Grove's dictionary of music and musicians

600 SONG
treated effectively is open to question, but for
intrinsic musical value, the modern song has far
surpassed the song of former days.
Criticism in detail of the works of living and
rising composers is always an invidious task.
We stand too near to judge their work without
awakening suspicions of prejudice or partiality.
Time alone is the true touchstone of merit,
and before that high tribunal, the work of
the following song -writers must be judged :
Granville Bantock, W. H. Bell, Frederick
Cowen, H. Walford Davies, Fritz Delius, Edward
German, W. H. Hadow, Noel Johnson, C. A.
Lidgey, S. Liddle, Hamish McCunn, Albert
Mallinson, Roger Quilter, CyrU Scott, Arthur
Somervell, S. Coleridge - Taylor, E. Walker,
E. Walthew, Amherst Webber, R. Vaughan
Williams, and others.
Bibliography
Buriiey, Dr. Charlea. History of Music. London, 1776^89.
Hawkins, Sir John. Sistory of Music. Edition of 1853.
Hullali, John. The Third or Transition Period of Musical Bixtary.
London, 2iid ediiiiou, 1876.
Rockatro, W. S. Bixttrry of Music. London, 1886.
Nanmiuin, Erail. nistory of Music (edited and added to by Sir
F. Gore Ouseley). London, 1882-86.
Parry, Sir C. H. H, The Evolution of the Art of Music. London,
1894.
I7age], Dr. Wilibald. Qcschichte der Muaik in England. Strasbur?,
1894-97.
Davey, H. History of English Music. London, 1895.
Parry, Sir C. H. H. Music of the Seventeenth Century {OJiford Hist.
of Music, vol. iii.). Oxford, 1902.
Pullei' Maitland, J. A. The Age of Bach and Bandel [Oxford Bist.
of Music, vol. iy.). Oxford, 1902.
Wooldridge, H. The Polyphonic Period [Oxford Hist, of Music, vol.
ll.|. Oxford, 1905.
Sharp, Cecil J. English FoVc-Song, some Conclusions. 19(^7.
C0LI.ECnON8
Smith, J. Stafford. ' Muslca Antiqua.' London, 1812.
Saudya, W. 'Chriatmas Carols, Ancient and Modem.' London, 1833.
Chappell, W. 'Popular Music of the Olden Time.' London, 1855-59.
Wooldiidge, K. A new edition
'
of above, called Old English
Popular Music' London, 1893.
Hullah, John.
'
58 English Songs of the 17th and 18th Century.'
London, 1871.
Smith, Laui-a. ' The Music of the Waters.' London, 1888.
Barrett, W. A. ' English Folk-Songs.' London, 1891.
Gould, S. Baring, and Sheppard, H. 'Songs of the West.' London,
1891.
Kidson. F. "Traditional Tunes.' Oxford, 1891.
Somervell, A. ' Songs of the Four Nations.' London, 1892.
Broadwood, L. E., and Fuller Maitland, J. A.
' English County
Songs.' 1893.
Gould, S. Baring, and Sheppard, H. J. *A Garland of Country
Song.' London, 1895-97.
Stokoe, J., and Beay, 8. ' Songs and Ballads of Northern England.'
Newcastle and Loudon, 1899.
Sharp, Cecil. 'A Book of British Song.' 1902.
Moffat, Alfred, and Kidson, Frank. ' The Minstrelsy of England.'
1902.
Hadow, W. H. 'Songs of the British Islands.' London, 1903.
O'Neill, Noi-man.
'
A Glolden Treasury of Song.' London, 1903.
Nicholson, Sydney.
' British Songs for British Boys.' 1903.
Sharp, C. J., and Marson, C. L. 'Folk .Songs from Bomeraet.'
1906-7.
Duncan, Edmonstoune. ' The Minstrelsy of England.' London,
190JI.
Stanford, Sir C. V.
' The National Song-Book.' London and New
York, 1906.
Gould, S. Baring, and Sharp, G. ' English Folk-Songs for Schools.'
London, 1906.
Kidson, Frank, and Moffat, Alfred.
' English Songs of the Georgian
Period.' London, 1907.
See also the Journal of the Folk-Song Society, 1899, etc.
America
The United States.—Unlike most other
countries, America has no distinctive characteristics
of her own in music. Her inhabitants
are of too mixed a character to constitute a
genuine nationality. From all parts of the
world representatives of every race have flocked
to the United States of America. Dutch, English,
Irish, German, Scandinavian, Slavonic, and
other races have followed each other in quick
succession. And thus it is only natural to find
the influence of these difl^erent races affecting
the music. Deprived as it has been of its
natural foundation, i.e. the folk-song, her
national music must be formed on the individuality
of her composers.
Moreover, it should not be overlooked that
what may be called America's musical civilisation
is of comparatively recent origin. Strangely
enough, it was to the Puritan settlers of the
17th century that America owed her first
awakening to music. The art remained in a
crude and stagnant state at first, developing in
the 18th century in the direction only of rough
psalmody, under William Billings. Then
followed Stephen Foster, who in the first half
of the 19th century attempted to interpret the
spirit of the Southerners with his so-called
plantation ' or negro - melodies. Excessively
'
sentimental and poorly harmonised as these
songs are, no one will deny their melodiousness,
nor disparage the hold they have obtained on
white and black men alike. (SeeNEGKO Musio.y
It is only within the last fifty years that
American song-writers have claimed attention
in the musical world. The first composer
of musical scholarship was John K. Paine.
Although he himself paid little heed to the
Song, it is a form much cultivated by Americans,
and Paine's numerous pupils have won distinction
in this line. Prominent -among them is
Arthur Foote, whose gi-aceful little ' Irish Folk-
Song,' and 'I'm wearing awa',' are favourite
songs also in Europe. G. W. Chadwick and
his pupil Horatio Parker, are names of greater
weight. Parker hets done more important
work in other branches of music, but the accompaniments
of his songs are interesting and
varied. Chadwick's songs are very numerous
and widely sung. His fine song King
'
Death ' may be quoted as one of his best compositions.
Walter Damrosch's and Mrs. Beach's
songs are refined and well- written, and never
commonplace or vulgar. The same cannot be
said of many other American composers, whose
songs, whilst enjoying a great popularity,
descend almost to the lowest level of vocal
music. These composers have obviously chosen
the modern English 'ballad' form as their
model. Fortunately others have fallen more
under the influence of Schumann, R. Franz
and Grieg, and have produced songs of a far
higher standard. Edward MaoDowell (d. 1908),
who justly held the first place among American
song-^vriters, shows traces of his Scottish
ancestry and European education. But though
no distinct nationality is discernible in his
music there is distinct personality. His songs
are those of a true and cultivated musician ;
the voice and instrumental part alike are
f The patriotic songs such as
'
Hail Columbia,' ' Yankee Doodle,'
etc., are not alluded to here as they have been dealt with under
separate headings in this Dictionary.