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Spiritualism, Music, and Community in Lily Dale, NY (1848-1920)

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Spiritualism, Music, and Community in Lily Dale, NY (1848-1920) Title Page Resonant Spirits: Spiritualism, Music, and Community in Lily Dale, NY (1848-1920) by Codee Ann Spinner B. M., Music Education, SUNY Fredonia, 2015 M. A., Musicology, University of Pittsburgh, 2017 Submitted to the Graduate Faculty of the Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2021 Committee Page UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Codee Ann Spinner It was defended on March 29, 2021 and approved by Deane L. Root, Professor, Emeritus, Music Michael Heller, Associate Professor, Music Sarah Eyerly, Associate Professor, Florida State University Dissertation Director: Olivia Bloechl, Professor, Music ii Copyright © by Codee Ann Spinner 2021 iii Abstract Resonant Spirits: Spiritualism, Music, and Community in Lily Dale, NY (1848-1920) Codee Ann Spinner, PhD University of Pittsburgh, 2021 This project is a historical study of sound and music in a Spiritualist community, Lily Dale, a place with both intellectual and personal significance. While studies of Spiritualism have emphasized the importance of sensorial experience, none has focused on the role of sound, music, and listening. “Resonant Spirits: Spiritualism, Music, and Community in Lily Dale, NY (1840- 1920)” offers a corrective to the scholarship by studying sound’s influence and reflection of Spiritualism—a religion based on belief in spirit communication—and its accompanying epistemologies. Using archival materials, periodicals, and songbooks, I reconstruct historical Spiritualist soundscapes experienced at Lily Dale and elsewhere. materials show that Spiritualists used sound as an important tool for ritually conversing with, identifying, and authenticating spirits. I argue, further, that predominantly white Spiritualists used sonic processes of identifying spirits to cement their own identity: in listening to spirits, sitters identified with those they sensed were like themselves while disidentifying with spirits they marked as different. As a result, Spiritualists formed a clearer picture of themselves and their place in the world. Listening to spirit thus provided Spiritualists with a vocabulary for locating themselves within their spiritual, social, and political culture. Following the introduction, Chapter Two analyzes Lily Dale’s soundscape by drawing on aural performances of popular racialized theater and its effects on spirit communication. This chapter introduces the Spiritualist settlement of Lily Dale, which serves as a reference point for iv subsequent chapters. Chapter Three analyzes the songbooks held in Lily Dale’s historical music collection, positioning them within contemporary debates over Spiritualism’s relation to mainstream Christianity. In Chapter Four, I break down “Spiritualist acoustemologies” in the context of communal séances, a core setting for spirit communication. Chapter Five traces connections between Spiritualist mediumship and musicianship in séances and the career of one Lily Dale musician and healer, vocalist Oskenonton (Mohawk). Ultimately, this dissertation traces the development of a marginalized spiritual settlement’s communal modernity around listening. I demonstrate the importance of sound and music to the development of a religious and spiritual practice arising in the mid-nineteenth-century United States, one that continues into the present. v Table of Contents Preface ........................................................................................................................................... xi 1.0 Introduction ............................................................................................................................. 1 1.1 Introduction .................................................................................................................... 1 1.2 The Experiential ............................................................................................................. 6 1.3 Background and Literature Review ........................................................................... 15 1.4 Methodology .................................................................................................................. 31 1.5 Chapter Summaries ...................................................................................................... 37 1.6 Conclusion ..................................................................................................................... 41 2.0 Lily Dale: A Spiritualist Soundscape .................................................................................. 44 2.1 Introduction .................................................................................................................. 44 2.2 Vernacular Modernism at Lily Dale ........................................................................... 54 2.3 The Non-modern of the Indianist Spirit ..................................................................... 71 2.4 Spiritualist Vaudeville: Constructing Modernity through Spirit Sound ................ 79 2.5 Conclusion ................................................................................................................... 100 3.0 Spiritualist Hymns and Parlor Songs for the Dead ......................................................... 102 3.1 Introduction ................................................................................................................ 102 3.2 Christian Contexts of Spiritualist Song .................................................................... 111 3.3 The Spiritual Harp ..................................................................................................... 119 3.4 Spiritualist Songs in Practice ..................................................................................... 132 3.5 Moving Beyond Christian Musical Legacies ............................................................ 138 3.6 Conclusion ................................................................................................................... 154 vi 4.0 (In)Audible Sound and Spiritualist Acoustemologies ...................................................... 157 4.1 Harmonial Mysticism: A Prelude ............................................................................. 160 4.2 Spiritualist Acoustemologies ...................................................................................... 165 4.3 The Spiritualist Ear: Instructions in Listening........................................................ 176 4.4 Hearing Ghosts: Spiritualist Acoustemologies of the Séance ................................. 185 4.5 Conclusion ................................................................................................................... 198 5.0 Musical Virtuosity, the Séance, and the Musical Medium .............................................. 200 5.1 Introduction ................................................................................................................ 200 5.2 The Virtuosity of Spirit Music ................................................................................... 209 5.3 Music in the Séance .................................................................................................... 220 5.4 Oskenonton’s Voice: Virtuosity, Musicianship, and Difference ............................ 227 5.5 Conclusion ................................................................................................................... 244 6.0 Conclusion: Spiritualism’s Contested Archive ................................................................ 247 Appendix A : The Spiritual Harp ............................................................................................ 254 Bibliography .............................................................................................................................. 273 vii List of Tables Table 1: The Spiritual Harp, “Harmonies for Various Occasions” ...................................... 254 Table 2: The Spiritual Harp, “Congregational and Social” ................................................... 263 Table 3: The Spiritual Harp, "Songs, Duets, and Quartets" ................................................. 267 Table 4: The Spiritual Harp, “Anthems, Sentences, Choruses” ............................................ 271 viii List of Figures Figure 1: Topsy's grave ................................................................................................................ 3 Figure 2: “The Electric Age” from Boozer’s Inspiration’s Voice (1898) ................................ 22 Figure 3: "The Electric Age," page 2 ........................................................................................ 23 Figure 4: “The Electric Age,” page 3 ........................................................................................ 24 Figure 5: Program from the Palace Theatre, New York, January 24, 1921. Reproduction. Oscar Hammerstein II Collection, Music Division, Library of Congress. ........................ 65 Figure 6: Lily Dale Assembly Offical Program, season of 1926, July schedule of events .... 66 Figure 7: Lily Dale Assembly Official Program, season of 1926, August schedule of events ................................................................................................................................................... 66 Figure 8: The arrangement of the seance room of medium Joseph Johnson, who Carrington visited at Lily Dale .................................................................................................................
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