Journal Entry #1

For my first journal entry I chose to listen to selections from American Psalmody, Make a Joyful Noise. The whole disc is about 48 minutes long. All of the selections are early American choral compositions by various composers. Each of these hymn-like, a capella songs is filled with homophony and consonance. Each piece is typically written for four voices- soprano, alto, tenor and bass. As I began to listen to this collection of songs, I realized how familiar it was to me.

When I played the first song on this disc of unruly choral masterpieces, I was taken back to high school choir. Rehearsals were right in the middle of the day after lunch. The choir conductor frantically tried to teach 60-some chatty students while I am still tried to digest my three cookies and square-shaped pizza from lunch. The songs we were learning? The names I cannot remember but they sounded much like those included in this compilation. Most of the songs I sang in high school choir sounded exactly like this list of American classics. It was not the best impression.

As I began to make it through the whole disc, I got over my cynicism and actually started to enjoy the music. I realized that there is nothing abrupt in this genre of music which can be very nice. It allows me to not have to think too hard while listening. In “Chesterfield” by William Billings, the harmonies are quite beautiful in the way the sopranos project their voices on high notes an octave above the bass while everyone else in between slowly circles around 3rds and fifths. This song is set in a minor key which is wonderful text-painting considering the text is based on a psalm that pleads for God whilst in the absence of him. You can almost predict what chord will come next but that is part of it’s beauty. It is so simple that it somewhat resembles that of a chant. Another song of Billings, called “Washington,” does exactly the opposite of “Chesterfield.” It is still homophonic and strophic, yet it is fast-paced and is sung in a round, vividly text-painting the Lord ascending, angels, chariots and the glory of God. It is still incredibly simple which, again, makes it nice to just rest and listen.

Something I found interesting about the American composers who were prevalent at the turn of the 19^th century was that they were not necessarily musically educated. They were not classically trained on an instrument. This group of composers were basically writing music off the top of their heads. They began by writing one part and then creating other voices based off of that one part. For the most part they used their ear and if it sounded nice, without dissonance, they kept it. There was no significant influence from Europe and what it had to offer. Instead, these composers were influenced by one another and the culture of America at that time. Composers who fit in this category include Supply Belcher, William Billings, Daniel Read, Timothy Swan, Jacob Kimball, Amos Bull and Oliver Holden, all of whom are included on this disc. To me, this type of writing brings about two differing ideas. One is authenticity. The music is pure and genuine because it really comes from a place of truth within one’s heart and soul. These composers were probably not trying to impress their peers nor were they trying to be outrageously unique. This music was created out of gladness and to be enjoyed. The second is without complexity music becomes redundant and boring. I feel that if you have heard one of these songs you have heard them all. However, this does not mean that I do not find pleasure in listening it. It just means that there is really not much to follow throughout these compositions other than being entertained by what the music brings you as an individual.

One way in which I can gauge whether or not I think any of the compositions from this collection should be included in the canon is by trying to imagine one of these pieces being performed nowadays. I have a hard time trying to put myself in the midst of the 19^th century because life at that time was so much different than today. The reality is I cannot see the majority of these pieces being performed professionally today, with the exception of one or two pieces. There are too many compositions that possess the same qualities and traits that these pieces possess but with much more to offer, like dynamic and variations in harmonic chord progressions. I feel like these compositions were only representative of the time in which they were written and that is where they will stay. It is somewhat unfortunate because they were written about lovely things and ideas. However, the music just did not stick. That is not to say that I was not moved by some of them. “Chesterfield,” “Crucifixion” and “The Dying Christian’s Last Farewell” put me in the spirit of worship because of their harmonic textures. They did make me feel sorrow and rejoicing at the same time and they did move me to take a second listen. However, there are too many other pieces out there that do the same thing in a much lovelier, complex way.

My opinion on this early American genre may seem a bit harsh, but it is only because I have grown bitter due to past experiences with long choir rehearsals, nagging conductors and the desire to take a nap after a well-balanced, filling lunch. Although I am a bit biased, I still appreciate the music from this genre because it represents a carefree and pure way of creating music. It would be nice for other composers to take this attitude just once in awhile.