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First Published in 1996. Routledge is an imprint of Taylor & Francis, an informa company.
John Wesley published three tune books in two-decade intervals for the evangelical British Methodist movement within the Church of England with its varied audiences and diverse musical tastes. S T Kimbrough, Jr. and Carlton R. Young have published the only facsimile reprints, with critical introductions and notes, of the first two collections (1742 and 1761). Wesley intended his third collection, Sacred Harmony, or a choice Collection of Psalms and Hymns, Set to Music in two or three parts for the Voice, Harpsichord & Organ (1780), henceforth SH 1780, as a musical companion to his monumental A Collection of Hymns for the Use of the People Called Methodists (1780). This edition of SH 1780 provides the ecclesial, cultural, and musical contexts of the volume; traces the sources of each tune and text (with textual variants), provides indexes of texts and tunes, and appropriate appendices. The copy used for this facsimile includes the autograph of John Wesley and the date of January 10, 1780, on an opening flyleaf, his marginal notes, and is housed in the archives of Old St. George's United Methodist Church in Philadelphia, Pennsylvania. Each page of this facsimile edition of SH 1780 has been thoroughly cleaned of bleedthrough and blotches.
This authoritative reference work investigates the roots of the Sacred Harp, the central collection of the deeply influential and long-lived southern tradition of shape-note singing. Where other studies of the Sacred Harp have focused on the sociology of present-day singers and their activities, David Warren Steel and Richard H. Hulan concentrate on the regional culture that produced the Sacred Harp in the nineteenth century and delve deeply into history of its authors and composers. They trace the sources of every tune and text in the Sacred Harp, from the work of B. F. White, E. J. King, and their west Georgia contemporaries who helped compile the original collection in 1844 to the contributions by various composers to the 1936 to 1991 editions. The Makers of the Sacred Harp also includes analyses of the textual influences on the music--including metrical psalmody, English evangelical poets, American frontier preachers, camp meeting hymnody, and revival choruses--and essays placing the Sacred Harp as a product of the antebellum period with roots in religious revivalism. Drawing on census reports, local histories, family Bibles and other records, rich oral interviews with descendants, and Sacred Harp Publishing Company records, this volume reveals new details and insights about the history of this enduring American musical tradition.
"This book reflects a breakthrough in American music studies, an unrecognized field among traditional musicologists until the past few decades, during which enormous progress has been made in documenting three centuries of American musical activities and figures. Time and effort had to be expended exclusively on the development of basic historical studies. The time has come for a new phase, one that can take a creative, interpretive approach. Professor Crawford's study will introduce this higher level of scholarship into the field of American music studies."—Vivian Perlis, author of Charles Ives Remembered "A major statement by a senior scholar on what American musicology is all about. . . These themes are also topical; they come at a time when much more research is being done in American music, but little thought is being given to the big picture, the vision, the philosophy, and the implications of historical research. Now is the time for a synthesis, and there are few scholars better equipped to do that in American music than Richard Crawford."—Michael Broyles, author of Music of the Highest Class
First Published in 1996. This series presents the music of early American composers of sacred music—psalmody, as it was called—in collected critical editions. The purpose of the series is to present the music of important early American composers in accurate editions for both performance and study. This volume presents the music of Elias Mann, a Massachusetts psalmodist active from about 1785 to 1810.