Abstract
BY the 1830s the music of the New England singing schools had fallen into disrepute and was being replaced by a church hymnody more European in orientation and more conventional in style.1 The native idiom and in particular the fuging tune were considered inferior to the more scientific music of such composers as Lowell Mason and Thomas Hastings. If the old tunes were included in collections, they were often corrected or rearranged to suit the new ideas of taste.2
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