(This is a reproduction of a classic text optimised for ki...)
This is a reproduction of a classic text optimised for kindle devices. We have endeavoured to create this version as close to the original artefact as possible. Although occasionally there may be certain imperfections with these old texts, we believe they deserve to be made available for future generations to enjoy.
Hastings's Church Music, or Musical Compositions for Devotional Use, in Choirs, Congregations, Families, and Religious Circles: Collected From Various ... and Carefully Revised (Classic Reprint)
(Excerpt from Hastings's Church Music, or Musical Composit...)
Excerpt from Hastings's Church Music, or Musical Compositions for Devotional Use, in Choirs, Congregations, Families, and Religious Circles: Collected From Various Publications and Carefully Revised
Such, in brief, are the v1ews which for a long series of years have influenced the writer in his teachings and productions. He pretends not to perfection in anything; but his position should be under stood by those who would rightly estimate the character of his labors.
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Selection for the Musica Sacra: Being the Words of the Set Pieces, &c. in That Collection of Music; Together with a Number of Other Hymns, from Various Authors (Classic Reprint)
(Excerpt from Selection for the Musica Sacra: Being the Wo...)
Excerpt from Selection for the Musica Sacra: Being the Words of the Set Pieces, &C. In That Collection of Music; Together With a Number of Other Hymns, From Various Authors
Then in a nobler, sweeter song, I'll sing thy pow'r to save, When this poor, lisping, stamm'ring tongue, Lies silent in the grave.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The Manhattan Collection of Psalm and Hymn Tunes and Anthems: Compiled and Composed Under the Special Patronage of the New York Academy of Sacred ... With a Figured Base for the Organ
(Excerpt from The Manhattan Collection of Psalm and Hymn T...)
Excerpt from The Manhattan Collection of Psalm and Hymn Tunes and Anthems: Compiled and Composed Under the Special Patronage of the New York Academy of Sacred Music, and Adapted to the Use of Classes, Choirs and Congregations, With a Figured Base for the Organ
The present volume is not designed as a substitute for any of the author's previous publications. Musica Sacra, if we except the Appendix, the Anthems, and the few original pieces of a smaller size which it embraces, may be said to contain chiefly the old standard melodies of the church, which are now found in various styles of arrangement in most of the popular Collections of the country. Though these melodies will continue in favor for many years, perhaps centuries, to come they are not alone sufficient to satisfy the increasing demand for devotional music.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
(A classic book full of children's nursery rhymes, complet...)
A classic book full of children's nursery rhymes, complete with lyrics and sheet music, written by famed American composer Thomas Hastings.
Thomas Hastings, who wrote the tune to the old hymn Rock of ages, was noted for his influence on American music in the 1800's.
Thomas Hastings was an American composer. Throughout his career he trained choirs and developed many hymn tunes.
Background
Thomas Hastings was born on October 15, 1784 in Washington, Connecticut, United States. He was the third of the eleven children of Doctor Seth Hastings, a farmer and physician, and Eunice Parmele. He was descended from Thomas Hastings of Ipswich, England, who emigrated to Massachusetts Bay Colony in 1634 and settled at Watertown.
Later Hastings removed with his father to Clinton, Oneida County, New York.
Education
Hastings developed an early interest in music, but he had little or no opportunity for cultivating it.
In 1858 he received the degree of doctor of music from the University of the City of New York.
Career
Thomas Hastings developed an early interest in music, but he had little or no opportunity for cultivating it. Nevertheless, at the age of eighteen he was leading the village choir and in 1806 he began teaching music. In 1816, with Solomon Warriner, he published Music a Sacra; or Springfield and Utica Collections United, consisting of Psalms, hymn tunes, anthems, and chants. This book passed through several editions and was reissued as late as 1836. The original Springfield Collection, a hundred and fifty pages of sacred music from the works of European authors, had been issued by Warriner in 1813; the exact date of the publication by Hastings of the Utica Collection, a much smaller collection, but of original tunes, is not known. That it was compiled for the Handel and Burney Society, under whose patronage it was published, is stated in the introduction to the third edition (1822) of Musica Sacra. In 1817 Hastings published a Musical Reader, reissued in 1819.
In 1817, Hastings removed to Troy. He went later to Albany, and in 1823 he settled in Utica, where he conducted a religious journal, the Western Recorder, through the columns of which he was able to make known his special views on church music. During these years at Utica he published The Union Minstrel, for the Use of Sabbath Schools (1830), and with Lowell Mason, Spiritual Songs for Social Worship (1831).
In 1832 Hastings was called to New York by a committee from twelve churches, who urged him to come and put into practice in that city the theories for better church music which he had been promulgating. This he did, and for forty years gave himself unreservedly to his important task. During several years of this period he served as choirmaster in the Bleecker Street Presbyterian Church.
In 1836 Hastings published The Musical Miscellany and, in collaboration with William Patton, The Christian Psalmist, or Watts Psalms and Hymns (2 vols. ), with copious selections from other sources. Under his own editorship he later published The Manhattan Collection (1837); The Sacred Lyre (1840); and Selah (1856). With W. B. Bradbury he compiled The Psalmodist (1844), New York Choralist (1847), Mendelssohn Collection, and Psalmista (1851); and with his son, Thomas S. Hastings, Church Melodies (1858). Aside from these musical works he also published Dissertation on Musical Taste (1822, 1853), Devotional Hymns and Religious Poems, History of Forty Choirs (1854), and Sacred Praise (1856).
It can readily be seen from the list of his published works how faithfully Hastings toiled through the years to carry out the purpose so near his heart. His work in New York seems to have quite paralleled that of Lowell Mason in New England. Of Hastings’ own tunes, of which he is supposed to have written about a thousand, it can be said that next to those of Lowell Mason they were the best of his time in America. They included “Ortonville, ” “Rock of Ages” (Toplady), “Retreat, ” “Zion, ” and many others. It is not always possible to identify his hymns for he often published them under assumed names, thinking that the public would have greater respect for the music if the composers’ names bore a foreign aspect. In addition to writing times to words, he often wrote words to tunes, thus making possible the use of certain melodies for which there were then no hymns of appropriate meter. Showing the spirit of the true musical educator and pioneer, he devoted many pages in all of his earlier works to the rudiments of vocal music, comprising the most elementary instruction in notation, scales, and rhythms. He lived long and worked diligently until within a few days of his death.