among which are the following: Old Hundred, p. 75, London, p. 94, Dundee, p. 94, Burford, p. 107, Martyr's, p. 110, Elgin, p. 118, York, p. 119, St. Ann's, p. 124, and others. Some of these tunes may be traced back to the time of the reformation, and were among the first metrical tunes introduced into the church. They have been used for ages, and it is to be hoped that they may long continue to animate the devotions of Christians. This class of tunes will be found well adapted to be sung by the whole congregation. They were originally intended for this purpose, and for a long time were used in no other way; indeed the full effect of them cannot be produced by a choir of fifty or sixty performers. It depends on power, and such a degree of power is necessary as can be obtained only by the union of hundreds of voices, or of voices and instruments united. THIRD CLASS. Tunes in a chanting style, many of which are derived from the compositions of the most celebrated masters of the old English school, as Morley, Tallis, Purcell, and others. The following are among the tunes of this class: Sunbury, p. 153, Tallis, p. 123, Eastport, p. 39, Appleton, p. 140, and others. These pieces (originally chants) are in general destitute of a flowing melody, and for this reason are well adapted to psalms and hymns consisting in narration, or such as are of a didactic character. They may also often be applied to words more strictly lyrical or devotional, but which require a chastened and subdued style of performance. The tunes of this class, although mostly derived from the works of old composers, are comparatively new in metrical psalmody. They afford a very pleasing variety, and are often quite appropriate and useful in public worship.

FOURTH CLASS. The most popular modern tunes, or such as have been composed since about the middle of the eighteenth century. This class includes the great body of English and American psalm and hymn tunes, as Dover, p. 154, Silver Street, p. 150, Shirland, p. 143, St. Thomas, p. 138, Dedham, p. 129, Howard, p. 122, St. John's, p. 96, Duke Street and Rothwell, p. 63, and many others. This is the class of tunes now most generally known, and in the present state of the art, most useful. In dignity and majesty of style, they fall far short of either of the previous classes, but are better adapted to the capacity of common choirs.

FIFTH CLASS. Extracts from the works of the most celebrated German composers, as Haydn, Mozart, Beethoven, and others. These authors never wrote psalm and hymn tunes.-Those tunes that are ascribed to them have been selected from their various works, vocal and instrumental, and arranged in their present form by other persons. In many instances, only the principal ideas contained in the tune have been thus selected from the author to whom it is ascribed. In such cases, more or less has been supplied by the arranger or compiler, and it is usual to say: "Subject from Haydn," "Arranged from Mozart," &c. Many distinguished English composers have in this way become compilers, and have by their labors greatly extended the boundaries of psalmody, and added much to the richness and variety of style of sacred music. Among these, are Gardiner, Taylor, Webbe and others. Tunes of this class were first introduced into this country in the Handel and Haydn Collection; they have since been republished in many books of church music. This work will be found to contain many tunes belonging to this class arranged expressly for it, and never before published. These melodies are often delicate, chaste, and beautiful in the highest degree; but as they require a finished and tasteful style of performance, they cannot be very extensively used as common church tunes. See Bowen and Seasons, p. 47, Germany, p. 68, Malatha and Dallas, p. 194, Cora, p. 197, Anfield, p. 198, Rutland, p. 201, Dane, p. 207, Zerah, p. 54, Salsbury, p. 164, Eryth, p. 205, Arcot, p. 278, and others.

SIXTH CLASS. New tunes, composed by German, English, and American authors, many of which have been procured expressly for this work, and are now for the first time published. Of these, there are one hundred or more, amongst which are the following, viz: Bathurst, p. 57, Ramoth, p. 59, Euphrates, p. 61, Euphrates, p 66, Helam, p. 71, Jubal, p. 82, Ziph, p. 89, Laban, p. 95, Heath, p. 97, Melton, p. 99, Hazor, p. 101, Habor, p. 103, Winnissimet, p. 108, Cyprus, p. 53, Judah, p. 122, Beza, p. 188, Claremont, p. 190, Asbury, p. 137, Seir and Gerah, p. 155, Reed and Matheson, p. 192, Broomfield, p. 240. To this class, which will be found to embrace a very great variety in style, also, being most of those tunes ascribed to Nägeli, Kubler, Laur, and Hiller. No one man in modern times, has done more, perhaps, to promote the cause of musical education and church music, than H. G. Nageli, to which great object he has been almost entirely devoted for many years. His psalm and hymn tunes are in a style both simple and novel; easy of performance, and yet often highly pleasing and effective. The grateful acknowledgements of the Boston Academy of Music are due to those gentlemen, both European and American, who have furnished music for this work. Many original tunes were received, which, for want of room, it was impossible to insert. These may appear at some future time. In some cases, the names of the authors have been given with original tunes, but have often, at their own request, been withheld.

It is thought proper to say a few words in relation to those tunes whose rhythmical construction is after the manner of Hebron, Downs, and Olmutz. These are usually designed to move in a smooth, gentle, and gliding style; Sostenuto, Legato; they should be sung slowly, each measure taking about as much time as it will take to describe the three beats, by repeating, moderately, the words, "Downward beat, Hither beat, Upward beat." These tunes, from their regular rhymthmical construction, may be made to conform to psalms and hymns, essentially differing in their character, or expressive of very different emotions. They are easy of performance, and are equally adapted to the church, the social circle, or the family. ANTHEMS AND SET PIECES. The variety in this department will be found to be very great, embracing much that is entirely new, selected from the highest source of musical excellence. Such are all those pieces adapted from the Masses of Haydn, Mozart, and other celebrated composers.

INTRODUCTORY RULES. These have been prepared with great care, according to the Pestalozzian system of instruction, and are the result of much experience. The advantage of this system are so great that it only requires to be known, to be universally adopted. It requires, however, to be studied by the teacher until he becomes familiar with the leading principles on which it always proceeds. The elementary principles of music presented in this way, afford a pleasing, useful, and intellectual study, as well to the teacher as to the scholar; they must be understood, and not merely committed tomemory. It has been supposed by some, that the principal difference between the Pestalozzian and the old method of instruction, com sists in the use of the Black Board. This is by to means true. It is believed that on either method the Black Board may be of essential service, but it is not supposed to be any more necessary to the Pestalozzian than to the old system of teaching. The true ground of the distinction between the two, lies not in the use of the Black board, ban in the admirable analysis of the elementary principles of music furnished by the Pestalozzian method, and in the practical mode of presenting these principles to the mind of the pupil.

ELEMENTS OF VOCAL MUSIC. VOCAL

ELEMENTS OF VOCAL MUSIC.

NOTE. The teacher cannot be too strict in requiring the pupils to beat time. Experience proves that it lies at the very foundation of correct performance. If this is neglected, all subsequent instruction will be, comparatively, of little value. In the following exercises the teacher should first give the example by making the proper motions; repeating at the same time those words which describe the motions, as downward beat, upward beat; or down, left, right, up; or one, two, three, &c. and afterwards require the pupils to imitate him. Do not tolerate a slow, dragging, or circuitous motion of the hand; but let it pass instantly from one point to the other.

$14. Double time has two motions or beats, viz: Downward beat and Upward beat.

§15 Triple time has three beats, viz: Downward beat, Hither beat and Upward beat.

$16. Quadruple time has four beats, viz: Downward beat, Hither beat, Thither beat and Upward beat.

§17. Sextuple time has six beats, viz: Downward beat, Downward beat, Hither beat, Thither beat, Upward beat, Upward beat.

NOTE. The hither beat is made horizontally to the left, the thither beat horizontally to the right. At the first downward beat in sextuple time, let the hand fall half the way, and at the second the remainder, at the first upward beat let the hand rise half the way, and at the second the remainder. It is not necessary to exercise a school much in Sextuple time. One measure in Quadruple time is equivalent to two measures in Double time, and one measure in Sextuple

time is equivalent to two measures in Triple time,

§18. The character used for separating the measures is called a bar, and is made thus:

ACCENT.

19. Double time is accented on the first part of the measure. Triple time is accented on the first part of the measure.

Quadruple time is accented on the first and third parts of the measure.
Sextuple time is accented on the first and fourth parts of the measure.
QUESTIONS.

What is that fact in the nature of musical sounds, from which arises the necessity of a regular division and marking of the time? What is the most important requisite in all good performance? Ans. Correct time. What is that which is more difficult to acquire than any thing else in music? Ans. Correct time.

What is that in which singers are usually most deficient? Ans. Time.

5

What are those portions of time called, into which music is divided? § 10. What are those portions of time, smaller than measures, called? § 11. How many parts has double measure? Triple? Quadruple? Sextuple? How do we mark the different parts of measures in music? What is that motion of the hand called?

How many motions or beats has double measure, or double time? Triple? Quadruple? Sextuple?

What is that character called which is used for separating measures? NOTE. Observe the difference between a bar and a measure. Do not call a measure a bar. On which part of the measure is double time accented? Triple? Quadruple? Sextuple?

CHAPTER III.

SINGING IN CONNEXION WITH BEATING TIME AND ACCENT.

§ 20. The teacher gives out a sound to the syllable la (a as in father or in far) at a suitable pitch say, E or F-first line or space, Treble clef, (disregarding the octave between male and female voices) and after repeating it frequently, calling the attention of the school to it in various ways, requires those who feel certain that they can make the sound right, to imitate him; afterwards he requires those who think it probable that they can make it right, to imitate; and finally, the whole.

§ 21. The pupils are now required to beat and sing one la to each beat in different kinds of measure. Mind the accent.

§ 22. Beat Quadruple time and sing one la to each beat.
After this has been done the teacher may write on the black board as follows:

23. A sound that continues as long as four quarters, is a whole What is that to which those who are learning to sing, are usually un-sound. Exercise. The note representing a whole sound is made thus, willing to attend? Ans. Time. and is called a whole note. (Semibreve.)