New Musical Tradition

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A_Missionary_Preaching_to_the_Natives,_under_a_Skreen_of_platted_Cocoa-nut_leaves_at_Kairua_by_William_Ellis-1823

July 1, 2019 by Peter T Young 2 Comments

“Music serves to enliven many an hour of sadness, or what would be sadness otherwise. It is an expression of the emotions of the heart, a disperser of gloomy clouds.” (Juliette Montague Cooke; Punahou)

Hawaiians devised various methods of recording information for the purpose of passing it on from one generation to the next. The chant (mele or oli) was one such method. Elaborate chants were composed to record important information, e.g. births, deaths, triumphs, losses, good times and bad.

In most ancient cultures, composing of poetry was confined to the privileged classes. What makes Hawai‘i unique is that poetry was composed by people of all walks of life, from the royal court chanters down to the common man.

“As the Hawaiian songs were unwritten, and adapted to chanting rather than metrical music, a line was measured by the breath; their hopuna, answering to our line, was as many words as could be easily cantilated at one breath.” (Bingham)

The Pioneer Company of missionaries (April, 1820) introduced new musical traditions to Hawai‘i – the Western choral tradition, hymns, gospel music, and Western composition traditions. It was one of strophic hymns and psalm tunes from the late-18th century in America.

The strophic form is one where different lyrics are put to the same melody in each verse. Later on, with the arrival of new missionaries, another hymn tradition was introduced was the gospel tune with verse-chorus alternation. (Smola)

The missionaries also introduced new instrumentation with their songs. Humehume (George Prince, son of Kauai’s King Kaumuali‘i) was given a bass viol or ‘Church Bass’ (like a large cello) and a flute that he have learned to play well. He returned to the Islands with the Pioneer Company. Later, church organs, pianos, melodeons, and other instruments were introduced to the Islands.

Bingham and others composed Hawaiian hymns from previous melodies, sometimes borrowing an entire tune, using Protestant hymn styles. In spite of the use of English throughout Hawaii, the Hawaiian language continues to be used in Bible reading and in the singing of hîmeni (hymns) in many Christian churches. Himeni still preserve the beauty of the Hawaiian language. (Smithsonian)

The first hymnal in the Hawaiian language was ‘Nā Hīmeni Hawaii; He Me Ori Ia Iehova, Ka Akua Mau,’ published in 1823. It contained 60 pages and 47 hymns. It was prepared by Rev. Hiram Bingham and Rev. William Ellis, a London Missionary Society missionary who was visiting.

On June 8, 1820, Rev. Hiram Bingham set up the first singing school at Kawaiaha‘o Church. He taught native Hawaiians Western music and hymnody. These ‘singing schools’ emphasized congregational singing with everyone actively participating, not just passively listening to a designated choir.

By 1826, there were 80 singing schools on Hawai‘i Island alone . By the mid-1830s, church choirs began to become part of the regular worship. This choral tradition partially grew out of the hō‘ike, or examination, when the students being examined would sing part of their lessons.

Hawai‘i Aloha

“For more than 100-years, love of the land and its natural beauty has been the poetry Hawaiian composers have used to speak of love. Hawaiian songs also speak to people’s passion for their homeland and their beliefs.” (Hawaiian Music Museum)

Next time you and others automatically stand, hold hands and sing this song together, you can thank an American Protestant missionary, Lorenzo Lyons, for writing Hawai‘i Aloha – and his expression of love for his home.

Na Lani Eha

In 1995, when the Hawaiian Music Hall of Fame selected its first ten treasured composers, musicians and vocalists to be inducted, ‘Na Lani Eha’, (The Royal Four), were honored as the Patrons of Hawaiian music.

‘Na Lani Eha’ comprises four royal siblings who, in their lifetimes, demonstrated extraordinary talent as musicians and composers. They were, of course, our last king, Kalākaua, his sister, Hawai‘i’s last queen, Lili‘uokalani, their brother, the prince, Leleiōhoku, and their sister, the princess, Likelike, mother of princess Ka‘iulani.

In August 2000, ‘Ka Hīmeni Ana’, the RM Towill Corporation’s annual contest at Hawai‘i Theatre for musicians playing acoustic instruments and singing in the Hawaiian language, was dedicated to missionary Juliette Montague Cooke, the Chiefs’ Children’s teacher and mother.

John Montague Derby, Sr., who accepted this honor for the Cooke family, said. “(it is) with gratitude for the multitude of beautiful Hawaiian songs that we enjoy today which were composed by her many students.”

Planning ahead … the Hawaiian Mission Bicentennial – Reflection and Rejuvenation – 1820 – 2020 – is approaching (it starts in about a year)

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This is a summary; click HERE for more on Melton Mowbray.

December 31, 2018 by Peter T Young Leave a Comment

Melton Mowbray

They called it Melton Mowbray (and referred to as “a favorite song of Zion;”) it is generally known as ‘Head of the Church Triumphant’.

Hiram Bingham & Asa Thurston of the Pioneer Company spontaneously broke into singing this song at:
• Ordination of Bingham and Thurston at Goshen (Sep 29, 1819);
• Receiving Instructions from the ABCFM at Park St. Church (Oct 15, 1819);
• Parting Address delivered by Asa Thurston at Park St. Church (Oct 16, 1819);
• Long Wharf, Boston Harbor on the day of their departure to Hawaiʻi (Oct 23, 1819) and
• Kawaihae, shortly after the arrival of the Pioneer Company (Apr 1, 1820)

Ordination of Bingham and Thurston at Goshen

At the ordination of Hiram Bingham and Asa Thurston, “A larger assembly than had ever congregated here thronged the old meeting-house. There were many outside who could find no accommodation within.”

“Nearly all the Foreign Mission School were present; as also several students from the Andover Seminary, who afterwards became missionaries. Strangers, too, from a distance were here, the honored and the excellent.”

“‘The sermon was preached by the Rev. Dr. Heman Humphrey, who had been a theological pupil of Mr. Hooker in this place, and was afterwards President of Amherst College, from the words: ‘And there remaineth yet very much land to be possessed.’ (Joshua xiii: 1.) It was quite in advance of the general spirit and sentiment of the times.’” (Hibbard, History of Goshen)

“ Without previous intimation the two consecrated young men stepped into the broad aisle, and with clear, strong, ringing voices — Thurston, tenor; Bingham, bass; sung Melton Mowbray (‘Head of the Church Triumphant’).’”

“‘The effect was electrical. Those young missionaries were looked upon as martyrs. Some pictured them as finding their graves in the bottom of the ocean; some as meeting with death at the hands of savages; some as the welcomed heralds of glad tidings to isles waiting for God’s law, and for the gospel of our Lord Jesus Christ.”

“Enthusiasm rose to the highest pitch. There are junctures when nothing but the voice of sacred song can either lift the soul to heights unattained before, or give utterance to its exalted emotions.’” (Hibbard, History of Goshen)

Receiving Instructions from the ABCFM at Park St. Church

“The mission received the public instructions of the Prudential Committee given by Dr. Worcester, on the evening of the 15th of Oct., at Park St. Church, when one of these pioneers preached ” on the grand design of the Bible to promote benevolent action.”

“Many churches, in different parts of the country, moved by the same spirit, engaged in special, earnest prayer for the success of this mission, and many a heart began to anticipate the happy result of the enterprise.” (Bingham)

Parting Address delivered by Asa Thurston at Park St. Church

“The next morning, Saturday, October 16, at 10 o’clock, Mr. Thurston delivered a farewell address in the same church to a large congregation of friends of missions from various parts of New England.

Kawaihae, shortly after the arrival of the Pioneer Company

When the American Protestant missionaries first arrived in the Islands, they broke into song. Hiram Bingham notes that on April 1, 1820, off Kawaihae, Kalanimōku came onboard their boat.

“The chiefs, on this occasion, were rowed off with spirit by nine or ten athletic men in each of the coupled canoes, making regular, rapid and effective strokes, all on one side for a while, then, changing at a signal in exact time, all on the other.”

“Each raising his head erect, and lifting one hand high to throw the paddle blade forward beside the canoe, the rowers, dipping their blades, and bowing simultaneously and earnestly, swept their paddles back with naked muscular arms, making the brine boil, and giving great speed to their novel and serviceable sea-craft.”

“These grandees and their ambitious rowers, gave us a pleasing indication of the physical capacity, at least, of the people whom we were desirous to enlighten, and to whose necessities we rejoiced to know the Gospel to be adapted.”

“As they disappeared, the sun sank to his western ocean bed towards populous China, and the full orbed moon, brightly reflecting his light, rose majestically from the east, over the dark Pagan mountains of Hawaii, symbolizing the approach of the mission Church, designed to be the reflector of the sun-light of Christianity upon that benighted nation.

“Then, ere the excitement of the chiefs’ visit was over, Mr. Thurston and his yoke-fellow (Hiram Bingham) ascended the shrouds, and, standing upon the main-top (the mission family, captain and crew being on deck) …”

“… as we gently floated along on the smooth silent sea, under the lee of Hawaii’s dark shores, sang a favorite song of Zion (Melton Mowbray), which they had sung at their ordination at Goshen, and with the Park St. Church choir, at Boston, on the day of embarkation.” (Bingham)

New Musical Tradition with Harmony and Choral Singing

When the missionaries first arrived at Kailua-Kona in 1820, King Kamehameha II and his entourage came aboard the Brig Thaddeus and listened to the hymns sung by the missionaries. “Happy to show civilities to this company, at our own table, we placed the king at the head of it, and implored the blessing of the King of kings, upon our food, and on the interview.”

“All assembled on the quarter-deck of the Thaddeus; and the mission family with the aid of a bass-viol, played by George P. Kaumuali‘i, and of the voices of the captain and officers, sang hymns of praise.”

“Apparently pleased with this exercise, and with their interview with the strangers, our royal visitors gave us a friendly parting aloha, and returned with favorable impressions of the singular group of newcomers, who were seeking among them an abode in their isolated territories.” (Bingham)

“Our singing, aided by the bass viol, on which G. P. Tamoree (Humehume) played, was pleasing to the natives, and will probably have a salutary influence in winning them to approve and to engage in Christian worship.” (Journal of the Mission, Missionary Herald, May, 1821)

“One of the oldest residents, Mr. H—, at the sound of the songs of Zion had the tears upon his furrowed cheek. He had heard nothing of the kind for more than twenty years. He is a native of Mass. O, that it might appear that the gospel is not sent to him and others, after this long voluntary banishment from it, in vain.” (Sybil Bingham)

It has been stated that formerly there was no word in the Hawaiian language for singing as we know it. The modern term is hīmeni an adaptation of the word hymn. The native Hawaiians first obtained an idea of real melody from the hymn singing of the missionaries. (Roberts)

The Pioneer Company of missionaries (April, 1820) introduced new musical traditions to Hawai‘i – the Western choral tradition, hymns, gospel music, and Western composition traditions.

They brought strophic hymns and psalm tunes from the late-18th century in America. The strophic form is one where different lyrics are put to the same melody in each verse. Later on, with the arrival of new missionaries, another hymn tradition was introduced was the gospel tune with verse-chorus alternation. (Smola)

Once established in the Islands, missionaries used songs as a part of the celebration, as well as learning process. “At this period, the same style of sermons, prayers, songs, interrogations, and exhortations, which proves effectual in promoting revivals of religion, conversion, or growth in grace among a plain people in the United States was undoubtedly adapted to be useful at the Sandwich Islands. … some of the people who sat in darkness were beginning to turn their eyes to the light”. (Bingham)

Bingham-Thurston

March 20, 2018 by Peter T Young Leave a Comment

Himeni

Oli and mele were a part of the Hawaiian tradition. “As the Hawaiian songs were unwritten, and adapted to chanting rather than metrical music, a line was measured by the breath; their hopuna, answering to our line, was as many words as could be easily cantilated at one breath.” (Bingham)

When the American Protestant missionaries first arrived in the Islands, they broke into song. Hiram Bingham notes that on April 1, 1820, off Kawaihae, Kalanimōku came onboard their boat. “Then, ere the excitement of the chiefs’ visit was over, Mr. Thurston and his yoke-fellow (Bingham speaking of himself) ascended the shrouds …”

“… and, standing upon the main-top (the mission family, captain and crew being on deck), as we gently floated along on the smooth silent sea, under the lee of Hawaii’s dark shores, sang a favorite song of Zion (Melton Mowbray), which they had sung at their ordination at Goshen, and with the Park St Church choir, at Boston, on the day of embarkation.”

“… was undoubtedly adapted to be useful at the Sandwich Islands. … some of the people who sat in darkness were beginning to turn their eyes to the light”. (Bingham)

“Before the year 1823 had closed the (Bingham and William Ellis) had prepared a small hymn book of sixty pages, of which 2000 copies were printed in December. Mr. Ballon says: ‘A large proportion of the hymns were original, but among them were translations of Watt’s 50th Psalm, Pope’s ‘The Dying Christian to his Soul,’ several choruses from Handel’s Messiah.’”

“‘This book also contained a translation of more than forty select passages of Scripture.’” It was called Na Himeni Hawaii; he me ori ia Iehova, ke Akua mau’. “Literally-translated the title reads thus, ‘The hymns Hawaiian for the praise of Jehova the God continuing’”. (Westervelt; Thrum)

On October 23, 1823, missionaries wrote: “We are about to put to press within a few days an edition of twenty hymns prepared principally by Mr. Ellis. We purpose also to print a catechism and a tract.” (Ballou & Carter)

“A large proportion of the hymns were original, but among them were translations of Watts’ 50th psalm, of Pope’s ode, The dying Christian to his soul, Owhyhee’s idols are no more (originally Taheite’s), the jubilee hymn, several choruses from Handel’s Messiah, &c.” (Ballou & Carter)

“In August of 1825 the 2,000 copies of this first edition had all been given out gratis and it was felt that hymns were needed more than any other textbook. On March 10, 1826, it was recorded that 10,000 copies of the second edition of hymns, nearly through the press, would exhaust the paper on hand.”

“The next issues of this little book then appeared in what now seems rapid succession: 1827, 1828 and 1830. In the edition of 1826 the number of hymns had grown from 47 to 63; in the third, fourth and fifth editions 100 hymns were printed on 108 pages.”

“Each of these four issues, from 1826 to 1830, was published in an edition of 10,000 copies, except that of 1828, of which 20,000 were printed.”

“The fifth edition, of 1830, was delayed because the old type was so worn down by long usage as to be quite impracticable.” (Wilcox; Damon The Fiend, March 1935)

The missionaries wrote other songs – and sang with the ali‘i. “The king (Kamehameha III) being desirous to use his good voice in singing, we sang together at my house, not war songs, but sacred songs of praise to the God of peace.” (Bingham)

One of the unique verses (sung to an old melody) was Hoʻonani Hole – Hoʻonani I Ka Makua Mau. Bingham translated it to Hawaiian and people sang it to a melody that dates back to the 1600s – today, it is known as the Hawaiian Doxology.

Another popular Hawaiian melody was written by another missionary, Lorenzo Lyons. “Lyons was eminently popular with Hawaiians and with all men. His nature was guileless, cordial, enthusiastic, cheering. He was remarkable for hospitality to Hawaiians always seeing that his visitors passing through Waimea had something to eat.” (Hawaiian Gazette, October 19, 1886)

Lyons was an avid supporter of the Hawaiian language. He wrote a letter to the editor in The Friend newspaper (September 2, 1878) that, in part noted: …

An interminable language … it is one of the oldest living languages of the earth, as some conjecture, and may well be classed among the best…the thought to displace it, or to doom it to oblivion by substituting the English language, ought not for a moment to be indulged. … Long live the grand old, sonorous, poetical Hawaiian language.”

Lyons was lovingly known to Hawaiians as Ka Makua Laiana, Haku Mele o ka ʻĀina Mauna (Father Lyons, Lyric Poet of the Mountain County).

Lyons was fluent in the Hawaiian language and composed many poems and hymns; Lyons’ best known and beloved work is the hymn “Hawaiʻi Aloha,” sung to the tune of “I Left It All With Jesus” (circa 1852.) The song was inducted into the Hawaiian Music Hall of Fame in 1998.

“Widely regarded as Hawaiʻi’s second anthem, this hymn is sung in both churches and public gatherings. It is performed at important government and social functions to bring people together in unity, and at the closing of Hawaiʻi Legislative sessions.”

“The first appearance of “Hawaiʻi Aloha” in a Protestant hymnal was in 1953, nearly 100-years after it was written. Today, people automatically stand when this song is played extolling the virtues of ‘beloved Hawaiʻi.’” (Hawaiian Music Museum).

Queen Liliʻuokalani, while a student at the Chiefs’ Children’s School, learned and became fluent in English, and studied music and the arts. Her talent for music blossomed and she eventually wrote more than 150 songs, including “Aloha ʻOe.”

“To compose was as natural to me as to breathe; and this gift of nature, never having been suffered to fall into disuse, remains a source of the greatest consolation to this day.”

“… Hours of which it is not yet in place to speak, which I might have found long and lonely, passed quickly and cheerfully by, occupied and soothed by the expression of my thoughts in music.” (Liliʻuokalani)

“In view of the fact that the best modern Hawaiian music, now known the world over, owes much to the musical form of these early hymns, one wishes that history had been less restrained.”

“Yet, even in default of any direct, consecutive record, one may piece out quite a little of the story of Hawaiian hymns from references in early letters and accounts of their printing.”

“And when one has the good fortune to touch with one’s own hands many of the early songbooks printed in Hawaiian, the search toward a complete account of them becomes a fascinating pursuit.” (Wilcox; Damon The Fiend, March 1935)

“When our Protestant missionaries came to hymnody in Hawaiian – as they very soon did – they reared a natural superstructure upon this rich and rhythmical foundation of the Bible. It was a veritable treasure house.”

“But strangely, too, another very deep-seated source of balance and rhythm and figured speech flowed in the cultural consciousness of the Hawaiian people to whom these new Christian messages were being brought. Instinct in the Hawaiian mode of thought was the impulse and the act of prayer, of supplication, of praise.” (Wilcox; Damon The Fiend, March 1935)