Page:A Dictionary of Music and Musicians vol 2.djvu/669

PART MUSIC. 

Class A was republished in 1868, in score and parts, under the editor's superintendence, by Messrs. Longmans, in a larger size though smaller type than before. A few of the original pieces were omitted, and the following were added, chiefly from Mr. Hullah's 'Vocal Scores.'

[ G. ]

PART-SONG. (Ger. Mehrstimmiges Lied; Fr. Chanson à parties.) A composition for at least three voices in harmony, and without accompaniment. This definition must of course exclude many compositions frequently styled part-songs, and perhaps so named by their composers, but which would be better described under some other heading. For example, the two-part songs of Mendelssohn, Rubinstein, and other modern musicians (Zweistimmige Lieder) are, more properly speaking, duets. [See .] The term 'part song' will here be employed exclusively as the proper signification of one of the three forms of secular unaccompanied choral music; the others being the madrigal and the glee. Unlike either of its companions, its etymology is plain and simple, being neither of obscure origin, as in the instance of the Madrigal, nor of misleading sense, as in that of the Glee.

Before proceeding to enquire into the origin and growth of the part-song, it will be as well to note the special characteristics by which it is distinguished from other forms of composition. The words to which the music is set may be either amatory, heroic, patriotic, didactic, or even quasi-sacred in character, e.g. Mendelssohn's 'Morgengebet' (op. 48, no. 5), and 'Sonntagsmorgen' (op. 77, no. 1); this wide choice of subjects giving the composer scope for variety in his music which the somewhat rigid form of the composition might otherwise seem to deny. Rhyming verse is all-but essential, and though the question of metre is to a certain extent an open one, iambics are employed in the vast majority of instances. The first requisite of the music is well-defined rhythm, and the second unyielding homophony. The phrases should be scarcely less measured and distinct than those of a Chorale, though of course in style the music may be lively or sedate, gay or pathetic. Tunefulness in the upper part or melody is desirable, and the attention should not be withdrawn by elaborate devices of an imitative or contrapuntal nature in the harmonic substructure. It is obvious that if these principles are to be observed in the composition of a part-song—and any wide divergence from them would invalidate the claim of a piece to the title—it must, as a work of art, be considered as distinctly inferior to either the madrigal or the glee. And it is worthy of surprise and perhaps of regret that while the forms of instrumental composition are constantly showing a tendency to move in the direction of increased elaboration, choral music should exhibit a decided retrogression from the standard attained in the 16th and 17th centuries. It has even been observed by those who regard with some distrust, if not with actual dislike, the immense and ever-increasing influence of Germany in modern musical impulse, that the existing popularity of the part-song, in so far as it is detrimental to the interests of higher forms of vocal music, is one of the baneful products of this Teutonic supremacy. But the statement that the part-song is fundamentally