212:. The first edition was published without attribution, but later editions acknowledged the Mason as editor. Mason returned to Boston in 1827, having negotiated a position as music director at three Boston churches. Between 1829 and 1869 he published about 20 further collections of hymns. Those collections favored adaptations of tunes by prominent European composers rather than the traditional rural hymn tunes. He expertly adapted the melodies of instrumental works from European masters such as Haydn, Beethoven, Mozart, and Schubert into his collections of sacred music and published them. By simplifying their musical content and harmonic language he introduced them to the American public. His compositions include the hymn tunes for "From Greenland’s Icy Mountains", "Nearer, My God, to Thee", and "My Faith Looks Up to Thee". Mason devoted his life to music as a composer, a publisher and, most significantly, a music educator. In 1832 he founded the Boston Academy of Music. In 1838, because of his insistence that singing should not be absent from children's education, the Boston School Committee added introductory music to the primary and secondary school curriculum, appointing Mason to lead the program.
159:(1746–1800), a native of Boston, who was a self-taught amateur musician and a tanner. William Billings was part of the colonial working class and lacked the benefit of much formal education, let alone the chance of attending college (which remained a privilege of the genteel class). Billings gave expression to a provincial, American culture instead of aspiring to the cosmopolitan ideal of British culture. At the age of twenty-three Billings had already composed more than one hundred original pieces of sacred music, and in 1770 he published his first tunebook,
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the Boston Six. In 1815, the Handel and Haydn
Society was formed, followed by the Boston Academy of Music. In 1867, The New England Conservatory was founded. It is not surprising then, that Boston should have nurtured a tradition of musical composition and a group of composers who are often considered together a "school."
220:
American musicians such as
William Billings and Lowell Mason educated and enriched aspiring musicians of their time such as George Chadwick and Horatio Parker. Amy Beach, George Chadwick, Arthur Foote, Edward MacDowell, John Knowles Paine and Horatio Parker collaborated and eventually became known as
195:
His most significant contribution to the history of
American music was the publication of his two tune-books. The first one, the New England Psalm-Singer, was published in 1770, and the second and more popular collection, the Singing Master’s Assistant, was published in 1778. It includes a paraphrase
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We must attempt to define the prevailing New
England attitude toward musical art, that is to say, the attitude that dominated the musical thinking of those New England composers who, in the final decade of the nineteenth century and the first of the twentieth, succeeded in forming a rather impressive
172:, a major Patriot newspaper, and including an engraving by Paul Revere, the book suggested that Billings was strongly aligned with the Rebels. His tunebook is striking for the manner in which it boldly signals these nationalist sentiments. For example, Billings's best-known tune, “Chester,”declares:
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was the first published compilation of entirely
American music and the first tunebook composed by one American composer. Perhaps even more significant as a sign of both Billings's intentions and the times in which he lived, he advertised the work as “never before published” and stressed that it was
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in Europe or from
European musicians who had emigrated to the United States. As a result, large portions of American classical music written at the time reflect European influences, especially from Germany. Although America lagged in composition, in the second half of the 20th century the country
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Chamber music of the Second New
England School is considered the first successful body of American repertoire. While there was no official "First New England School," many independent composers heavily influenced the development and success of The Second New England School. The first influential
91:
No actual organization or conscious association of composers existed in the Second New
England School, though some male members of the group did gather socially, so its "membership" can only be approximated by musicologists who draw aesthetic and philosophical links between composers.
80:
school variously known as the “Boston
Classicists” or the “New England Academicians.” It might be denied that they formed a “school” in the strictest sense of the term.... I think it can be shown that it stemmed from a fairly homogeneous cultural and aesthetical background.
229:, was considered as the leading compositional authority during his lifetime and, unofficially, the leader of this group. Paine held seniority in age and experience over most of his colleagues. Horatio Parker became Professor of Music at
136:(1861–1936). These composers were greatly influenced by German Romantic tradition, either through direct study with Germans or by association with German-trained musicians in America. Their works were published by
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Many of the New
England composers had academic affiliations and were among the pioneers of academic music education in the United States. John Knowles Paine, who served as the first Professor of Music at
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of Psalm 137 that refers to the occupation of Boston in 1775–1776. These selections captured the mood of confident defiance with which New England patriots entered the new era.
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208:(1792–1872) born in Medfield, Massachusetts. His family education was rooted in the New England singing school tradition handed down by his grandfather. In 1822 he published
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developed permanent and robust opera and symphonic organizations and exceeded Europe in the quality of piano manufacture and piano ownership per capita.
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The composers of the Second New England School are considered the artistic ancestors of later "academic" and "conservative" U.S. composers such as
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During the Second New England School's years of prominence, American musical education was still in its infancy. Americans often learned
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John Warthen Struble, The History of American Classical Music: MacDowell through Minimalism (New York: Facts On File, Inc., 1995), 1–21.
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The full-fledged term "Second New England School" Was used by H. Wiley Hitchcock soon afterwards, in 1969. generating the term "
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composed by “a native of Boston”—made in America by an American. Published by Benjamin Edes and John Gill, who also published
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Gilbert Chase, America’s Music: From the Pilgrims to the Present (Chicago: University of Illinois Press, 1992), 115–116.
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Only a dozen or so American-composed tunes had previously been published. Collecting more than 120 new compositions,
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has no direct connection except nationality. Some composers who were students of the Boston Classicists, such as
294:(student of Parker), rejected much of their masters' styles and embarked in radical new vernacular directions.
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to a group of classical-music composers who lived during the late-19th and early-20th centuries in
398:"William Billings facts, information, pictures | Encyclopedia.com articles about William Billings"
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The Boston Classicists were first referred to as a "school" in the second edition of
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The Coming of Age of American Art Music: New England's Classical Romanticists.
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Piano Chamber Music of the Second New England School, ASU Library
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America’s Music, from Pilgrims to Present Revised Second Edition
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124:(1863–1919). Other composers associated with the group include
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The Handel and Haydn Society’s Collection of Church Music
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Music in the United States: A Historical Introduction
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idiom that stands apart from its European ancestors.
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47:. More specifically, they were based in and around
343:. Englewood Cliffs, NJ: Prentice Hall. p. 13.
328:. New York: McGraw-Hill Book Company. p. 366.
369:, Musicalics – The Classical Composers Database
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472:(Oxford University Press, 1987), pp. 31–5.
278:. The Americanist nationalist school of
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367:Boston Six or Second New England School
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144:Origins in the First New England School
100:The specific "Boston Six" are named as
170:The Boston Gazette and Country Journal
241:Music education in relation to Europe
7:
978:American Academy of Arts and Letters
181:And slav'ry Clank her galling Chains
55:as pivotal in the development of an
456:American Music: A Panorama, Concise
422:"Lowell Mason | American composer"
204:The second influential figure was
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322:Not in the first edition (1955).
258:Influence on subsequent composers
191:New Englands God for ever reigns.
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186:We fear them not we trust in God
176:Let tyrant shake their iron rod
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161:The New England Psalm Singer.
937:Piano Concerto No. 2, Op. 23
454:Candelaria, Lorenzo (2014).
339:Hitchcock, H. Wiley (1969).
165:The New England Psalm Singer
35:(sometimes specifically the
724:Grupo de renovaciĂłn musical
290:(student of MacDowell) and
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233:, and Edward MacDowell at
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29:Second New England School
86:First New England School
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324:Chase, Gilbert (1966).
33:New England Classicists
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988:Edward MacDowell Medal
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134:Arthur Batelle Whiting
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357:(Norton, 2005), p. 99
304:Boston School (music)
126:Edgar Stillman Kelley
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39:) is a name given by
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923:List of compositions
402:www.encyclopedia.com
1208:Education in Boston
1203:Composition schools
719:Grupo de los cuatro
684:English Virginalist
602:Composition schools
458:. Cengage learning.
235:Columbia University
88:" as a by-product.
1100:Symphonic Sketches
734:Khrennikov's Seven
555:John Knowles Paine
485:Tawa, Nicholas E.
227:Harvard University
102:John Knowles Paine
63:Origin of the name
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699:Ears Open Society
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353:Joseph Horowitz,
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132:(1861–1944), and
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786:Notre Dame
764:New Jewish
759:New German
754:Neapolitan
739:Manchester
654:Burgundian
649:Boston Six
524:Boston Six
431:2017-05-25
407:2017-05-25
310:References
284:Roy Harris
37:Boston Six
18:Boston Six
983:MacDowell
825:Viennese
669:Darmstadt
535:Amy Beach
114:Amy Beach
1136:Category
1026:Category
1008:(ballet)
953:, Op. 51
945:, Op. 48
821:Venetian
781:New York
744:Mannheim
664:Colorist
626:Ars nova
298:See also
75:(1966).
1149:Portals
1111:Related
1092:Tabasco
971:Related
806:Les Six
659:Cologne
639:Bologna
96:Members
1103:(1904)
1095:(1894)
846:Second
644:Boston
274:, and
49:Boston
1187:Music
1084:Music
930:Music
841:First
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