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Folklorists and lovers of folk songs will delight in this collection of the lyrics of songs sung by settlers of western New York in the middle of the nineteenth century. The manuscript on which this book is based is the most important collection of traditional song-texts, British and American in origin, to survive from its period. Discovered in the 1930s in the attic of Harry S. Douglass in Arcade, New York, it was written by Julia S. and Volney O. Stevens, who transcribed nearly ninety of the songs with which their father, Artemas Stevens, so often entertained them. The Stevens family had come to Wyoming County, New York, from New England in 1836, bringing with them traditional songs and ballads. The Stevens-Douglass manuscript contains the texts of 89 songs. In A Pioneer Songster, these are organized first by their origins (36 are from the British Isles; 53 were composed in America) and then according to themes and subjects, including love, history, politics, the pioneering life, politics, murder and shipwrecks, minstrel songs, spirituals, Indian legends, temperance, and satire. The book features a general introduction and shorter introductions to each themed section. In addition, each song is accompanied by an informative headnote detailing its history, meaning, and significance. A Pioneer Songster has been edited for the enjoyment of the general reader, but in their annotation, the editors have aimed at assisting students and scholars of folklore, musicology, and American history. While preserving the manuscript's original punctuation and spelling, they have succeeded in creating a resource that will be of interest to all who care for the American folk tradition and the history of New York State.
Coyote is separated from her mate by a rockfall and searches the park to find him. Sometimes silent, occasionally observed, always watchful, Coyote makes her way from one memorable site to another, singing a lonely song of yips and yowls. Gorgeous watercolor paintings of Yosemite illuminate this ultimately satisfying story, while the text closely observes one of the park's most familiar kind of wild resident. Young readers will discover much about coyotes, and will also delight in spotting the places they too have visited—Half Dome, Sentinel Bridge, Stoneman Meadow, the Ahwahnee, and more.
Although women have been teaching and performing music for centuries, their stories are often missing from traditional accounts of the history of music education. In Women Music Educators in the United States: A History, Sondra Wieland Howe provides a comprehensive narrative of women teaching music in the United States from colonial days until the end of the twentieth century. Defining music education broadly to include home, community, and institutional settings, Howe draws on sources from musicology, the history of education, and social history to offer a new perspective on the topic. In colonial America, women sang in church choirs and taught their children at home. In the first half of the nineteenth century, women published hymns, taught in academies and rural schoolhouses, and held church positions. After the Civil War, women taught piano and voice, went to college, taught in public schools, and became involved in national music organizations. With the expansion of public schools in the first half of the twentieth century, women supervised public school music programs, published textbooks, and served as officers of national organizations. They taught in settlement houses and teacher-training institutions, developed music appreciation programs, and organized women’s symphony orchestras. After World War II, women continued their involvement in public school choral and instrumental music, developed new methodologies, conducted research, and published in academia. Howe’s study traces this evolution in the roles played by women educators in the American music education system, illuminating an area of research that has been ignored far too long. Women Music Educators in the United States: A History complements current histories of music education and supports undergraduate and graduate courses in the history of music, music education, American education, and women’s studies. It will interest not only musicologists, educational historians, and scholars of women’s studies, but music educators teaching in public and private schools and independent music teachers.
[The songs are divided into these categories:] birthday; Christmas; cowboy, herding, and Plains; Hanukkah; love, sentiment, and nostalgia; lullaby and sleep, Mother Goose and nursery; nonsense, novelty, and fun; patriotic, valor, and freedom; praise, worship, and Gospel; railroad; rounds and canons; ships, sea, and water; singing games, dance, and action; spiritual and plantation; Thanksgiving; work; foreign language.-About this book.
Paul Oliver rediscovers the wealth of neglected vocal traditions represented on Race records.
This provocative book draws from a variety of sources—literature, politics, folklore, social history—to attempt to set Southern beliefs about violence in a cultural context. According to Dickson D. Bruce, the control of violence was a central concern of antebellum Southerners. Using contemporary sources, Bruce describes Southerners’ attitudes as illustrated in their duels, hunting, and the rhetoric of their politicians. He views antebellum Southerners as pessimistic and deeply distrustful of social relationships and demonstrates how this world view impelled their reliance on formal controls to regularize human interaction. The attitudes toward violence of masters, slaves, and “plain-folk”—the three major social groups of the period—are differentiated, and letters and family papers are used to illustrate how Southern child-rearing practices contributed to attitudes toward violence in the region. The final chapter treats Edgar Allan Poe as a writer who epitomized the attitudes of many Southerners before the Civil War.