Any of the following concepts and terms (as well as any not specifically listed, but indicated in these review questions) may be included on the first test in MUH 3633. Know these concepts and terms, including their (1) spelling, (2) pronunciation, and (3) definition (if appropriate).

In addition to your notes and the daily PowerPoint slides, remember that there are links on the course home page that provide explanations and even audio and video demonstrations of many of the terms and concepts listed below.

Chapter 3

The Rise and Fall of New England Psalmody

1. How and why did singing schools and tunebooks expand after William Billings? Who were some of these later composers, and what sorts of careers did they have?
2. What were the typical contents of a tunebook in the late 18^th century?
3. Know the music example "Sherburne" (LG 3.1) by Daniel Read. What are its primary sounding traits? What is interesting or unusual about the second section ("The angel of the Lord...")?
4. What is a "fuging tune", and how does it compare to a genuine "Bach fugue"?
5. How did the reaction against psalmody around 1800 lead to the interest in "ancient music"?
6. Who was Nathaniel D. Gould and why did he (and others like him) advocate for "ancient music"? What sorts of music were found in "reform tunebooks"?

Singing Praises: Southern and Frontier Devotional Music

7. Who was Andrew Law and what contributions did he make to the reform of paslmody?
8. What were shape notes (or fasola notes), why were they invented, and how do they represent pitch?
9. How did camp meetings and the Second Great Awakening contribute to the development and distribution of shape note-singing?
10. How did shape-note hymnody differ from New England psalmody?
11. What was (and is) The Sacred Harp? What are its contents, and how might they relate to New England psalmody?
12. How is shape-note singing practiced nowadays? What are the characteristic ways in which this music is sung (seating arrangment, leader, order of performance)?
13. Know the music example "Idumea" (LG 3.2). What are its primary sounding traits? Which voice carries the melody (and who sings this line), what "violations" of proper voice-leading are audible, and how would one describe the vocal quality of this ensemble?

Edification and Economics: The Career of Lowell Mason

14. Who was Lowell Mason, where was he born and raised, and what was his training in music like?
15. What was "scientific music", and why did Mason promote it?
16. What was the Handel and Haydn Society, and how did it support Mason's goals?
17. How was Mason important in the development of music education? What are the "Pestalozzian Principles" that he followed?
18. What sorts of business ventures in music did Mason engage in? How successful was he?
19. How did Mason contribute to the development of Protestant hymnody? What did Mason publish, and what are its contents like?
20. Know the music example "Olivet" (LG 3.3). What are its primary sounding traits?
21. Who were William B. Bradbury and George F. Root, and how did they contribute to Mason's goals and aims?

To supplement your textbook reading, make sure that you read the following primary documents in To Stretch Our Ears:

• # 18 - Andrew Law
• # 20 - Nathaniel D. Gould
• # 21 - Lowell Mason
• # 24 - Shape-Note Hymnody
• # 25 - Enduring Quality of Fasola