So many of my ancestors came to colonial America in search of religious freedom. They were a godly bunch, imbued with the Protestant work ethic, so it can be difficult to imagine what kinds of leisure activities they enjoyed. But they did not work all the time. Sundays were reserved for worship and family, and although liturgical music could sometimes be controversial, it remained an important part of religious life. What hymns could be sung? Were musical instruments allowed? It is fascinating to trace how worship music evolved within the different denominations and across different periods of American history.
We do have a few clues. My Huguenot ancestors were undoubtedly familiar with the Genevan Psalter, and the singing of Psalm 137—translated into English as “By the Rivers of Babylon”—may have saved the life of my 8th-great-grandmother, Catherine Blanchan DuBois, when she was taken captive by Indigenous people in 1663. The Psalter was central to Reformed worship, as many Reformed Protestants rejected hymns that were not direct biblical texts. The fact that Catherine and the other Huguenot captives could recite the psalm from memory shows how deeply these songs were woven into their faith and daily lives.
My Puritan ancestors brought English psalters with them but soon produced their own American version, the Bay Psalm Book, the first book printed in British North America.
Interestingly, few of its settings are still sung today, whereas several tunes from the Genevan Psalter—most notably the Old Hundredth (“Praise God, from Whom All Blessings Flow”)—remain familiar in churches around the world.
Eventually, however, cracks began to appear in the Congregational Church's commitment to exclusive psalm singing. The influence of Isaac Watts, Charles and John Wesley, and the growth of Methodism introduced hymns that drew on broader biblical themes rather than the Psalms alone. Their descendants embraced this richer hymnody, with New England spiritual songs emphasizing repentance, redemption, and personal faith. By European standards these colonial and early American hymns may have seemed primitive, but they reflected the folk traditions and homespun character of the New World.
Perhaps the most distinctly American expression of sacred music came from the Shakers. Some of my Banta relatives were among the founders of the Shaker community at Pleasant Hill, Kentucky. Their worship featured joyful, energetic singing and movement. “Simple Gifts,” indeed.
As my ancestors' religious traditions evolved, so did their music. Westward expansion and the growth of Baptist and Methodist churches brought new styles of worship, including the gospel hymns of the nineteenth century, such as “Leaning on the Everlasting Arms.”
Music clearly mattered to my ancestors. They took their day of rest seriously, just as they took their work seriously, and I suspect they approached worship with the same dedication. As a member of my church's chancel choir, I have had the opportunity to sing music from many different traditions, and I have found great joy in making “a joyful noise to the Lord.” I like to think that my forebears would have understood exactly what that meant.
Photo: The Whole Booke of Psalms, Stephen Day (dated 1640) - Beinecke Rare Book and Manuscript Library, Public Domain, https://commons.wikimedia.org/w/index.php?curid=25799917








