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The tunebook and the singing school emerged as two of the most important developments in early-American music. Allen D. Carden's, The Missouri Harmony, was one of the outstanding shape-note collections from the first half of the nineteenth century and the first tunebook from Missouri. Carden traveled west in the year 1820 to establish a singing school in St. Louis, and subsequently compiled the tunebook for use in his own classes. At that time, however, St. Louis did not possess a font of type of setting shaped-notation and the actual printing took place in Cincinnati. Between 1820 and 1858, there appeared nine editions and twenty-one issues of Carden's book. Editions were repeatedly designated at "Reviesd and Improved," "Latest Improved Edition," or "New Edition, Revised, Enlarged and Corrected." A note-by-note comparison of all editions was made to establish the authenticity of these repeated claims of editorial revision. It was found that the first eight editions were characterized by simply a resetting of type but contained no changes in the musical aspects of the tunes or their settings. The revisions were in the form of correcting printing and notational errors (e.g., incorrect shapes, inaccurate placement of a note on the staff, notes inadvertently placed in the press upside down, and so forth). In 1835, a Supplement specifying "By An Amateur," was added to The Missouri Harmony. Effort was made to determine the identity of this "Amateur." Although insufficient existing records prevented positive identification, Timothy Flint has been advanced in this paper as a possible candidate. The Prefaces of Flint's tunebook and that of Carden contain identical statements and similar objectives. Flint had numerous occasions to become acquainted with both Carden and his tunebook, and was active in Cincinnati in 1834, just prior to the publishing of the 1835 edition of Carden's book. The Supplement contains "a Number of Admired Tunes of the Various Metres and Several Choice Pieces, Seleced from Some of the Most Approved Collections o Sacred Music." In contrast to the other sections of The Missouri Harmony, the voice parts are designated in each selection and the treble voice is assigned the tune. The revising of the ninth edition in 1850, was undertaken by Charles Warren at the request of the publishers. Warren was a noted Professor of Music in Cincinnati at the time and described as a "scientific musician." While Warren retained the tunes and general format of Carden's book (including the complete theoretical introduction), the settings were found to be quite different. The Missouri Harmony, a southern tunebook, had become "northernized" through the refinements made by Warren. Gone were the parallelisms, unprepared and unresolved dissonances, incomplete and ambiguous sonorities, retrogressive patterns, and lack of coincidence between strong textual and metric accents. The settings were polished and refined. An examination of the changes taking place in the musical and academic life of the period revealed the necessity for Warren's revisins. His refinements clearly represented the efforts of a northern, "scientific musician" to retain the popularity of Carden's four-shape collection while confronted with the rising competition from seven-shape collections, the progressive improvements espoused by the academic musical practices (forged originally by Timothy and Lowell Mason), and the growing refinement of taste on the part of the public by the middle of the nineteenth century.
The Missouri Harmony was the most popular of all frontier tunebooks, with a history going back to 1820, when singing master Allen Carden introduced it into his St. Louis school. The 185 selections in The Missouri Harmony, compiled from earlier tunebooks, were old favorites used in churches and singing schools which sometimes convened in taverns. Abraham Lincoln and his sweetheart, Ann Rutledge, are said to have sung from The Missouri Harmony at her father's tavern in New Salem, Illinois. Shirley Bean points out in her introduction the importance of tunebooks and frontier singing schools in teaching Americans to read music. The Missouri Harmony, continuing the European tradition of shaped notes, contained the largest collection of compositions for congregations and choirs. Carden included thirty-seven fuguing tunes, among them "Lenox" and "Sherburne." The Supplement, added in the seventh edition in 1835, contains twenty-three hymn tunes, four choral numbers, a sacred song, and a duet; Isaac Watts was the author of most of the texts. This Bison Book edition duplicates the 1846 reprint of the popular ninth edition, which first came out in 1840. Shirley Bean's introduction provides a historical framework that will be welcomed not only by scholars but also by the modern shape-note singing community.
First published in 1994. This study covers a wide cross-section of topics, individuals, groups, and musical practices representing various regions and cities. The subjects discussed reflect the religious, ethnic, and social plurality of the American musical experience as well as the impact on cultural society provided by the arrival of new musical immigrants and the internal movements of musicians and musical practices. The essays are arranged principally on the basis of the historical chronology of the cultural practices and subjects discussed. Each article helps to shed additional light on cultural expressions through music in eighteenth- and nineteenth-century America.
"The shape-note tradition first flourished in the small towns and rural areas of early America. Church-sponsored "singing schools" taught a form of musical notation in which the notes were assigned different shapes to indicate variations in pitch; this method worked well with congregants who had little knowledge of standard musical notation. Today many enthusiasts carry on the shape-note tradition, and The New Harp of Columbia (recently published in a "restored edition" by the University of Tennessee Press) is one of five shape-note singing-manuals still in use."--Jacket.
This set of 11 volumes, originally published between 1946 and 2001, amalgamates a wide breadth of research on Art and Culture in the Nineteenth Century, including studies on photography, theatre, opera, and music. This collection of books from some of the leading scholars in the field provides a comprehensive overview of the subject how it has evolved over time, and will be of particular interest to students of art and cultural history.
On any Sunday afternoon a traveler through the Deep South might chance upon the rich, full sound of Sacred Harp singing. Aided with nothing but their own voices and the traditional shape-note songbook, Sacred Harp singers produce a sound that is unmistakable--clear and full-voiced. Passed down from early settlers in the backwoods of the Southern Uplands, this religious folk tradition hearkens back to a simpler age when Sundays were a time for the Lord and the “singings.” Illustrated with forty-one songs from the original songbook, The Sacred Harp is a comprehensive account of a unique form of folk music. Buell Cobb’s study encompasses the history of the songbook itself, an analysis of the music, and an intimate portrait of the singers who have kept alive a truly American tradition.
First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.
Choral music represented an important part of American cultural life during the nineteenth century, whether integral to worship or merely for entertainment. Despite this history, choral music remains one of the more neglected studies in the scholarly community. In an effort to fill this gap, N. Lee Orr and W. Dan Hardin offer a new approach to the study of choral music by mapping out and bringing bibliographical control to this expansive and challenging field of study. Their unique guide focuses on literature related to choral music in the United States from the end of the second decade of the nineteenth century through the earlier part of the twentieth century. Choral Music in Nineteenth-Century America explores the entire range of choral music conceived, written, published, rehearsed, and performed by an ensemble of singers gathered specifically to present the music before an audience or congregation. The guide expertly sifts through the extensive literature to cite the most notable sources for study and provides individual chapters on the leading nineteenth-century composers who were instrumental in the development of choral music.