Finding Their Voices - Amherst College

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Table of Contents Page Introduction: The Doctor and the Warbler 1 Chapter One: From Singing Schools to the Singing College: The Story of Music at Amherst 10 I. A Drive to Improve: Student Interest in Music, 1821-1894 26 The Beethoven Society 26 The Musical Association 30 The College Orchestra 32 Zuchtmann and the Glee Club 33 Push for a Musical Professorship 36 II. Musical Support from the Faculty and Trustees, 1821-1894 43 Music of the (Ungreased) Spheres: Amherst College and the Chapel Choir 43 Instrumental Concerns 47 Hitchcock and Handel: Music in the Academic Sphere 49 Secular Music Gains Ground 55 Chapter Two: A Wider Lens: Music in New England Colleges, 1830-80 60 I. The “Feminine Arts”: Music in Women’s Colleges 60 II. The Art of the Drunken Serenade: Music in Men’s Colleges 79 Chapter Three: Music in America 111 The Many Faces of Protestantism: Puritans and Calvinists and Lutherans, Oh My… 111 Martin Luther and John Calvin: A Primer in Puritan Musical Theology 114 The Diversity of Early American Religion 117 Musical Practices of the Early Americans 119 Feminine and Trivial: American Perceptions of Secular Music 133 Inventing “Classical”: The American Musical Reform Movement 135 Lowell Mason’s Musical Revolution: Music Education in the Early Nineteenth Century 140 A Socialist Orchestra in America: Liberal German Culture in the New World 1848-1860 146 Afterword 155 Appendix 158 A. An Amherst Musical Dictionary 159 B. Summary of Amherst College Board of Trustees actions towards music 183 C. Percentage of past graduates in the faculty of Amherst College, 1830-94 186 D. Edward Hitchcock Jr. “Handel: The Representative of the Oratorio” 187 E. Transcript of the Record Book of the Paean Band 196 F. 1876 Petition to the trustees of Amherst College for better support of music 220 G. Religious status of the presidents of Harvard, Yale, and Amherst 221 H. Report of the Harvard Pierian Sodality Committee, 1837 223 I. Original words and melody to “Sparkling and Bright” 229 Bibliography 230
Figures and Musical Examples All Amherst College figures (musical groups, people, and instruments) courtesy of the Amherst College Archives. Figure 1.1 – The Amherst College Banjo Club, c. 1890 1 Figure 1.2 – Old Doc Edward Hitchcock, Jr., playing his cello 2 Figure 2.1 – The Mount Holyoke College Banjo Club, c. 1895-1900 3 Figure 2.2 – Pierian Sodality membership medallion Figure 2.3 – First issue of Dwight’s Journal of Music Figure 2.4 – Enrollment in three courses at Harvard, 1874-1905 4 Figure 3.1 – Examples of varying notation styles in American psalm-books 5 Example 3.1 – “Jargon” by William Billings 6 Figure A.1 – Serpent used by the Paean Band, c. 1824-1828 7 Figure A.2 - Paean Band reunion notice, c. 1852 8 Figure A.3 – The Amherst College Orchestra, c. 1861 9 Figure A.4 – The Amherst College Orchestra, c. 1872 10 Figure A.5 – Calliopean Quartette, c. 1862 11 Figure A.6 - The H.B. Quintette, c. 1875 12 Figure A.7 - The Amphion Sextette, c. 1876 13 Figure A.8 - The Orphean Quintette, c. 1878 14 Figure A.9 – The Amherst College Glee Club, c. 1877 15 Figure A.10 – The Amherst College Glee Club, c. 1880 16 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! 1 Photographs Collection, Box 8, Folder 27, Amherst College Archives and Special Collections (From here on known as ACASC) 2 Edward Hitchcock, Jr. Collection 3 From the Mount Holyoke Digital Collections, viewable here: mtholyoke.cdmhost.com/cdm/singleitem/collection/p1030coll8/id/10285/rec/1 4 Compiled by the author. 5 Ibid. 6 Arranged in modern notation by the author. 7 Objects Collection digital photographs, ACASC. 8 Music at Amherst Collections, Box 1, folder 14, ACASC. 9 Photographs Collection, Box 12, Folder 12, ACASC. 10 Ibid. 11 Photographs Collection, Box 12, Folder 13, ACASC. 12 Ibid. 13 Ibid. 14 Ibid. 15 Photographs Collection, Box 8, Folder 50, ACASC.
Page 1: Finding their Voices: Student Activ
Page 5 and 6: A Beginning: The Doctor and the War
Page 7 and 8: Seelye was convinced that in Bigelo
Page 9 and 10: whenever Bigelow was on steady fina
Page 11 and 12: the official curriculum. Fortunatel
Page 13 and 14: the development of music education
Page 15 and 16: on this scare source material, it i
Page 17 and 18: Henry Ward Beecher, who would later
Page 19 and 20: elow their titles. 18 This collecti
Page 21 and 22: years. The impermanence of these gr
Page 23 and 24: ! Figure'1.1'*'Amherst'College'Banj
Page 25 and 26: College Orchestra 1860-1862 Instrum
Page 27 and 28: Delta Kappa Epsilon Glee Club 1876-
Page 29 and 30: One final disclaimer is necessary b
Page 31 and 32: grant a request of the Beethoven So
Page 33 and 34: and vocal scores; planned scenery a
Page 35 and 36: Orchestra, inaugurated in late 1871
Page 37 and 38: Association was eventually able to
Page 39 and 40: deemed an enormous success, and the
Page 41 and 42: It is rumored that President Seelye
Page 43 and 44: music and how they viewed the respo
Page 45 and 46: would not be able to pay, Zuchtmann
Page 47 and 48: in late 1883 in the student newspap
Page 49 and 50: performances. With one single excep
Page 51 and 52: Somehow the college authorities fai
Page 53 and 54:
student, but when the organ arrived
Page 55 and 56:
of his material from the 1869 New A
Page 57 and 58:
Figure 1.2 - Old Doc with his cello
Page 59 and 60:
involved with his students. 91 He r
Page 61 and 62:
The Board of Trustees began address
Page 63 and 64:
singing schools or even provide pri
Page 65 and 66:
I intend to fill in some of these a
Page 67 and 68:
The most difficult part of such a p
Page 69 and 70:
Ritter from 1867-1891), who gave le
Page 71 and 72:
accepted as an equivalent for some
Page 73 and 74:
wrote an essay on the subject in 18
Page 75 and 76:
e reconciled, —a proper subordina
Page 77 and 78:
into the art they profess the disti
Page 79 and 80:
Figure 2.1: Mount Holyoke Banjo Clu
Page 81 and 82:
sighted view of music as an entirel
Page 83 and 84:
oard agreed with Taylor, and the ch
Page 85 and 86:
performances, where they would play
Page 87 and 88:
a group well represented in the adm
Page 89 and 90:
The evening was passed with pleasur
Page 91 and 92:
ody. The president had constant tro
Page 93 and 94:
highly involved in the group’s ac
Page 95 and 96:
Figure 2.3 - The first issue of Dwi
Page 97 and 98:
are not now prepared to state. A sy
Page 99 and 100:
accumulations during its twenty yea
Page 101 and 102:
chorus pieces by Mendelssohn, as we
Page 103 and 104:
Mr. Paine to place high Music on it
Page 105 and 106:
“neither Guido nor his immediate
Page 107 and 108:
Music is a science, and Music is a
Page 109 and 110:
influence need be limited to the in
Page 111 and 112:
numbers seem to have somewhat overw
Page 113 and 114:
Paine’s training many of these co
Page 115 and 116:
Chapter Three Music in America We n
Page 117 and 118:
throne. Under his rule Henry’s re
Page 119 and 120:
the use of music between the two th
Page 121 and 122:
Wherefore, although we look far and
Page 123 and 124:
entirely by the congregation. Every
Page 125 and 126:
Ravenscroft’s The Whole Booke of
Page 127 and 128:
a series of Biblical examples and p
Page 129 and 130:
By the late seventeenth century som
Page 131 and 132:
World.” 184 The old style had cle
Page 133 and 134:
Figure 3.1 - Examples of notation i
Page 135 and 136:
HUMAN HORROR, Secretary. Billings c
Page 137 and 138:
Feminine and Trivial: American Perc
Page 139 and 140:
instrument was convenient for many
Page 141 and 142:
should aspire, his Messiah and othe
Page 143 and 144:
and Haydn Society. What might today
Page 145 and 146:
Upon Mason’s arrival in Boston in
Page 147 and 148:
Perhaps indicative of the prominenc
Page 149 and 150:
Woodbridge’s lecture alone did no
Page 151 and 152:
unification of the country’s 39 d
Page 153 and 154:
Following this concert, the orchest
Page 155 and 156:
thousand springs that the Giver of
Page 157 and 158:
Looking back to Amherst College, we
Page 159 and 160:
Afterword William Bigelow’s trial
Page 161 and 162:
practice or ensemble work should co
Page 163 and 164:
Appendix A. Dictionary of Amherst C
Page 165 and 166:
Amherst” and “The Senior Song,
Page 167 and 168:
Years Active: 1885-1929 In late 188
Page 169 and 170:
Cinyrea Years active: c. 1856? - 18
Page 171 and 172:
“‘Beauty’s’ Immense Octoqui
Page 173 and 174:
perfect imitation of the bagpipes.
Page 175 and 176:
Figure'A.1'-'The'serpent'used'by'th
Page 177 and 178:
Figure'A.3'-'The'Amherst'College'Or
Page 179 and 180:
Figure'A.5'-'Calliopean'Quartette,'
Page 181 and 182:
Figure'A.7'+'The'Amphion'Sextette,'
Page 183 and 184:
Figure A.9 - The Amherst College Gl
Page 185 and 186:
Figure A.11 - The Glee Club at Lake
Page 187 and 188:
Appendix B. Summary of Amherst Coll
Page 189 and 190:
art of Music given in Amherst Colle
Page 191 and 192:
Appendix D. Edward Hitchcock Jr., P
Page 193 and 194:
of his glory with the English Peopl
Page 195 and 196:
known as the “Mysteries,” and i
Page 197 and 198:
shepherds abiding in the field, kee
Page 199 and 200:
exciting majestic a work as Handel'
Page 201 and 202:
Committee [4] and received by a maj
Page 203 and 204:
institution to the President's hous
Page 205 and 206:
On commencement day the band perfor
Page 207 and 208:
C.B. Pratt - Assos. Master W.P. Pai
Page 209 and 210:
The instruments were examined and f
Page 211 and 212:
Friday morning, July 4 th [35] The
Page 213 and 214:
Chas. K. Whipple [Charles King, 183
Page 215 and 216:
E.P Russell - Ass. Master A.R. Thay
Page 217 and 218:
April 27th 1830 - The Band met in t
Page 219 and 220:
Mortimer Blake - Secretary Daniel L
Page 221 and 222:
Band met and played quite well cons
Page 223 and 224:
Amherst College, Oct. 13, 1834 Coll
Page 225 and 226:
Appendix G. Religious status of the
Page 227 and 228:
Appendix H. Report by the Harvard P
Page 229 and 230:
those of Homer, and Plato, and Newt
Page 231 and 232:
4. The next thing to be secured, is
Page 233 and 234:
Appendix I. Melody and original wor
Page 235 and 236:
Boston Musical Gazette 1, nos. 1-7
Page 237 and 238:
Ryan, Thomas. Recollections of an O
Page 239 and 240:
Leaver, Robin A. Luther's Liturgica
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Finding Their Voices - Amherst College

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