THE MASSACHUSETTS HARMONY, 1784-85

The Massachusetts Harmony, [1st ed., 1784]

ASMI 376 

The Massachusetts Harmony. Being a new collection of psalm tunes, fuges and anthems, selected from the most approved authors, ancient and modern. By a lover of harmony. Boston: printed for, and sold by John Norman, at his shop in Marshall's Lane, near the Boston Stone; where may be had a new collection of tunes suitable to bind up with Watt's psalms and hymns; also, the British grammar, French grammar, spelling books, psalters, primers, &c.

4 p.l., 6-95 p. 12 x 25 cm. 4th p.l. recto, p. 6-95 engraved [by William Norman]. See note below, under John Norman. p. no. on p. 38 inverted.

[1784.] Boston Gazette, 25 Oct. 1784, advertises work as just published. Ist p.l. recto, t-p.; verso, 'Index'; 2d 1. recto, 'Preface', 'Advertisement', & 'Ornaments of Music'; verso & 3d 1. recto & verso, instructions & rudiments; 4th 1. recto, 'Lessons for Tuning the Voice'; verso blank; p. 6-95, music. 'The Motives which first induc'd me to publish the following sheets, were the repeated solicitations of many persons, and a sincere desire to furnish Schools with a variety of plain Psalm Tunes, and such as were particularly adapted to public social Worship. I have selected most of the Fuges and Anthems from different European Publications, and some are entirely Original. I wish'd to have added several other Anthems; but the propos'd size wou'd not admit of it. I hope none of those worthy Characters who have heretofore published Books of this kind, will be so ungenerous as to brand me with the appellation of pirate, or plagiary, because I have so high an opinion of their knowledge in this Science, their judgment, and good taste, as to publish some of their Compositions . . . . [signed] The Editor.' (Excerpt from Preface.) 'Some Tunes (being given to the Engraver, who took them from wrong publications) will appear without the usual Cliff on the Counter . . . Some discords may be found in several pieces; but they are allowed when properly covered, and all parts move together; and I only wish there may not more be made in performing the pieces, than there really are in them. I must confess, I don't think it absolutely necessary to introduce discords into the composition of a tune, in order to have some discovered in performing it. And I wish Masters in particular would attend to such persons, and choirs as they instruct, and observe that they give the right sound to Mi, in a natural sharp key; for 'tis very seldom that I hear St. Hellens or 34th Psalm, &c. sung right, and even by such persons, who would not think you complimented them too highly, if you told them they had a most delicate ear, and could accurately distinguish between a concord and discord, even if they were then grating your ear with their Jargon. Correctness has been the principal object in view. . . . I shall omit suggesting any rules respecting composition, lest it might be too justly observed, that I had attempted what I did not sufficiently understand.' (Excerpt from Advertisement.)

          91 compositions, incl. 5 anthems & 1 set-piece, for 3 & 4 voices; some w. full text, some textless. Attrib. to Stephenson. 10 1st Am. pr. identified (EFFINGHAM, FAIRFIELD, HANOVER, HATFIELD, LEXINGTON, LYDD, NORTH ST., PARIA, SHEFFIELD, WASHINGTON NEW). 1 17 American compositions, 67 non-American, 7 unidentified [EFFINGHAM, LEXINGTON, MORNING HYMN, NORTH ST., PARIA, SHEFFIELD, WASHINGTON NEW] (17 traced to American sources [AMHERST, BETHLEHEM, BROOKFIELD, BUNKER HILL, HARTFORD, MIDDLETOWN, NORWICH, PHILADELPHIA, PSALMS 25, 33, 46, 122, 136, RICHMOND, SPRINGFIELD, STOCKBRIDGE, SUFFIELD]; I attrib. non-American, 66 traced). 

45 Core Repertory.

          E18366 (no copy on Readex). DLC, ICN, MSaE, MWA*, PPiPT, RPB.