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Complementing Ethnomusicology: An Introduction, this volume of studies, written by world-acknowledged authorities, places the subject of ethnomusicology in historical and geographical perspective. Part I deals with the intellectual trends that contributed to the birth of the discipline in the period before World War II. Organized by national schools of scholarship, the influence of 19th-century anthropological theories on the new field of "comparative musicology" is described. In the second half of the book, regional experts provide detailed reviews by geographical areas of the current state of ethnomusicological research.
Keene provides a detailed account of music instruction in colonial and nationalized America from the 1600s to the end of the 1960s. (Music)
"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.
" William Walker's Southern Harmony, first published in 1835, was the most popular tune book of the nineteenth century, containing 335 sacred songs, dominated by the folk hymns of oral tradition and written in the old four-shape notation that was for generations the foundation of musical teaching in rural America. Born in 1809 in South Carolina, William Walker grew up near Spartanburg and early became devoted to the Welsh Baptist Church of his ancestors and to the musical heritage that church had brought to early America. Walker became a singing master, and Southern Harmony was compiled for his students in hundreds of singing schools all over North and South Carolina and Georgia and in eastern Tennessee. Southern Harmony reached Kentucky in the company of music-loving pioneers, and today an annual singing in Benton, Kentucky, remains the only such occasion on which Southern Harmony is consistently the source of the music. The CD included with the book contains 29 tunes, hymns, psalms, odes, and anthems, including ""New Britain"" (Amazing Grace), ""Happy Land,"" ""O Come, Come Away,"" ""Wondrous Love,"" and many, many more.
Employs nearly 4,000 names of music teachers, performers, instrument, makers, and tradesmen who contributed to the musical upbringing of one of our nation's earliest-settled regions. Also includes a study of sacred and secular music, concert life, music education, publications, and the music trades in New Jersey in this period.
Abstracts of dissertations and monographs in microform.
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.