190 



This movement was, also, successful, and was one of the results of 

 the previous movement in favor of regular singing. 



At this period, also, William Billings, of Boston, of whom an ac- 

 count was given, began to compose original and peculiar music, which, 

 for a long time, enjoyed unbounded popularity. His fugues, although 

 inferior music, wei'e described as the work of a man of genius, and as 

 being marks of progress from the previous condition of music here. 

 He improved the system of singing schools started in 1720 by Eev. 

 Thomas Symmes, of Bradford, introduced instrumental music, and 

 created a popular enthusiasm in behalf of music generally. 



Fugue music has been often described as of American origin, and 

 has been severely criticized and derided on that account ; but it was, 

 in fact, introduced into England from Italy as early as towards the 

 close of Elizabeth's reign. It has its uses in musical composition, and 

 has been applied with great effect by almost all great composers. But 

 Billings's style and his use of fugues was entirely unfitted to devo- 

 tional themes. 



The state of music, though improved from foi'mer times was low in- 

 deed in New England during the last thirty years of the eighteenth 

 centui'y. In England, it was, relativelj^ lower still. Since Billings's 

 day its course, here, has been steadily upward. 



From 1760 to 1780, seats began to be set apart for select choirs, and 

 instrumental music began to be introduced. Music, after the begin- 

 ning of this century, began to improve. Accounts were given of the 

 individuals and societies prominent in this work of reform, beginning 

 with the Essex Musical Association of 17'J7, and its sister society in 

 Middlesex. 



The struggle that ensued between the old-fashioned fuguists and 

 the " Old Hundred" singers (as they were called) of the New School 

 was depicted. 



Instruments were generally introduced in the following order : first, 

 the pitch-pipe ; second, the tuning-fork, or the brass reed; and third, 

 the violoncello, which was followed by the flute, hautboy, clarionet, 

 bassoon, and violin ; and, finally, the majestic organ, which, though in- 

 troduced here before the Revolution as previously stated, was never 

 used west of the AUeghanies until 1837. 



Finally, the productions of our native composers were briefly com- 

 mented on, and the fact noticed that from Salem had gone forth the 

 beautiful and familiar tunes of " Supplication," "Merton," and " Fed- 

 eral street." 



The paper closed with an appeal for the revival of Congregational 

 singing, which it was declared the direction of musical progress and 

 the present state of musical taste and education indicated, as the next 

 great movement in this line. 



