Lining out

Last updated

Lining out or hymn lining, called precenting the line in Scotland, is a form of a cappella hymn-singing or hymnody in which a leader, often called the clerk or precentor, gives each line of a hymn tune as it is to be sung, usually in a chanted form giving or suggesting the tune. It can be considered a form of call and response. First referred to as "the old way of singing" in eighteenth-century Britain, it has influenced twentieth century popular music singing styles. [1]

Contents

In 1644, the Westminster Assembly outlined its usage in English churches "for the present, where many in the congregation cannot read". [1] Lining out spread rapidly to the Scottish churches where it has persisted longest in Britain. [1] It has survived to the present day among some communities and contexts, including the Gaelic psalmody on Lewis in Scotland, the Old Regular Baptists of the southern Appalachians in the United States, and for informal worship in many African American congregations.

History

Lining out first appears in 17th century Britain when literacy rates were low and books were expensive. [1] [2] Precenting the line was characterised by a slow, drawn-out heterophonic and often profusely ornamented melody, while a clerk or precentor (song leader) chanted the text line by line before it was sung by the congregation. It was outlined for use by the Westminster Assembly for English churches in 1644, and it has persisted longest in Britain in the Scottish Hebrides. [1] Lining out was taken to American colonies by English and Scottish emigrants. Psalm-singing and gospel music are a mainstay of African American churchgoers. The great influx of Presbyterians from the Scottish Highlands into the Carolinas might have introduced some African slaves to this form of worship, though this extent to which this influenced African-American church singing has been disputed, due to the fact that English, lowland Scottish, and Ulster-Scots colonists, all of whom would have lined hymns, were far more numerous than the Highlanders in the region and could more easily have influenced the African Americans. [3]

The tide turned against lining out in England and New England in the first quarter of the 18th century, with greater literacy, improved availability of texts such as New Version of the Psalms of David (1696) by Nahum Tate and Nicholas Brady, and more widely available and better-printed tune collections. Influential clerics in England and America disliked the ragged nature of the singing that resulted as the congregation struggled to remember both the tune and the words from the lining out. However, it continued to be practiced in most rural churches and still survives today in a form which likely would have been familiar to the original English and Ulster-Scots colonists in isolated communities in the Appalachian mountains.

Lining out was in most places replaced by "regular singing," in which either the congregation knew a small number of tunes like Old 100th that could be fitted to many different texts in standard meters such as Long Meter, or a tunebook was used along with a word book. There began to be "singing societies" of young men who met one evening a week to rehearse. As time went on, a section of the church was allocated for these trained voices to sit together as a choir, and churches voted to end the lining out system (although there was often a transitional phase that had the entire congregation singing from tunebooks like the still-popular Sacred Harp and others, before this was taken over by using trained choirs; this gave birth to the still vibrant tradition of "Sacred harp singing [4] "). We have a vivid picture of the transition in Worcester, Massachusetts:

The History of Worcester gives an interesting account of the final scene which ensued on the abolition of the "lining out" system, and the introduction of the choir. On Aug, 5, 1779, it was voted, "That the singers sit in the front seats of the gallery, and that those gentlemen who have hitherto sat in the front seats in said gallery, have a right to sit in the front and second seat below. and that said singers have said seats appropriated to said use. Voted, that said singers be requested to take said seats and carry on the singing in public worship. Voted, that the mode of singing in the congregation here be without reading the psalms line by line to be sung. The Sabbath after the adoption of these votes, after the hymn had been read by the minister, the aged and venerable Deacon Chamberlain, unwilling to desert the custom of his fathers, rose and read the first line, according to the usual practice. The singers, prepared to carry the alteration into effect, proceeded without pausing at the conclusion. The white-haired officer of the church, with the full power of his voice, read on till the louder notes of the collected body overpowered the attempt to resist the progress of improvement, and the deacon, deeply mortified at the triumph of musical reformation, seized his hat, and retired from the meeting house in tears. His conduct was censured by the church, and he was for a time deprived of its communion for absenting himself from the public services of the Sabbath.

— Granville L. Howe and William Smythe Babcock Mathews, A Hundred Years of Music in America: An Account of Musical Effort in America, (G.L. Howe, Chicago, 1889)

Current usage

Some Christian churches in the U.S. still practice lining out. While some churches calling themselves Primitive Baptist or Regular Baptist use it, this form of singing predominates among the Old Regular Baptist churches. The practice is becoming attenuated in some of them—the leader will begin lining out, but after the first verse or two will say "Sing on!", or a part of the service is lined out but other parts are not—so it is unclear how long it will survive.

Some Presbyterian churches in Scotland also still do lining out, though often now in a restricted context, with other hymns being accompanied and not lined out. The practice is now more common in Gaelic psalm singing than in English, and indeed is often considered a characteristic of Gaelic culture, especially on the Isle of Lewis. Unlike other denominations that carry on the tradition of lining out, Gaelic churches practice Exclusive Psalmody.

Lining of hymns is still widely practiced by the three traditional branches of the Hutterites (Lehrerleut, Dariusleut, Schmiedeleut II). It may also be heard among some conservative Anabaptist churches, such as German Baptist Brethren, Old Order Mennonites, and the Old Order River Brethren.

In the film Coal Miner's Daughter , lining out is depicted at the funeral of Loretta Lynn's father, Ted Webb.

Bibliography

Related Research Articles

<span class="mw-page-title-main">Hymn</span> Religious song for the purpose of adoration or prayer

A hymn is a type of song, and partially synonymous with devotional song, specifically written for the purpose of adoration or prayer, and typically addressed to a deity or deities, or to a prominent figure or personification. The word hymn derives from Greek ὕμνος (hymnos), which means "a song of praise". A writer of hymns is known as a hymnist. The singing or composition of hymns is called hymnody. Collections of hymns are known as hymnals or hymn books. Hymns may or may not include instrumental accompaniment.

<span class="mw-page-title-main">Shape note</span> Musical notation for group singing

Shape notes are a musical notation designed to facilitate congregational and social singing. The notation, introduced in late 18th century England, became a popular teaching device in American singing schools. Shapes were added to the noteheads in written music to help singers find pitches within major and minor scales without the use of more complex information found in key signatures on the staff.

<span class="mw-page-title-main">Hymnal</span> Collection or book of religious hymns

A hymnal or hymnary is a collection of hymns, usually in the form of a book, called a hymnbook. Hymnals are used in congregational singing. A hymnal may contain only hymn texts ; written melodies are extra, and more recently harmony parts have also been provided.

<span class="mw-page-title-main">Sacred Harp</span> Tradition of sacred choral music

Sacred Harp singing is a tradition of sacred choral music that originated in New England and was later perpetuated and carried on in the American South. The name is derived from The Sacred Harp, a ubiquitous and historically important tunebook printed in shape notes. The work was first published in 1844 and has reappeared in multiple editions ever since. Sacred Harp music represents one branch of an older tradition of American music that developed over the period 1770 to 1820 from roots in New England, with a significant, related development under the influence of "revival" services around the 1840s. This music was included in, and became profoundly associated with, books using the shape note style of notation popular in America in the 18th and early 19th centuries.

A singing school is a school in which students are taught to sightread vocal music. Singing schools are a long-standing cultural institution in the Southern United States. While some singing schools are offered for credit, most are informal programs.

<span class="mw-page-title-main">Music history of the United States during the colonial era</span>

The colonial history of the United States began in 1607 with the colonization of Jamestown, Virginia. Music of all genres and origins emerged as the United States began to form. From the Indigenous spiritual music to the African banjos, music in the United States is as diverse as its people. In New England, the music was very religious and was vitally important in the rising of American music. The migration of people southward led to the settling of the Appalachian Mountains. There many poor Europeans inhabited and brought country blues and fiddling. As music spread, the religious hymns were still just as popular. The first New England School, Shakers, and Quakers, which were all music and dance groups inspired by religion, rose to fame. In 1776, St. Cecilia Music Society opened in the Province of South Carolina and led to many more societies opening in the Northern United States. African slaves were brought to the United States and introduced the music world to instruments like the xylophone, drums and banjo. The diverse music of the United States comes from the diverse type of people who first colonized this country.

<span class="mw-page-title-main">William Walker (composer)</span> American songwriter

William Walker was an American Baptist song leader, shape note "singing master", and compiler of four shape note tunebooks, most notable of which are the influential The Southern Harmony and The Christian Harmony, which has been in continuous use.

<span class="mw-page-title-main">Metrical psalter</span> Kind of Bible translation

A metrical psalter is a kind of Bible translation: a book containing a verse translation of all or part of the Book of Psalms in vernacular poetry, meant to be sung as hymns in a church. Some metrical psalters include melodies or harmonisations. The composition of metrical psalters was a large enterprise of the Protestant Reformation, especially in its Calvinist manifestation.

<span class="mw-page-title-main">Lowell Mason</span> American composer; leading figure in American church music

Lowell Mason was an American music director and banker who was a leading figure in 19th-century American church music. Lowell composed over 1600 hymn tunes, many of which are often sung today. His best-known work includes an arrangement of Joy to the World and the tune Bethany, which sets the hymn text Nearer, My God, to Thee. Mason also set music to Mary Had A Little Lamb. He is largely credited with introducing music into American public schools, and is considered the first important U.S. music educator. He has also been criticized for helping to largely eliminate the robust tradition of participatory sacred music that flourished in America before his time.

<span class="mw-page-title-main">Ananias Davisson</span>

Ananias Davisson was a singing school teacher, printer and compiler of shape note tunebooks. He is best known for his 1816 compilation Kentucky Harmony, which is the first Southern shape-note tunebook. According to musicologist George Pullen Jackson, Davisson's compilations are "pioneer repositories of a sort of song that the rural South really liked."

<span class="mw-page-title-main">Exclusive psalmody</span>

Exclusive psalmody is the practice of singing only the biblical Psalms in congregational singing as worship. Today it is practised by several Protestant, especially Reformed denominations. Hymns besides the Psalms have been composed by Christians since the earliest days of the church, but psalms were preferred by the early church and used almost exclusively until the end of the fourth century. During the Protestant Reformation, Martin Luther and many other reformers, including those associated with the Reformed tradition, used hymns as well as psalms, but John Calvin preferred the Psalms and they were the only music allowed for worship in Geneva. This became the norm for the next 200 years of Reformed worship. Hymnody became acceptable again for the Reformed in the middle of the nineteenth century, though several denominations, notably the Reformed Presbyterians, continue the practice of exclusive psalmody.

<span class="mw-page-title-main">Hymn tune</span> Musical melody of a Christian hymn

A hymn tune is the melody of a musical composition to which a hymn text is sung. Musically speaking, a hymn is generally understood to have four-part harmony, a fast harmonic rhythm, with or without refrain or chorus.

Presbyterian worship documents worship practices in Presbyterian churches; in this case, the practices of the many churches descended from the Scottish Presbyterian church at the time of the Reformation.

This is a timeline of music in the United States prior to 1819.

<i>The Hesperian Harp</i>

The Hesperian Harp is a shape note tunebook published in 1848 by Dr William Hauser, with reprintings issued in 1852, 1853, and 1874. Subtitled A Collection of Psalm and Hymn Tunes, Odes and Anthems, it is named after Hauser's plantation, Hesperia, in Jefferson County, Georgia. The word "harp" is often found in the titles of such tunebooks, most famously The Sacred Harp. The Hesperian Harp was probably the largest shape note tune book of its day, containing 552 pages of music, including 36 songs composed by Hauser. It uses the four-note system of notation pioneered by William Little and William Smith.

<span class="mw-page-title-main">Church music in Scotland</span>

Church music in Scotland includes all musical composition and performance of music in the context of Christian worship in Scotland, from the beginnings of Christianisation in the fifth century, to the present day. The sources for Scottish Medieval music are extremely limited due to factors including a turbulent political history, the destructive practices of the Scottish Reformation, the climate and the relatively late arrival of music printing. In the early Middle Ages, ecclesiastical music was dominated by monophonic plainchant, which led to the development of a distinct form of liturgical Celtic chant. It was superseded from the eleventh century by more complex Gregorian chant. In the High Middle Ages, the need for large numbers of singing priests to fulfill the obligations of church services led to the foundation of a system of song schools, to train boys as choristers and priests. From the thirteenth century, Scottish church music was increasingly influenced by continental developments. Monophony was replaced from the fourteenth century by the Ars Nova consisting of complex polyphony. Survivals of works from the first half of the sixteenth century indicate the quality and scope of music that was undertaken at the end of the Medieval period. The outstanding Scottish composer of the first half of the sixteenth century was Robert Carver, who produced complex polyphonic music.

<span class="mw-page-title-main">Music of Scotland in the eighteenth century</span>

Music of Scotland in the eighteenth century includes all forms of music made in Scotland, by Scottish people, or in forms associated with Scotland, in the eighteenth century. Growing divisions in the Scottish kirk between the Evangelicals and the Moderate Party resulted in attempt to expand psalmondy to include hymns the singing of other scriptural paraphrases.

Gaelic psalm singing, or Gaelic psalmody, is a tradition of exclusive psalmody in the Scottish Gaelic language found in Presbyterian churches in the Western Isles of Scotland. It is a form of Gaelic music.

Church music during the Reformation developed during the Protestant Reformation in two schools of thought, the regulative and normative principles of worship, based on reformers John Calvin and Martin Luther. They derived their concepts in response to the Catholic church music, which they found distracting and too ornate. Both principles also pursued use of the native tongue, either alongside or in place of liturgical Latin.

<span class="mw-page-title-main">Shenandoah Harmony</span>

The Shenandoah Harmony is a 2013 republication of the works of Ananias Davisson (1780–1857) and other composers of his era, in the format used by modern shape note singing groups. Although a number of new shape note tune books were compiled and published in the two decades leading up to the publication of the Shenandoah Harmony, this volume is notable as "the largest new four-shape tunebook published for more than 150 years." The importance of the Shenandoah Valley for the emergence of a distinctive Southern shape-note singing tradition has been noted by many musicologists. Authentic South reporter Kelley Libby of WFAE, attending an all-day singing in Cross Keys, felt "transported to the Shenandoah Valley of the 1800s."

References

  1. 1 2 3 4 5 Shepherd, John (2003). Continuum Encyclopedia of Popular Music of the World: VolumeII: Performance and Production, Volume 11. A&C Black. p. 146.
  2. ↑ "Black America's musical links to Scotland". The Scotsman. Edinburgh: Johnston Publishing Ltd. 6 June 2005. Retrieved 31 July 2014.
  3. ↑ Miller, Terry (2009). "A Myth in the Making: Willie Ruff, Black Gospel, and an Imagined Gaelic Scottish Origin". Ethnomusicology Forum. 18 (2): 243–259. doi:10.1080/17411910903141908. S2CID   161731960.
  4. ↑ "fasola.org - Sacred Harp and Shape Note singing". www.fasola.org. Retrieved 4 January 2018.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.