fact, it soon became questionable as to whether this would turn out
to be any broader than a history of music in the Episcopal Church
alone. I have striven to avoid this as much as possible but it has been
difficult, for there has been relatively little written, or few records
preserved, on music in the other churches. Similarly, much more has
been recorded of music in the older, Eastern sections of the country
than in those sections but a few generations removed from the pioneer
days.

In the effort to make this work as comprehensive as possible, I have
been greatly assisted by a number of individuals. Many of the persons
whose biographical sketches are included in Appendix C have been
very helpful, both in conversation and correspondence. I have been
aided by innumerable letters from others who have oftentimes been
able to clarify or verify otherwise obscure points. What perspective
my work does have has been increased immeasurably by the following
persons, each of whom has read and commented upon various parts
of the work: the late Wallace Goodrich, director emeritus of the New
England Conservatory; J. Vincent Higginson, managing-editor of The
Catholic Choirmaster; Berniece Fee Mozingo, organist-choirmaster of
Trinity Evangelical Lutheran Church, Indianapolis; Leo Sowerby,
organist-choirmaster of St. James' Church, Chicago; Robert Stofer, or-
ganist-choirmaster of Covenant Presbyterian Church, Cleveland; Wil-
liam Treat Upton, professor emeritus of Oberlin College and authority
on early American music.

Two facts have been noticed many times in the course of my re-
search. The first is a recurring emphasis on congregational singing,
even in the Roman Catholic Church. At first, in the New England
colonies and in the special groups in Pennsylvania, the only music was
the congregational singing of Psalms and hymns brought over from
the old country. But as organs and choirs were introduced, we find,
again and again, sermons and lectures stressing the importance of
participation by the entire congregation. The emphasis placed on it
today by musicians of all faiths has a very familiar ring.

The second fact, and one which should be accentuated, is that
throughout our history no church has succeeded in having outstanding
music unless it was ready and willing to pay for it. Good music costs

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