I.    The Colonial Period (1620)

III.    Shape-Note Singing Schools

The spread of singing schools through the South was aided by the invention of shape or patent notes. The system, first published by William Little and William Smith in The Easy Instructor (Philadelphia, 1801), used four distinctive note heads to indicate the four syllables denoting tones of a musical scale (fa, so, la and mi), then employed in vocal instruction, making unnecessary the pupil's need to learn and memorize key signatures. Denounced by critics as uncouth, the simplified notation caught on in the South and West where it became standard for sacred-music publication. In 1816 Ananias Davison (1780-1857) and Joseph Funk (1777-1862), both of Rockingham County, Va., became the first southern singing masters to compile and publish their own tunebooks. By 1860 more than 30 sacred tunebooks, all in shape notes, had been compiled by southerners, although many of these were printed outside the South at Cincinnati or Philadelphia. One of the most popular of these was The Southern Harmony, by William Walker of Spartanburg, S.C.: 600,000 copies were sold between 1835 and the beginning of the Civil War. The Sacred Harp (1844), by Georgia singing masters B.F. White and E.J. King, is still in print and is the basis of a flourishing musical tradition in six southern states.

Southern singing masters continued to teach the music of their Yankee predecessors but also introduced "folk hymns," melodies from oral tradition which they harmonized in a native idiom and set to sacred words. Many, including tunes for "Amazing Grace" and "How Firm a Foundation," have remained popular and have become symbols of southern religion. Camp meeting and revival songs with new refrains also formed part of the southern tunebook repertoire, especially after 1840. Southern singing masters established organizations such as the Southern Musical Association (1845) and the Chattahoochie Musical Association (1852, still active). These and other state and local conventions provided a forum where established teachers met to sing together, to examine and certify new teachers, and to demonstrate the accomplishments of their classes.

After the Civil War, singing schools and shape notes became increasingly identified with the South, while declining in popularity in other regions. Most teachers switched from the four-shape system to a seven-shape system to keep pace with new teaching methods. Leading singing masters established "normal schools" for the training of teachers. Periodicals such as The Musical Million (Dayton, Va., 1870-1915), helped to link teachers in many areas of the South. Small, cheap collections of music published every year began to supplant the large tunebooks with their fixed repertoire. Although folk hymns and revival songs continued to be published, gospel hymns derived from urban models entered the southern tradition.

In the 20th century, singing schools have declined over most of the region but have survived in a few areas. They seldom last more than two weeks of evening classes and may be as brief as one week. Pupils pay at least a token fee, but few teachers, if any, attempt to make a living as singing masters. Contemporary singing schools fall into three categories: 1) "Tunebook" schools are associated with surviving 19th-century books such as The Sacred Harp or Christian Harmony. These schools preserve much of the 18th-century American repertoire and performance practice. 2) Denominational schools are sponsored by churches, especially by those (Primitive Baptist, Church of Christ) that prohibit instrumental music in their worship. These schools use denominational hymnals, and, like their 18th century predecessors, attempt to train skilled sight-readers for congregational singing. 3) Shape-note singing schools are associated with the "little-book" seven-shape gospel repertoire. These schools, often sponsored by local singing conventions or by publishing companies, have declined since mid-century as community "sings" have been replaced by quartet performances. All three types of singing schools are regarded by their adherents as important means of transmitting musical knowledge, skills, and traditions to future generations.

IV.    Religious Music Becomes Popular

Southern Gospel Music, a truly American form, is an amalgam of hymns, spirituals and convention singing school tradition music. In recent years, a new "pop" contemporary religious music has surfaced using rhythms and electronic instrumentation to stimulate responses not obtained by older structures of instrumentation. A constant influx of musical sounds and styles continue to propel the "commercial church music" repretoire. Some say music sales now exceed it's closest competitor Country Music. Its most recognized sound is the close harmonies of quartets or larger groups, often made up of family members or friends. Gospel music has continued to grow and flourish in the South and across the nation, since the mid 1970's, with great influence by west coast, specifically California, charismatic and non-denominational movements. There is an ascerted effort by "commercial church music" publishers to merge the "entertainment element" into local worship, thus assuring continued commercial growth. In 1996 there were some 124,000 Southern Gospel concerts that were attended by 36 million fans in the United States. In all, there are about 1,780 gospel acts performing and recording and 910 Southern Gospel radio stations playing the music. In 2000, the National Quartet Convention held it's 40th Anniversary event with weekday evenings that drew between 16,000 and 17,000 people, with sold-out concerts seating 19,000 on weekend nights, according to a spokesperson of the National Quartet Convention. Today most of the big concerts are in halls or arenas.

Quoting from a music group’s "Who We Are" bio:
"The (unnamed group) were formed in 1967 as a non-profit, inter-denominational ministry. Powerful music and the message of Jesus Christ are the foundation of (unnamed group) MINISTRIES. From the great cathedrals of Europe to the smallest believers’ gatherings in Thailand, we reach out to the hearts of people ... seeking to meet their needs spiritually, emotionally and physically. On Sundays we have the privilege of performing in morning and evening concerts." Young people have the opportunity to participate. "You will be instructed by industry professionals in voice, instrumentation, choreography and dance. (Unnamed group) MINISTRIES is a non-profit organization and tour members are not paid but rather sent out as short-term missionaries. They are responsible for raising sponsorship for their specific position on tour. This money, combined with offerings taken at each concert and sales of recorded music and other products, covers the cost of touring."

V.    An Industry Is Born

The second edition of the World Christian Encyclopedia (Oxford University Press) is a compilation of statistical estimates and descriptions for each religious group in each nation. "Christianity has become the most extensive and universal religion in history," the encyclopedia states, and has a majority of the population in two-thirds of the world’s 238 countries. Even so, no one in 1900 would have predicted the sweeping defections from Christianity that took place "in Western Europe due to secularism and in the Americas due to materialism," the book says. Counted Christians are divided among 33,820 denominations or similar distinct organizations. Some 386 million believers are in "independent" churches apart from the historic Catholic, Orthodox, Anglican and Protestant branches, the book reports. Christians counted as belonging to other groups have quadrupled since 1970, with hugh increases noted among Pentecostal and Charismatic movements.

The referenced figures affect and mirror the ever growing religious music industry that was born from a 20th century bonding of a commercial view concept in tapping and merging "ministry" with "sales." The resulting merger is the creation of interestingly developed, formated and constructed non-profit organizations. Some would argue the point that "ministry" should not be used as a "commercial commodity." The demand for a popular and good music, combined with a sacred worship environment, can produce a nostalgic experience that is in itself enjoyable, entertaining, recreational and assuredly contributes to growth in attendance. This requirement of a consuming public, given adequate supply, demands the products necessary for religious commercial sales. In the words of a leading industry publisher: "We at (unnamed publisher) are looking to the 21st century with a goal of being a total communications company - using music, software, video, print music and other media to enhance the vertical relationship with the Father."

VI.    One Promotion Released For A Major Hymnbook Publisher Described It In This Manner:

"Only a few years ago, many churches thought they had to choose between traditional or contemporary music. Some celebrated the rise of contemporary worship songs, while others felt attached to the rich heritage and theological foundations of hymns. This new hymnal from (unnamed publisher) and (unnamed publisher) makes blended worship - mixing traditional and contemporary - a viable choice for churches that want to sing time-tested hymns as well as newer praise choruses. In addition to the choruses, gospel songs are well-represented, as well as respectable selection of traditional hymns from Roman Catholic, Reformed, Methodist and other traditions. With such a wide variety of congregational songs, the (unnamed hymnal) is the ideal source for churches using the blended worship model - on one page you have "Of the Father's Love Begotten," a fourth-century Latin hymn, and on the next page is "Arise, Shine," a charismatic Scripture chorus from the early 1980's. As a non-denominational hymnal, the compilation of nearly 700 songs for the (unnamed hymnal) was developed with the sole purpose of providing the strongest possible collection of songs and hymns for today's congregation."

"While Christian music has grown larger than the categories of jazz and classical, (unnamed publisher) has become the undisputed leader in "praise and worship" music, the fastest-growing segment of the Christian music industry. We know this success means that we've tapped an enormous hunger in God's people worldwide for tools that help them experience His presence. In 1994, our success led to (unnamed publisher) becoming a public company on the NASDAQ exchange. We at (unnamed publisher) are looking to the 21st century with a goal of being a total communications company - using music, software, video, print music and other media to enhance the vertical relationship with the Father."

VII.    One Promotion Released For A Denominational Hymnbook Described It In This Manner:

"The supplement is being developed by staff members of the (unnamed denomination) Publishing House and the denomination's Board of (unnamed Committee). "It's not a denominational book," said the Rev. (unnamed), a member of the Hymnal Supplement Committee. "It's a commercial book, basically." "We perceive the primary market to be (unnamed denomination)s," said (unnamed person), music editor of the (unnamed publisher). However, the supplement won't have the words "(unnamed denomination)" in the title or subtitle, he said. In addition, the team is using "expert consultants," who will take a closer look at the proposed book. Those include (unnamed denomination) and also people outside the denomination who have worked on hymnals with or for the (unnamed other denomination), the (unnamed other denomination), the (unnamed other denomination), (unnamed other denomination), charismatics and nondenominational churches reaching Gen-Xers."

VIII.    Observation

It should not be over looked that we live in a capitalistic society and certainly the opportunity to capitalize is embedded into our life style. There is nothing inherently wrong with this philosophy so long as there is no conflict between sacred goals and practices. If an industry can thrive on selling religious music then it could almost surely be compared to the capitalistic ability to bottle and sell water. It does not mean nor should it imply, that ones quality of worship is bad for them and they need a substitue to sustain being a "healthy Christian." There obviously is a marketable need for these "commercial products." The industry is flourishing and music can attract large numbers of people. Certainly one could argue the point that music helps one feel better and, almost assuredly, can also help one to feel worse. Herein lies the dilemma of "popular" music choice versus "non-popular" choices. Should a musical rating system dictate our choices for "good church music?"

The Christian Copyright Licensing, Inc. ("CCLI") Internet bio states:
"The Church Copyright License service was birthed in the music department of a large church called Bible Temple in Portland, Oregon. It began in 1984 when the pastor first became aware of the Copyright Law and a pending $3.1 million lawsuit against the Archdiocese in Chicago. He asked his music minister to see what could be done about the copyright crisis. In January 1985, he began to develop a "permission of use" concept, whereby churches could obtain blanket permission for specific copying activities, which he labelled "non-commercial." It was called Starpraise Ministries and was to be CCLI’s predecessor. In January 1988, Starpraise Ministries was incorporated and in April the corporation name was changed to Christian Copyright Licensing, Inc. CCLI now serves more than 140,000 churches worldwide in Worship." It should also be noted that a monthly fee, based on a yearly contract, is charged each church for CCLI services.

One religious publisher stated a song’s popularity this way in 2000:
"The song (unnamed) has constantly been ranked in the top-twenty songs rated by Christian Copyright Licensing Inc. ("CCLI"), the company that monitors and reports licensing transactions for Christian hymns. The song (unnamed) appears in many hymnals of the major Christian denominations, including hymnals of the Baptist, Methodist and Nazarene religions. The song (unnamed) has been one of the singular most popular Christian hymns and is one of the most popular Gospel songs in major denominations in the past two decades."

Nothing is free is a popular phrase in our society but this statement does not represent the value of sacred and individual choice. Some choose not to be capitalized upon and simply turn off the television or hang up the phone on telemarketers; however, others do not feel that they have anything unless they "pay the price." There seems to be a chasm of void in thought and preference when it comes to "sacred commercialization." It is quite an amazing thought that the Church advocates the sacred premise that "the price has already been paid." This fundamental Christian belief that "Christ has paid the price" leaves it to all of us as to what we do beyond that. Some however, have figured out a way to supply and sell to the Christian populas their sacred music demands and preferences and even in the selling of services for protection of the use of music in worship services. Does this amount to a commercialization founded upon the filling of a need to pay more for that which has already been paid? Do we now need protection? Indeed this seems to be the case. One could surmise that we require, we need and we prefer good church music. Some prefer it be "worshipfully entertaining" along with the assurance that the use of it is protected. Surely, in this period of our history, the consumming public deserves and demands the most of what there is to be offered.

Clearly, in the worship context, there has not been enough dialogue and study conducted by the Church in order to preserve and protect it’s "sacred right" of worship using music.

IX.    A Look At The Past With Concerns For The Future

Healthy dialogue on this subject can help forge guidelines needed for the future. The "Fair Use" of copyrighted religious musical works, if studied sufficiently, may reveal exempted limitations found under 17 USC §107, dealing with Fair Use, and 17 USC §108, dealing with reproduction by libraries and archives. (Section 101, Title 17 of the United States Code, entitled "Copyrights.")

17 USC §110 (3) clearly states the exemption of certain performances and displays as thus:
"The following are not infringements of copyright: (3) performances of a nondramatic literary or musical work or of a dramatic musical work of a religious nature, or display of a work, in the course of services at a place of worship or other religious assembly."

We cannot escape the fact that the sacred parts of our lives are influenced by copyright laws, popular music rating systems, entertainment values and at times weak, fragile and even secular substitutions for worship. But, there are alternatives to this continued path of sacred commercialization. One such alternative may seem a simplistic solution: "What is done for the Church, in the name of the Church, belongs to the Church."

The early Colonist loved Psalm singing at home and at church. They generally sang in unison and unaccompanied. The use of instruments was considered the work of the devil. The music they sang contained melodies meant to be sung in unison with almost no part-singing. Their songs had long stanzas, difficult melodies and were easily forgotten. Their original 39 tunes was soon reduced to 12 more easily sung tunes and signaled a trend toward simplification. Then musical instruments began appearing in the church. The original mission was to improve church singing and introduced the art of singing by note. The original mission of the Colonist, in our present day, is not the first and foremost consideration or concern. It is easily recognized that most congregations do not "sing by note" and prefer to "sing by feel." After all, if it feels good then it assuredly must be good. Or is it? You decide.

Wherefore, there is clearly a need to separate church music from commercialization by working within defined laws to cease the invasion of “materialistic secularization” upon the Church. This can be accomplished by: (1) conducting new dialogue and research on this subject, and; (2) the Church establish guidelines and policies with a goal of building a sacred music library owned, controlled and sanctioned by the Church or within each church.

Analysis and Observation by Ronald G. Calhoun
THE SCHOOL OF CHURCH MUSIC of Calhoun Conservatory of Music