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Texts of the songs, with music.
Anyone could swear like a sailor! Within the larger culture, sailors had pride of place in swearing. But how they swore and the reasons for their bad language were not strictly wedded to maritime things. Instead, sailor swearing, indeed all swearing in this period, was connected to larger developments. This book traces the interaction between the maritime and mainstream world in the United States while examining cursing, language, logbooks, storytelling, sailor songs, reading, images, and material goods. To Swear Like a Sailor offers insight into the character of Jack Tar - the common seaman - and into the early republic. It illuminates the cultural connections between Great Britain and the United States and the appearance of a distinct American national identity. The book explores the emergence of sentimental notions about the common man - through the guise of the sailor - appearing on stage, in song, in literature, and in images.
The Sacred Harp, a tunebook that first appeared in 1844, has stood as a model of early American musical culture for most of this century. Tunebooks such as this, printed in shape notes for public singing and singing schools, followed the New England tradition of singing hymns and Psalms from printed music. Nineteeth-century Americans were inundated by such books, but only the popularity of The Sacred Harp has endured throughout the twentieth century. With this tunebook as his focus, John Bealle surveys definitive moments in American musical history, from the lively singing schools of the New England Puritans to the dramatic theological crises that split New England Congregationalism, from the rise of the genteel urban mainstream in frontier Cincinnati to the bold "New South" movement that sought to transform the southern economy, from the nostalgic culture-writing era of the Great Depression to the post-World War II folksong revival. Although Bealle finds that much has changed in the last century, the custodians of the tradition of Sacred Harp singing have kept it alive and accessible in an increasingly diverse cultural marketplace. Public Worship, Private Faith is a thorough and readable analysis of the historical, social, musical, theological, and textual factors that have contributed to the endurance of Sacred Harp singing.
Martha's Vineyard became an integral part of the whaling industry at the beginning of the eighteenth century and inspired a lasting romantic enthusiasm for life on the open ocean. From shorewhaling to daring voyages into the Atlantic, Pacific and Arctic Oceans, the insular whaling community offered a tempting path for many young Vineyarders to rise from cabin boy to captain. Local businesses were enticed by the potential profit from whaling voyages, and many reaped generous rewards from successful whale oil harvests. Through memoirs, music and memorabilia, author Thomas Dresser recounts this dramatic history of the bygone era of whaling on Martha's Vineyard.
"I just begin to find out that whaling will never do for me and have determined to leave the ship here if possible." That sentiment, expressed by a foremast hand aboard the ship Caroline in 1843, is one shared by many of the whalemen in this fascinating book. Interest in Herman Melville's Moby Dick has contributed to a substantial literature on the history and lore of the industry. But not until now has the vast body of surviving whaleship logs and journals been used to paint an encompassing picture of the difficult but colorful life aboard nineteenth-century American whaling vessels. Briton Cooper Busch, author of a definitive history of the American sealing industry, in this book only incidentally discusses the actual chase for whales. His focus instead is the life of whalemen at sea, and particularly the harsh discipline that kept men aboard through long and often dispiriting years. Busch depicts the complex social world aboard ship, defining and detailing such issues as crime and punishment, competing racial elements, the social distance between officers and men, sexual behavior, and the role of women aboard ships. For oppressed, discouraged, or simply bored whalemen, several escapes existed, from the rarest of all mutiny through labor protests of various types, to individual desertion or appeal to an American consul abroad. To each of these topics Busch devotes a chapter. He also provides glimpses of those occasional moments of relief such as a Fourth of July celebration and such somber moments as a death at sea. Fascinating details and original quotations from individual whalemen make this book more than a study of general trends. For anyone with even a casual interest in whaling, it is indispensable.
Tristram Potter Coffin’s The British Traditional Ballad in North America, published in 1950, became recognized as the standard reference to the published material on the Child ballad in North America. Centering on the theme of story variation, the book examines ballad variation in general, treats the development of the traditional ballad into an art form, and provides a bibliographical guide to story variation as well as a general bibliography of titles referred to in the guide. Roger deV. Renwick’s supplement to The British Traditional Ballad in North America provides a thorough review of all sources of North American ballad materials published from 1963, the date of the last revision of the original volume, to 1977. The references, which include published text fragments and published title lists of items in archival collections, are arranged according to each ballad’s story variations. Textual and thematic comparisons among ballads in the British and American tradition are made throughout. In his introductory essay Renwick synthesizes the various theoretical approaches to the phenomenon of variation that have appeared in scholarly publications since 1963 and provides examples from texts referred to in the bibliographical guide itself. The supplement, like its parent work, is an invaluable reference tool for the study of variation in ballad form, content, and style. Together with the reprinted text of the 1963 edition, the supplement provides an exhaustive bibliography to the literature on the British traditional ballad in North America.
Recent events such as the massacres in Dunblane and Arkansas, the deaths of children in terrorist attacks, civil wars and famines, children born with AIDS, and the many abductions and murders of children - including some by children - have placed childhood death firmly in the public consciousness. But how do we understand what it means for a child to die? This book examines the way the deaths of children have been dealt with at different times and in different media. Each contributor has focused on a different way of representing the deaths of children - from superstitions about malign child ghosts through mothers' diaries to horror fiction - and more.
Using previously unpublished sources from the United States, social historian Tony Simpson explores what lies behind New Zealand's founding document, the Treaty of Waitangi, by plunging us vividly into the world of the early nineteenth century: prevalent world views, the British governments of the day, the trading and whaling economy of the South Pacific, evangelical missionary activity and influence, and the financial communities in London and Sydney. In this fascinating journey we come to some surprising conclusions about the Treaty of Waitangi itself.