Music of the Shakers from Union Village, Ohio: a Repertory Study and Tune Index of the Manuscripts Originating in the 1840’S

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Music of the Shakers from Union Village, Ohio: A repertory study and tune index of the manuscripts originating in the 1840’s

Christenson, Donald Edwin, Ph.D.

The Ohio State University, 1988

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UMI

MUSIC OF THE SHAKERS FROM UNION VILLAGE, OHIO:

A REPERTORY STUDY AND TUNE INDEX OF

THE MANUSCRIPTS ORIGINATING IN THE 1G40 S

DISSERTATION

Presented In Partial Fulfillment of the Requirements for

the Degree Doctor of Philosophy In the Graduate School of

The Ohio State University

Donald Edwin Christenson, B.A., M.A.

* a * * *

The Ohio State University

1988

Dissertation Committee: Approved by

Keith E. Mixter

Peter W. Gano ' Advisor / School of Music Susan L. Porter Copyright by

Donald Edwin Christenson

1988 To My Parents,

w ho have dedicated

th e ir hands to work,

their lives to their family,

and th eir hearts to God

(Adapted from the Shaker motto)

ii ACKNOWLEDGEMENTS

I would like to express my sincere appreciation and gratitiude to my advisor. Dr. Keith E. Mixter, who, throughout the duration of this project, gave unselfishly of his time, demonstrated untold patience and understanding, and guided me in a firm and caring manner. I am indebted to him for his exceptional advice and support. To the other members of the reading committee, I extend my thanks. Dr. Peter W. Gano has, throughout my graduate studies, always been available for guidance. My appreciation is also expressed to Dr. Susan L. Porter for her commitment, suggestions, and recommendations. During the beginning research in Shaker studies, I became acquainted with several persons whose encouragement has been invaluable. Dr. Daniel W. Patterson, University of North Carolina, has shared most generously with his time, correspondence, and constructive suggestions. It is he who first encouraged my research. Thanks is also expressed to Roger L. Hall, Stoughton, Mass., for direction on this specific dissertation topic. A very special debt of gratitiude is expressed to Faith Andrews, Pittsfield, Mass., who most graciously hosted me in her home. Mrs. Andrews has continued to demonstrate much caring, understanding, and support during the research years. The Shaker collections of many libraries and museums were generously placed at my disposal. I gratefully acknowledge the personal iii assistance and access extended to me by the staffs of the following Institutions: Henry Francis du Pont Winterthur Museum, Winterthur, Delaware; The Kentucky Library, Bowling Green , Kentucky; The Fruitlands Museums, Harvard, Mass.; The Shaker Community, Inc., Hancock, Mass.; the Berkshire Athenaeum, Pittsfield, Mass.; Williams College, Willamstown, Mass.; The Shaker Museum, Old Chatham, N. V.; The Western Reserve Historical Society, Cleveland, Ohio; The Ohio Historical Society, Columbus, Ohio; The Warren County Historical Society, Lebanon, Ohio; and the Library of Congress, Washington, D. C. Much appreciation is expressed to the staff of The Ohio State University Library: Dr. Thomas Heck, and Professors Robert Thorson, Robert Tibbetts, Michael Valinis, and Keith Fulton-Higgs. Special courtesies were granted by Steve Rogers. I would also like to thank the Graduate School of The Ohio State University for its awarding of a Graduate Student Alumni Research Award which helped to defray the costs of this study. A very special and warm reception was extended to me by the Shakers at Canterbury, New Hampshire and Sabbathday Lake, Maine. The sharing in Shaker meals and worship service at Sabbathday will always be fondly remembered. Access to the manuscript collection at Sabbathday was most appreciated. No project of this scope would have been possible without the love and support of my family. A very deep sense of appreciation is expressed to my parents, Mr. and Mrs Kenneth C. Christenson, who have been most dedicated to their family. For their love and nuturing, I will be forever thankful. To my sister Diane and her family, especially her husband Dirk, I express my heartfelt thanks for their support and sacrifices. I am most iv appreciative for tangible and intangible support from my brother Gary, and his wife, Susan, and to brothers, Ken and Bill. To my aunt and uncle, Betty and William Benson, I express gracious thanks for their many years of caring. Throughout the research process and Journeys, friendships were bom or renewed. To longtime friends, the William Becks of Schenectady, N.Y. and Westford, Mass., I express my gratitude for hospitality extended. I will always appreciate the support and gifts of Shaker materials received from Jean and Russell Bousquet, Pittsfield, Mass. I am truly Indebted for the very special support of Thor and Ann Wood, New York City, who have become close friends. I am grateful to Sue and Tom Odom, Bowling Green, Kentucky, who allowed me to enter their home as a stranger and to leave as a friend. Additional support was received from Dr. David Butler, William Wahl, Pat Nichlols, and Nancy Dasher. My thanks is also given to Jeff Bibb and Lance Jones, whose encouragement has been most helpful. To Daniel A. Dietz, I express my deepest and most heartfelt appreciation for skillful typing and proofreading of the dissertation drafts and manuscript Inventories. His support, patience, understanding, and friendship throughout the process will always be of special significance. VITA

Jonuory 4, 1947 ...... Born--A1toono, Pennsylvania

1967 to present ...... Independent Plano Teacher

1970 ...... B.A. in Music, The Ohio State University, Columbus, Ohio

1970-1972, 1976 ...... M.A. in Music History, Indiana University of Pennsylvania, Indiana, Pennsylvania

1973-1975 ...... Music Teacher, St. Charles Preparatory School, Columbus, Ohio

1977-1985 ...... Graduate Associate, The Ohio State University, Columbus, Ohio

PUBLICATIONS

Christenson, Donald E., Review of The Happy Journey: Thirty-Five Shaker ■Spjn t tiais Ciim PJM Py-Q9ra.EnfllCÆil^SgflIS. edited by Roger Hall (Harvard, Mass.: The Fruitlands Museums, Inc., 1962). Requested by Reviews editor. American Music. V/1 (Spring, 1987).

Christenson, Donald E., "A History of the Early Shakers and Their Music," The Hymn.XXXVIII/1 (January, 1988).

FIELDS OF STUDY

Major Field: Music History

Studies in Music History: Peter Gano, Richard Hoppin, Herbert Livingston, Alexander Main, Keith Mixter Studies in Piano Pedagogy: Jerry Lewder

Vi TABLE OF CONTENTS

DEDICATION...... il

ACKNOWLEDGEMENTS...... iii

VITA...... Vi

TABLE OF CONTENTS...... Vii

LIST OF PLATES...... xi

LIST OF ABBREVIATIONS...... ^ii

INTRODUCTION...... 1

CHAPTER PAGE

I. RELIGIOUS BACKGROUND. .,...... 5

Introduction ...... 5 Roman Catholic ...... 6 Anglican Church (Church of England)...... 9 Presbyterians and Puritans...... 11 Congregationalists (Pilgrims) ...... 15 Dutch Protestant Reformed ...... 16 Lutherans...... 17 German Reformed ...... 19 B ap tists ...... 21

vii Anaboplisls ...... 25 Mennonites...... 24 Quakers...... 25 Brethren and Dunkers...... 28 Amish ...... 29 Schwenkfelders ...... 30 The Pietist Movement ...... 31 Moravians...... 32 Methodists ...... 34 Jewish Faith ...... 35 Russian and Greek Orthodox Churches ...... 36 Communal Societies...... 37 The Shakers ...... 38 The Harmonists ...... 64

RELIGIOUS MUSIC IN AMERICA TO THE CIVIL WAR...... 66

Introduction...... 66 Roman Catholic ...... J&7 Protestant...... 69 Anglican and Episcopalian ...... j69 Presbyterians (Puritans)...... 71 Congregationalists (Pilgrims) and German Reformed ...... 73 Dutch Protestant Reformed Church ...... 76 Lutherans, German and Swedish Lutherans ...... 78 Baptists ...... ».....81 Anabaptists ...... 84 Mennoni tes/Ami sh ...... 84 Quakers...... 87 Church of the Brethren ...... 88 Schwenkfelders ...... 90 P ietists...... 91 Moravians...... 91 Methodists ...... 94 Jewish Faith ...... 97 Eastern Orthodox (Russian and Greek)...... 98

vlll Communal Societies...... 100 Music of the Shakers ...... 100 Music of the Harmonists...... 113 Conclusion...... 115

III. UNION VILLAGE, OHIO; ITS HISTORY AND MUSIC MANUSCRIPTS...... 117

A Brief History of Union Village ...... 117 Music Manuscripts of Union Village...... 128 The Manuscript Inventories ...... 146

IV. UNION VILLAGE MANUSCRIPT 12, 1842-1656 ...... 150

V. UNION VILLAGE MANUSCRIPT 22, 1844 ...... 155

VI. UNION VILLAGE MANUSCRIPT 13, 1844-1858 ...... 159

VII. UNION VILLAGE MANUSCRIPT 23, 1844-1861 ..... 165

VIII. UNION VILLAGE MANUSCRIPT 16, c. 1845 ...... 173

IX. UNION VILLAGE MANUSCRIPT 18, Î8 4 5 -? ...... 180

X. UNION VILLAGE MANUSCRIPT 20, 1846-? ...... 188

XI. UNION VILLAGE MANUSCRIPT 11, 1846-1854 ...... 196

XII. UNION VILLAGE MANUSCRIPT 6, c. 1847 ...... 205

XIII. UNION VILLAGE MANUSCRIPT 14, 1847-1848 ...... 215

XIV. UNION VILLAGE MANUSCRIPT 24, 1848-1851 ...... 224

XV. SUMMARY AND CONCLUSIONS...... 233

IX APPENDICES

A. INVENTORY UV12...... 239

B. INVENTORY UV22...... 249

C. INVENTORY UV 13...... 253

D. INVENTORY ÜV23...... 266

E. INVENTORY UV 16...... 279

F. INVENTORY UV 18 ...... 316

G. INVENTORY UV20...... 329

H. INVENTORY UV 11 ...... 387

I. INVENTORY UV6...... 421

J. INVENTORY UV 1 4 ...... 437

K. INVENTORY UV24...... 447

L. INVENTORY SONG TRANSCRIPTIONS...... 481

M. TITLE INDEX...... 494

N. FIRST LINE INDEX...... 510

0. AUTHOR INDEX ...... 557

P. ALPHABETICAL NOTATION INDEX...... 560

Q. COMPOSER INDEX ...... 592

BIBLIOGRAPHY...... 595 LIST OF PLATES

PLATE PAGE

I. UV12 Song 16 "Me want to shake’...... 153

II. UV22 Song 1 “0 Angelic Spirits Draw nigh" ...... 157

III. UV13 Song 69 "Many cheering pleasant v i s i ts " ...... 164

IV. UV23 Song 57 "0 give me three grains of com. M other." 169

V. UV16 Song 89 "Mothers love is flowing" ...... 177

VI. UV18 Song 5 "I love my beautiful Mother" ...... 183

VII. UV20 S ig 51 "What is prettier than freedom freedom" 192

VIII. UV11 Song 83 Father Jam e s Sono ...... 199

IX. UV6 Song 32 "Fear ye not fear ye not" ...... 208

X. UV 14 Song 12 Hymn from Isaiah Chao. 3 5 t h ...... 221

XI. UV24 Song 107 "We'll leap and skip" ...... 227

XI LIST OF ABBREVIATIONS

C. H., Center House Chh, Church h o u se EAR, The Encyclopedic of American Religions F. 0., First Order KV, K entucky N. B., North Brick NGDAM, New Grove Dictionary of A m erican Music N. H., North House P. H., Pleasant Hill, Kentucky S. B., S outh B rick S. U., South Union, Kentucky U. V., Union Village, Ohio W 3., West Brick W. W., W hitewater W.W.V., W hitew ater Village

x ii INTRODUCTION

The Shakers, or the United Society of Believers In Christ's Second Appealing, were a religious communitarian sect that established Itself In America, primarily In New England and the Midwest, during the late 1700‘s and early 1800‘s. The Shakers believed that their founder, Ann Lee, was Christ In the Second Appearing, and they adhered to such tenets as separation of the sexes, equality of the sexes, pacificism, confession of sin, celibacy, and separation from the world. Shaker communities were self- supporting, with the labor divided equally among the members. A convert's worldly possessions became the property of the community. Music was a significant factor In his worship and dally life. Shaker music was composed of hymns, anthems, and a variety of songs such as laboring and gift songs. The music was monophonic until the latter part of the nineteenth century when four-part hymnody became acceptable. The extant manuscript collection for the sect numbers approximately 800 volumes. The purpose of this study was to create a research tool of Inventories and indices for a selected number of these manuscripts which would serve to unlock the Information contained therein. Of the 600 manuscripts, twenty-six are attributed to the Shaker community of Union Village (1805-1912), Ohio, which was located 2 approximately four miles west of present Lebanon, Ohio, in the southwest area of the state Union Village was the parent community for the western communities located In Ohio, Kentucky, and Indiana. Union Village also was the origin of the first Shaker hymns. This study chose to focus on the eleven Union Village manuscripts that originated In the 1840's. This period was known as “Mother Ann's Work," so named after the founder of the Shakers, Ann Lee. intense spiritual manifestations affected much of Shaker life and music during these years. Preceding the discussion of the manuscripts are Chapters I and II, which are each divided into two divisions. Chapter I, first division, presents an overview of the religious environment In America prior to and during the arrival of the Shakers and continues to the Civil War. A brief historical summary is provided for each religion. The purpose of these synopses Is to establish the religious atmosphere In which the Shakers functioned. The second division of Chapter I discusses the history of the Shakers. Chapter II, first division, presents a parallel discussion of the religious music used by the denominations presented In the preceding chapter. Concomitantly, the second division discusses the music of the Shakers. Chapter III discusses the history, music, and manuscripts of Union Village and gives a detailed explanation of the inventory procedures. Comprehensive indices for author, composer, title, first line, and alphabetical incipit were created from the Inventories. These indices enable the researcher to retrieve the information In the inventories. The eleven manuscripts consist of approximately 1,900 pages and Include 1,701 songs. Each manuscript is discussed in its own chapter, which is paralleled by a matching Inventory as an appendix. The respective manuscript chapters 3 (Chapters IV-XIV) contain a summary of the contents of each manuscript and a section of “Remarks" for songs that warrant particular attention. The inventories list the contents of each manuscript, noting such elements as manuscript number, song number, page number, type of song, place, date, title, first line, number of stanzas, author, alphabetical and rhythmical notation, and composer to the extent that this information is provided in the manuscript. Shaker musical tradition had been that of oral transmission, passing songs down through successive generations nf Believers. When the repertoire became too large to remember, the Shakers began the practice of notating their songs. The manuscripts not only served as a method of maintaining the body of song literature, but they also provided a means by which to teach the songs to other worshipers. The extant collection now serves as an archive it, which much of the Shaker musical tradition is preserved and available for current research. There are three significant works on the music of the Shakers. The first is Edward Deming Andrews' The Gift to be Simple, originally written in 1940.1 Andrews presents a discussion of the Shaker movement and its rituals, songs, tunes, music, and dances. Eighty songs are presented in musical notation. This work was the first authoritative account of Shaker music. The second work is Harold E. Cook's Shaker Music. A tianifestation of American Folk Culture.2 in addition to discussing Shaker hymnody, notation.

1 Edward Deming Andrews, The Gift to be Simple: Songs. Dances, end Rituals of the American Shakers (ln.p.l: J. J. Augustin, 1940; reprint. New York: Dover, 1962).

^Harold E. Cook, Shaker Music: A Manifestation of American Folk Culture (Lewisburg. Pennsylvania: Bucknell University Press, 1973). 4 theory, and performance practice. Cook presents a checklist of the 430 Shaker music manuscripts in the collection at the Western Reserve Historical Society, Cleveland, Ohio. Cook analyzes seventy-two Shaker songs. The third work is Daniel W. Patterson's The Shaker Spiritual.3 Patterson presents 366 Shaker songs, discussing them by genre. His checklist of over 800 music manuscripts, arranged by Shaker community, is the most comprehensive listing to date.

^Daniel W. Patterson, The Shaker Spiritual (Princeton, New Jersey: Princeton University Press, 1979). CHAPTER I RELIGIOUS BACKGROUND

Introduction Prior to discussing the Shakers growth and development as a religion, an overview of the religious activity during the seventeenth and eighteenth centuries in this country will be presented. Sydney Ahlstrom ■ < states that a traveler in America during the year 1700 would have encountered a variety of Congregationalists, Baptists, Presbyterians, and Quakers; Dutch, German, and French Reformed; Swedish and German Lutherans; Mennonites, Anglicans, Roman Catholics, and on occasional Jewish congregation; in addition, the country also had a vast number of persons who were unchurched and who were alienated from formal institutional religions.i Many settlers came to America with the idea that this would be a new beginning in a new place, creating an eager sense of expectancy that this was the "Lord's doing"—that all things would be made new.2 This idea reflected a thought often held by Americans during the

1 Sydney E. Ahlstrom, A Religious History of the American People (New York and London: Vale University Press, 1972), 4.

2Winthrop S. Hudson, Religion in America (New York: Charles Scribner's Sons, 1965), 12. 6 eighteenth century—that America was the Lord's Chosen Nation, "in many minds the American was conceived as a new Adam in a new Eden and the American nation as mankind's great second chance "3 Ezra S tile s s ta te d in his 1783 sermon The United States Elevated to Glory and Honor that America would eventually "embosom all the religious sects end denominations in Christendom" and allow freedom to all of them.4 The non- establlshed churches looked at America as a land filled with great opportunity, believing they could gain a new beginning free from European restrictions. America gave a sense of release from constriction for such groups as the Mennonites, Moravians, Pilgrim s, and Puritans s Unless otherwise stated, information for this survey of religions has come from J. Gordon Melton's The Encylooedla of American Religions & Each religion will be discussed, in so far as practicable. In a chronological order based upon Its first documented entrance Into the country.

Roman Catholic The first appearance of Roman Catholicism in the New World came with the arrival of the Spanish and French explorers and the priests who accompanied them.? The first m issions w ere established at. St. Augustine,

^Ahlstrom, A Religious History of the A m erican People. 7.

^Hudson. 00. c it.. 17.

6j. Gordon Melton, The Encylooedia of American Religions. 2 vols. (Wilmington, North Carolina: McGrath Publishing Co., 1978). This source will be abbreviated as EAR in subsequent citations.

?The Western Roman Tradition," EAR. I, 16-22 7 Florida, in 1565. The areas of Alabama, Mississippi, some of the Gulf Coast region, and the Southwest section of America were primarily under Spanish influence, while Louisiana and the Mississippi Valley were under the influence of the French. The effects of the Roman Catholic Church can easily be seen in the great number of towns and cities that have been named after the various saints. The colony of Maryland was the primary community for Roman Catholicism, and it became the focal point for that religion. Founded as a British colony, Maryland reflected this English influence. George Calvert (1580-1632) became the first Lord Baltimore and helped to found the Maryland colony. The colony was officially established in 1634. Originally, the settlement was to have been in Virginia, but anti-Catholic prejudice there prevented this from happening. Officially, Virginia's charter stated that religious life was to be governed by the church (ecclesiastical) laws of England; as a result. Lord Baltimore and his followers were expelled in 1629.8 Because of this difficulty. Lord Baltimore was more sensitive to the needs of religious toleration; it was his influence that helped to establish in Maryland the Act of Toleration in 1649. The Puritans had gained some influence in that colony by 1654 and had the act repealed. Consequently, the Catholics and Jesuit priests were subjected to some persecution. By 1664, another act of religious toleration was passed that helped to alleviate the situation. In 1691, Maryland was made a royal colony; in 1692, the Anglican Church was established, and Catholics were required to pay taxes to the Anglican Church. Until 1781, Catholics could not participate in public life

8Ahl Strom, oo. c it.. 192. 8 In 1789, the priest John Carrol I (1735-1815) become the first American bishop through election by his peers, a highly unusual practice for that time. This action allowed control to pass from the British Catholic bishops to the bishops in America. By the year 1800, there were approximately 50,000 Catholics in America.^ During the early part of the nineteenth century the Spanish and French Catholic areas were brought under the control of the Maryland sphere. In 1822, Baltimore became the seat of the first archbishop. Later on, other dioceses were established at Boston, New York, and Philadelphia. Winthrop S. Hudson states that in order for some churches to maintain themselves they established weekday schools for the complete education of their children—most notable in this endeavor being the Catholic Church. 10 One of the earliest Catholic schools was Georgetown Academy, founded in 1791.n

^Edwins S. Gaustad, Historical Atlas of Religion In America, rev.ed. (New York: Harper and Row, 1976), 36. Gaustad provides excellent statistical and membership information for a number of the religions discussed In this chapter. Cited in order of this presentation, see Gaustad, pp.3-4. Fig. 3-6, for growth by number of churches (1660-1780) for the Roman Catholic, Anglican, Presbyterian, Congregationalist, Dutch Protestant Reformed, Lutheran, German Reformed, and Baptist denominations. Similar information may be found for the Quakers, p.2-Fig. 2, p.26, p.43-Fig. 31; Jews, p. 149; Methodists, p.76; Russian Orthodox, p. 119; Greek Orthodox, p. 120. lOHudson. 00 c it.. 16.

11 Hudson, ifeid., 48. 9 Anglican Church (Church of England, or Protestant Episcopal Church) The Anglican Church evolved from the separation from the Catholic Church initiated by King Henry VlllJZ The split was not caused primarily by doctrinal differences with Rome, but rather because King Henry had pressing financial needs for the kingdom and, lacking a male heir, was urging an annulment. The monasteries represented a source of considerable wealth that could ease the financial burden if they were placed under Henry's control. Rome had already granted King Henry one annulment and refused to grant another one. After the split, the Church of England retained much of the Roman doctrine, liturgy, and organization. King Henry retained the Catholic structure of the clergy, parishes, and congregations but placed all under the control of the Archbishop of Canterbury. Henry did dispose of the monastic system. Melton states that "not until Edward VI, Elizabeth I, and Oliver Cromwell was the present character of the Anglican Church molded." 13 it was during the reign of Elizabeth I that Protestant and Catholic tradition blended to form the actual Anglican Church. The Book of Common Prayer, which was formulated during this time, provided the thirty-nine Articles of Religion, the church calendar, the liturgical services, and the episcopal organizational structure. In America, the first Anglican church was established at Jamestown, Virginia, in 1607. The founding of Virginia as a colony was foremost a commercial venture by the Virginia Company so that riches could be returned to England. The company, however, recognized the importance of

l2"The Anglican Tradition," gèR, 1,49-51.

iSibid, 1,49. 10 establishing the Anglican Church to help benefit the transplanted Englishmen and to evangelize the Indians. The founding charter asked the settlers to be of one mind to serve God and country.!4 As a result, the colony of Virginia had the largest population of Anglicans in America because it was considered the established religion of the colony and provision was made to enforce conformity.! s The House of Burgesses included ecclesiastical affairs as part of its duties.!^ In 1619, the Virginia legislature declared that all Virginians were members of the Anglican sect. One difficulty during this time was the lack of a resident bishop, which meant that no priests could be ordained in America. This problem was further aggravated by the political aspects of the American Revolution. England refused to send a bishop to the colonies because continued loyalty to the monarch, not America, was expected. Many parishes remained unorganized because the clergy returned to England as a result of the war. The Peace Treaty of 1783, which ended the American Revolution, created other difficulties in addition to those Just mentioned: the American Anglican clergy were not permitted to take an oath of allegiance to the Crown; supervision by the Commissaries of the Bishop of London ceased and another connectional organization to England was needed; and many of the Anglican clergy were missionaries of the Society for the Propagation of the Gospel, whose support was also ended.

!4Ahl8trom. oo. cit.. 185-166.

iSHudson, 00. c it.. 24.

i^Ahlstrom. oo. cit.. 188. 11 In order to solve the above problems, Samuel Seabury (1729-1796) tried to secure consecration in England with the support of ten clergy from Connecticut. This did not come about because he was not able to swear allegiance to the Crown. Seabury then went to Scotland, where he did receive consecration from bishops whose predecessors had refused to take oaths of allegiance to William and Mary in 1686. Although he became a bishop, Seabury was not very popular In America—he was viewed as too much the Tory, the circumstances of his consecration were of concern, and he was Ill-tempered. He was, however. Influential In helping to found the Protestant Episcopal Church in this country. Leadership of this church was then taken on by William White (1748-1836) and Samuel Provost (1742- 1815). In 1787, White and Provost succeeded in gaining English consecration as bishops. A new church constitution was adopted by all the American Anglican churches, forming the Protestant Episcopal Church (the Anglican tradition In the United States). There appear to be three major segments: high church—the Anglo-Catholic practice; low church—a more Protestant tradition; and a broad church party—a compromise between the first two.

Presbyterians and Puritans The Presbyterian Church evolved from the Reformed Church of Geneva, Switzerland, established by John Calvin (1509-1564) in 1540.)? It differed from other churches of Its day by advocating a Reformed theology and a type of church government known as Presbyterian theocracy. The

i7"The Reformed-Presbyterian Family," EAR. 1 ,109-17. 12 Reformed theology that Colvin advocated centered on the following principles: that God was sovereign in creation and salvation; that salvation was limited to those who were considered "the elect"; and that the "elect" were predestined before the beginning of the world to be saved. Also Included In the theology was the belief In the Trinity, the belief that salvation was by grace and not good works, and the belief that the Bible was the single authority for faith and doctrine. The Presbytery was the legislative and Judicial body of clergy and laity, in equal numbers, from churches In a given region; however, the term has sometimes been defined as the ruling body of each local church. The name "Presbyterian" comes from the term used to refer to the regional level of church governance. Switzerland, France, and Holland became the strongest areas for Calvlnlstic Protestantism on the continent. In France, members of the French Reformed Protestant Church were commonly known as Huguenots, and their first synod was formed In 1559. Due to religious conflict In France and the revocation In 1685 of the Edict of Nantes, which had granted religious freedom, the Huguenots emigrated to America and settled in New York and South Carolina, where they established five or six churches by the end of the 1600‘s.^® John Knox (15157-1572), a follower of Calvin, established in 1559 the Reformed Church of Scotland (Presbyterian)—It is from here that the Reformed movement spread to Ireland and England. The Calvlnlstic movement of Reformed Presbyterlanism In England was basically known as Puritanism. The name resulted from those thinkers who desired the "further purifying of the church." Ahlstrom believes that Puritanism's most important accomplishment was Its capacity to shape a

i8Hudson,o|L£jJL,51. 13 person as a work of God.^9 Engîlsn Puritanism was composed of two groups: (a) the Presbyterians, who desired reform and simplification, but a hierarchical structure, and (b) the Independents, who wanted the local church to be the highest authority. It Is from this latter group that the Congregationalists and Separatists—Brownlsts and Baptists—evolved (see Baptists pp. 21-23). The Brownlsts, followers of Robert Browne (1550?- 1633?), existed for a brief time only and believed In a church of pure Christians as opposed to a state church for all who were baptized. In England, the Puritans suffered years of struggle and persecution from 1558 to 1649—the latter date being the founding of the Puritan Commonwealth established by Oliver Cromwell (1599-1658). Cromwell was an Independent, but faced a primarily Presbyterian Parliament. Both groups, however, opposed the Anglican Church of the monarchy. By 1660, the monarchy and the Anglican Church were restored. Presbyterlanism became another sect. In addition to the Congregatlonallsts and Separatists. The Act of Toleration of 1689 gave these groups the right to exist as sects. In America, the Presbyterians first established a presence in Virginia, with the arrival of Alexander Whittaker In 1611. In the 1620‘s, the Puritans (Presbyterians) and Pilgrims (Congregatlonallsts) arrived In Massachusetts. The Dutch Calvinists established themselves In New York in 1623. At about this time, French Huguenots settled along the coastal areas around Boston, New York, and Charleston, and were assimilated into the Presbyterian Church. In the late I600’s, Germans settled in Pennsylvania, and the Calvinists among them established the Protestant Reformed Church.

l^Ahlstrom. 00. cit.. 150. 14 The father of American Presbyterlanism was Francis Makemie (0.1708), who emigrated from Ireland to the colony of Maryland in 1683. In 1705, he established the first presbytery at Philadelphia. In 1717, the Synod of Philadelphia was organized, with 19 ministers and 40 churches and a total of 3,000 members. In the period 1705-1775, Presbyterians from Scotland and Ireland immigrated to the Middle colonies and settled in the Carolinas. Hudson believes that it is myth that Puritanism was focused only in New England. He states that it was widely spread throughout the colonies but that it is most easily identified with New England.zo The Reformed Presbyterian churches gained new members because of laymen who migrated West, formed new congregations, and called a pastor. These churches tended to be anti-evangelical and anti-revivalistic. In 1801, a Plan of Union enabled frontier congregations, Presbyterian and Congregationalist, to be served by one pastor. Most of these congregations became Presbyterian because that sect had more pastors than did the Congregational ists. Education was an important concern for the Presbyterians; they believed in college-trained clergy and created colleges for that purpose. The legacy left by the Puritan movement was a society founded upon lawful government, in which Its citizens had a sense of civic responsibility and a desire for learning These factors played a significant role in the development of the country and especially the New England character through the I600's and I700's.2i

ZOHudson, 00. cit.. 9.

21 Ahlstrom. 00. cit.. 164. 15 Conqreqationallsts (Pilgrims) Congregatlonallsts, a group within the Independents (see Presbyterians and Puritans, p. 13), were a sect that had a middle-of-the- road approach between the Presbyterians, who wanted a state church, and the Separatists, who did not want external state control or an episcopal structure.22 The Congregational solution was a state church, but with a congregational orientation. The congregation would own Its own property, choose Its own ministers, and preach the doctrines of the Church of England, but not be under the control of the Anglican bishops. The four primary features of Congregationalism were: (a) a church built on the covenant of people together—the church could not be formed until constituted by the people; (b) a church connected to a place—parishes with one church in each geographic region; (c) an established church with connection to the government—in New England the ministers' salaries were paid by the civil authority; and (d) a church conceived as a sacred Institute for the society—the ministers were expected to speak out on moral Issues, to be consulted on Important matters, and to represent the colony as public figures. Although It was not the Congregatlonallsts" original purpose, they eventually became independent of the state. The first branch of the Reformed tradition in America was Congregationalism—the church of the Pilgrims who arrived in the early 1600's. The Cambridge Platform, which was adopted in 1648 by the four Puritan colonies, was the main governing document for the New England Congregatlonallsts. In Its developed form, Congregationalism was similar to Presbyterlanism In that it was organized in synods. It was considered a

22"The Reformed-Presbyterian Family." EAR. I, 117-18. 16 State church until disenfranchisement after the American Revolution. Until the Revolution, the Congregatlonallsts gave the power of punishment for Idolatry, blasphemy, heresy, schism, etc. to the secular magistrate. The Congregatlonallsts supported education. Elementary education was important, and schools were established in almost every town. As a result, most people in those towns could read and w rite to some extent.23 They believed that the general welfare of the people required a learned ministry, and it is for this reason that Harvard was founded in 1636.24 of 1,568 ministers In the New England area, only seventy-nine did not have a college educatlon.25 Notable ministers were Thomas Hooker (1586-1647), Cotton Mather (1663-1728), Jonathan Edwards (1703-1758), Charles Chauncy (1705-1787). and Timothy Dwight (1752-1817).

Dutch Protestant Reformed The Dutch Protestant Reformed sect evolved from the Calvlnlstic Reformed trad1tion.26 in 1579, the Netherlands separated into Protestant Holland and Catholic Belgium. Jacob Arminius (1560-1609), a believer in a liberal interpretation of predestination in contrast to Calvin's stricter view, emerged as the Protestant leader in Holland. Arminius and his followers believed that human actions could affect redemption (see Presbyterians and Puritans, pp. 11-14).

23Hudson, 00. c it.. 38.

24AhlStrom, oo. cit.. 149.

ZSHudson, 00. cit.. 38.

26-Reformed Church in America," EAR. 1,119. 17 In America, this movement was first known as the Reformed Protestant Dutch Church. The first church. Collegiate Church,was formed at New Amsterdam In 1628 by the Reverend Jonas Michael lus (1584-?). Ministerial training was started at Queen’s College, now Rutgers University, when New Brunswick Theological Seminary was founded In 1784 at that campus. This was the first Protestant seminary established In America. Independence from Netherlands church affiliation occurred In 1770, and a constitution was adopted in 1792. In 1819, the sect changed Its name to the Reformed Church of America. Basically, the movement has a presbyterlal organization, and education has always been considered Important. Doctnnally, it is conservative, and the liturgies for the Lord’s Supper, baptism, and ordination are required; those for the Sunday service and marriage, however, are not required.

Lutherans Martin Luther (1483-1546), an Augustinian monk, believed In the following tenets; (a) that salvation is by grace alone through faith, (b) that the Bible is the sole rule of faith and sole authority of doctrine, (c) that only two sacraments have a biblical base—baptism and eucharist, (d) that penance, confession, holy orders, unction, and marriage are not sacraments.27 Luther believed in the formation of a liturgy, the eucharist, and the reading of the Bible. He opposed the tradition in the Catholic Church of a celibate priesthood, monastic life, veneration of relics, radical fasting, pilgrimages, hairshirts, the rosary, and scourges.

27*The Lutheran Fam ily,” EAR. 1,89-96. 18 Luther published a translation of the New Testament in 1522 and a translation of the Old Testament in 1534. These translations helped to educate Luther's followers. He also considered hymns to be an important part of the liturgy, and these hymns served to spread his ideas. The first two Lutheran hymnbooks were published In 1524. In the worship service, sermons were in the vernacular. There are three dates of importance to the founding of Lutheranism; it was on October 17, 1517, that Luther nailed his 95 theses to the Castle Church at Wittenburg; his tower experience of 1513-14 gave Luther the insights for these theses; in 1530, the Augsburg Confession was published, giving his followers a document to rally around. By the I530's, the religion had spread from Germany to Sweden, Denmait, Finland, and Norway, forming independent churches within these countries. The term "Lutheran" was used as early as 1519 or in the early I520‘s to refer to Luthers followers and the doctrines and practices of the Lutheran Church. Although it may have first been used by his detractors, Luther did use the term in some of his writings in 1522.^8 in Luther's 1522 treatise "A Sincere Admonition to all Christians," he states, "In the first place, I ask that men make no reference to my name; let them call themselves Christians, not Lutherans."^?

28"Lutheran, "Lutheran Cyclopedia." rev. ed., ed. Erwin L. Lueker(St. Louis, Missouri: Concordia Publishing House, 1954), 488-89.

29Martin Luther, "A Sincere Admonition by Martin Luther to All Christians to Guard Against insurrection and Rebellion [1522]," trans. W.A. Lambert, and rev. Walter I. Brandt, Luther's Works, ed. Jaroslav Pelikan and Helmut T. Lehmann, 55 vols, to date (Philadelphia; Muhlenberg Press, 1955-), XLV(1962), 70. 19 Lutheronlsm first came to this country in 1638 through Swedes who settled along the Delaware River at Fort Christina and who were under the guidance of Reverend Reorus Torkillus, who was the first regular Lutheran minister in America. A Swedish Lutheran synod was finally formed hy i860. German Lutherans arrived in Pennsylvania in the late 1600‘s and became organized under the leadership of Henry Melchior Muhlenberg (1711- 1787), who arrived in 1742. He formed the first synod, the Ministerium of Pennsylvania, in 1748. By 1792, a church constitution was adopted, and in 1796 organizational ties to Germany were created. Additional synods were formed in New York City (1786) and in Ohio (1818). Through the I800‘s, Lutherans settled in the Midwest, particularly in the areas northwest of Chicago, and in the Southern seaboard. Each linguistic group established its own synod and autonomous church and remained independent of Lutheran churches in other states. This ethnic identity is significant, as most other denominations did not develop in this manner. Of the 150 synods that existed in 1850, 21 currently exist because of the various mergers that have occurred.

German Reformed The German Reformed Church evolved from the Lutheran movement of the 1500's and the political influence of Frederick II, Elector of the Palatinate in the 1560's.30 Its specific tradition grew from the theological and political force of German Switzerland as it related to Huldrych Zwingli (1484-1531) end Heinrich Bullinger (1504-1575). Many followers of the German Reformed tradition sought refuge in America and emigrated to the

30Ahlstrom, oo. cit.. 245-50. 20 Colonies because of several factors: a number of wars in Germany during the seventeenth and eighteenth centuries, the temporary establishment of Catholicism in the Palatinate, economic hardships, and religious persecutions. Three factors initially affected the inability of German Reformed followers to successfully organize in this country. First, the Wlievers lacked an established ministry, for there was not a state church similar to that in Germany. Second, the followers were not accustomed to managing church matters on their own. Third, the dispersion of people over wide areas made it difficult to organize those who, as settlers, had come here as individuals, not as transplanted groups. German Reformed Churches were, however, established through the devoted work of laymen and, at other times, ministers. The first German Reformed Church was founded in 1719 at Germantown, Pennsylvania, without a minister. A minister significant to the Pennsylvania churches was John Philip Boehm, who helped to establish congregations during the years 1725-1727.31 By 1730, there were approximately 15,000 German Reformed believers in Pennsylvania. Other churches were established in the Hudson-Mohawk region of New York, and in North Carolina. By 1747, and after considerable effort over the previous years, the first organizational meeting of twelve German Reformed Churches took place in Philadelphia—a milestone for the denomination. It is estimated that by 1751, 30,000 members, in 53 churches, with only four ministers, were to be found in Pennsylvania. In 1772, the Philadelphia group began to ordain its own ministers. By 1793, the first synod of German Reformed Churches was

3iHudson,fiiL£iiv 57 21 established. At that time, there were 178 churches, with approximately 40,000 adherents in New York City, New Jersey, Pennsylvania, and Maryland. The German Reformed Church did meet with considerable difficulties in the 1700's due to the influence of the Great Awakening (see Baptists, pp. 22-23), the rise of radical pietism, pressures from other denominations, a shortage of pastors, the lack of a seminary, and little financial help from its previous associates in Germany and Holland. In the 1800’s, much of this would be rectified.

Baptists In 1611, John Smyth (1544-1612) founded the first Baptist Church in England; it reflected the influence of Calvin (see pp. 12-13), the Mennonites, and certain other European religious concepts.32 There were two Baptist groups: the General Baptists believed in general atonement and had an Arminian heritage (see Jacob Arminius, Dutch Protestant Reformed, pp. 16-17), while the Particular Baptists believed in particular atonement (predestination). Both groups supported adult baptism by complete immersion and local congregational control. The General Baptists represented the more highly organized of the two groups. In America, Roger Williams (1603-1683) founded one of the earliest Baptist (General) churches in 1639, in Providence, Rhode Island. Previously, Roger Williams had settled in Boston. He was asked to leave Boston in 1635 because he advocated the separation of church and state and supported adult baptism. Rhode Island was the first colony to establish the precedent of church and state separation. In 1638, the "Holy Commonwealths" of New

32“The Baptist Family," EAR, 1,360-67. 22 England considered Rhode Island to be a catch basin for heresy and eccentricity and not worthy of membership In the New England Confederation s^ in 1643, Roger Williams obtained a patent from England to officially form the Rhode Island co1ony.S4 During the 1680's, the Baptists entered Into the Middle colonies, where they thrived due to the lack of established churches In that area. The first association of Baptist churches was formed at Philadelphia In 1707. This association had a Particular Baptist Influence and Calvlnlstic doctrine. In 1765, the first Regular (Particular) Baptist Association—the Ketocten Association—was formed In Virginia. In the late 1600's, the General (Arminian) Baptists settled In the South. They established their first church In 1714. This group later became the Free Will Baptists. The Great Awakening had a significant influence on the Baptists and brought Increased membership. The Great Awakening was a widespread religious revival that occurred in America from the 1720's through the 1740's. It was highly emotional, and emphasis was placed on the visible outward signs of the conversion experlence.^s The emotionalism of revivalism became controversial during this period. A group of Separatist Baptists was formed which advocated the "bom again" regeneration experience. This group was known as the New Lights; those that did not

33]bid., 167.

34Hudson, Religion In America. 29.

35"The Great Awakening," The Oxford Dictlonaru of the Christian Church. 2nd ed., eds. F.C. Cross and E.A. Livingston (Oxford: Oxford University Press, 1977; reprint, with corrections, of the 2nd. ed. of 1974), 590. 23 believe In regeneration were referred to as the Old Lights. The College of Rhode Island, now known as Brown University, was established In 1764 to help train Baptist mlnlsters.36

Anabaptists The Protestant Reformation is often thought of in terms of the influence and accomplishments of Martin Luther and John Calvin and their respective groups.37 There were other groups of significance which were viewed by the traditionalists as being rather radical. It is from these non- traditional groups that the Anabaptist movement evolved. These various sects were often from the lower classes, persecuted by the state, and usually opposed by the ruling class. Martin Luther and John Calvin thought these groups to be extreme. Anabaptists (ana = re, i.e., rebaptism) believed in infant baptism and then baptism again as an adult. Hans Denck (see Schwenkfelders, pp. 30-31) formulated d view of baptizing only adults, not children, and this became the thrust of some German Anabaptist groups. The Anabaptists considered themselves to be adult believers in free will and not members of state churches. Anabaptists, in general, were pacifists. They avoided civic affairs, courts, oaths, and worldly amusements. They separated themselves

S^Hudson, 00. cit.. 77.

37~The European Free-Church Family." EAR. I, 319-27. 24 from the evil world and they supported use of the "ban"—banishment or excommunication.38 The sects within the Anabaptist tradition (Mennonites, Quakers, Brethren and Dunkers, Amish, Schwenkfelders, and Free Church Brethren) tend to be lay-oriented, non-liturgical, non-creedal, and Bible-oriented. The promise of religious freedom in America, end specifically within Pennsylvania, led many of these groups to this country.39 Each of the above named sects will be discussed under its respective heading, and in chronological order, with the exception of the Free Church Brethren, which was a sea established after 1867, beyond the purview of this survey. Mennonites: The American Mennonites trace their religion back to their founder, Menno Simmons (1496-1561), who was a major Anabaptist leader in the Netherlands about the year 1537.^ He was of Dutch ancestry and a Catholic priest. The Mennonites adhered to the Anabaptist doctrine listed above. The Mennonites arrived in this country as early as 1643 and settled in the New Netherlands area. The first permanent establishment of the

38Matthew 18: 15-17: "Moreover if thy brother shall trespass against thee, go and tell him his fault between thee and him alone: if he shall hear thee, thou hast gained thy brother. But if he will not hear thee, then take with thee one or two more, that in the mouth of two or three witnesses every word may be established. And if he shall neglect to hear them, tell it unto the church: but if he neglect to hear the church, let him be unto thee as a heathen man and a publican." However, The Living Bible Paraphrased translates the very last phrase as "then the church should excommunicate him." The Living Bible Paraphrased (Wheaton, Illinois: Tyndale House, 1971), 763.

39Hudson, OP. cit.. 31 -32.

^"The Mennonites and the Amish," EAR. 1,327-30. 25 Mennonites was at Germantown, Pennsylvania, in 1683. The reason for their Immigration to America was to escape religious persecution in Europe. They settled here at the Invitation of William Penn (1644-1716) and George Fox (1624-1691). The Mennonlte belief that war and slavery were wrong caused some difficulties, especially during the American Revolution. The Swiss Mennonites established themselves in Lancaster County, Pennsylvania, in 1710.41 By the 1800's, the Mennonites had spread further West and formed some schismatic churches in the western areas. Organizationally, the Mennonites place emphasis on the local congregation, and their deacons and bishops are often chosen by lot. Their beliefs are based upon the Dordrecht Confession of 1632, which states that the Bible is the source of their beliefs, that the believer has a direct encounter with Christ, and that the spirit works from within. Quakers: George Fox (1624-1691) was the founder of the Quaker sect, which originated In England. Fox, who was a mystic, psychic, and social activist, began to preach In 1647 after experiencing an Inner Illumination and an inner voice that Inspired him to preach.42 He received the gifts of the spirit (cited In I Cor. 12:4-11) during his ministry. He preached against holidays, entertainment, and sports because they lead to vanity and looseness. He was a peace advocate. The Quakers believed that the "Inner light would lead to the road of perfection. According to Ahlstrom, the Quakers, or Society of Friends, evolvtJ out of English left- wing Puritanism by moving away from "the hierarchical, sacramental, and

41 Hudson. 00. cit.. 52.

42"The Quakers," », 347-50. 26 Objective Christianity of the Middle Ages toward various radical extremes In which Intensely Individualistic and spiritual motifs became predomlnant."43

In 1667, Quaker worship services, referred to as meetings, were organized Into monthly, quarterly, and yearly gatherings. These services had no minister, and everyone sat in silence until the Spirit moved the members. Generally, nothing was ever spoken, as the Spirit was received In silence. Currently, some Quakers still maintain the aforementioned service, or meeting, while others have a service with a sermon delivered by a minister, the singing of hymns, spoken prayer, and Bible reading. The Quakers led simple lives that required dress styles that did not permit the use of wigs or vain decorations. Frivolity was also prohibited. The Quakers first arrived in the American colonies In 1655 at Boston and did not receive a very cordial welcome. They were banished, and laws were established to punish the Quakers and anyone aiding them. Quaker teaching was feared because It minimized the liturgical and teaching function of the ordained ministry, abandoned the Idea of objective sacraments, and Inspired conduct which was prompted by an inner volce.44 The Quakers eventually formed a base In Rhode Island, with their first meeting house (church) being established in 1661. Rhode Island served as the Quaker base of operations until the opening of Pennsylvania, and the Quakers played a significant role In the development of Rhode Island's

43Ahlstrom. oo. cit.. 176.

44AhlStrom. Ibid.. 178. 27 government.^ William Penn (1644-1718) had joined the British Friends (Quakers) and was aware or the persecution of the Quakers. He had accepted a tract of land in the colonies as payment for a debt owed by the king of England, and Penn then established a Quaker colony on that tract. The first yearly meeting of the Quakers was established In 1681 In the town of Burlington In the colony of New Jersey. This New Jersey sect later joined with the Philadelphia Quakers, and the combined units represent the oldest Quaker organization In the United States. In the 1700's, the Quakers opposed slavery, for they supported the belief In the equality of man and also had a mission for the Indians. The Quakers controlled the Pennsylvania government until 1756, when the French and Indian War broke out. Because of their pacifist beliefs, the Quakers could not support the war measures being proposed at that time. To insure some freedom of conscience, the Quakers migrated to the South, but In 1800 the slavery Issue led them to Indiana and Ohio as they left the South In protest. The Quakers, unlike their Anabaptist counterparts, do not practice baptism by water, but they do believe In the Inward baptism of the Holy Spirit, a Schwenkfelder lnfluence.46 Quaker women had full participatory and ministerial rights. The Quakers do not have formal creeds as do the standard denominations. They do believe in the Trinity.

45Ahlstrom. Ibid.. 176.

46Ephes1ans 4:4-6: There is one body, and one Spirit, even as ye are called In one hope of your calling; One Lord, one faith, one baptism. One God and Father of all, who Is above all, and through all, and In you all. 28 Trie Brethrsii and the Dunkers. The Brethren evolved from the late seventeenth-century Pietist movement and centered about a group of German Palatinate citizens. Influenced by the German Mennonites, who wanted to be separate from the state churches (Catholic, Lutheran, or Reformed).47 They were, therefore, regarded as Separatists by those churches and were subjected to persecution. In 1708, with eight other members, their first leader, Alexander Mack (1679-1735), formed the first church. They rebaptized themselves following the Anabaptist tradition. They migrated to the Netherlands and came under the Influence of Gottfried Arnold (1666-1714), who supported the practice of triune Immersion as the proper type of baptism. Beginning in 1719, the Brethren migrated to Germantown, Pennsylvania, and by 1735 almost all had moved from Europe. The few that remained In Europe became Mennonites. The Brethren's first church was formed in 1723, with Peter Becker (1687-1758) as pastor. Becker led the first love feast, which consisted of footwashing, a group meal, # d the Eucharist. The Germantown church Is the mother congregation for wimt Is known In America as the Church of the Brethren—their formal title since 1908,48 Members of the Church of the Brethren were commonly referred to as Dunkers (tunken = to dlo. as In baptism); the sect spread through evangelization from the Westphalia area In the Palatinate Into other sections of Germany. Intolerance In those areas brought about emigration to Pennsylvania, where congregations soon formed. The church retained the

47The Brethren," EAR. I, 341-43.

48"Tunkers." The Oxford Dictionary of the Christian Church. 1399 2 9 plain dress and pacifism of the Mennonites and adopted, in common with the Quakers, a stand against slavery. These positions caused difficulties in the 1756 Indian War as well as during the American Revolution and the Civil War. Some members moved to the West to escape local pressures. The Church of the Brethren (Dunkers) differs from some Anabaptist traditions in that the Brethren baptize by immersion, abstain from alcohol, do not take oaths or participate in lawsuits, allow urban life and occupations, and do not use the ban. The love feast, referred to earlier, is central to their worship life. Amish: The Amish first formed in Europe as a group of liberal Swiss Mennonites led by Jacob Amman (1644?-1730?).49 Amman followed the Dordrecht Confession (1632) and the writings of Menno Simmons (1496- 1561). The Dordrecht Confession serves as the basis of faith for the Amish as well as for the old order Mennonites in America. Amman was a strong believer in the ban and in avoidance if a spouse was under the ban. It was this stricter practice of the ban that caused the Amish to separate originally from the Mennonites. They have remained Independent since that time. The Amish immigrated to America in th e early 1700's and established their first congregation at North Kill Creek, Berks County, Pennsylvania, about 1727. Lancaster County, Pennsylvania, has remained one of their strongest areas. The Amish have also s e ttle d in Ohio, Indiana, Illinois, and Iowa. The present-day sect, which practices in the tradition of the eighteenth-century Amish, is named the Old O rder Amish Mennonite Church.

49"The Mennonites and the Amish," EAR. 1,3 3 5 -3 7 . 30 In life style, the Amish attempted to "freeze" the culture of the late 1600's. They represent an agricultural community in which the church and worldly life are not separated. The congregations have bam raisings for Individual members, and modem machinery and conveniences are not permitted. In dress, buttons are prohibited, and hooks and eyes must be used; shoestrings, rather than buttons and buckles, are required for shoes; bonnets and aprons are wom by the women; and the men wear broad- brimmed hats, long hair, but no mustaches. Schooling beyond the basic "3 R's" Is discouraged, and this has created problems for state govemments. Religious practice includes a three-hour worship service every other Sunday, held on a rotating basis In the homes of the members. The congregation is divided by sex and marital status. The ministers are chosen by lot from a small group that has been nominated to serve. The Amish are not a missionary church, so they do not recruit members—new members are the children from within. Schwenkfelders: This church movement dates back to the Influence of an Anabaptist group in the sixteenth century that believed In a spiritual or m ystical Influence and w as led by Hans Denck. This group existed for only a brief time, but through their writings the members had some influence on the Quakers. Denck's sect left no following except for the Schwenkfelders.50 This sect takes its name from Caspar Schwenkfeld’s (1489-1561) surviving group. Members of the sect emigrated to America from Silesia in 1734. In religious practice, the Schwenkfelders emphasized the inner world, the mysteries of the sacrament, faith, liberty, baptism for adults.

sOThe European Free-Church Family," EAR, L 327. 31 and communion open to all. The Schwenkfelders required no distinctive dress and permitted public office and military service.si

The Pietist Movement The Pietists were a Bible-centered faith that believed in the experience of the Christian life through conversion and forgiveness of one's guilt; in addition, they believed in the free expression of faith through hymns, testimony, and zeal.52 in Europe, two significant leaders of the Pietist movement were Philip Spener (1635-1705) and August Herman Francke (1663-1727). One of Spener's contributions was the development of home Bible study, which was practiced by groups who became known as religious "societies." P ietist churches differ from sects such as the Mennonites, Amish, Quakers, and Brethren, in that the P ietists supported the traditional churches and worked within those systems and adhered to infant baptism and simple liturgical forms. The Pietists' religious societies were formed within the state churches, and only at a later date did the societies become independent. In America, religious societies were formed in Boston through the efforts of Cotton Mother, who had been in correspondence with August Herman Francke. Pietist literature was considered to be one of the influences on the Great Awakening which occurred in America in the 1730's and 1740‘s.

51 The Schwenkf elder Church in America," EAR. 1.347.

52The Pietist-Methodist Family," ME, I, 159-61. 32 In Europe, the Pietist movement influenced the renewed development of the Moravian church in Germany. Those Moravians that settled In Sweden established the Swedish Evangelical Church. In England, the movement had considerable Influence on John Wesley and the development of the Methodist Church. Moravians: The primary leader of the Moravian Church was John Hus (1369-14!4).53 Hus Challenged some aspects of the Catholic Church such as the selling of Indulgences, the moral corruption of the papacy, and the denial of Communion to the laity, and was burned at the stake in 1414. His followers formed the Unltas Fratrum—Unity of the Brethren. In 1621, fifteen Brethren leaders were beheaded, effectively ending the Unltas Fratrum. The few remaining followers left Moravia and moved to the Saxony estate of Count Zlnzendorf (1700-1760), who became the leader of the Moravians. It was here that the Renewed Unltas Fratrum was founded on August 13, 1727, and this is considered the date of Inception of the Moravian Church. Zlnzendorf was a Pietist follower, and that influenced Moravian beliefs. Emphasis was placed on the love feast. Informal communion, singing, and a talk by an officiating minister. One Influential publication was the Dally Texts, excerpts taken from the Old and New Testaments.®^ A hymn text was provided to amplify the excerpts. This

53"The Moravians." EAR. I, 161-165.

s^The Daily Texts, or Loosunoen were daily bible readings circulated within the community. Originally started by Zlnzendorf, they were collected Into bookform and first published In 1731. Publication has apparently been continuous since that date. American publication is at Bethlehem, Pennsylvania. Cf. John Jacob Sessler, Communal Pietism Among Early Moravians (New York: Henry Holt Co., 1933), 108. 33 volume was influential beyond the membership. The mission program was also important—it is through Moravian societies in England that John Wesley, founder of the Methodists, came under their influence, for he belonged to one such society for a short time. The Moravians did not encroach upon the state churches. The Moravians arrived in America in 1735, coming here for two reasons; to have a place of refuge if Germany should become intolerant of their beliefs, and to have a mission for the Indians. The initial settlement was in Savannah, Georgia, but because of conflicts between Britain and Spain in Florida and Georgia, the Moravians moved to Pennsylvania under the leadership of Bishop August Gottlieb Spangjnburg (1704-92). Count Zlnzendorf visited the Pennsylvania community, and on December 25, 1741, the first congregation was established. By 1749, the Moravians received official recognition from the British Parliament, by virtue of which they were able to settle in the British colonies. They settled in North Carolina in I752,^nd, in 1756, Salem was established. The Moravians were the first to have missions not only for the Indians but also for the slaves. Spangenburg created a plan of "Economy" for the sect. So that the Moravians could be self-supporting, members placed their time, talents, and labor at the church's disposal. In return, they were assured housing, food, clothing, and fellowship. The Moravians' agricultural and industrial centers prospered; they supported missionaries and circulated books. The Moravian motto is "In essentials unity, in non-essentials liberty, in all things charity." Members of the sect adhered to basic Protestant doctrines, the love feast, the observance of the church year, infant baptism, and communion. Easter sunrise service is the height of the 34 Christian year. Music was very Important, and Zlnzendorf and James Montgomery wrote many hymns. Methodists: John Wesley (1703-1791), the founder of Methodism, organized the church in 1739 following his Aldersgate experience of May 24, 1738.55 It was on this date that Wesley found that his "heart was strangely warmed" and was given the faith in Christ that he had so long been seeklng.55 This "conversion" occurred in the Aldersgate Chapel while Wesley was attending an Anglican society meeting and listening to a reading of Luthers Preface to Romans.57 wesley was the son of an Anglican minister; he attended Oxford and was influenced by the Moravians. In the beginning stages, the church practiced field preaching, used lay preachers, and maintained the discipline of the societies. These United Societies were groups of dedicated Christians within the Anglican Church who met for prayer and worship. The societies were important as a gathering, not a place of worship. In 1744, Wesley held the first conference of the new church, at which he assigned various tasks to the ministers. He then began to meet with the societies on a quarterly basis. During these meetings, a love feast. Informal communion service, a light meal, singing, and a talk took place. The application of doctrine to life and grace freely given were theological

55"Methodlsm." EAR. I, 168-77.

56D.R. Chandler, "John Wesley," Encylooedlc Dictionary of Religion. 3 vols., ed. Paul Kevin Meager, Thomas C. O'Brien, and Consuelo Marla Aherene (Washington, D C.: Corpus Publications, 1979), 111, 3227.

57Ah1strom, oo. cit.. 325. 35 Issues of concern to the Methodists. The Methodists, or British Wesleyans, become independent of the Anglican Church in 1795. In America, the first society was formed at Leesburg, Virginia, in 1766. A second was formed in New York City, and the Methodists spread throughout the middle colonies to Baltimore, Philadelphia, and Wilmington. Because of the American Revolution and Methodism's connection with the Anglican Church, Wesley sent Thomas Coke (1747-1814), on ordained superintendent, to America so that Francis Asbury (1745-1816) could be consecrated as bishop in this country rather than in England (the title "bishop" was preferred by the American preachers instead of "superintendent"). This event occurred at the Christmas Conference held at Lovely Lane Chapel in Baltimore in 1784—the official date for the beginning of Methodism in the United States. Asbury was second only to Wesley in his influence on American Methodism. Ministers were appointed annually, and by 1800 the church was using circuit rider preachers. Such a preacher might have as many as twenty to thirty preaching points on a circuit, which meant that services would be held on days other than Sunday. This became a problem once congregations stabilized and requested services to be held only on Sundays. The traveling minister played a very Important role In the establishment of the church.

Jewish Faith Followers of the Jewish faith first arrived in the Americas with Christopher Columbus. During the 1630's to 1650's, congregations had been 3 6 established in Recife, Brazil, and Venezuela.58 The town of Recife fell to Portuguese control in 1654, causing some Jews to flee to Holland or to New York City. It was in 1728 that the first congregation in that city was established. Congregation Shearith Israel. Prior to that, some Jews had settled in Newport, Rhode Island, and built a synagogue in 1677. Their population slowly spread, and although there were relatively few members of the Jewish faith in New England, they established congregations in Philadelphia and Lancaster, Pennsylvania; Richmond, Virginia; Charleston, South Carolina; and Savannah, Georgia. Through the 1700 s, American Jews were of the Sephardic tradition (Jews who were descendants of Jews from Spain and Portugal); other sects did not arrive until the nineteenth century.

Russian and Greek Orthodox Churches Russian Orthodoxy was brought to the Alaskan territory by Russian missionaries in 1741 when the area was first settled.59 Records indicate that the first baptism occurred in 1743, and the first church was consecrated in 1794. A seminary was established on the Aleutian Islands in 1841. The Diocese of the Aleutian Islands and Alaska that had been established by the Russians was moved to San Francisco after the purchase of the Alaskan territory by the United States in the 1860*s. The sect experienced substantial immigration from 1830 to 1920. Followers of the Greek Orthodox tradition originally settled in the area of New Smyrna, Florida, about 1767.^0 Greek merchants established

58-Jewish Faith." EAR, vol. 2, 312-13.

59"The Eastern Orthodox Tradition," EAR. I, 57-59.

60"The Greek Churches," EAR. 1,64. 37 the first church at New Orleans in 1864, and the first diocese was formed in 1918.

Communal Societies A dominant manifestation in America during the first half of the nineteenth century was the development of a variety of communal societies.6l These societies were motivated by a desire for an ideal or perfect life, and they sought to realize this concept. Sydney Ahlstrom remarks that for American and European communal planners, the United States was considered to be the Promised Land.62 Ahlstrom continues by stating that some sixty communal societies were created during this time period, a few dozen of which had transient success. Many of these societies were founded by a charismatic leader, and the continuing survival of a sect depended greatly upon that leader. The founders of these communities oftentimes rejected codes, statutes, traditions, and customs. A primary motivational force was "a belief in Christian perfection and the conviction (as old as cenobitic monasticism) that a dedicated community provided the ideal conditions for attaining it."63 Some of the more notable communitarian sects were the Zoariles, Ohio; the Amana Society, New York; the Oneida community. New York; the Transcendentalists, Massachusetts;

61 Hudson. 00. c it.. 183.

62Ahlstrom, oo. c it.. 491.

63|bid. 38 and the Rappltes, Pennsylvanla.64 of these sects, the Rappltes, or Harmonists, had the most similarity to the Shakers. The Shakers. An early Shaker theological work. The IfiStlmony Of Christ's Second Appearing (1810), by Benjamin Seth Youngs, recounts the history of the formative years of the Shaker movement. It is from this account that several subsequent sources attribute the early influences of the Camisards, or French Prophets, on the sect. Youngs states:

. . the spirit of prophesy appeared In those called French Prophets, attended with the most convincing evidences of divine power; but these extraordinary appearances were not of long continuance." "However, a few of those French prophets came over to England about the year 1706, and opened their testimony in and about London, which was a means of a great awakening, and numbers received their spirit, which continued to operate. In a greater or less degree, until Its principal effect was produced in a small body of people, who were gathered into a society, under the special ministry of James and Jane Wardleg. among whom was a particular work of preparation for the true and real manifestation

64Hudson. 00. cit.. 183. 39 Of Christ. This work began In Bolton and Manchester, in the county of Lancashire, in £oglflO£L about the year 1747 "65

As mentioned previously, several histories about the Shakers seem to take this passage rather literally, as positive proof that the French Prophets were a clear and direct Influence on the Shakers; other histories, however, claim that there Is no direct link. A brief review of some of these books will be helpful to the reader. Charles Edson Robinson, In his 1693 work, not only proposes that the French Prophets were an influence but believes that similarities exist between the Shakers and the Hindu religion; between the Shakers and Jewish people because the latter lived a communal life during their exile; and between the Shakers and a Christian communal society known as Essenes that dates back to the time of Christ.** Anna White and Leila S. Taylor, two Shaker sisters from New Lebanon, New York, indicate that the French Prophets, or Cami sards, came to

*5[Benjam1n Seth Youngs], The Testimony of Christ's Second ABB§^ri.a 9;-ContjilolJ}.g.Jj?.e.nec9,? StoLem eolA fA lL Iblogg Pgrtotntng to the pgUh and Praçttce of the Church of .God In. This Lgtter Pgy, Published by Order of the Ministry, in Union with the Church, Second Edition, Corrected and Improved (Albany: Printed by E. and E. Hosford, 1810), xxiii. The first edition of this work appeared In 1808 (published at Lebanon [Union Village], Ohio); it was, according to the Richmond bibliography cited below, regarded by "the world" as the "Shaker Bible". Subsequent editions appeared, in addition to those above, in 1823 and 1856. For additional information see: Mary Richmond, comp, and annotator. Shaker Literature: A Blbliograohu. 2 vols. (Hancock, Massachusetts: Shaker Community, Inc., 1977), entries In vol. I: nos. 1469, 1470, 1471, 1472. This is the major bibliography of Shaker research.

**Charles Edson Robinson, A Concise History of The United Society of Believers Called Shakers (East Canterbury , New Hampshire: printed at Shaker Village, 1893), 1-3. Although Robinson's discussion Is interesting, it appears that no other Shaker histories follow his line of thought. 40 England In 1706 from the Cevennes region of Fronce.6? They slate that the Cami sards were Inspired by a religious upheaval that occurred In France during the second half of the seventeenth century. This upheaval was characterized by psychical development, physical action, trance, vision, and the reception of Inspired truth. The cause of this upheaval, according to Marguerite Fellows Mel cher, was the Revocation of the Edict of Nantes in 1685, an edict which had, until then, given protection to the Protestants.^b Melcher further explains that the Cami sards were led by Jean Cavalier, a young baker, and that his group predicted the second coming of Christ. The French government persecuted this group of about five hundred Protestants, and a small group of them fled to England with their leader at the turn of the century. They settled In the vicinity of London and by 1705 numbered approximately three hundred to four hundred followers. Melcher continues by saying that because of lack of organization and the absence of security, the French Prophets, as they referred to themselves, lost much of their ardor and that little was heard from them until 1747, when James and Jane Wardley, a Quaker couple, joined the sect and revived Its enthusiasm by announcing that the second coming of Christ was at hand.

67Anna White and Leila S. Taylor, Shakerism. Its Meaning and Message: Embracing an Historical Account. Statement of Belief and Spiritual Experience of the Church from Its Rise to the Present Dag (Columbus, Ohio: Press of Fred J. Heer, 1904, reprint New York: AMS Press, 1971), 14. Richmond Indicates that this book carries no official statement of approval but that It Is generally considered to be an official account of Shaker history written from a Shaker standpoint (Richmond No. 1447).

68Marguerite Fellows Melcher The Shaker Adventure (Princeton: Princeton University Press, 1941; reprint l?l Old Chatham, New York: The Shaker Museum, 1975), 5. 41

John Chendïer, k, the foreword to the Rfchmond bibliography cited earlier, also endorses the concept that the S hakers were, according to Shaker accounts, influenced by the French P ro p h ets. He describes this group, as well as their English counterparts, a s h av in g

. a number of Identifying tra its : ecstatic religious experience marked by seizures and trem b lin g ; obsession with millennial prophecies and computations; h o s tility to all organized ecclesiastical structures, Protestant o r Catholic; and special appeal to the poor working class people, b o th rural and urban/69

Chandler's foreword gives a good concise o v e rv ie w of the development of the Shakers. It should be pointed out, h o w e v e r , t h a t in Richmond's own Introduction to her bibliography, she sta te s th a t similarities do exist between the French Prophets and the Shakers, that the Shakers acknowledged on undefined connection, but th a t a direct relationship has never been documented.70 Two other works support Richmond's view point. John Whitworth states that “Although it is impossible to tra c e th e exact nature and degree of influence of the French Prophets on the W ardley group, the letter's manner of worship and teachings closely resembled those of the Prophets "71 Daniel W. Patterson gives the c le a r e s t explanation concerning the French Prophets. He believes that several books have misinterpreted

69Richmond, oo. cit.. ix.

70|bid.. xix.

7lJohn McKelvie Whitworth, God's B lu e p rin ts: A Sociological Studu of Three Utopian Sects (London and Boston: R o u t le d g e & Kegan Paul, 1975), 14. 42 this In flu e n c e because of Benjamin S. Youngs' description in The Testimony of C hnst's Second Appearing. Patterson indicates that Youngs, in an attempt a t legitimizing Shaker faith, was citing a popular religious history of the d a y — Hannah Adams' Views of Religion—as far as remarks about the French Prophets and their relationship to the Shakers were concerned. Patterson concludes that "Any direct historical relationship between Shakerism and the French Prophets is doubtful and is certainly yet to be proved."T2

R eturning to Benjamin Youngs' account of the history of the Shakers, Youngs d e s c r ib e s the Wardley society's manner of worship as follows;

Som etim es after assembling together, and sitting a while in silen t meditation, they were token with a mighty trembling, under which they would express the indignation of God against all sin. At o th e r times they were affected, under the power of God, with a mighty shaking; and were occasionally exercised in singing, shouting, or walking the floor, under the influence of spiritual signs, shoving each other about,—or swiftly passing and repassing each o th e r , like clouds agitated by a mighty wind. From these stran g e exercises, the people received the name of Shakers, and by some, w ere called Shaking Quakers: but from the time of James W ardley s ministration to the present day, they have been, most g e n e ra lly , known and distinguished by the name of Shakers.?^

'^^Doniel W. Patterson, The Shaker Spiritual (Princeton: Princeton University Press, 1979), xv. Patterson's citation of the Adams book is as follow s: H annah Adams, Views of Religion. In Two Parts. 3rd ed. (Boston, 1801), pp. 1 13-15.

^ ^ B en jam in Seth Youngs, oo. c it.. xxv. 43 The term "Shakers" was originally applied In a derisive manner by the world to the Wardley group74 The term, however, was not necessarily viewed as negative by the Shakers as they believed the work of the Lord, in the latter days, would be a work of Shaking. Youngs gives several scriptural references to support this belief:

Thus the Lord promised, that he would shake the earth with terror. (Lowth's translation of Isal. 11. 19, 21.)—That In that day, there should be a great shaking of the land In Israel. (Ezek. xxxviil. 19, 20.)—That he would shake the heavens and the earth. (Isai. xiii. 13. Joel, ill. 16. Hag. i1. 6, 7,21.) 75

It was through the scriptures that the Shakers believed that God would soon "shake" mankind to Its very foundation in preparation for the second appearing of Christ and that In this appearance, by Shaker belief, Christ would take the form of a woman. Ann Lee, who became the founder and leader of the Shakers, was the woman considered to be Christ In the Second Appearing.?^

7% i^.

75|bid. The reference to Lowth's translation Is to that of Robert Lowth (1710-1787), bishop of London, and his Isaiah. A new translation: with a prelimlnarg dissertation, and notes, critical, phllolooical and explanatory . . . Printed by J. Nichols for J. Dodsley, 1776. Youngs does not specify which translations he consulted for the other biblical quotes.

76|bid.. xxv-xxvi. 44 Ann Lee was bom c.1736 in Manchester, England and was the daughter of John Lee, a blacksmith?? Her family consisted of five brothers and two sisters; one brother, William Lee, also became a significant member of the Shaker sect. Ann Lee was not very well educated, and her occupation was as a cutter of h atters fur. She and her husband, Abraham Stanley , also a blacksmith, lived within the household of Ann's father. All four of the children she gave birth to died in infancy. This fact takes on greater significance during the formative years of the Shaker sect in America, as it was influential in formulating its belief in celibacy. Ann Lee (1736-1784) joined the Wardley sect of Shakers in 1758. As a member, and over a period of approximately nine years, Ann continued to search for revelations of the power and light of God so that she could become more perfect and eliminate her conditions of human depravity and lock of divine nature. During this search, God revealed to Ann Lee that mankind's deprivation and corruption were rooted in the transgression of Eve with Adam. This became known as The testimony against the flesh or The Testimony against all sin. It was because of these revelations that Ann was perceived as having the "lead" and emerged as the spiritual leader of the Shakers. It was a Shaker belief that that person to whom the greatest amount of spiritual power and light was revealed would be regarded as having the “lead" and would so be acknowledged by the other members of the sect. She was acknowledged as first Mother or spiritual parent of the sect. The worship services during the early formative years of Ann's leadership were characterized by singing, dancing, shaking, shouting,

77The following summary of the account of Ann Lee's rise to leadership is taken from Youngs' The Testimony of Christ's Second Aooearing. xxvi-xxviii. The emphases are his. 45 speaking with new tongues, and pnophesying78 This style of worship, in connection with the religious principles of the sect, led to persecution from the surrounding community and formal religious denominations of that day. Ann Lee was, on several occasions, placed in prison for various offenses such as Sabhath-hreaking and blasphemy. On one occasion, she and her followers were stoned by a mob, but it is said that Divine protection prevented the Shakers from being Injured. As a result of these difficulties and a vision that Ann experienced about the Shaker church continuing to grow and prosper In America, the sect decided to settle In this countnj ?* It was on May 19, 1774 that the Shakers, nine In number, sailed on the ship Marl ah from Liverpool, England to New York City. The nine travelers consisted of Ann Lee; Abraham Stanley, who was Ann's husband; William Lee, Ann’s brother; James Whittaker; John Hocknell; Richard Hocknell, John's son, James Shepherd; Mary Partington; and Nancy Lee, Ann's niece. Through the financial support of John Hocknell the group was able to make the trip. During the passage, the ship sprang a leak and disaster threatened. Ann Lee went to Captain Smith and reported to him that she had seen a vision of two angels guarding the vessel and that the ship would not sink. The captain later stated, after the ship's arrival in New York on August 6, 1774, that had It not been for the faith of the Shakers all would have perlshed.oo Once In this country. Mother Ann advised her followers to go their own separate ways in order that each one might earn a living. Ann remained

78|bid.

?9Me1cher. The Shaker Adventure. 12-14.

80White and Taylor, oo. cit.. 28-29. 46 in New York and worked doing washing and ironing for a Smith family, William Lee and Abraham Stanley found employment as blacksmiths, while James Whittaker served as weaver. John Hocknell and William Lee traveled up the Hudson river to Albany and secured an option for a piece of wilderness land eight miles northwest of that city. This property was located in the area then referred to as Niskayuna, known today as Watervliet. It was over two years before all of the followers were reunited at the Niskayuna settlement.®^ During this interim period much activity took place. John Hocknell returned to England so that he might bring his family and that of John Partington to America. In New York, Ann Lee’s husband became very ill and she nursed him back to health at the expense of her own health. Shortly after his recovery, Abraham Stanley renounced the Shaker faith and deserted his wife, in part because of her refusal to yield her belief in celibacy. In February, 1776, the Shakers finally acquired the Niskayuna property; Mother Ann joined them later that spring, and all worked throughout the summer to develop this piece of wilderness into a livable habitat. By the autumn of

®iThe information for the early formative American gears of the Shakers is token from Youngs The Testimony of Christ's Second AoDeorino. xxx-xxxi; Melcher, The Shaker Adventure. 17-19; and White and Taylor, Shakerism. Its Meaning and Message. 29-30. Each of the above sources uses a different spelling for Niskeyuna (White and Taylor), Niskayuna (Melcher), and Niskeuna (Youngs). This document will use the Melcher spelling. 47 1776 the Shakers had constructed their first dwelling place and were finally able to meet as a reunited group.82 Times were very difficult for the small group of adherents to Mother Ann's ways during the following three or four years. They had to create out of this rough land homes, food, and clothing, and do so with very meager financial resources and very few tools and machinery. Much energy was put into sheer survival. It could only be expected that discouragement would develop. During these early years no new converts were added to the sect of approximately twelve members.83 It was in 1779 that the band of Shaker followers became the most discouraged. During an outdoor worship service in which Mother Ann led them with song and dance, she had a prophetic vision in which she envisioned many converts coming to the Shaker way. In this service, Ann's brother, William, asked her if the Gospel would ever open to the world. She said that it would and that "they will come like doves." He doubted her response and she reassured him by stating "Be patient, be patient, 0 my dear

82It may be of interest to the reader to note that what was the Shaker property in the Niskayuna area is now partly occupied by the Albany airport, the Ann Lee nursing home, and a few former Shaker buildings that were, as of 1982, used as private dwellings. Also in this area Is a Shaker cemetery with individually Identical tombstones, with one exception—the grave site of Mother Ann is marked with a tombstone somewhat larger than any of the others. Personal observation of this area was made possible through the kind assistance of Mr. William Beck Sr., Schenectady, New York, in July of 1982.

83White and Taylor, on. cit.. 31; Melcher, oo. cit.. 20. 48 Children, for I can see great numbers coming now, and you will soon see them In great numbers."®^ Mother Ann's prophecy would soon appear to become true. In 1779, at New Lebanon (Canaan township, Columbia county). New York, about forty miles southeast of Niskayuna, a series of religious revivals were occurring. Melcher states that the revivals, in part, may have grown out of the pioneers' view of the world as terrible and difficult and the need to escape it; in man's attempt at trying to find a better place, he might invent heavens and utopias. The New Lebanon revivals focused on the second coming of Christ as one of the ways to achieve a more perfect life. The revivals appealed to a broad cross-section of a populace with a wide diversity in religious background.®® The revivals at New Lebanon could be described as similar in manner to those of the Shakers when they were holding meetings in England. Melcher lists several characteristics such as public confession of sins, crying for mercy, participants being overcome by trance-like states in which they saw visions and received prophecies of Christ's second appearing, and a dancing and shouting for joy because God's kingdom on earth was about to begin.®® The New Lebanon revivals were not isolated incidents within America.®? This type of revival actually evolved from an earlier religious

®4White and Taylor, oo. cit.. 34.

®®Melcher. oo. cit.. 21.

8®lbid.. 22.

®?Winthrop S. Hudson, oo. c it.. 13-15. 49 upheaval on a national level known as the Great Awakening, which occurred from the 1720’s to the 1740's. One needs to remember the religious climate of that time and recall that there were relatively few formal churches In existence. A minister coming to America did not find a ready-made congregation. He had to recruit his members from a largely unchurched population. The diversity of this population made for competition among the clergy, for the clergy had to appeal to the Individual colonist and persuade that person to join the minister's church based on that ministers powers of persuasion and example. Voluntary membership was the mainstay of the "gathered" church. Winlhrop Hudson mentions that the gathered churches, in order to win support and recruits by voluntary means, had to use several important techniques. These consisted of fostering revivals, organizing mission societies, establishing Sunday schools, and advertising in periodicals. Hudson continues that This vigorous evangelistic and instructional activity, imposed upon the churches by their status as gathered' groups of convinced believers, was to become one of the most distinctive features of American church life."®® The Great Awakening also served to fulfill the sense of expectancy that was mentioned in the introduction to this chapter. Many viewed the New World as having a significant part to play In God's plan for redemption. Such leaders as William Penn and Roger Williams shared In thought this role for America. Jonathan Edwards (1703-1758), a Congregational 1st minister and one of the main leaders of the Great Awakening, saw "the Awakening as the vindication, after so many successive disappointments, of the earlier

®®lb1d.. 16. 50 expectatlors that the final act of God’s work of redemption would be in America."®^ The New Lebanon revival was part of the residual effects of the Great Awakening. For over one half century and through a series of revivals, many still expected to see the second coming of Christ, and this was true of those attending the spiritual upheaval at New Lebanon. Anna White further describes that revival as being attended, in part, by those whose religion had failed them, by the unconverted and lost, and by those pleading for salvation.®® She continues that “they waited in full expectation of seeing the Lord descend from the skies to open a new era upon the eorth.“®i It did not, however, come to pass. The meetings at New Lebanon grew less frequent, emotions eased, and many returned to their normal routine. Some of these heard about the Shakers at Niskayuna who still expected the Lord to appear. In the early spring of 1780, they traveled to the Shaker settlement, learned the Shaker ways, and then returned to the New Lebanon area with positive reports. The word spread, and the Shakers soon found that many more became interested in their sect and that the Gospel now had "opened" to America as Mother Ann had predicted.®^ Benjamin Youngs indicates that the last half of 1780 brought considerable difficulties to the Shakers in the way of persecution, abuse, and slander, to the point that several Shaker leaders were imprisoned in

~8®Ibid.. 21.

®0White and Taylor, oo. cit.. 36.

® im

®2|bid.. 36-37. 51 Albany.93 Mother Ann was also incarcerated and sent to New York City, being deliberately separated from her flock by the authorities. It was only through the intervention of then Governor Clinton that she and the others were released after being in jail for almost six months. After their release Mother Ann and her followers gathered again at Watervliet and, according to Youngs:

. . . were visited by great numbers from distant parts of the statelsl of New York. Massachusetts. Connecticut. New Hampshire. and the District of Maine . . . many were filled with joy unspeakable and full of glory, and Increased of in their understanding of the way and work of God.94

In response to this reception, as well as to requests from the above visitors upon return to their hometowns. Mother Ann and the Elders began a missionary trip in May, 1781 and returned to Watervliet, New York in August, 1783. It was the results of this trip that firmly established the Shakers in the New England area. During this time period Mother Ann established her missionary outpost at Harvard, Massachusetts, a small town approximately 25 miles west of Boston. Part of the reason for making this town a base of operations was that it had been the scene of religious events under the influence of preacher Shadrack Ireland of the New Lights (see Baptists, pp. 22-23). Mother Ann thought that this setting might prove advantageous in that Ireland had some beliefs that were similar to the Shakers such as perfection, celibacy and the millennium. Shaker

93Benjamin Seth Youngs, oo. cit. xxxiii-xxxiv.

94|bid.. xxxiv. 52 communities were eventually founded in eastern Massachusetts at Harvard (1793-1910) and at nearby Shirley (1793-1908), and also at Hancock (1790- 1960) and Tyringham (1792-1875) in the western part of the state. Two communities were created in New Hampshire, at Enfield (1793-1923) and at Canterbury (1792-present). The New Hampshire communities were also helped by Baptist revivalism and the Free Will Baptist Church of Benjamin Randall. This Baptist sect of such Joyful character became known as the “Come-Outers" or "Merry Dancers." The Maine societies were founded at Alfred (1793-1932) and Gloucester ( 1794-present), the latter now known as

Sabbathday L ake.^s Neither the missionary trip nor the establishment of the communities came without its price in persecution or abuse. Edward Andrews recounts at least one event in which the citizens of the town of Harvard attacked the Harvard Shakers on August 19, 1782.% The previous

%Edward Deming Andrews, The People Called Shakers: A Search for Perfect Society (New York: Dover Publications, 1963), 35-38. This is a new enlarged edition of the 1953 edition, originally published by Oxford University Press. The importance of the Dover edition is that it has over 300 bibliographical footnote references added to it by Andrews, who was one of the first contemporary scholars of Shaker history. The dates for the communities are from Patterson, The Shaker Spiritual. 12. As one can tell from the dates for the Canterbury, N.H. and Sabbathday Lake, Maine settlements, those are the only two Shaker communities in existence The present author had the pleasure of visiting with the Shakers at both communities in August, 1982. While at Sabbathday Lake, he was not only fortunate enough to be invited to partake of "true" Shaker meals but also hod the rare opportunity to be invited to attend the Shaker worship service on August 6, 1982 commemorating the 208th anniversary of Mother Ann's arrival in America. He is grateful for the very kind hospitality shown to him.

%Andrews, oo. cit.. 40-42. 53 year the Shakers had been accused of harboring weapons for possible use by the English during the Revolution. The accusation was proven to be false; however, various suspicions still were believed to be true by the area residents. Valentine Rathbun, a former Shaker who had been a member for only three months at Niskayuna, and who had seceded from the sect to become an enemy of Shakerism, was apparently the main Instigator behind the mobbing attack at Harvard. Rathbun, playing on the lasting suspicions of the citizenry. Incited a mob of about 400 to raid a room where the Shakers had gathered for protection. The mob burst In upon the kneeling and praying Shakers and seized them by their collars, throats, and hair and dragged them from the room. The Shakers were marched three miles out of town where the mob leaders decided to beat James Shepherd with horse whips and sticks. The march and beatings continued for another four miles. This serves as only one example of the many persecutions the Shakers were subjected to during their missionary effort. It was August, 1783 when Mother Ann and her missionary colleagues returned to Watervliet after being absent for over two years. The following year proved to be a sad one for the Shakers, as Elder William Lee passed away on July 21,1784, at the age of forty. Benjamin Youngs comments that this prepared the sect for the heavier burden of the passing of Mother Ann on September 8,1784—just barely a year after her return from her missionary tr1p.97 Andrews gives an account of Mother Ann's last days:

Four years of persecution and privation. Incessant labohngs and a constant expenditure of passionate energy had token their toll. Harassed In body and tortured In soul since early youth, the mill

97Benjam1n Seth Youngs, oo. c it.. xxxv. 54 girl with the strange obsession was no longer able to bear her burden; and when her brother William died 21 July, her hold on life was fatally relaxed. ‘She continually grew weaker In body, without any visible appearance of bodily disease.' She brooded over her loss, and just before her departure" was heard to say, "I see brother William coming. In a golden chariot, to take me home.'98

Ann's funeral was attended by many believers and nonbelievers; her death, however, raised the serious question of future leadership and continuity for the sect. Some believers were even surprised to find her to be mortal, as they thought her to be Immortal (although she herself rejected that belief). The leadership passed on to James Whittaker.99 James Whittaker was one of the original English followers of Ann Lee and was one of the society's most gifted preachers.180 Although some threat existed that the society would not be able to survive, as various beliefs came Into question, Whittaker proved to be a very strong and able leader. He spent at least a year visiting the settlements In Maine and Massachusetts helping to better organize the fledgling communities. Optimism was so strong that plans were even made to have a ship, the Union, set sail to foreign lands so that the Shaker gospel message could be spread. A dispute over the captaincy of the ship prevented the voyage from

98Andrew8, oo. cit.. 49. Andrews does not make It clear, by his bibliographic reference to this passage, from which source the Internal quotes are derived.

99|b1d.. 50.

lOOlbld.. 49-50. 55 taking place, but the idea certainly reflects upon Shaker will power and fortitude. A most significant factor in James Whittakers leadership is that it was he who made the decision to have the first official Shaker meeting house built at New Lebanon, New York, on October 15, 1785—just over eleven years after the Shakers' arrival in America. Whittaker chose the New Lebanon location because it was there that the faith had been most firmly established. The construction of the meeting house was symbolic in that it finally proved that the Shakers had permanent roots; it served as an outward sign to the the world that the church was established, and it created a central focus for the, religion.io^ Most importantly, the New Lebanon settlement became the central ministry (1787-1947) for the entire Shaker organization. It eventually established control, governance, and religious authority over all Believers and communities. Whittaker led the Shakers for almost three years until his death on July 20,1787. During his tenure he officiated at the first regular assembly at the new meeting house, mentioned above, on January 29, 1786. He temporarily closed the gospel to the world so that he and the other leaders could focus their attention on more firmly establishing those settlements already in existence. During his last year he visited the Shakers at Harvard, Shirley, and Woburn, but his energies were soon drained and he died at the age of thirty-seven.102

101 Ibid.. 50-51.

102|bid.. 52-53. 56 The right of leadership was now to pass to the first Shaker who was not of the original English group of Ann Lee’s followers. Joseph Meacham lJr.?l, son of Elder Joseph Meacham [Sr.?], was bom in Enfield, Connecticut on February 22, 1741, and died August 16, 1796, at the age of fifty-four years. Joseph Sr. was a Baptist minister at Enfield, Connecticut, and Joseph Jr. was influenced by the New Light Baptists and became a prominent lay speaker for the Baptists at New Lebanon, New York . He was one of the major leaders of the aforementioned New Lebanon revival. Shortly after the revival, he had sent messengers to visit the Shakers at Niskayuna. He himself visited them, and was one of the first two American converts to Shakerism, the other being Talmadge Bishop. Mother Ann had even predicted that it would fall to Meacham to "gather the church together after her death In the first assembly meeting shortly after James Whittaker’s death, spiritual manifestation indicated that Joseph Meacham was anointed by God and that he would lead the Shakers. Meacham’s leadership had great significance, and one of his most important acts was appointing Lucy Wright (1760-1821) to lead the female side of the society. Andrews indicates that she was bom in Pittsfield, Massachusetts to John and Mary Wright, who were apparently prominent citizens of the town.i04 wright received a good education and was considered to be bright and strong willed. She was married, at the age of eighteen, to Elizur [sic] Goodrich who was a merchant by trade. Goodrich helped to establish the Shaker communities at Hancock

103|bid.. 54-55. 18-21.

I04|bid.. 55-56. 57 and New Lebanon. By appointing Wright as leader of the Shaker sisters, Meacham was establishing a dual governance system for the sect which would Incorporate equality of the sexes as one Its main princlples.ios The Shakers were, at the time, living a "communal" lifestyle, more out of necessity than by doctrinal choice. It was In the Autumn of 1787 that Meacham and Wright asked that those who wished should gather at New Lebanon so that all true Shakers could separate themselves from the world. The members came, and on Christmas day of 1787 they gathered for their first communal meal. This marked the beginning of Shaker communism as an actual Institution and eventually the formal organization of the sect.io^ Organizationally, Meacham divided the eleven original societies Into five bishoprics, each with Its own ministry but answerable to the

I05|b1d..56.

I06|b1d.. 56-57. 58 central ministry at New L e b a n o n . jh e organizational and governmental structure of the Hancock, Mass., bishopric and community is described below;i08 all of the other Shaker communities followed this basic structure. The Hancock, Mass. bishopric consisted of that community. Including West Pittsfield, plus the one at Tyringham, Mass. and the one at Enfield, Conn. Hancock was composed of six families with approximately 270 members; Tyringham had three families, while Enfield consisted of four. The bishopric was headed by two elders and two eldresses, and it was these four who oversaw the three communities. Within the Hancock settlement there were three orders, senior, junior and novitiate. The

i07Edward Deming Andrews, The Gift to be Simple: Songs. Dances and Rituals of the American Shakers ([n.p.l: J.J. Augustin, 1940; reprint. New York: Dover, 1962), 5. Andrews gives a concise summary of the Shaker organizational structure. The eleven original communities were Watervliet, N. V. (1787-1938), Lebanon (also known as Mount Lebanon or New Lebanon], N Y. (1787-1947), Hancock, Mass. (1790-1960), Enfield, Conn. (1790-1917), Canterbury, N.H. (1792-), Tyringham, Mass. (1792-1875), Alfred, Me. (1793- 1932), Enfield, N.H. (1793-1923), Harvard, Mass. (1793-1918), Shirley, Mass. (1793-1908), and Gloucester (Sabbathday Lake), Me. (1794-). There were eight additional Shaker communities: Union Village (Lebanon], Oh. (1805- 1912), Watervliet, Oh. (1806-1910), Pleasant Hill, Ky. (1806-1910), South Union, Ky. (1807-1922), West Union, Ind. (1810-1827), North Union (Shaker Heights], Ohio (1822-1889), Whitewater, Ohio (1824-1907), and Groveland, N.Y. (1826-1895). Source: Patterson. The Shaker Soritual. 12. The above nineteen communities were the longest lived settlements. The Shakers had five other societies of lesser longevity. Gorham, Me. (1804-1819), Savoy, Mass. (1817-1825), Sodus Bay, N.Y. (1826-1836), Narcoossee, FI. (1896- c 1911 ), and White Oak, Ga. ( 1898-1902). Source: Roger L. Hall ed.. The Happy Joumeu: Thirtu-Five Spirituals Compiled bu Miss Clara Endicott Sears (Harvard, Mass.: Fruitlands Museums, 1982), vi.

lOSBeverly Gordon, Shaker Textile Arts (Hanover, New Hampshire: University Press of New England, 1980), Appendix II, 257. The above discussion of Shaker organization is derived from the flow chart that serves as Appendix II of Gordon's work. 59 novitiate or "gathering family" (also known as the gathering order) is where the new members were received and still allowed to own property and have traditional family relationships. In the Junior order, the member's property was dedicated to the use of the sect; it was returnable, however, if the individual were to withdraw membership. The church family, within the senior order, demonstrated the highest level of commitment, for one then dedicated his time, service, talent, and property to the sect. Andrews states that this step of commitment was irrevocable and was sealed by signing the church covenant. There was also a deacons' order and a children's order, discussed below. The orders were additionally subdivided into family groups which were named in relation to their geographic position to the Church family, which was the one within which the meeting-house (worship center) was located. A family was an independent economic unit with approximately thirty to one hundred members. A pair of elders and a pair of eldresses were in overall charge of each family's spiritual and temporal affairs.no The novitiate order, supervised by its pair of elders and pair of eldresses, was composed of the East and South families; the junior order consisted of the West Family and the 2nd family, also supervised by two elders and two eldresses; the senior order consisted of the North family and the Church family, each supervised by its two elders and two eldresses. i ^ i The Church family was responsible for the spiritual and temporal concerns of the

Andrews, oo cit.. 5. The definitions for the various orders are taken from this source.

H0|bid..5.

111 Gordon, oo. c it.. 257. 60 community In addition to any special duties that may have been Imposed. The elders and eldresses oversaw the spiritual matters, while deacons handled specific temporal responsibilities. Those deacons who served In the office of trustee managed the legal, monetary, business, and economic matters. A further order, the deacons' order, supervised the work and trades In such areas as the farm (crops, livestock, farm buildings), kitchen (all meals and food), the shops (brooms, herbs, seeds, chairs, etc.), and the dwelling house (living quarters, clothing etc.). There also would be a children's order In which those who may have been orphaned were raised by the Shakers and then given the opportunity to Join the sect. The families within a community as well as the various communities were brought Into union through common customs, practices, statutes, worship and a strong centralized government.^ ^2 The central ministry at New Lebanon was very powerful and self-perpetuating. The central ministry appointed the leaders of the other settlements and those of the bishoprics. The seven basic principles of Shaker belief were duty to God, duty to man, separation from the world, "practical" peace, simplicity of language, right use of property, and the virgin life. These practices served as the basis for the Shaker life and were derived from the Christian ideals of faith, hope, honesty, continence. Innocence, simplicity, meekness, humility, prudence, patience, thankfulness, and charity .113 Specifically, the Shakers believed that confession of sin was necessary; that man fell Into "loss"

1 l2Andrews, oo. cit.. 5.

il5|bid..6. 61 through the lust of the flesh; that redemption of sins was gained through one's works; that salvation Is open to all; that one must renounce the World, the Flesh and the Devil; and that the benefits of this work are peace, unity, and love as demonstrated In the Believers. The Shakers also believed In the dual deity (male and female godhead) as manifested In Christ and Mother Ann 114

A Shaker community was. for the most part, self-sustaining. A settlement could consist of 100 to 600 members organized Into the above- mentioned orders 115 These would be located one-half mile to one mile from the central meeting house. Each order or family had Its own type of dormitory building, with a large room for worship, as well as bams, workshops and other necessary buildings. The Shakers constructed all of their own buildings, made their own clothing and furniture, and grew their own food. They were extremely successful in a variety of business ventures such as selling packaged seeds, furniture, handicrafts, and herbal medicines. Their Inventions included the flat broom, the washing machine, and the common clothespin. All that was produced by a member was to be used for the good of the society. In order to maintain the separation of the sexes. Shaker buildings had separate doorways, stairways, and separate sides to the buildings for the men and women.ii^ Traditional male/female clothing was allowed and the Shakers basically maintained traditional work roles. Within the day-to-

114patterson. oo. cit.. 16, 19.

H5|bid.. 13-16.

115|bld.. 13-14. 62 day work structure, however, work assignments were rotated among the members. This enabled each member to become adept at a variety of tasks. Shakerism attracted a total membership of about 20,000 during its existence, and during its most popular decades, in the mid-nineteenth century , membership varied from 4,000 to 6,000.1^? What is it that so attracted a potential member to the sect? According to Patterson, several factors enabled the Shakers to be so successful The sect offered a member a secure life in that he was protected from the problems of old age and illness; that he was assured loving care by his fellow brethren and sisters; that all that was asked of him was to give the best of his talents and, that no m atter m atter how small his talent, it was regarded with dignity and respect; and that one was not tempted by the outside world's influences such as commerce and politics, in the above ways, the Shaker system was similar to Medieval monasticism. Even though the Shakers were very successful, they did experience a decline, especially after the Civil War.ü^ internal causes for the decline include the fact that their original and most inspirational leaders had departed this life and strong leadership did not prevail. This, coupled with the diminishing zeal of the succeeding generations, helped to precipitate the decline. External causes included continued unfriendly acts by the world's people, the killing of some Shakers, and mob violence. This diminished in later years but still created a difficulty. Destruction by fire, flood or other

H7|bid.. 13

H8|bid.. 17.

ii^Melcher, oo. cit.. 244-47. 63 natural causes created hardships. Many Shaker documents may have been lost to these catastrophes. The Civil War destroyed some property, especially in the western settlements. Some buildings were even used to house soldiers who did not show the needed respect for the Institution. Personal Internal and external difficulties arose. In one case a Shaker trustee, Nathan Sharp of Union Village, Ohio, embezzled some funds, and It was not unheard for a member to run off with another and leave the sect. There were what were commonly referred to as the "w inter Shakers, who Joined only during those months to escape the harshness of the cold times and then returned to the world at springtime. The Shakers took care of these people with charity but it could not have helped a weakening system. The Industrial Revolution also had the greatest impact. The hand goods that the Shakers so successfully made and marketed were now more expensive than machine-produced items, and the world's people had an easier, less labor-intensive lifestyle than the agrarian Shakers. This was still true even though the Shakers accepted modem conveniences such as electricity, automobiles, and machinery. In summary, the Shakers, arriving in America from England In 1774, grew to be one of the most successful and long-lived communitarian societies to have existed. They have lasted over 200 years and still have a handful of members at Sabbathday Lake, Maine, and Canterbury, New Hampshire. They were highly regarded for the quality of their crafts, architecture, and Inventions. They were an extremely Industrious society that. In a communal setting, maintained the dignity of the Individual—as each dally act of a member was done to the honor of God, his religion, and his beliefs. The subsequent chapters will discuss the music of the Shakers and how It reflected all that they did. 64 The Harmonists. The Harmonists, founded by George Rapp (1757- 1847), evolved from the German Anabaptist tradition. Alhstrom states that Rapp and his followers, approximately 500, were extreme pietists who separated from the established church In Wûrttemburg, G e r m a n y . 120 They emigrated from Germany and. In 1805, established a community on a 5,000- acre tract of land in Butler County, Pennsylvania .^21 Because of the difficulties during the Harmonists' first years In Pennsylvania, they moved to Indiana In 1814 and remained there until 1825. In the latter year, the community returned to Pennsylvania and established the town of Economy, which prospered until the turn of the century. The Harmonists were successful businessmen who produced a variety of goods. Including shoes, cloth, and whiskey. They also Invested In oil and gas wells, lumber, brickyards, and railroads. Richard Wetzel remarks that the Harmony Society was a paradox because It practiced a type of religious asceticism while becoming wealthy through Its business v e n t u r e s .122 He continues by saying that "the former kept Its members united In belief and purpose; and the latter exposed many of them to the secular world of nineteenth-century America."

120AhlStrom, oo. cit.. 496.

121 Richard D. Wetzel, "Harmonist Music Between 1627 and 1832: A Reappraisal," Communal Societies II (Autumn, 1982), 65-66. A comparison of the histories and musics of communal societies awaits further study. This volume of Communal Societies, however, contains the following articles: Stephen A. Marini, "Hymnody in the Religious Communal Societies of Early America;" Russell P. Getz, "Music in the Ephrata Cloister;" Jeannine S. Ingram, "Music in American Moravian Communities: Transplanted Traditions in Indigenous Practices;" and Daniel W. Patterson, "Shaker Music."

122Ibid., 65. 65 The Harmonists adhered to several beliefs and practices; belief in a Christian church, baptism of adults but not children, the sacrament of

communion, and confession.^ 23 m addition, the Rappists held all property in

common, and believed in the Second Coming of Christ and in celibacy.i24

l23Richard D. V/etzel, Frontier Musicians on the ConnoQuenessinq. Wabash, and Ohio: A History of the Music and Musicians of George Rapp's Harmonu Societu (1805-19061 (Athens, Ohio: Ohio University Press, 1976), 6.

I24wetzel, "Harmonist Music," 65-66. CHAPTER II RELIGIOUS MUSIC IN AMERICA TO THE CIVIL WAR

Introduction The first chapter, “Religious Background," delineated the historical, sociological, and theological aspects of the religions that were functioning in America prior to and during the establishment of the Shaker sect. The Shaker religion was also discussed in this same context. The present chapter will present, in a similar fashion, the musical aspects that were evident in these same religions. This discourse will briefly consider the similarities and differences among these denominations, and the genres practiced within them. These religions will be divided into six broad categories consisting of (I) Roman Catholic (2) Protestant (Anglican, Presbyterians/Puritans, Congregationclists, Dutch Protestant Reformed, Lutherans, German Reformed, and Baptists) (3) Anabaptists (Mennonites, Quakers, the Brethren and the Bunkers, Amish, and Schwenkfelders) (4) Jewish Faith (5) Pietists (Moravians and Methodists) and (6) Orthodox (Russian and Greek). This chapter will conclude with an expanded presentation of Shaker music, explaining its development, function, style, and characteristics.

66 67

The music of the Roman Catholic Church In America can be divided between two geographical areas: the California region under the Influence of the Spanish missionaries and the Northeast area and Its French missionaries. 1 This discussion will concern Itself with those musical m atters relating to the East coast region. Evidence of the musical genres that were used by the Roman Catholic church can be derived from some of Its early hymnals and other collections. Several of these indicate the use of vesper hymns, anthems, masses, Protestant hymns, litanies, psalms, and motets.^ The borrowings of Protestant hymns demonstrated the need for suitable music for the Catholic churches in America. C. Verett Implies that a variety of Protestant music may have had an influence on Catholic music.3 European immigration in the late 18th century also had on effect on Catholic music. Verret delineates three European musical influences that affected Catholic hymnody in a negative manner (1) post-baroque concerto

iJohn Grady, "Roman Catholic Church, music of," The New Grove Dictionary cf American Music. 4 vols., ed. H. Wiley Hitchcock and Stanley Sadie (London; MacMillan, 1986), IV, 80. Subsequent references to articles from The New Grove Dictionary of American Music will be abbreviated as MGDAM

Grady cites John Aitken's Compilation of the Litanies and Vesper Humns and Anthems as theu ore Suno in the Catholic Church (1787), and John Cheverus's Masses. Vespers. Litanies. Hymns. Psalms. Anthems & Motets . . . for . . . the Catholic Church (1805).

3c. Verrett, “Music Sacred (U.S.)," The New Catholic Encyclopedia. IS vols., music ed. Rt. Rev. Rembert 6. Weakland, O.S.B. (New YoMc McGraw-Hill, 1967), X, 102. 68 Style resulting In music with melodic and harmonic repetition, alternating solo and chorus sections, and ornamentation oT melodic line (2) use of Viennese classical form and thematic presentation, with American composers imitating the style but not very successfully and (3) excessive admiration of untrained, but self-styled, hymn writers which resulted In hymns of lesser quality. Verret concludes that congregational singing became minimal and was replaced by solo voices, quartets, and organ solos.4 These effects were felt long Into the nineteenth century, with the addition of European operatic style allowing for the adaptation of secular opera melodies to sacred texts.s Albert Chrlst-Janer, In his discussion of nineteenth-century denominational hymnody. Indicates that congregational singing was limited to those occasions functioning outside of the regular liturgy, the result being that the vernacular hymn had a secondary role in the Catholic church.^ He continues "that hymnals were compiled by an Individual or for use In a particular religious community or church." As a result of their peripheral function In the liturgy and isolated source, hymns varied widely. Chrlst- Janer mentions that hymns ranged in use from those sung by Indians In the Southwest to hymns with organ accompaniment composed by Benjamin Carr for use at St. Peter's Church in Philadelphia.

4|b1d.

SGrady, oo. cit.. 80.

6Albert Christ-Janer, Charles W. Hughes, and Carleton Sprague Smith, American Hymns Old and New. 2 vols., (New York: Columbia University Press, 1980), 1,415. 69 Catholic church music, in summary, had a rich and vibrant background, having experienced a multitude of influences from native Americans. European immigrants, and Protestant tradition.

Protestant Protestant religious development in America was widespread and characterized by intense activity during the seventeenth, eighteenth, and nineteenth centuries in America. The following discussions of the musical environment of the Protestant denominations will help to establish the religious musical setting into which the Shakers entered and in which they participated throughout their formation and growth. Anglican and Eoiscooalian. The Episcopal church evolved from the traditions of the Church of England (Anglican) as practiced in New England. Leonard Ellinwood, in The History of American Church Music, indicates that the Church of England was also well established in Virginia.? He continues by saying that in both areas, during the latter part of the seventeenth century and most of the eighteenth century, the musical practices were similar. Metrical psalms were supported by choirs in the larger churches. The choirs may have been accompanied by an organ or by a few orchestral instruments. Ellinwood further remarks that the services used were the Morning and Evening Prayer and that extant Anglican music relates to those services. Communion was held only three or four times a year. After the American Revolution, control passed from the Church of England to the Protestant Episcopal Church, but the latter remained part of the Anglican Communion—the international organizational level of the

^Leonard Ellinwood, The History of American Church Music (New York: Morehouse-Gorham, 1953), 40-42. 70 denomination.® In 1785, the Episcopal church authorized a version of the Book of Common Prayer that was to Include 51 hymns In addition to 84 metrical psalms derived from Tate and Brady's New Version of the Psalms of David. The significance of this version of the Book of Common Prayer is that it was the first to require hymns as an obligatory part of worship. From the time of its publication in 1789, the book went through three editions, with the 1826 version having 212 hymns.® William Jenson Reynolds notes that the first edition, by endorsing congregational hymn singing, predates by thirty years the acceptance of hymn singing by the Church of England.^® Reynolds notes th at the English hymn w riters Watts and Wesley made contributions to the 1826 version, as did American w riters Frances Scott Key and George Washington Doane * i Musical practice for the Episcopal church in the 1830‘s could be characterized as "cathedral-type services with surpliced choirs in the chancel singing choral settings of canticles, responses, and prayers in the manner of English Cathedrals.^2 During the War Between the States, an American edition of Hymns Ancient and Modem was published in 1862. This book was licensed to various dioceses but not widely used. Reynolds

®Alec Wyton, “Episcopal Church, music of the," NGDAM. 11,53.

®1bid.

i®William Jenson Reynolds, A Survey of Christian Hymnodu (New York: Holt, Rinehart and Winston, 1963), 88.

Hlbid.. 98.

l2wyton. Episcopal Church, music of," NGDAM 11, 53. 71 asserts that It "left an Indelible imprint on subsequent Episcopalian hymnals."'^ Presbyterians (Puritans). The Presbyterian denomination is based upon the theological ideas and church governance structure of John Calvin. Its earliest churches were founded by the Puritans in New England during the 17th century. Other churches were established in Pennsylvania, Maryland, and Delaware by English, Scot-lrish and Welsh settlers.^'* Similar to the Episcopalians, the Presbyterians practiced metrical psalm-singing and used the Bay Psalm Book (1640) for congregational singing. The Bay Psalm Book contained no music until the ninth edition of

1698, when thirteen tunes were i n c l u d e d . ^ 5 These thirteen tunes served for the singing of all the psalms. This is an indication of a strong "aural" tradition. The singing of the psalms was monophonic, as part-singing did not develop until well into the eighteenth century. James Sydnor remarked that, between illiteracy and the scarcity of psalters, the custom of "lining- out" the psalms was practiced. By the I780‘s, the practice of "lining-out" began to diminish because of the success of singing-schools that taught congregations how to sing from musical notation and follow musical rules.i6 Throughout the eighteenth century and into the nineteenth century, additional musical materials were adopted that included paraphrases of the

i^Reunolds. oo. cit.. 109.

i4jomes Rawlings Sydnor, "Presbyterian Church, music of," NGDAM. 111,621. I5w. Thomas Marrocco and Harold Gleason, Music in America: An Anthology from the Landing of the Pilgrims to the Close of the Civil War. 1620-1865 (New York: W. W. Norton, 1964), 19-20.

16|bid.. 623. 72 psalms in addition to hymns. This is evident by the publication of Psalms and Humns Adapted to Public Worship in 1831.1? Henry Wilder Foote discusses various hymnals published from 1831 through 1865 that demonstrate new approaches to hymnody as well as the more established style of psalmody. 18 As a result of the aforementioned singing schools, many Presbyterian churches developed choirs and singing societies during the latter part of the eighteenth century. The late 1800's brought the development of paid singing professionals augmented by volunteer choirs. This was especially true for large urban churches. 19 Instrumental music for the Presbyterian congregations relied upon the pipe organ. The acceptance of organs did not, however, begin to take place on a general basis until the I830's. Robert Stevenson relates that “organ, opera, and opulence therefore remained the whipping-boys of Presbyterian and Congregational divinity until at least 1800 in frontier America.“20 Eventually additional instrumental groupings were permitted including use of woodwinds, strings, and full orchestra, depending upon the musical needs for a particular service.2i

i?lbid.

iSRenry Wilder Foote, Three Centuries of American Hymnody. (In.p.J: Archon Books, 1968: reprint of 1940), 210-13.

19 Ibid.

20Robert Stevenson, Protestant Church Music in America: A Short Survey of Men and Movements from 1564 to the Present (New York: W. W. Norton, 1966), 49.

21 Sydnor, oo. cit.. 623. 73 Congregatlonaltsts (Pilgrims) and German Reformed. The present- day United Church of Christ comprises four different denominations, two of which are relevant to this study—the Congregatlonallsts dating from 1640, end the German Reformed dating from the sixteenth century .22 The other two denominations, Christian and Evangelical, are chronologically beyond the scope of this study. The Congregatlonallsts were of the Calvinist tradition and used Henry Ainsworth's Book of Psalmes (1612). This psalm book was modeled after English, Dutch, and French psalters.23 Alnworth's psalter contained thirty-nine different monophonic melodies for the 150 psalms. The versified texts utilized fifteen different meters. The original settlers were not musical Illiterates; the psalter contained psalms with a wide range of rhythmic patterns and melodic lines which required a high amount of musical sklll.24 Musical instruments were permitted in the home, with apparently some formal training taking place. It was In the subsequent generation of Congregatlonallsts that singing ability declined because of the Influx of great numbers of settlers who were Inexperienced in music and because of a lack of Instrumental accompaniment during worship services. This generation adhered to the practice of "Hnlng-out" the psalms. Ronander Indicates that this was not always done successfully and that because of this ^ actlce singing schools were developed. An American missionary visiting an Irish Congregation was

22Albert C. Ronander, "United Church of Christ, music of," NGDAM. IV, 437. 23Marrocco and Gleason, oo. c it.. 16-17.

24Ronander, oo. c it.. 437. 74 pleased to hear universal singing without the custom ary "Roll and Whine" and realized it was because the participants were taught by a singing school.25 The singing schools led to a more musically knowledgeable church

membership, creating a wider variety of music. Additional influences Included the revivals of the Great Awakening, hymn tunes of Isaac Watts and Charles Wesley, fuging-tunes, revival songs, and musical reforms put forth by Lowell Mason.26

The German Reformed sect is one of the other denominations, within

this survey, that comprise the present day United Church of Christ. Paul Westermeyer, in his "German Reformed Hymnody in the United States," states that many members of the German Reformed religion emigrated to America beginning in the seventeenth century and continuing into the eighteenth century, with the greatest influx securing after 1710.2? Many of these immigrants, who left their homeland because of war, economic problems, and religious difficulties, settled in Pennsylvania. By 1780, there were approximately 200 German Reformed churches in and around Pennsylvania. The sect became an independent synod, The Synod of the

Reformed German Church in the United States of America, in 1793.28

The German Reformed church was not as conservative musically as some other reformed sects. The denomination permitted the use of psalms.

25sievenson, oo. c it.. 31.

28Ronander, op. cit.. 437. See also Albert C. Ronander, "The Hymnody of Congregationalism." The Hymn. VIII/ 1 (Jan. 1957), 5-14.

27paul Westermeyer, "German Reformed Hymnody in the United States," The Hymn. XXXI 2 /3 (April/July, 1980), 89.

28|bid. 75

hymns, and musical Instruments In Its servlces.29 The psalter that was first used by the sect In America, but of German origin and modeled after John Calvin's Geneva Psalter, was Ambroslus Lobwasser's Neu-vermehrt-und Vollstfindlges Gesang-Buch (1565), reprinted In 1753 at Philadelphia. The volume contained 700 hymns plus metrical psalms.^o in addition to these elements, this hymnal also contained lessons, prayers, and the Heidelberg catechism. It therefore doubled as a prayer book. Westermeyer reveals that copies of the hymnals were engraved with the Individual worshiper's name and that they were carried to the services as well as used at home.^i Musical practices varied In the Individual churches. Choirs and singing leaders (precentors) supported the congregation and. In some rural churches, the practice of Hnlng-out was followed. Organs appeared In the urban churches as early as 1770; the organists often utilized European musical editions that Incorporated figured boss with the psalm and hymn tunes. German chorale tunes were widely u s e d . 3 2 The nineteenth century brought a variety of changes to German

Reformed hymnody.33 The German Reformed tradition, having evolved from conservative Germanic roots, adapted Itself to the new setting of America by assimilating and responding to a variety of hymnic styles. The American use of shape notes was combined with the German tradition to allow

29Ronander, oo. cit.. 438.

30|bld.

31 Westermeyer, oo. cit.. 91.

32ibiy.

33]üiâ., 91-92. 76 congregations to learn to read music without the llnlng-out of melodies. A hymnal of this type, the Chorale-harmonie (1818) of Gerhart and Eyer, also contained tunes such as Adeste Fidellls [&ld, fuging tunes, and chorales with the melody set In the tenor. Apparently, until 1830, the hymnals were In the German language. In this year, the denomination published Its first hymnal In English, entitled Psalms and Hymns. This hymnal had eighteen editions until 1868 and reflected English tradition with the Inclusion of hymns of Watts and Wesley Dutch Protestant Reformed Church. The Dutch Protestant Reformed church also had its initial musical roots In the tradition of Calvin and the Genevan Psalter.34 when Dutch merchants settled In New Amsterdam (1613-1628), they brought with them the Dutch Psalter (De Psalmen Davids. ende ander lofsanohen. wt den Francoyschen dichte In Nederlandschen overghesett)—a 1566 translation by Peter Datheen of the Genevan Psalter fLe.§..B£eaymes..mls ,en rime francolse. par Clément t larot & Thfeojtore d.e. B6z&,1562).35 The Dutch Psalter may have had some Influence on the psalm tunes that the Pilgrims sang. The Dutch Psalter remained in use until 1767, when preaching In the English language was Introduced at the Reformed Protestant Dutch Church, founded In 1628, and presently known as the Collegiate Reformed Church of New York. It was at this time that Francis Hopklnson was commissioned to adapt English texts to the traditional

34Bert F. Pol man, "Dutch Reformed Church, music of the," NGDAM. I, 663.

35Reynolds, oo. cit.. 80-81. Also, see Polman, op.clt.. 663. The foreign language titles are from Howard Slenk, "Psalms, metrical, 11/ The European continent," The New Grove Dictionary of Music and Musicians. 20 vols., ed. Stanley Sadie (London; Macmillan, 1960), VX, 349 and 356. 77 tunes.36 This adaptation became the first English psalter for the Dutch Reformed Church and was known as The Psalm s of David (1767). For this, Hopkinson adapted Tate and Brady's (1676) psalm paraphrases to modified versions of the Genevan psalm tunes.3? From the last part of the eighteenth century and throughout the nineteenth century, the Reformed Church in America began to establish its own traditions after it gained independence from the Dutch Church in 1771. A series of hymnals published from 1769-1869 helped to bring about this change. The first of these. The Psalms of David with Hymns and Spiritual Songs (1789). indicates this trend. The psalm s were only in short and long meter. There were 135 hymns specifically designated to be used with preaching and the sacraments. This use of English, the addition of hymn texts by Issac Watts, and increased use of hymnody with almost no Genevan tunes, clearly established the separation from the Dutch Reformed tradition.38 Throughout the eighteenth century, the denomination did accept the use of organs and eventually choirs. Prior to this, the psalms were sung unaccompanied and in unison, often led by a "voorzanger" — a precentor.39 One example of an organ was the one in the Dutch Reformed church in New

36Ellinwood, op. c it.. 11.

37polman, oo. cit.. 663.

38polman, oo. c it.. 663.

39Poliman, oo. c it.. 663. 78 York in 1754.40 This organ was apparently given by Governor Burnet and had been in use not many years before this date.41 lutheraps._6erman and Swedish Lutherans. Prior to discussing the Lutheran Church in America, it is necessary to briefly establish some background by explaining the importance of music to Martin Luther and the Lutheran Church as it was known in Germany. Walter E. Buzin, in his article "Music, Church," for the Lutheran Encylooedia. states that Luther believed that "the people were not to be passive onlookers in the service of worship, but also active participants."42 Luther encouraged the singing of hymns by the congregation and retained the use of choirs and the music of the past. Buzin states ". . . Lutheran students of theology were required to study liturgies, church music, and hymnology. Luther made knowledge and appreciation of music an important requirement for pastors and teachers."43 Luther composed hymns and encouraged choral music. All of this helped to make the Lutheran church known as the "Singing Church." The result of this musical encouragement is that the Lutheran Church has a very rich tradition of chant, hymnody, choral music and organ music. Luther also encouraged the use of singing and instrumental music in the home. He advocated music of excellent quality. He invited his students into his home for the singing of hymns and wrote Christmas carols for the

40stevenson, oo. cit.. 48.

41 Foote. 00. cit.. 84.

42walter E. Buzin, "Music, Church," Lutheran Cuclooedia. ed. Erwin L. Lueker (St. Louis: Concordia Publishing House, 1954), 723-24.

43|bid.. 724. 79

children.44 This instilling of music, the love of singing, and the theological use of hymnodg permeated Lutheran homes and schools. Lutherans began settling in America during the 1600's, with greater numbers arriving in Pennsylvania during the 1700’s. The primary leader of the Lutheran Church in America was Henry Melchior Muhlenberg (1711- 1789), who was an organist. According to Robin A. Leaver and Ann Bond, Muhlenberg, upon his arrival in America, found very few organs and hymn singing that was dreadful or nonexistent.45 it was through Muhlenberg’s efforts that the first German hymnbook in America, the Erbauliche Lieder- Sammlunq (1786) was created. The earliest Lutheran hymn book in English produced in America was The German Psalmody (1756),46 actually an English translation of a Dutch hymnal published in London and then reprinted In New York. This work was followed by a second English hymnal of 1795, A Hymn and Prayer Book. This appears to be a compilation of The German Psalmody and a Moravian hymnal. In the nineteenth century, additional Immigrants brought a wider variety of hymnals to this country. There was also a return to a more orthodox approach with a renewed commitment to the hymns of the

44oscar R. Overby, "Music in the Lutheran Home," The Encuclooedia of the Lutheran Church. 3 vols., ed. Julius Bodensiecle (Minneapolis, Minnesota.: Augsburg Publishing House, 1965), II, 1675.

45Robin A. Leaver and Ann Bond, "Lutheran Church, music of," NGDAM. Ill, 128-129.

^W illiam J. Hinke, "Lutheran and Reformed Church Hymnody in Early Pennsylvania," Church Music and Musical Life in Pennsylvania in the XVIII Century. 3 vols. (Philadelphia: Pennsylvania Society of the Colonial Dames of America, 1947), 111/2,276-278. 80 Sixteenth century which created a return to more classically oriented Lutheran composers end their music. An example of this type of hymnal was Friedrich Layriz's chorale book, Kern des Deutschen Kirchenyesanq (1844- 55). These hymns were influential in forming the music of the nineteenth- century Lutheran Church.47 The Swedish Lutherans had an important musical tradition. They originally settled along the Delaware River, near present-day Wilmington, in 1638 and had established two churches by 1700. The King of Sweden, for the 1700 dedication of the Gloria Dei Church at Wicaco in Philadelphia, sent fifty copies of the Upsala Hymn Book. The King showed continued support by sending 300 Swedish psalmbooks in 1704, and 400 in 1712. The latter shipment was for distribution to other Swedish churches. Justus Falckner, originally a German Lutheran, was the first Swedish pastor to be ordained in America. Prior to his ordination, he wrote a letter (1701) to his homeland requesting that an organ be sent so that it would . . attract and civilize the wild Indian . . . that the Indians would come running from far and near to listen to such unknown melody, and upon that account might become willing to accept our language and teaching,"^ Falckner was ordained on November 24, 1703 at the Gloria Dei Church. There was not only a small organ for the ceremony but there also were "hautboys," trumpets, and kettledrums. It is not known if the small

47Leaver and Bond, oo. cit.. 129.

48poote, 00. cit. 124-27. This entire account of the Swedish Lutherans is taken from this source. 81 organ was the one he requested but It is apparently the earliest known record of the use of an organ in the Colonies.^^ Baptists. The city of Providence, Rhode Island was the location of the first Baptist church in America, which was founded by Roger Wiliams in 1639. Apparently, most Baptists of the seventeenth century had a prohibition against congregational singing. There is some evidence, however, that psalm-singing was practiced by some Baptist congregations, and they may have used the Stemhold and Hopkins or Ainsworth psalters.so Singing in some churches may have been eliminated as increased numbers of English non-singing Baptist immigrants joined the Baptist churches in America. In the eighteenth century, objections to congregational singing began to diminish. A group of Welsh Baptists in Delaware introduced congregational singing to the middle and southern colonies. In New England, singing was accepted by the First Baptist Church in Boston in 1728; the First Baptist Church in Providence, however, did not accept it until 1771.51 During the eighteenth century, a variety of hymnals was used by the Baptists, most of which were of English origin with one exception being the possible use of the The Bau Psalm Book. In 1740 some of the Boston churches began to use Tate and Brady's New Version of the Psalms. In some other areas there was a change to the hymns of Isaac Watts as a result of the Great Awakening (I720's-I740*s). Henry Foote remarks that Watts hymns did not necessarily meet the overall needs of the Baptists for there

49|bid.

SOOavid W. Music, "Baptist Church, music of," NGDAM. I, 140.

51 Reynolds, oo. cit.. 89. 82 was a desire for more emotional hymns. He states that the Baptists had lower standards of education in the ministry than the Congregationaiists, Episcopalians, or Presbyterians and that, therefore. Watts was not as appealing. The preference was for hymns sung to popular melodies and choruses—an American folk-hymnody.52 The first Baptist hymnal published in America was Hymns and Spiritual Songs (Newport, Rhode Island, 1766). An early Baptist hymn w riter was Henry Alline who wrote Choice Hymns and Spiritual Songs (1791)53 The first hymnal containing music and not just text was Samuel Holyoke's The Christian Harmonist ( 1804). During the nineteenth century, there began to be a difference in Baptist hymnody between the northern and southern sections of the country. The southern areas began to rely more heavily on the folk hymn. Two of the more popular collections for the south were The Sacred Harp (1844) and IM Baptist Psalmist (1850). Differences in Baptist practices created a division into the Northern and Southern Baptist conventions in 1845.54 xbg Baptist Psalmist was actually a southern edition of the very popular northern hymnal The Psalmist (1843). Late nineteenth-century gospel hymnody had a significant influence on the Baptists, but this is beyond the purview of this study The allowing of choirs and instruments in Baptist churches was primarily a development in the late eighteenth and early nineteenth

SZFoote. OP. c it.. 168.

53christ-Janer. o d . c it.. 148.

54mus1c. o d . c it.. 140-41. 83 centuries. In 1771, th e First Baptist Church of Boston formed a choir; this is apparently the earliest recorded date of choral singing in a Baptist church.55 Urban ch u rch es, after 1820, gradually formed choirs in the North, although the issue of choirs was still being debated as late as 1866 in the South. Musical instruments In Baptist churches were probably more controversial than the use of choirs. Henry Foote quotes a pamphlet written by “A Presbyterian" in which the title reads:

The Lawfulness, excellency, and advantages of instrumental music in the service of God.—Address'd to all (particularly the Presbyterians and Baotists) [who have] hitherto been taught to look upon th e u s e of instrumental musick in the worship of God as unlawful.56

The author of the pamphlet decries the poor state of congregational singing and a d v o c a te s the use of organs to help improve the singing. The First Baptist Church of Providence forbade instrumental music until 1804 and then p e rm itte d th e use of a bass viol as the only accompanying instrument until 1834, at which time an organ was permitted.s? The Southern Baptist churches did not allow organs until after 1850.58

SSMusic. OD. c i t .. 141.

SôFoote, OD c i t .. 84.

5?Stevenson, oo. cit.. 48.

58mus1c. 00. c i t .. 141. 84 A n#8D.t1$.t9 It wos established in Chapter One that there were some similarities of belief among the Anabaptists sects: Mennonltes, particularly a group of Quakers, Brethren (Bunkers), Amlsh, and the Schwenkfelders. It is from this tradition that the Shakers may have derived some of their customs. The present section will discuss the musical practices of these Anabaptist sects. Hennonltes/Amlsh. The Mennonltes, upon their arrival In this country In 1683, brought with them the Swiss Mennonlte hymnal known as the Ausbund (1564). This hymnal originally contained 53 hymns, many of which were written by Anabaptist martyrs; In its final form, however, the Ausbund contained 137 hymns. As American settlements grew, additional copies of the Ausbund were needed, and the first American edition, still In the German language, was published in 1742 and was the sect's primary hymnal .59 By the turn of the nineteenth century, the Mennonlte Church believed that the Ausbund was no longer serving Its needs in an adequate manner, and a revision was planned. Two hymnals were the result of this effort to compile current hymns. The Germantown, Pennsylvania division published. In 1803, Die Klelne Gelstllche Harfe der Kinder Zions. It served the community throughout the century. The Lancaster, Pennsylvania community published Eln Unoartheylsches Gesangbuch (1804), which became the most

59Mart1n E. Ressler, “A History of Mennonlte Hymnody," Journal of Church Music. XVI11/6 (June, 1976), 2. Also, see Mary Oyer, "Amlsh and Mennonlte Music," NGDAM. I, 42-46; and "Hymnology," The Mennonlte Encyclopedia. A Comprehensive Reference Work on the Anabaotlst- Mennonite Movement 4 vols., (Scottsdale, Pennsylvania: Mennonlte Publishing House, 1955), 869-86. 85 influential of all American Mennonlte German hymnals.^o Both of these hymnals were in German. The Ausbund was the hymnal retained for use by the Amlsh, and it has been in continuous use for the past 400 years - one of the longest continuous uses of a hymnal in Protestant hymnody. The singing of the Amish is monophonic, melismatic, unaccompanied, non-metrical, and extremely slow. The Ausbund did not have printed tunes; the music, therefore, was learned through oral tradition. The hymnal does indicate which tune—sacred or secular folktune, a Latin hymn, or some other melody—should be sung with a particular text.^i This oral tradition has lasted for 400 years. An Amish church service is approximately three hours in length and is held in a member's home on a rotating basis. The order of worship remains the same for all services: three hymns, a forty-five minute address, a lengthy silent prayer period, a reading of a chapter from the Bible, a one-hour long sermon, a lengthy spoken prayer, the benediction, and a hymn.62 The length of the service is due, in part, to the amount of time it may take to sing a hymn, as some are very long. Examples of Ausbund hymns indicate one with fourteen stanzas of seven lines each, another with three stanzas of thirty-three lines each, and yet another with forty-five

60Ressler, oo. cit.. 3-4.

6loyer, oo. cit.. 42-43.

62john Umble, The Old Order Amish, Their Hymns and Hymn Tunes," Journal of American Folklore. LII/203 (January-March, 1939), 84. 86 quatrafns>3 The Amlsh music tradition has remained basically unchanged over the past four centuries. Unlike the Amlsh, the Mennonltes have been more receptive to cultural changes that have taken place around them.^4 The Mennonltes allowed their melodies to be written In musical notation. Joseph Funk's A Compilation of Genuine Church Music (1832) was an influential Mennonlte tunebook, and it reflected the adaptation of the tunes to the English language. It also had a section on the rudiments of music. Funk Included melodies from English psalm tunes, American hymn tunes and anthems, nineteenth-century revival tunes, and oral folktunes which were notated possibly for their first time. This tunebook also had settings In three voice parts, and later editions had four vocal parts. A Selection of Psalms. Hymns, and Spiritual Songs (1847) was the first Mennonlte hymnal In English, and it contained only the hymn texts—no musical notation. This hymnal was recommended to be used with the Funk tunebook. The Mennonltes allowed the use of choirs and musical instruments; this was, however, true only of the American churches. Churches held singing classes, conducted training for their choristers, and discussed hymn Interpretations.^^ Mennonltes In Europe began to allow the use of organs during the last half of the eighteen-century. The first pipe organ In an American Mennonlte church was found at West Swamp, Pennsylvania, In 1874. Some more conservative divisions of the sect, such as the Old Colony

63umble, OD. c i t .. 86-89.

64oyer, 00. cit.. 43.

65h. s . Bender, "Music, Church," The Mennonlte Encyclopedia. Ill, 792. 87 Mennonltes, forbade musical instruments. This attitude followed that of Calvin and other Anabaptists. Musical instruments were to be used only for worldly pleasures; the use of them in church "would mean the opening of the gates of the church to secular and sinful influences '^^ Quakers. Quakers beliefs are very similar to those of the Anabaptists; the influence, however, appears to be more indirect, involving the Anabaptist movement on the European continent and how it effected the formation of Congregationalists and Baptists in England. Tiiose movements subsequently had influence on George Fox, English founder of the Quakers and the Quaker movement in America.^? Fox believed in a worship service without sacraments, ordinances, clergy, or liturgy. This belief in a simple worship service and living one's life in a simple manner helps to account for the Quaker attitude toward music. George Fox was opposed to music and art.^G Fox did not like ribald plays or music and believed that music could easily be misused. He thought that singers, in a service, might be singing words the meaning of which they may not have experienced or understood. James L. Burke also emphasizes this point by stating "Quaker meeting houses were unadorned and the worship

GGcomelius Krahn, "Musical Instruments," The Mennonlte Encyclopedia. Ill, 794-95. See also, Charles Burkhart, "Church Music of the Old Qrder Amish and Old Colony Mennonltes," The Mennonlte Quarterlu. XXVI1/1 (January, 1953), 34-54.

G7Harold S. Bender, "Society of Friends," The Mennonlte Encyclopedia. IV, 561.

GGRufus M. Jones, The Faith and Practice of the Quakers (Richmond, Indiana: Friends United Press, (19801), 29. 88 was uniform in its dependence on silence."69 Burke continues "Many Friends were actually hostile to art, music, fiction, and drama." Quaker meetings for worship were on the first and fifth day of the week and conducted in silence. A Friend did not speak in a meeting unless so moved by the Spirit; God used the member as an instrument for conveying His thoughts, if one were to speak, the message (sermon) must be of religious meaning and not secular, spontaneous--not prepared in advance, non-personal—God is speaking through the instrument, non-argumentative— simple and direct, brief—messages were not lengthy, unified—there should be some connection with the other messages spoken during the service.?*) Meetings had no pre-determined length but may have lasted as long as three hours. Church of the Brethren (Dunkers). The Church of the Brethren are also known as German Baptists. Their popular name, Dunkers, is a derivation of the German word "tunken"—to dip or immerse. This name is a result of the Brethren practice of immersing a candidate for baptism three times forward into the water.?* The Church of the Brethren originated in Schwarzenau, Germany in 1708 as an outgrowth of the Pietistic movement. They fled to Holland and northern Germany to escape persecution. The Brethren immigrated into this country in 1719 and 1729, led by Peter

69James L. Burke and Donald E. Bensch, Mount Pleasant and the Earlu Quakers of Ohio (Columbus, Ohio: The Ohio Historical Society, 1975), 18.

?OHoward R. Brinton, Guide to Quaker Practice (In.p.l: Pendle Hill Pamphlet Number Twenty, In.d.l), 22-27.

?*W. J. Whalen, "Church of the Brethren (Dunkers)," New Catholic Encyclopedia. 15 vols. (New York: McGraw-Hill, 1967), XII, 848. 89 Becker end Alexander Mark, respectively, and they settled in the Germantown area of Pennsylvania.^^ Henry Foote refers to the communities established by the various religious groups of German immigrants that settled In Pennsylvania.?^ He mentions specifically the Dunkers and Schwenkf elders among others. Foote remarks that these sects apparently brought with them the German hymnbooks to which they were accustomed and which had evolved from two centuries of Lutheran hymnody. He further states that the Instrumental tradition was stronger in Germany and th a t these sects brought their musical Instruments with them. By making this statement, he does not indicate specifically if the Dunkers used Instrum ental music. Elllnwood states It more clearly by saying that the Dunkers generally opposed Instrumental or vocal music as practiced In the church.?^ Choral singing, however, was practiced by the sect. According to one account, antlphonal singing and the singing of hymns was introduced Into the simple service of the Brethren at the Whitsunday service of May 21, 1727.?^ John Conrad Belssel was one of the Important musicians of the sect who later founded the Ephrata Community.

72Harry Eskew, review of The German Hymnodu of the Brethren. 1720-1905 by Hedwig T. Dumbaugh (Philadelphia; The Brethren Encyclopedia, 1986). The Hymn XXXVI11/2 (April. 1987), 38-39.

73Foote. OD.clt.. 127.

?4Ellinwood, oo.cit.. 32.

75"The Mennonltes and Dunkers, T heir Emigration and Hymnody," Church Music and Musical Life in Pennsylvania in the XVIII Century. 3 vols., (Philadelphia: Pennsylvania Society of the Colonial Dames of America, 1947), 11,16. 9 0 One of the first Dunker hymnals to be printed in America was Das Kleine Davidische PsaUersoiel der Kinder Zions printed by Saur at Germantown in

1744 . An appendix. Die Kleine Harfe. was added in 1753. This hymnal went through several editions between 1760 and 1816. An additional hymnal of the German Baptists was the Liebliche und erbauliche lieder von der

Herrlichkeit und Ehre Jesu Christi. Germantown 1788.?6 Schwenkf elders. The Schwenkfelders emigrated from the Silesian area of Germany to escape religious persecution. During the 1730's, approximately 212 members arrived in Philadelphia. They settled throughout the southeastern area of the state.?? They brought with them their own customs, manners, religious beliefs, hymns, and tunes.?6 Because of the religious persecution experienced in Europe, which included not being allowed to use printing presses, the Schwenkfelders brought manuscript hymnals with them to this country. Some of these manuscsripts were re copied and circulated among the American members of the sect.?9 The first Schwenkf el der printed hymnal in America was the Neu-Einqerichtetes

?6|bid.. 16-17.

??Wi1ber C. Kriebel, "Schwenkf el der Church," The Mennonlte Encyclopedia: A Comprehensive Reference Work of the Anabaotist-Mennonite Movement. 4 vols. (Scottsdale, Pennsylvania: Mennonite Publishing House, 1955), IV, 4BB.

?8Reyno1ds, oo. cit.. B5.

?9"Schwenkfe1der Hymnology," Church Music and Musical Life in Pennsylvania in the XVIII Centuru. 3 vols. (Philadelphia: Pennsylvania Society of the Colonial Dames of America, 1927), II, B8. 91 Gesanq-Bijch (1762), published by Christopher Saur at Germantown.QO This was actually the fourth edition of a series of three earlier manuscript hymnals, but the first to be printed. The hymnal contained approximately 917 hymns by the Schwenkfelders, Bohemians, and Moravians. This hymnal was apparently revised In 1765, 1813, and 1869.

Pietists The Pietist movement began in Germany during the later half of the seventeenth century. It was characterized by a pure and strict Christian lifestyle in addition to personal devotion. The Pietists produced hymns of a subjective nature with a very personal and passionate character. This subjectivity was accomplished by the use of the singular pronouns in the text, and the hymns were also more suitable for personal devotion.®^ The Moravians and Methodists were part of the Pietist movement. Moravians. The Moravians first came to this country in 1735 and settled in Savannah, Georgia. They abandoned that settlem ent in 1740 and established a more permanent community at Bethlehem, Pennsylvania. Eventually they established additional communities in Pennsylvania, North Carolina, Maryland, and Ohio.®? Karl Kroeger states that music was an integral part of Moravian life and the Moravian commnity. One must understand the organization of the community to comprehend how both the music and the community were

®®Foote. OD. cit.. 132.

®iReynolds, oo. cit.. 24.

82Karl Kroeger, "Moravian Church, music of the," NGDAM. Ill, 271. 92 inter-related.83 All property was owned by the Church and all residents of a town had to be members of the Moravian church. An ecclesiastical council governed the town, and the congregation was organized into "choirs." These were not choirs of only the traditional singing type; they had, rather, a broader purpose. The choirs were organized by sex and marital status; unmarried men, unmarried women, married couples, widows, and widowers. A spiritual and administrative leader supervised the physical and spiritual needs of the members. initially, during the early years of the Pennsylvania and North Carolina settlements, the music in the worship services consisted mostly of hymns, with some instrumental accompaniment: horns, trumpets, flutes, and violins.84 as the communities became more established, organs were built and orchestras were formed. The orchestra participated in concerted anthems and performances of chamber music. The first Moravian hymnal to be published in America was Hirten Lieder von Bethlehem in 1742. This hymnal, published by Christoph Sauer, contained 360 hymns selected from the German Moravian hymnal of 1735.85 Subsequent hymnals included one translated into the language of the Delaware Indians, printed in 1803 at Philadelphia, reflecting the missionary aspect of the Moravians; A Collection of Hymns for the Use of the Protestant Church of the United Brethren, a reprint of on 1809 English hymnal; and

83Korl Kroeger, "A Singing Church; America's Legacy in Moravian Music," Journal of Church MusicXVII1/3 (March 1976), 3.

84Karl Kroeger. oo. c it.. in NGDAM. Ill, 271.

85john H. Johansen, "Moravian Hymnody, Part II," The Hgmn XXX/4 (October 1979), 237. 93 ütMrgy m Æ Hymn? lor the Uge Qt the Prptegtgnt Chvrch-oL Unitgo Brethren or Unites Fratrum. 1851, based on an 1849 English hymnal but with new hymns added and the lesser used and poorer quality hymns removed.G^ Moravian church services, unlike the three-hour services of the Amish, were frequent but not lengthy. On a Sunday, six services of approximately one-half hour each might be held . Weekday services would also be held for the purpose of choir or community devotional s.®? one significant service was the Lovefeast, which was a musical service in which hymns, anthems, sacred solo songs, and other music were played. The musical groups included the congregation, choirs, orchestra, and organ accompaniment. Instrumental music was also significant to the Moravians. They developed trombone choirs for use at funerals and festive occasions. The orchestras would perform not only sacred music but also the classical literature of Europe. Significant composers were Jeremiah Dencke (1725- 1795), Johann Friedrich Peter (1756-1813), Johannes Herbst (1735-1812), David Michael (1751-1827), and John Antes (1750-1811), who composed the earliest known chamber music by a native American.®® The significance of Moravian music is also reflected in the library holdings of the Moravian Music Foundation at Winston-Salem, North Carolina and the Archives of the Moravian Church at Bethlehem, Pennsylvania. These Collections contain approximately 10,000 manuscripts, of which 7,000 are

®®lbid.

®?Kroeger, oo. cit. in Journal of Church Music. 3-4.

88|bid. 9 4 individual works. Thirty percent of these are by American Moravian composers.®^ Methodists The formal organization of the Methodist church dates from 1784, although a few societies had formed in the 1760*s. John Wesley appointed Thomas Coke to ordain Francis Asbury in Baltimore, and this was the event that helped to establish the first Methodist church in the world. Previously, the Methodists were organized into informal societies without benefit of ordained pastors.®® The history of American Methodist hymnody begins with John and Charles Wesley's visit to the colony of Georgia in 1735. They stayed in Georgia for three years. In 1737, John Wesley published his Collection of Psalms and Hymns. Charlestown. 1737. which was the first English hymnbook, as opposed to psalter, printed in America.®^ This collection had little influence on the development of American hymnody; it is, however, significant in that it marks the beginning of the career of Wesley as a translator and editor of hymns. In 1784, as the Methodist church was becoming a formal organization, Wesley sent with his representatives from England printed sheets of psalms and hymns entitled "Sunday Service of the Methodists in North America." This was followed by the Pocket Humn Book, again sent from England; this was, however, reprinted in America as Ib£ Methodist Pocket Hymn Book revised and improved, 1802. The General Conference of the Methodist church requested in 1820 that A Collection of

®®Kroeqer on. cit. in NGDAM. 273.

®ORoger Deschner, "Methodist Church, music of the," NGDAM. Ill, 217.

®1 Foote. 00. cit.. 144-146. 95 Hymns for the use of the Melhodlsl Eplscopal Church. prlnclDellM from the Collection of the Reverend John Wesleu be published. It was revised In 1832. Henry Foote describes these hymnals as basically reprints of Wesley’s English hymnals, with many of the hymns being written by Charles

W e s l e y . 9 2 He remarks that these books had Introduced Wesleyan hymns to other denominations, but In and of themselves, had no Initial Influence on American hymnody. An Important Influence on Methodist music was the revival movements during the early part of the nineteenth century, especially the Great Revival of 1800, better known as the Kentucky Revival. Roger Deschner states "Methodist music, preaching, and free style of worship were ideally suited to the camp meeting, which, particularly In rural areas, helped Methodism to spread quickly In the 19th century "93 The camp- meeting hymn, a product of these revivals, was In a ballad style, used simple language, melodies that were folklike In character, with refrains. The topic of the text was the salvation of the sinner, and the refrains may have been added to existing hymns or might have been a part of new hymns.94 Printed versions of the camp-meeting hymns were scarce, and most of them were taught by rote. It Is for this reason that the hymns needed to be easily singable and "catchy." By 1825, the outdoor camp meeting had passed out of fashion with other denominations such as the Presbyterians and Baptists, but It was

92Foote. OD. c it.. 147.

93Deschner, oo. c it.. 218.

94Reynolds, oo. cit.. 91. 96 retained by the Methodists. The Methodists, during this period, published some of their camp meeting music in collections such as Thomas Hinde's The Pilgrim Songster (1810) and Moses Scudders The Weslegan Psalmist ( 1842). The latter contained musical notation.95 The Methodists, in retaining the camp-meeting style, built permanent sites for these services. As this and the Sunday school movement of the mid-nineteenth century flourished, social hymn books became more prominent. These were attempts at blending the more austere official hymnody with camp-meeting type. One such example is IM Wesleuan Sacred Haro ( 1855).96 As the Methodist church was responding to the above influences, it was also concerned with the official hymnody for regular formal worship. Among such collections is the previously mentioned A Collection of Hgmns . . . (1832), and the Hgmns for Use of the Methodist Episcopal Church (1857X97 The hymnals representative of the various sects that separated from the Methodist denomination during the nineteenth century belong to a separate study. Methodist music progressed from the singing of hymns by rote in homes or rural settings to more formalized services in urban churches equipped with organs used for accompanying choirs. Throughout the

95]bid., and Deschner, oo. cit.. 218.

96oeschner, oo. c it.. 218.

97christ-Janer, oo. c it.. 415. 9 7 nineteenth century, the Methodists responded to the needs of their congregations and adopted the popular hymnody of the times

Jewish Faith The Initial immigration of Jews into America dates from 1654 to the early part of the nineteenth century and consisted of Sephardic Jews. Their liturgical practices were modeled after the mother congregations of Europe.99 The Sephardic faith emphasized accurate rendition of sacred texts and used a particular type of hymn unique to the sect, the oiyqutim. which were liturgical poems with tunes. This is a metrical hymn with repeated musical strophes and melodies that could be used with other text&lOO A second sect of the Jewish faith was the Ashkenazic, which dominated the nineteenth-century immigration of Jews into this country. In the absence of rabbis, the cantor, or musical leader, would take on the additional roles of community and synagogue leader. The sub-sects of the Ashkenazic (Reform, Conservative, and Orthodox) maintain their own musical traditions. A separate musical tradition is maintained by the Hasidic Jews. The Hasidic sect believes in a very close relationship between worship and music because it elevates the soul.101 The Reform

OOOeschner, oo. cit.. 220.

O^Mark Slobin, David Schiff, and Israel J. Katz, "Jewish-American Music." NGDAM. 11,571.

lOOlbid.

101 Ibid.. 569-70. 98 sect is apparently the only one that uses hymnals in the tem piesjoz one such hymnal was compiled in 1843, by Penina Moise, for the Charleston, South Carolina congrégation.!03 The Orthodox service is sung in its entirety by cantor and congregation; .the the music varies by using chants, hymns with strophes, and elaborate cantorial solos.io^ The nineteenth century was characterized by the Reform movement and a liberalizing of certain elements of the worship service. This movement went as far as replacing the cantor with Gentile choirs and organists. The congregations sang Luther-style hymns, and early American Jewish hymnals (c.l820) were apparently based on music other than the traditional prayer modes.!

Eastern Orthodox (Russian and Greek). The Eastern Orthodox religion Initially entered this country from the west when Russians immigrated into Alaska in 1741. Their settlem ents helped to establish the Eastern Orthodox religion in that area and later, to the south, in San Francisco. 10& The establishment of the church gradually spread to the eastern border of the United States during the nineteenth century.

!02Reunolds. od. cit.. 121.

!03christ“Janer, oo. cit.. 415.

104siobin, 00 cit..570.

!05|bid.. 570.

lOôTheodore Saloutos, The Greeks in the United States (Cambridge, Massachusetts: Harvard University Press, 1964), 119. 99 The Eastern Orthodox branches of Christianity, Russian and Greek, have inherited a rich tradition of music, espcially liturgical chant, which dates back to the earliest days of the Christian eraJO? Russian Orthodox music represents a broad ethnicity and national character.!08 In America, Russian Orthodox music may be described as a tradition of part-singing and polyphony—the origin of which was folk music. These styles were assimilated into the liturgy. Choral traditions were practiced at the parish and cathedral level. Greek immigrants first arrived in America in 1768, at what is now known as New Smyrna, Florida.!09 as the Greek migration increased during the nineteenth century, these people settled from Boston, to New York, to New Orleans, and even as far west as San Francisco where some attended Russian Orthodox services. The first Greek Orthodox Church to be officially established was in 1862 at Galveston, Texas.

!0?Barbara Owen, "Our Choral Heritage; IV, Echoes from the Eastm Church." Journal of Church Music XXXI11/1 (January 1981), 8.

!08philip V. Bohlmam, "European-American Music: Russian," NGDAM. 111,83.

!09Demetrios J. Constantelos, "Introduction," History of the Greek Orthodox Church in America, comp, and ed. Rev. Miltiades 8. Efthimiou and George A. Christopoulos (New York: Greek Orthodox Archdiocese of North and South America, 1984), 1. See also Philip V. Bohlman, "European-American Music: Greek." NGDAM. 111.80-81. 100 Orthodox church music Is characterized by chant-like monophonic melodies "without a background harmony"!lo This type of music was prevalent from the early church Into the twentieth century. Harmonized choral music with contrapuntal Influences was used In the American Orthodox churches, although It originally developed In France and Germany. The major newer developments In Orthodox m usic occurred a t the end of the nineteenth century and during the tw en tieth century. This development also coincided with the greater migrations of the Orthodox peoples to this country. To trace these developments would be beyond the scope of the present study.

Communal Societies Music was of great Importance to communal societies such as the Ephratas, Moravians, Shakers, and Harmonists. Music serv ed to express the particular religious beliefs and principles of these groups. These sects created a vast repertoire of tunes, hymns, and anthems. Two of these, the Shakers and Harmonists, had some similar practices but different music. The Music of the Shakers. Shaker music. In com parison to the m usic of the religions exclusive of the Shakers, discussed earlier in this chapter, represents an unusual body of American religious musical literature in that it comes from a very specific group of people, a "closed" community of believers, and represents some song types unique to the sect—gift songs, wordless tunes, and dance melodies. The music of the Shaker sect was an

lioprank Desby, "Growth of Liturgical Music in th e lakovian Era," History of the Greek Orthodox Church In America, comp, and ed. Rev M iltiades B. Efthimiou and George A. Christopoulos (New York: Greek Orthodox Archdiocese of North and South America, 1984), 303. loi integral part of the religion, the community, and the individual member. Daniel W. Patterson remarks that as each year went by, the members in the Shaker villages sensed a rhythm to the Shaker life based "on the patterns of worship and on the daily and seasonal tastes of a farming community.'^ He continues, "Nothing in his life was meaningless or trivial. When he mended a fence, retrieved a button from the floor, or danced, the Believer served God and supported the material or spiritual welfare of his brethren and sisters." To this may be added the use and practice of Shaker music. The extant body of Shaker music is very large. Patterson's checklist of Shaker music manuscripts is extensive and includes 798 manuscripts from all of the various communities. He estimates that this body of literature represents approximately 8,000 to 10,000 songs by at least 168 com posers.^ 12 These figures do not represent volumes lost to fire, theft, flood, or other types of damage. Patterson believes that there were far more than 168 composers; those are, however, the ones that he has positively identified. His premise is probably true, given that the total Shaker membership, over its 200-year history, did not exceed 20,000 members. Marguerite Melcher further explains the problem of Identifying Shaker authorship by stating that "A good deal of Shaker writing was

lIlDaniel W. Patterson. The Shaker Spiritual (Princeton, New Jersey: Princeton University Press, 1979), 17. This volume represents one of the major recent works on Shaker music and includes not only chapters on Shaker history but transcriptions of 366 songs chosen by Patterson and discussed by genre. There is a chapter on Shaker musical notation, it also includes a checklist of 798 extent Shaker music manuscripts. This writer wishes to acknowledge Dr. Patterson's personal encouragement and assistance given to this dissertation.

Il2|bid.479. xiii. 102 anonymous. The original Shaker intent, indeed, was to submerge the creator of any piece of craftmanship in the mass of fellow craftsmen."^ 13 According to Melcher, this was especially true for Shaker music. To clearly understand the importance of music to the Shaker believer, one must first understand the mode of Shaker worship. Edward Doming Andrews quotes an eyewitness account by Valentine Rathbun, Sr. of a May, 1780, Shaker Service.n^ in summary, the report states that the worshipers, while sitting, shook their heads and turned them over their shoulders, keeping eyes shut, and that a member would begin to sing some odd tune, and one by one others would join in. Some would sing in an unknown tongue, or without words, or in a mixture of English. The account describes the dancing, during which one worshipper may be gesturing, another hopping on one leg, or turning very swiftly. In these early forms of worship there was apparently no regular order of worship. Each member acted on his own as the spirit guided him. The services did not have public prayer or preaching. Andrews states.

"No form existed: someone would impulsively cry out a line from the psalms, part of a hymn, or a phrase—perhaps in on unknown tongue—bespeaking wild emotion; someone might prophesy; another would exhort his listeners to repentance; another might

iiSf-iarquerite Fellows Melcher. The Shaker Adventure (Old Chatham, New York: The Shaker Museum, 1975, reprint of 1941), 211.

ii^Edward Deming Andrew, The People Called Shakers (New York: Dover Publications, 1963, reprint of 1953 edition), 27-28. 103 start whirling like a dervish; then as in a Quaker meeting, all for a time would be silent."* is

George Pullen Jackson notes that Mother Ann’s followers sang from the start; they possessed, however, no body of song suited to their own purposes.!IS He concludes that the Shakers borrowed from the psalm-tune repertoire. Jackson quotes a traveler of the 1810’s as hearing the Shakers of the Alfred, Maine community singing "the Psalms of David . . . in an abominable drawl." Much of the initial Shaker song repertoire was borrowed from traditional religious and folk song literature. Marguerite Melcher asserts that the freedom of the individual participant in a Shaker service was due, in part, to the fact that the Shaker imagination was highly restricted during the course of the regimented work day but that the imagination was given full rein during the religious services, especially

iiSEdward Deming Andrews, The Gift to be Simple: Songs. Dances, and Rituals of the American Shakers (ln.p.l: J. J. Augustin, 1940; reprint. New York: Dover, 1962), 7. This book represents the first major modem scholarly work on the music of the Shakers. Andrews,until his death in 1964, devoted most of his life study to the Shakers . He and his wife. Faith Andrews, have authored many books on Shaker crafts, furniture, and history in addition to this musical study. His personal library collection is now housed at the Winterthur Museum, Winterthur, Delaware. It represents one of the largest collections of Shaker materials. My appreciation is expressed to Mrs. Faith Andrews for her kind hospitality and interviews at her home in Pittsfield, Massachusetts in the Summer of 1902.

iifiGeorge Pullen Jackson, White and Negro Spirituals: Their Life Span and Kinship. Training: 200 uears of Untrammeled Song Making and Singing among our Country Folk. With 116 Sonos as Sung by Both Races (New York: J. J. Augustin, 1943), III. 104 those that occurred on SundaysJi? The imagination was also reflected in the vivid imagery used in the texts to the songs. By the end of the eighteenth century and the early part of the nineteenth century, the Shakers were beginning to move towards a more formalized mode of worship and away from some of their more extreme worship behavior. Edward Andrews described the services of 1796 by stating: The contortions, grimaces, and promiscuous dancings which marked and disgraced their [Shaker] conduct, when they first arose among us, have given way to a mode of worship, which tends to inspire sentiments of solemnity, rather than derision."^^8 It was through the leadership of Joseph Meacham and subsequently Lucy Wright that the services became more organized. The twenty years that followed Meacham's death in 1796 brought a more rational approach to the services. The general movement was towards a more proper decorum and away from disorder and extravagance. Andrews notes that the Shakers even began to rehearse their songs and dances before performance in a service and that ritual was to become a means to the larger well-being of the society. There were occasions, however, when, in order to reinvigorate the society, there would be a return to the earlier mode of worship. This would happen most often during periods of revival.^ Andrews gives a detailed account of a more traditional nineteenth-century Shaker meeting as follows:

11 ^Melcher, od. cit.. 217.

11 ^Andrews, The People Called Shakers. 66.

H9|bid._ 138-39. 105 The traditional Sabbath morning or afternoon service, as well as the evening worship of the separate families, was preceded by a period called "retiring-time," during which all members retired to their rooms for a half-hour of meditation, or to refresh their minds on the hymns to be sung at the ensuing meeting. If the assembly was to be in the meeting-house, the families would march to the "Church order" in files of two, the elders in the lead, the sisters following the brethren. The latter would enter the church by one door (the right), the sisters the other, and silently take their places, according to position and age, on long benches so arranged that the sexes would face each other in parallel ranks. After sitting awhile in silence, in the manner of the Quakers, the worshippers would arise at a signal from the preacher or presiding elder, who sat where the rows of benches almost converged. The benches being removed, the meeting would customarily open with a devotional hymn, followed by a discourse directed as much, perhaps, to the public as to the followers of the faith. Marches and dance songs were sung and "labored" after the meeting had got well under way. Whereas the hymns and anthems voiced the doctrines of the sect, the exercise songs expressed its inner spirit. Usually, at the beginning of the meeting, the rounds and marches were ceremoniously performed; but as we shall see, orderly services sometimes turned into what was called "a quick meeting," or "Shaker high," when dancing would return to its earlier, the "back" __or "promiscuous" form, and the singing, regardless of spectators, partake of a substance and quality not provided for in the printed h y m n a l s . 120 Developments in the music of the Shakers during the first half of the nineteenth century were extensive. The first hymnal. Millennial Praises. with text only and without music notation, was published in 1813.121 The

120Andrews, The Gift to be Simple. 21.

121 Millennial Praises. Containing a Collection of Gosoel Hymns, in Four Parts. Adapted to the Dau of Christ's Second Aooearing: Composed for the Use of His People. [Seth Youngs Wells] compiler (Hancock, [Massachusetts]: Josiah Tallicott, Jr., 1813). The reader is advised that the reference to "in Four Parts" in the title is not to voice parts but to the divisions of the hymnal. 106 preface to this volume indicates the attitude toward music that the Shakers held. It states. In summary, that of all treasures with which the people of God are blessed "the gift of songs claims a distinguished place. It is a gift in which believers can best unite their feelings of joy and thanksgiving for the gospel . . . An additional statement is made that with the use of song "Believers can feel their spirits assimilated to saints and angels in the world of spirits, where the highest praise and thanksgiving is poured forth in the blessed gift of songs." The preface also notes that the "sentiments conveyed in the hymns are conformable to the present faith and testimony of Believers. . . ." The hymnal contains 140 hymn texts. Millennial Praises, according to Andrews, marked the acceptance of hymns as more appropriate than the earlier chant-like song or the wordless tunes known as solemn songs.^22 Patterson remarks that other denominations did not have solemn songs or dance tunes. 123 The Shakers did know of the hymns of other denominations, but doctrinal differences in the texts did not allow for the general borrowing of these for Shaker use. These differences would include such Shaker beliefs as Mother Ann was the second com ing of C hrist o r th e existence of a dual god-head (male/female). Patterson further notes that for the same reason, the non-Shaker religions did not borrow hymns from the Shakers. Another development of Shaker music was an ever-increasing body of song literature. As the sect moved from the use of wordless songs and the borrowing of "the World’s" tunes, it began to develop its own musical

i ZZAndrews, The People Called Shakers, i 39.

123patterson, oo. cit.. 36. 107 literature. A variety of songs evolved during the first seventy-five years of the religion's development (1775-1650). Several Shaker song types were used by the Shakers; songs of the Gospel or spiritual parents (the early Shaker leaders)—primarily wordless tunes; solemn songs—originally melodies that were inspired and that used unknown languages; ballads— those songs that related stories; hymns—songs of two or more verses suitable for worship; extra songs—short songs with words often sung during a resting period between dances; occasional songs—observing a single or recurring event such as Christmas, funerals, or the arrival or departure of visitors; laboring songs—based on dance forms such as the quickstep and square order shuffle; gift songs—those received by inspiration or through visions; and anthems—through-composed songs with a prose text. ^24 Shaker songs had a variety of characteristics. Meters may have remained constant in some of the songs, for example in the hymns and laboring songs. Frequent changes occurred in others, such as the anthems and extra songs. Phrase structures may or may not be balanced. Balanced phrases are found most frequently in the laboring songs. Those songs that were received by inspiration oftentimes had unbalanced phrases. Tempi are indicated for some of the songs. Dynamic markings, key signatures, and accidentals are not indicated in the songs within this study. The only embellishment indicated is the grace note, which the Shakers referred to as

i24p@tterson, oo. cit. and Roger Hall, The Haoou Joumeu: Thirtu- five Shaker Spirituals Compiled by Miss Clara Endicott Sears, ed. Roger L. Hall (Harvard, Mass.; Fruitlands Museums, 1982)—this book was reviewed by the present author in American Music. V/1 (Spring, 1967), 97-99. It is from the general discussions in these sources that the song-type definitions and the subsequent explanations were compiled. 108

an “appogglatura."^25 This was performed as a slide toward or away from a note. Neither the manuscripts nor Daniel Patterson's discussion of this appogglatura Indicates whether the ornament was performed on the beat or prior to the beat. Although the Shakers performed dances to their laboring songs, the manuscripts studied do not indicate the dance steps or any directions for their performance. The Shakers recognized four tonalities,

major (Ionian), minor (Aeolian), melodic minor, and D o r i a n .^2 6 Harold Cook remarks that the Shakers actually used additional scales such os the

hexatonic and pentatonic.iz? As the number of songs increased, the Shakers were faced with the perplexing problem of how to preserve them Inasmuch as the only manner of doing so had been the oral tradltMn or method. Mel cher states that Initially the melodies were learned "by heart" and that this was acceptable as long as the number of songs was small and the size of the communities or regions was also small enough to facilitate the memorization of the melodles.^28 Mel Cher continues by saying that the central ministry at New Lebanon, New York thought It would be desirable to have the songs sent between the

I25patt0rson, oo.clt.. 55. Patterson provides a thorough discussion of Shaker musical style, form, and dances In his work. The Shaker Spiritual.

i26Harold E. Cook, Shaker Music: A Manifestation of American Folk Culture (Lewlsburg, Pennsylvania: Bucknell University Press, 1973), 134- 36. Cook presents a detailed analysis of 200 Shaker songs in his chapter Technical Aspects of the Shaker Musical Practice," 133-63, in which he discusses Shaker theoretical practices regarding tonalities, modes (tempi), and interval structure.

I27|bid.

)28Melcher, oo. cit.. 220. 109 various communities in the East as well as to and among the new communities of the West. 129 patterson amplifies Meichers viewpoint by stating that during Ann Lee's lifetime, and to the end of the eighteenth century, there were probably no more than 200 songs in the Shaker repertory. 130 He further states that with the acceptance of worded songs in 1805 an outpouring of songs occurred over the remainder of the century. As Shakers traveled between the communities, they were expected to teach and memorize as many songs as possible. Some of the songs are lengthy— especially the anthems—and irregular as to form, making the learning difficult.131 The sect, as a result of the above, became aware that a preservation system was needed and, therefore, began to look at various methods of musical notation. Patterson remarks that very few of the Shakers, prior to 1820, had any musical training. There were only two with such training that he could identify, issacher Bates and Abraham Whitney. Bates was sent to the West to help establish the Ohio communities, and he had no influence on the development of Shaker music. Whitney, however, had been a singing master prior to his conversion and helped establish singing classes at the

I29see Chapter 1, fn. 107.

i30patterson, oo. c it.. 20.

131 Donald E. Christenson, A Transcription to Modem Notation of a Shaker Hymnal by Isaac Youngs Based Upon His Theory Book (Masters thesis, Indiana University of Pennsylvania, Indiana, Pennsylvania, 1976), 127 and 89. Patterson's statement that the anthems are lengthy is supported by the fifty anthems transcribed in the thesis. To cite just two examples: Repentance contains 130 measures, while New Year's Gift is 236 measures in length. ilo Shirley, Massachusetts settlement. The central ministry was initially reluctant to introduce formal teaching of music because it was regarded as a worldly science; by 1622, however, Whitney was being sent to other eastern communities to teach music. Two of the most prominent Shaker theorists were Russell Haskell, of the Enfield, Connecticut community, and Isaac N. Youngs of Lebanon, New York, the location of the central

m inistry. 132

After experimenting with round-note as well as shape-note notation, the Shakers formulated a musical system of letter notation as explained in Isaac Youngs' A Short Abridgement of the Rules otLMusia. In this work. Youngs advocates the use of "notation that dispensed with fixed pitch and key signatures and substituted letters of the alphabet for

I32jhese two theorists each published his own treatise on Shaker music theory: Russell Haskell was the compiler of A Musical Expositor Or. a Treatise on the Rules and Elements of Music: Adapted to the Most Approved Method of Musical Writing (New York: George W. Wood, 1847) and Isaac N. Youngs was the author of A Short Abridgement of the Rules of Music. With Lessons for Exercise, and a Few Observations: for New Beginners. (New Lebanon, New York; 1843, reprint 1846). For detailed discussions of these works and other Shaker theoretical practices, the reader is advised to consult Harold E. Cook, Shaker Music: A Manifestation of American Folk Culture (Lewisburg. Pennsylvania: Bucknell University Press, 1973). This book is the published version of Cook’s doctoral dissertation, Case-Western Reserve University, 1947. This work represents the third modem scholarly work on Shaker music, the other two being the previously-cited books by Patterson, The Shaker Spiritual (1979) and Andrews' The Gift to be Simple (1940). Cook's work was the first extensive analysis and collation of the music materials at the Western Reserve Historical Society Library, Cleveland, Ohio. This is the largest extant library collection of Shaker materials. It has been reproduced by the Microfilming Corporation of America and is available on over 120 microfilm rolls and over 1,000 microfiche cards. The present author wishes to acknowledge the kind support of Mrs. Gladys Cook during the initial stages of this research. Ill conventional notes/133 In the Shaker "letterar system,.pitch was notated by letters, stems and connecting bars indicated rhythms, parallel lines with cross bars provided the time signatures, and Arabic numerals designated the tempo (see Appendix L, Inventory Song Transcriptions). What is most interesting about this system is that it was revealed to Abraham Whitney by the spirit of Mother Ann Lee about 1624. Letter notation proved to be so useful that it was utilized for the next fifty years. 134 Harold Cook remarks that there was some similarity between this type of notational system and the tablature systems of the fifteenth-seventeenth centuries.i3S During this time period the Shakers gathered their songs into manuscript hymn books to preserve them. The first printed hymnal with musical notation was Henry Clay Blinn's A Sacred Repository of Anthems and Hymns, for Devotional Worship and P raise. . . (Canterbury, New Hampshire: n.p. [Henry C. Blinn for the Society?!, 1852)136 The last half of the nineteenth century brought a marked change to Shaker music. Throughout the initial development of Shaker music and into the 1840's, the music was monophonic and unaccompanied, as musical instruments were not permitted. It was the viewpoint of the Shakers that

133patterson, oo. cit.. 21.

I34ibid. Detailed discussions of the notational system are availble in the Andrews, Cook, and Patterson works.

l35cook, 00. cit.. 86 and 104.

i36The entry No. 102 for this work in Mary Richmond's bibliography. Shaker Literature (see Chapter I, fn. 65) states that the music type to print this hymnal had to be specially made by the Shakers in order to be able to print the hymnal since the letter notation system was different from that of the music type of "the world." 112 the human voice was the only proper Instrument. Since harmony was opposed, all of the songs were performed In uni son. 137 The 1860‘s and 1870's brought a change of thought toward this attitude. It was at this time that the Shakers finally permitted the use of pianos, organs, and harmonization. Music teachers and songbooks from the outside world were permitted into the settlements.^ 38 This change can be attributed to diminishing membership and the need for Instrumental support of the voices In the services, varying tastes in the membership which was now many generations removed from the founders, and the influence of the outside world. In a letter from the Ministry of Alfred, Maine to the Ministry of Mt. Lebanon dated October 6,1889, which was a response to a request regarding the addition of instrumental music to the Shaker meetings, the unnamed author remarks that the Alfred ministry Is still opposed to the use of Instrumental music except under very limited circumstances. The letter states that "Anything that would tend to deprive the body of their light to praise God in the song, and to confine the singing to on educated few, should be discouraged. 139 At this late date, os demonstrated by the previous statement, the new style of music was not always being readily accepted. In summary, the development of Shaker music evolved from a repertoire of only 200 songs during the sect's beginning years to a very

l37oan1el W. Patterson, "Shaker Music," Communal Societies II (Autumn, 1982), 53.

138|bld.63.

139Ministry of Alfred, Maine to Ministry of Mt. Lebanon, New York, October 6, 1889, p. 4 , courtesy of THE SHAKER MUSEUM, Old Chatham, New York. 113 large body of musical material of 8,000 to 10,000 songs based upon the extant collection. Far more were written and composed but lost over the years. The sect "invented" its own notational system which served the Shakers for seventy-five jjeors. The system allowed for musically uninformed members to be able to learn music quickly and easily. Music of the Harmonists. Although the Harmonists held some beliefs and practices in common with the Shakers, such as confession, the millennium, and a communal organization, the music from the two sects differed widely. In brief. Shaker music was primarily monophonic, and musical instruments were prohibited until the latter part of the nineteenth century. Music was of importance to the Shakers but it was not cultivated in the sense of developing highly trained musicians or singers, in contrast, the Harmonists had a more sophisticated approach to their music, allowing for the use of instruments and the training of musicians. During the Harmonists' formative years, they used hymnals from other denominations, but, by 1820 they had developed their own, the Harmonisches Gesangbuch. which was published again in 1824, 1826, and 1827. The hymnal contained 254 texts and 193 tunes.140 instrumental accompaniment for the hymns was uncommon until 1830, and the hymns were sung in unison by the congregation. Richard Wetzel indicates that the congregation did not have to have the hymns "lined-out" as was common

^4dpichard D. Wetzel, Frontier Musicians on the Connoquenessing, Wabash, and Ohio: A History of the Music and Musicians of George Rapp's Harmony Society (1805-1906), (Athens, Ohio: Ohio University Press, 1976), 46 and 55. 114 With other denominotlonsJ^i The congregation performed some hymns in an antiphonai manner. Music was an Integral aspect of Harmonist communal life. 142 vocal and instrumental music was a part of the educational curriculum in the Harmonist s schools. Ensembles, vocal and instrumental, also provided entertainment for the society’s members and visitors. During the five-year period of 1827-1832, the music at the Economy community became more sophisticated. Under the direction and guidance of Johann Müller, the orchestra changed its musical style from short popular compositions to sinfonias and overtures.143 Müller was a significant Harmonist musician. He organized the hymn collection, supervised the printing of hymnals, and composed and arranged vocal and instrumental music. Müller also created an orchestral catalogue of 240 pieces.144 a colleague of Müller was William Gumming Peters (1805-1866), who helped to develop the musical life of the Harmonists. Peters later established the music publishing company that bore his name. Richard Wetzel remarks that no great composers ever emerged from the Harmonists. 145 He further states that the Harmonists were amateur musicians, and that they considered music to be a functional part of their

141]M£l. 60.

i42Richard D. Wetzel, "Harmonist Music Between 1827 and 1832; A Reaporaisal." Communal Societies II (Autumn, 1982), 66.

143iÈid., 67.

144|bid.. 67.

145jUi|[., 83. 115 lives, to be used in religious services and for entertainment. It should be noted that in 1856, the Shakers and Harmonists had some contact with each other and a possible merger was discussed.! 46 The Harmonists declined the offer for fear of losing their identity.

Conclusion The music of the religions in America during the seventeenth to nineteenth centuries reflected a tremendous and varied amount of activity. This activity resulted in a multiplicity of musical genres that were used by the religions of that day. The Roman Catholic Church utilized a variety of these genres such as Gregorian chants, litanies, psalms, motets, and masses. The Eastern Orthodox denominations, with as rich of a historical tradition, made use of its own type of monophonic chant as well as homophonie and polyphonic music. The Jewish faith, likewise, sang chants, cantorial songs, and hymns. The above represent some of the oldest traditions within religious music while the Protestant faiths, with their newer and differing beliefs, employed a variety of genres within their worship services. Metrical psalms, psalm paraphrases, unaccompanied psalms, and hymns were sung by the Anglican, Episcopal, Presbyterian, and Congregational denominations. Canticles, prayer responses, fuging tunes, and revival songs are examples of other genres that were used. Those denominations of the German tradition (Lutheran and German Reformed) developed a rich body of chorales and hymn tunes. Hymn singing was very important in the services of the Baptists, Methodists, Moravians, and Anabaptists. Two new genres, the camp-meeting

i46wetzei. Frontier Myslctons> 138. 116 song and revival hymn, were developed by the Baptist and Methodist movements during the nineteenth century. The religious groups that had some Influence on the Shakers were the Camisards, the Quakers, and the New Lights. Direct musical connections from these sects to the music of the Shakers warrants future research. Other developments within American religious music Included the Increasing use of Instrumental ensembles and choirs, and the establishment of singing schools, a more formal approach to better performances of sacred music, and a more musically literate church membership. These musical developments all served to bring about an Increasingly unique body of American religious music. CHAPTER III UNION VILLAGE, OHIO: ITS HISTORY AND MUSIC MANUSCRIPTS

A Brief History of Union Vllloqe The establishment of Union Village, Ohio, os o Shaker community began with the predictions of Mother Ann Lee that the next opening of the Gospel would be in the West.i Anna White states that the meaning of the predictions was not necessarily understood at the time by other Shakers until word was received concerning the Kentucky R evival.^ Benjamin Youngs relates that "an extraordinary work of God began in Kentucky and the adjacent states, which prepared the way for the testimony of the gospel to be opened in this western country, in the year 1805.“3 Richard McNemar,

^Anna White and Leila S. Taylor, Shakerism. Its Meaning and dssssgs; Emtodng çf § s m.. W Spiritual Experience of the Church from its Rise to the Present Dau (Columbus, Ohio: Press of Fred J. Heer, 1904; reprint. New York: AMS Press, 1971), 113.

^ i m

^[Benjamin Seth Youngs!, The Testimony of Christ's Second Appearing: Containing a General Statement of All Things Pertaining to the Faith and Practice of the Church of God in the Letter-Deg. Published by Order of the Ministry, in Union with the Church, Second Edition, Corrected and Improved (Albany; Printed by E. and E. Hosford, 1610), xxxvii.

117 118 Who converted to Shakerism in 1805, and who was a founder of Union Village, was at first a Presbyterian minister who actively participated in the Kentucky Revival during its formative years. McNemar w rites of the Kentucky Revival that It began during the last part of the 1700‘s, and that in 1801 "extraordinary appearances of the power of God . . . broke out in Madison County [upper Kentucky] of which I was an eyewitness."^ McNemar was licensed by the Presbyterian church to preach in 1797, and he served as a leader of the Kentucky Revival for a five-year period.5 in 1802, McNemar moved from Kentucky, for he was placed in charge of several churches in the Lebanon, Ohio area, with his primary church being at Turtle Creek.6 it was in this setting that McNemar first encountered the Shakers. When word of the Kentucky Revival arrived at the central ministry in New Lebanon, New York, the church elders decided to send three Shaker missionaries to the Revival so that the Shaker gospel could be spread to the western frontier in fulfillment of Mother Ann’s prediction. The three missionaries selected were John Meacham, Benjamin S. Youngs, and Issachar

^Richard McNemar, The Kentucky Revival: or. A Short History of the Late Extraordinary Outpouring of the Spirit of God in the Western States of America 1...... 1 with a Brief Account of the Entrance and Progressüf_Whfll the World Call [sic] Shakerism Among the Subjects of the Late Revival in Ohio and Kentucky (Cincinnati: Press of John W. Browne, 1807; reprint, New York: Edward 0. Jenkins, 1846), 19.

SHezel Spencer Phillips, "Shakers in the West," Philadelphia Museum Bulletin (Spring, 1962), 6. 119 Bates ? These men left New Lebanon on January 1,1805, traveled the entire distance (1,233 miles) by foot, and, after spending some time in Kentucky, arrived March 22, 1805, at the Turtle Creek church of Richard McNemar.8 The missionaries visited with Malcolm Worley, and, on the following day, met Richard McNemar. During the following month, McNemar Introduced the Shakers to his Turtle Creek congregation, visited with the missionaries, and listened to their persuasive reasons for converting to Shakerism. Malcolm Worley was the first to convert and then, on April 25, 1805, McNemar and his family also converted.^ Richard McNemar was a powerful preacher for he had persuaded his congregation to join the New Light movement in the Spring of 1804. One year later, due to his conversion to Shakerism, he Influenced his New Light followers to Join the Shaker sect.io The first Shaker society meeting was held on May 23, 1805.11 John Meacham discussed the "economy, dress, and deportment of the order, the Importance of union and uniformity." 12 Edward Andrews states that the

?Benjam1n Seth Youngs, oo. cit.. xxxvii.

8j. p. MacLean, The Shaker Community of Warren County; Its Origin, Rise, Progress, and Decline," Ohio Archaeloglcal and Historical Publications. XC1902), 253

9ph1111ps, 00. cit.. 8-9.

lOphillios. 00. cit.. 50.

11 Edward Doming Andrews, The People Called Shakers. A Search for the Perfect Society, new enlarged edition (Oxford: Oxford University Press, 1953; reprint. New York: Dover Publications, 1963), 76.

I2|b1d. 120 meeting continued, with Issachar Bates "pitching up a step song" and the new converts awkwardly participating in the laboring exerclsesJ^ The new society grew quickly, and construction was begun on the first Shaker house In the West. 14 in October, 1806, eleven brethren and eight sisters moved into the house and Mother Lucy Wright, of the central ministry at New Lebanon, appointed David Borrow as the first elder. This appointment served as the official opening of western Shakerism.is Andrews gives some interesting statistics for the early years of Union Village.IS The first house, land, animals, grain, tools, and cloth, etc., cost $2,525. The land was valued at $3.00 an acre and was considered to be some of the best farmland in the Lebanon, Ohio area. The Shakers had acquired, by 1807, approximately one square mile of land. The Shakers erected two sawmills in 1807 and 1808. A frame meeting-house was built in 1809. In 1810, fifteen brethren and eighteen sisters signed the first western covenant. The central ministry. In 1812, appointed a ministry of Elders, David Darrow and Solomon King with El dresses Ruth Farrington and Hortense Goodrich, to the community. It was also in this year that the community adopted the name Union Village. It may first appear that success had come easily to the Shakers; that was, however, not always the case. Timothy Sewell sold his farm to

H |btd..77.

HJÈU.

'5jfiid.,78.

'«Ibid.. 78-79. 121 the Shakers so that he could get away from themJ? The Lebanon, Ohio newspaper. The Western Star, published an article (c. 1920) Indicating that the Kentucky Revival, the growth of Shakerism, and other splinter group religious activity "destroyed or disrupted every Presbyterian church In the county and nearly every one [church] in southwestern Ohlo."i8 One of the more disturbing acts of Intimidation against the Shakers occurred on August 17, 1810. Benjamin Seth Youngs described the event of that day as "one of the most extraordinary Instances of unconstitutional proceedings and the most formidable appearance of Infringement on the rights of conscience, that ever was witnessed In this country "19 Youngs was referring to a mob of approximately 1,000 men, led by a committee of twelve men, that appeared on the property of Union Village. The committee demanded that "we [the Shakers] should renounce our faith and practice, our public preaching and mode of worship, or quit the country .20 Youngs further states that the event was Instigated by four Shaker apostates (John Davis, John and Robert Wilson, and John Bedle), who desired to bring accusations against the Shaker members. The accusers charged the Shakers with not adequately educating their children, whipping their underlings, having carnal

I’lMd., 77.

^Gjoslah Morrow, "Questions and Answers: On the Leading Facts In the History of Warren County Continued," The Western Star (Lebanon, Ohio: 1920[?]), no page number.

^^Benjamln Seth Youngs, "An Expedition Against the Shakers," Ohio Archaeloglcal end Historical Publications. XXI (1912), 403. This published version concludes with the following note, "Benjamin Seth Youngs, Miami County, State of Ohio, August 31,1810."

20|bid. 122 knowledge of their women, and that Elder David Darrow exercised total authority "like the Pope" over the Union Village community. Fortunately, by day's end, no violence had occurred nor had the accusations been proven to be true. Youngs attributes this peaceful resolution to the "Interposing hand of Divine Prov1dence."2i Mobs again gathered at Union Village In 1812, 1813, and 1817.22 Union Village expanded rapidly during the I810's. The 1809 church building was replaced in 1818; the West frame dwelling was constructed in 1813, an East house was completed In 1816, and the large brick residence was erected in 1820.23 jh e village grew also in membership. By one account, the community of Union Village had 350 members within a few years of Its found1ng.24 MacLean remar1(s that the community was self- sufficient by 1820.25 Membership was now at 600 persons, who represented a variety of skills and trades that enabled the Shakers to live Independently of the world. The community fulfilled Its needs In clothing, livestock, produce, and grain. The Rev. Jonathan Leslie, who visited the Union Village Shakers c. 1822, described his visit for The Pittsburgh Recorder. In the following

21im ., 415.

22MacLean, oo. c it.. 258.

23|b1d. The endleaves of Harold Cook's Shaker Music: A Manifestation of American Folk Culture (Lewlsburg, Pennsylvania: Bucknell University Press, 1973) contain an 1829 map of Union Village.

24The Shakers in Ohio," Annals of the American Academy of Political and Social Science XIX (May. 1902), 169.

25MacLean, oo. c it.. 258. 123 account, he remarks that the membership was 600 In number, living In eleven families of approximately forty to sixty members.26 He continues by saying that the dwellings of the Shakers are "spacious, neat, plain, well- finished, and convenient. Their apartments are not decorated with ornaments, but are supplied with useful furniture." Leslie describes the meeting house as being 65 x 56 feet and large enough to accommodate many spectators during the public worship services that were held on the Sabbath. The upper level of the meeting house served as the living quarters for the ministry, the two elders and two eldresses, that supervised the community. The regular and systematic approach under which the Shakers operated was also Impressive to Rev. Leslie. He remarked that the Shakers "retire at 9:00, rise at 4:00, breakfast at 6, dine at 12 and sup at 6." Leslie also commented that the Shaker school system was designed to inculcate Shaker belief in the students. The years 1630-1635 brought considerable difficulty to the Shaker community. Union Village consisted of 3,642 acres and was very productive. MacLean indicates that In 1631 and 1632 the Shakers raised 10,000 bushels of com.27 However, one of the bams burned during that time period and a major flood occurred In 1635 destroying several shops, damaging the mill, and washing away much of the timber. Damage was estimated at $25,000. More consequential than the physical hardships were difficulties among the members.28 There had been several changes In the leadership.

26jonalhan Leslie, The Shakers," reprinted from The Pittsburgh Recorder. In.d.l, in the Niles' Register (September 21,1622), 37-38.

2?M8cLean, oo. cit.. 282.

28lbiil., 262-264. 124 discipline had become lax, and dereliction of duty had occurred. The central ministry in New Lebanon, New York, decided to rectify the situation by appointing David Meacham as the first Elder (1835-36). The ministry also decided to reorganize the structure of the families within the community. Knowledge of this new arrangement is sometimes helpful In Identifying places of origin for some of the songs listed in the manuscripts of the study. The first family (1st Order) was to occupy the Brick and North houses. The South House was designated for the Second Order of the First Family. The second family was moved to the North Lot buildings. MacLean continues his explanation of the reorganization by stating that the young Believers and Gathering Order were to live in the West Brick and West Frame buildings within the west section (see Chapter I, pp. 57-60). After the restructuring, membership Included 330 In the church family and seventy- four in the Gathering Order. Elder Freeglft Wells was appointed to the leadership of Union Village and served from 1836-1843. Wells provided his position with authority and prohibited the circulation of newspapers and the consumption of pork, coffee, tea, tobacco, and strong drink. These interdicts were maintained for a period of fourteen years.29 Wells' tenure also covered the first half of the decade 1837-1847 that was known for its intense spiritualism and manifestations. This revival period was commonly referred to as "Mother Ann's Work.’^o The residual effects of the revival continued beyond 1847. This span of more

29|b1d.. 285.

30Andrews, oo. cit.. 152. 125 than a decade covers the time period of the music manuscripts Inventoried In this study. The beginning of “Mother's Work" Is dated August 16, 1837 when, at Watervllet, New York, a group of girls entered trances and perceived that they had experienced Journeys to heavenly mansions and conversations with splrlts.^i word of these phenomena quickly spread to the other Shaker settlements and, within a year, simlllar experiences were taking place In the various communities. By 1838, members were experiencing visits from spiritual beings who spoke through the member using that Individual as an “instrument." Patterson remarks that visitations came from the early leaders, angels, heavenly doves, native Indian spirits. Mother Ann and Jesus, and others.32 spiritual directions requested that outdoor feast grounds be prepared for worship. The worship services, which had been open to the public, were now closed to the world's people. Spiritual names were assigned to the communities: New Lebanon, N.Y., became Holy Mount; Watervllet, N.Y., Wisdom's Valley; Hancock, Mass., City of Peace; Harvard, Mass., Lovely Vineyard; Canterbury, N.H., Pleasant Grove; Enfield, N.H., Chosen Vale; Pleasant Hill, KY., Holy Sinai's Plain, and Union Village, Ohio, was named Wisdom's Paradlse.33 Patterson further remarks that the public was again permitted to attend services In 1845. The native spirits ceased appearing after 1847, and services at the outdoor feast

3lDan1el W. Patterson, The Shaker Sol ritual. (Princeton, New Jersey: Princeton University Press, 1979), 316.

32|b1d.

33wh1te and Taylor, on. cit.. 233; see also Maruerite Fellows Melcher, The Shaker Adventure (Princeton, New Jersey; Princeton University Press, 1941; reprint I?1 Old Chatham, New York: The Shaker Museum, 1975), 249. 126 grounds were eliminated in 1854. The spirit manifestations were infrequent after the early I850's.34 This period of spiritual manifestations, beginning with 1837, had an effect on Shaker music. In 1852, A. Y. Moore visited Union Village and viewed the community in a positive manner. Moore stated that approximately 490 members were living at Union Villoge.35 He described the grounds and buildings very favorably and remarked that he has never seen such orderly and sincere worshippers. Based upon Moore's observations, the economy of Union Village appeared strong. The making of brooms, for which the Shakers grew their own broom com, was to earn about $5,000. The seed industry generated approximately $2,500 and medicinal herbs $3,000. The Union Village Shakers were known for the quality of their cattle herds, sales of which earned the community $4,000 in a one-year period. Moore further remarks on the labor-saving devices utilized by the Shakers, including one building with machinery operated by horse power. The latter enabled the Shaker sisters to do such tasks as washing, churning, kneading bread, and rolling pi e-crust.36 The gradual decline of Union Village began during the time of the Civil War. The Shakers were pacifists; however, some of their members Joined the war effort. The Shaker society at South Union, Kentucky, experienced extreme hardship during the war, and Union Village and other Shaker communities replenished materials to South Union which it lost

34patterson, oo. cit.. 316.

35a. V. Moore, The Shaker Society at Union Village," The Ohio Cultivator (February 15, 1855), 59,

36|bid 1 2 7 during the war. Although the charity was admirable, it tended to deplete supplies from the donating communities.^? By 1867, the community had sustained a $10,000 fire which destroyed several shops and had additional debts of $12,000.38 The loss from the fire was not reimbursable, for the Shakers did not obtain fire Insurance. New members were not entering the communities, and those children within the Society who became of legal age elected to enter "the world." Membership figures for the time period show the decline: 255 In 1859, 167 In 1865; and 152 In 1867. The general population of Union Village was aging, and it became more difficult to maintain the sizable acreage. The 1870's and I880's brought additional debts and problems to Union Village. Several members had absconded with funds; a lawsuit cost the Society $12,000; the Dayton Furnace Co., to which the Shakers had loaned $16,000, defaulted on the loan; and a tornado. In May, 1886, destroyed several buildings and damaged the grounds.39 By 1900, the membership consisted of forty-four persons.^

3?MacLean, oo. cit.. 292. See also Stephen Paterwic, "The Effect of the Civil War on the Shaker Societies," Historical Journal of Western Massachusetts 11/1 (1973), 6-26.

38MacLeon, oo. cit.. 294.

39|bid.. 299-301.

40William Sims Baiabridge, "Shaker Demographics, 1840-1900: An Example of the Use of U.S. Census Enumeration Schedules," Journal for the Scientific Study of Religion XX1/4 (December, 1982), 355. 128 The demise of Union Village occurred In 1912 when it was sold to the United Brethren Church.^i The United Brethren acquired the entire property (4,005 acres) on October 15,1912 and took possession on March 1, 1913. The new function of Union Village was to be an orphanage and home. The purchase price of $350,000 (buildings and lands) Included a $25,000 allowance which permitted the Shakers the use of one building for a ten- year period to care for the current residents. This business transaction was the culmination of three years of negotiations between the Shakers and the United Brethren. The nursing home Is currently In existence under the auspices of the United Methodist Church. Two original Shaker buildings remain and house some of the residents. Another segment of the original property is now the site of the Lebanon Correctional institution.

Music Manuscripts of Union Village The music manuscripts from the Shaker community of Union Village are thought to be historically significant because Union Village served as the parent ministry for the Shaker settlements in the West. Union Village was second in authority only to the central ministry at New Lebanon, New York. The community had supervisory authority over North Union, Watervliet, and Whitewater, Ohio; South Union and Pleasant Hill, Kentucky; and West Union iBusrol, l n d i a n a . ^ 2

41 "New Orphanage and Home: The United Brethren Church Acquires Valuable Real Estate Holdings in Ohio," by the Editor, The Religious Telescope LXXVII/43 (October 23, 1912), 9-11.

42Andrews, oo. cit.. 92. 129 A second reason for focusing on the Union Village manuscripts is that the greatest number of those which are extant from the six western communities are from that community.43 union Village has twenty-six manuscripts attributed to It. South Union, Kentucky, with twenty-five, is the only other western community with a large number of manuscripts. These two are followed by Whitewater, Ohio, eleven; Pleasant Hill, seven, and Watervllet and West Union with none. Union Village also held some musical significance because it was the origin for the first Shaker songs that were referred to as hymns. Edward Andrews Indicates that at the first regular Shaker service held In the West, May 23, 1805, at Turtle Creok (Union Village), a brief verse (a hymn) was sung.44 Andrews continues by saying that this was the "first true Shaker song to be recorded." The text was brief "With him In praises we'll advance/And Join the virgins in the dance." Only the text was recorded, for the Shakers were not yet notating their music. Two Shaker leaders had an influence on the music of Union Village. Issachar Bates, one of the three Shaker missionaries to the West, had some knowledge of mus1c.45 The other, Richard McNemar, was a prolific writer and composed many hymns, anthems, and exercise songs during the early years of Union Village.

43potterson. on. cit.. 481.

44£dward Deming Andrews, The Gift to be Simple: Songs. Dances and Rituals of the American Shakers (In.p.J: J. J. Augustin, 1940; reprint. New York: Dover Publications, 1962), 12.

4 5 m i, 11 130 Patterson's checklist of Shaker music manuscripts includes a total of 798 volumes. Of these, the greatest number are from the central ministry at New Lebanon, N.V., with 347. Only four other communities have extant collections greater in number than Union Village. These are Harvard, Mass., 58; watervllet, N. Y., 53; Canterbury, N. H., 46; and Alfred, Maine, 28.46 Patterson also provides information on the number of manuscripts based on decades of commencement.47 The decades span those of the 1820's with twenty-five manuscripts through the I920's with three. The four decades with the greatest number of manuscripts are. 1830‘s, 112; 1840's, 242; 1850's, 174; and the 1860's, 107. A sharp decline began to take place during and after the 1870's. 1870's, 62; 1880's, 32, 1890's, 12; 1900's, 4; and 1910's, 11. These latter decades clearly reflect the decline of the society and the closing of the communities before and after the beginning of this century. The total body of manuscripts also has a quantitative and qualitative significance as archives. The quantitative significance is reflected in a body of music that has been preserved for what was one of the most successful communitarian societies to have been created and one of the longest lived. Having begun In 1774 with the Shakers' arrival to this country, the society is still active in two functioning communities, one at Sabbathday Lake, Maine and the other at Canterbury, New Hampshire. The collection also presents a substantial record of 8,000 to 10,000 songs that span the historical development of the Shakers. Qualitatively, Patterson

46patterson, oo. cit.. 481.

«M!. 131 believes that the Shaker collection of music manuscripts represents "one of the most varied and distinguished tune collections yet harvested from the Anglo-American tradition."^ The extant manuscripts from Union Village account for twenty-six hymnals of the sixty-nine that are attributed to the western societies. Based upon decades of commencement, the Union Village manuscripts span the decades of the 1840's to the 1680's. The eleven In this study have beginning dates in the 1840*s. The remaining manuscripts consist of ten volumes which bear dates for the I850‘s (seven), for the 1860’s and I870's (two), for the 1880's (one). Patterson's checklist of the manuscripts is arranged by the name of the Shaker community, and within that heading the manuscripts are listed alphabetically by the name of the person associated with the manuscript. A person's name placed on the flyleaves or endleaves

does not prove authorship of the manuscript, however.49 The twenty-six Union Village manuscript entries listed below represent abridged versons of the entries found In Patterson's checklist.so Each entry, which retains the Shaker orthography, includes Patterson's manuscript number assignment (UV1, UV2, UV3, etc.), the individual name affiliated with the manuscript, followed by the Identifiable Initial text (f t., first title; f.l., first line), dates, and library collection (WLCMs, Library of Congress Manuscript Division; K8GK, The Kentucky Library, Bowling Green, Kentucky; OCWR , The Western Reserve Historical Society Library, Cleveland, Ohio; PLC, private

^ I b l d . . 111.

49|b1d. 480.

50|b1d.. 518-520. 132 collection of Harold E. Cook, Lewlsburg, Pennsylvania; DWt, Winterthur Library, Henry Francis duPont, Winterthur Museum, Winterthur, Delaware; and OLW, The Warren County Historical Society, Lebanon, Ohio):

UVl. Brady, Susannie M. "Millennial Praises Collected by Susannie M. Brody. 1868." (1868-1885), WLCMs, No. 220.

UV2. "The Vocalist; By Sussanna M. Brady, of Union Village, Ohio. 0 1850." (1850-1851), OLW.

UV3. Burnham, Edwin. "Edwin Burnham's Hymn Book January 15th 1855." (1854-1862), WLCMs, No. 208.

ÜV4. Eades, Harvey L. "H L Eades" Book. Commenced May 1652. And finished June 10th 1855. West Brick, Union Village Ohio." (1852-1855), KBGK.

UV5. Farr, Elizabeth. "Elizabeth Farr's Book March 9th 1878." (1878- 1881), WLCMs, No. 223.

UV6. Hampton, Charles D. "Inspired Anthems. Given on Gold Plates; August 30th 1846. Union Village, Ohio." (ca. 1847), WLCMs, No. 360.

UV7. Hampton, Oliver C. f t., "A Prayer." ( 1875), OCWR, SM392.

UV8 . Holland, Mary Ann. "Mary Ann Holland's Book, of Spiritual Songs; Commenced October 5th 1852." (1852-1862), WLCMs, No. 215.

UV9. Houston, Isaac N. "Hymn Book, The Property of Isaac N. Houston; Second Family, Union Village, Ohio, December 25th 1858." (1858-1861), WLCMs, No. 217.

UVIO. Liddil, Susan C. f t., "A Balm of Love." (ca. 1852-1866), WLCMs, No. 183.

UV11. McNemar, James. "James M'nemar's Book of Anthems, December 27, 1846." (1846-1854), WLCMs, No. 206.

UVl2. McNemar, Vincy. "A Selection of hymns Composed After the year ending 42 Written mostly By Vincy McNemar Sketches From 1842 till 1856." ( i 842-1856), WLCMs, No. 200. 133

UVl3. Redmon, Susonnoh. "A Collection of Hymns by Susannah Redmon. First Order Union Village November 4, 1844.“ (1844-1858), OCWR, SM214.

UVl4. Risley, Lucina. “A Book of Anthems, & Spiritual Songs: Written by Lucina Risley. First Order, Union Village November 20th 1847." (1847-1848), OCWR, SMIOI.

UVl5. Rudy, Susanna, f.l., “0 the precious love of Mother." (1854-1858), PLC.

UVl6. Scott, Sylvia. "Sylvia Scott's Hymn Book; Containing a Selection of Hymns and Anthems; Adopted to the Worship of God, In Christ's Second Appearing. Union Village, June 1845." (ca. 1845), WLCMs, No. 191.

UVl7. Thayer, Moses W. "A choice selection of Hymns Anthems And Spiritual songs. Adapted to the Use of believers Wdten by Moses W. Thayer of Union Village Ohio 1. Order Aprile, 3, 1852." (1852), OCWR, SM36.

UV18. Anon, f t., "The Angels Call." (1845-?), WLCMs, No. 205.

UV19. ______f.l., "Another week is gone." ( 1880s), DWt, SA 1102.

UV20. ______". . . Containing A choice selection of Hyms Anthems & spiritual songs used by the children of Zion. . . January 1 ith 1846." (1846- ?), WLCMs, No. 207.

UV21. ______f.l., "Dear sister remember us when far away." (1856- 1858?), WLCMs, No. 216.

UV22. "A Funeral Hymn, Sacred to the memory of Brother Andrew C. Houston-Oct. 8 th 1844." (1844), WLCMs, No. 202.

UV23. f t., "Hymn 1 st: Mother Anns birth." ( 1844-1861), KBGK, MSS 63/Box 5/Fl.

UV24. ______f.l., "I am God's holy angel of Love." (1848-1851), WLCMs, No. 213.

UV25. f t., "Request." (ca. 186 2 -1874), WLCMs, No. 221.

UV26. f t., "Voice of the Angel of Mercy." ( 1857), DWt, SA 1205. 134

The eleven manuscripts In this study retain Patterson's manuscript numbering system and are listed and discussed in this study In chronological order: UVl2, UV22, UVl3, UV23, UVl 6, UVl8 , UV20, UV6, UV 11, UVl4, and UV24 (Chapters IV-XIV). These manuscripts were chosen primarily because they represent a selected portion of the manuscripts from Union village and the commencing dates are from the decade of "Mother Ann's Work." This time period, 1837-1647 and a few years thereafter, was characterized by spiritual manifestations within the Shaker societies. This period was the one In which many songs were apparently influenced by these spirit manifestations. These manuscripts also portray Shaker music before various outside influences had begun to occur. The subsequent manuscripts from Union Village, especially those of the 1860's and 1870's, begin to reflect substantial non-Shaker influences. The Shakers had begun the teaching of singing by using teachers from the world, standard round-note notation was being adopted, musical Instruments were utilized to support the singing, and the hymns were written in four vocal parts much like other contemporary Protestant hymnody. The decade of spiritual manifestations began at Union Village, February 5,1837, with the reading by Elder Freeglft Wells of a sermon given some years before by Eldress Lucy Wright.si Wells urged the congregates to prepare themselves to receive the "gift of repentance, humility, and a deeper inward work." By March 27 of the same year, Maclean described the meetings as being "overwhelming in point of spiritual gifts and

P. Maclean. Shakers of Ohio: Fugitive Papers Concerning the Shakers of Ohio With Unpublished Manuscripts (Columbus, Ohio: Fred J. Haer, 1907), 392. 135 sensQtlons."52 This vigor had diminished but was revived on August 2 6 , Î838, again through a message delivered by Freegift Wells. Maclean states that after the message "a song was pitched up and shaking commenced, and it appeared almost like electricity."53 Maclean further describes another meeting in which various individuals "heard heavenly sounds of trumpets, instrumental music, and singing." Patterson reports that at Union Village, in 1838, Richard McNemar's daughter Vincy, while under the influence of spirit manifestations, received four songs in one meeting.54 one estimate states that as many as 3,850 songs were received during the decade (1837-1847) of "Mother's Work" solely at lebanon. New York.ss patterson further remarks that the period of spiritual manifestations touched almost every aspect of Shaker song and that no other period produced such a great number of songs. The Shakers produced several song types or genres throughout their history. Harold E. Cook presents several issues regarding the problems of categorizing any one particular song. It is Cook's belief that the "Shakers made no strict classification of their song literature according to type."56 Cook held this belief even though evidence indicates that there was some classifying of songs by the Shakers; for example, some manuscripts bear

52|bid.

53|bid.. 394.

54patterson, on. cit.. 317.

55|bid.

S^Harold E. Cook, Shaker Music: A Manifestation of American Folk Culture (lewisburg. Pennsylvania: BucknelI University Press, 1973), 186. 136 such title pages that may read as "A Book of Anthems" (UV 6, UVl 1), or "A

Selection of Hymns and Anthems" (UVl 6). Cook Is correct that strict observance of song types was not always adhered to. Cook continues "It is difficult to classify Shaker songs either according to title or definite musical traits." It is his supposition that titles do not reveal a particular distinction, nor do musical traits determine a category by title. Cook further states that categories cannot be determined by whether or not a song contains worded or wordless tunes. He indicates that dance tunes, hymns, and anthems may or may not contain words and that rhythmic structure was so varied that it Is not helpful in classifying tunes. He states. T he Shakers themselves were not always certain of the category of an unlabeled tune.'S? cook also dismisses tonality as a factor since it was part of the general musical vocabulary. Cook's final point on the difficulty of song classification is the problem of the changing worship ritual with its Inconsistencies and variations which resulted in some songs being used for a variety of purposes. Added to this. Is that the supervising elders of a service may have extemporized the order of the ritual, creating additional change. Several song types could have the same form and yet be used for different purposes.58 Cook concludes by stating The great common denominator which underlies Shaker music in all its phases and periods. . . Is its utilitarian nature."59

57|b1d.

58|bid.. 387.

59|b1d. 137 Patterson, In contrast to Cook’s approach, categorizes Shaker music Into nine genres briefly defined In our Chapter It (p. 107). Presented here are these nine types, with fuller explanations derived from Patterson’s work. The first genre Is the songs of the Gospel Parents, the early Shaker leaders. Patterson attributes fifty songs to them, as follows: Ann Lee, 9; William Lee, 15, James Whittaker, 23; John Hocknell, 2; and Jane and James Wardley, 1.60 These songs are not collected In any one manuscript but are found In twenty-five different manuscripts. The songs were retained through oral transmission and were notated by the Shaker scribes many years later. The songs were remembered as being from the Gospel Parents. Some of these tunes are with text, others are wordless. The wordless sections would be sung with vocables.^i The dance tunes would also use vocables. Patterson states that the worded tunes reflect the influence of ballads by having an analogous textual and melodic structure and a rubato performance s t y l e . ^ 2 Musically, the singer varied the tempo of the song: the scribes, however, apparently notated this rubato style by indicating meter changes. Patterson believes that the use of vocables may be traced to the Influence of British folk-song tradition In which a solo singer would make "mouth music" as a substitute for the fiddler or p ip e r .T e x t s for songs of the Gospel Parents may include such phrases as "0 ve o vum" or "o dem

SOPatterson. oo. cit.. 59.

61 Ibid.. 60.

6 2 m i, 59.

63|bld.. 60-61. 138 demdy" which are used throughout the song. Another reason for the use of the vocables may be that hymn texts from other religions would not be suitable for Shaker use. The dance tunes utilize repeat marks at approximately the midpoint of the song. The songs of the Gospel Parents had three basic functions; public testimony, celebrating In dance, and the expression of exaltation. Only one manuscript in this study contains songs that may be attributed to the Gospel Parents. UVl 1 (Songs 83 and 239; see also Chapter XI). Solemn Songs, the second genre, were in use for only a brief time, 1788-1790. The function of the solemn song was to bring the Shaker Believer Into "union"—a general conformity of behavior, mind, and heart. The development of this song type also coincided with the gathering of the Shakers Into communities, with an orderliness to the working day and to the mode of worshlp.^4 Solemn songs would be sung several times throughout the service. Musically, the tunes are characterized by unequal phrase lengths (unlike the balanced dance tunes), sometimes three rather than four phrases, and phrases that may consist of eleven, thirteen, or twenty measures Instead of the more traditional eight or sixteen-measure groupings. The text was a mixture of known and unknown words.65 solemn songs were replaced by the more suitable hymns and passed out of use before the Shakers began to notate their songs. The total number of solemn songs Is unknown; the eleven manuscripts In this study contain no solemn

64|M ., 74.

65|b1d. 139 songs. The early period In which the solemn songs were used antedates the Union Village manuscripts by some fifty years. A third genre is the laboring songs. These were the songs used by the Shakers for their dances and marches during worship. Patterson

remarKs that laboring was practiced from 1788 to 1930.^6 The purpose of laboring was to purify the soul, serve as an act of mortification, and as a method of uniting the flock of Believers.^? Prior to 1788, Shaker dancing was unorganized and very much an individual act of the worshipper. Father Joseph Meacham brought order to the Shaker dance in much the same way as he unified the Believers with the solemn song. The act of dancing in a Shaker service is based on theological beliefs. Patterson states that the Shakers were opposed to the Calvinistic doctrine of Election (see Chapter I, pp. 11-12X66 Shaker belief held that those who patterned themselves after Christ would be granted salvation. Salvation was the reward for one's faithful labor and not predestined as Calvin advocated. Patterson maintains that The believer labored in field or workshop for the temporal welfare of the Society. In worship he labored to awaken his feelings to spiritual gifts."69 The tunes reflect the influence of the fife, fiddle, and folk dance melodies of the British Isles and New England.70 The laboring songs often

66lbid, 99.

67]Êjd., 100.

66|bid.

69|bid.

76|bid.. 102-3. 140 contained two sections of eight measures each, sometimes with both sections being repeated. The sections were of a contrasting nature, with the first having a higher melodic range than the second section. These two sections were referred to as the turn (high) and the set (low). The reason for this terminology is that the Shaker dances basically had two types of steps—movement across the floor (turn) and dancing in place (set). One tradition of the secular dance that was not practiced by the Shakers was the use of partners. The separation of the sexes created dances that would be performed by groups of men and women. The early laboring songs were wordless and sung with vocables. This category included dances such as the drumming manner, a dance which used the forcible drumming of the feet; or the walking manner, a dance which did not use any shuffling steps.?i During the 1810’s, text was incorporated into the laboring song. Examples of laboring songs with text may be found in UV23, Songs 72-90. As membership increased and the meeting houses were enlarged. Shaker dance became more expansive. Some dances included a band of singers in the center surrounded by the dancers.?^ Laboring also included the use of gestures with the hands, possibly while the worshipper rested in place. Initially, the gesturing may have been a pantomiming of the words which then became a part of the dances. A Believer would indicate shaking off sin by beating time with his forearms, parallel to the floor, and palms turned downward. Palms turned upward indicated willingness to receive the Spirit or gifts. This gesture was

71 Ibid.. 127-128.

72|bid.. 245-247. Ml adopted in 1842 during the decode of spirit manifestation^^ During the decade of Mother Ann's Work (1837-1847), many new laboring manners were received. One major change was due to the introduction of couple dancing resulting in, for example, the bowing to a partner. Dances were also

received from the spirits of natives (Indians).?^ The laboring of the Western communities differed from the Eastern settlements. Believers in the West tended to dance more stiff kneed, to beat time with their arms in a more regularized fashion, and to wave their arms above their heads?5 The clapping of hands was sometimes practiced. Another genre is the ballads. This type was created mainly by the Shakers at Union Village and served as a method of telling of spiritual or physical adventure. This genre lasted for a brief period, the 1810's, and Patterson believes that only ten ballads were written.?^ None, however, appear in the eleven manuscripts inventoried In this study. Although not in our collection, the ballad The Sixteenth Day of January," relates the difficult journey of Richard McNemar, issachar Bates, and Benjamin Youngs to West Union (Busro), Indiana.?? The multiple-stanza text reveals their travels through ice, snow, stormy rains, and freezing cold. The hymn genre developed from a concern by the Western Shakers that the laboring exercises and the wordless solemn songs might be too

?3|bid , 248 and 387.

?4bid.. 377.

?5|bid.. 245.

?6lÈjd., 133.

??1bid.. 142-44. Patterson provides a transcription of this ballad. 142 Shocking to potential converts. As a result, Ricl^ard McNemar decided to set Shaker beliefs in verse and to have them sung as hymns, a manner familiar to the new converts. By 1810, the practice of singing hymns quickly spread to the Eastern communities.?^ A Shaker hymn is defined as a song with two or more stanzas appropriate for use in the worship service.?^ Patterson remarks that some of the hymns were lengthy, of ten to fifteen stanzas, and often weighed down the service. A hymnal, in the hands of a Believer, interfered with the laboring exercises. Notices were posted of the hymns to be used, and a Believer was expected to review the hymns prior to the service. Meetings were held for the purpose of learning songs and dances. The hymn texts were written or received independently of the melody, which would then be added. The melody often was constructed in two strains with the second strain being repeated, an ABB form. The manuscripts in this study contain 360 hymns. The sixth genre is formed by the extra songs. These are short, primarily one stanza songs that were initially developed, after IB 10, as songs to be sung while resting between the laboring exercises. At first, the extra songs were referred to as "one-verse standing songs," but they developed additional functlons.80 The extra songs were suitable for prayers, as songs to be sung while working, or at union meetings during the week (meetings used for visiting). Patterson remarks that the extra songs did not require the refined skill of a hymn writer and that many Shakers

76|bid.. 133.

79|bid.. 149.

ôOjÊid., 200. 143 created extra songs. For this reason, extra songs are more numerous in the manuscripts than any other genre. This statement is supported by the present study, in which 794 songs have been classified as extra songs. The single stanza structure is the most readily identifiable characteristic of the extra song; some do, however, have more than one stanza. Extra songs are frequently divided into two strains with the first one being centered on a higher pitch level than the second. Another genre, the occasional song, designated by Patterson as a sub-category of extra songs, was utilized to commemorate or celebrate a particular event: Christmas, welcoming visitors, or funerals. In style, the occasional song is not distinguishable from the more general extra songs other than that its purpose may be indicated by title or text. Manuscript UV22 is solely devoted to the funeral songs of Brother Andrew C. Houston. During the construction of the Center House at Union Village, Houston fell from the third story end died that day, October 7,1844.®’ The present study includes fifty-three occasional songs. Gift songs were a product of the decade of "Mothers Work," 1837- 47. Reference has previously been made to the spiritual manifestations that occurred during this period. This time period, which had residual effects into the mid-1850 s, produced a great number of songs. The notating of the songs was problematical, not only because of the large quantity received in quick succession within a meeting , but also because of their peculiarities. The songs were difficult to notate because of the changes in meter, tempo, tonality, and their length. Some apparently lasted thirty minutes or more.

®’Maclean, "Shaker Community of Warren County," 288-89. 144 The texts could be a mixture of known words, unknown language phrases, and vocables.®2 Songs received as a spiritual gift were often learned during a trance or a dream. Patterson states that the songs may have been written on a spiritual object, such as a gold plate, or sung by the person serving as the Instrument (medlum).^^ songs were also brought to a recipient by "Mother's little dove" or a “Holy Angel." The final genre of Shaker song is the anthem. Shaker anthems were lengthy through-composed songs with a prose text. An anthem was usually sung during the first part of a service. Patterson notes that there were two decades of anthem-making, 1812 to 1822 and 1837 to 1847, the latter being the period of "Mother Ann's Work." The texts for the earlier anthems were often combinations of Biblical verses from Psalms, Isaiah, and Matthew.84 The texts of the second-period anthems would Imitate Biblical phrases but were not actual scripture. These anthems may also have been generated while the singer was In a trance. Patterson states that the anthems might contain phrases of unknown languages. The present author would strengthen that statement by saying that the greatest majority of anthems surveyed in this study Incorporates unknown languages. Of the 240 anthems in the eleven manuscripts, it is rare to find one that does not use an unknown language. Occurrences of unknown language appear over 450 times throughout these

SZpatterson. oo. cit.. 316-17.

83|bid.. 320.

84|bid.. 240. 145 anthems. The appearance of the unknown language occurs with such frequency that it should he considered a distinguishing feature of an anthem. Patterson transcribes three anthems, all of which are devoid of an unknown language. Since Patterson's three examples are from eastern communities, it may be that the unknown language phrases occur more frequently in the manuscripts from the western societies. The problem of these unknown languages is a difficult one. Current evidence indicates that the phrases do not have a particular meaning, nor do the phrases appear to be native Indian languages.85 Examples of the types of phrases found in some of the anthems are: "se vas ta ve na," UVl8, Song 91; "Vi VO viv a vi veen," UV6, Song 64; "0 se Kan der re na voo," UV6,82. Manuscript UV6, containing 101 items, is exclusively devoted to anthems. These anthems are said to have been received on gold plates and are commonly referred to as "gold plate anthems" (see Chapter XII for the complqte discussion of UV6). The receiving of anthems through a spiritual manifestation raises the question of how to classify certain songs. Clearly these songs qualify as anthems, but they were also received as spiritual

®5sources consulted in an effort to prove that the phrases are a language include Félicitas D. Goodman, Speaking in Tongues: A Cross- Cultural Study of Glossolalia (Chicago: University of Chicago Press, 1972). Indian vocabulary lists were consulted in the following: Matilda Edgar, Ten Years of Uooer Canada in Peace and War. 1805-1815 (Toronto: William Briggs, 1890); John Johnston, "Account of the Present State of the Indian Tribes Inhabiting Ohio," Transactions and Collections of the American Antiouarian Society. 20 vols. (Worcester, Mass: William Manning, 1820), I, 271-289 and Henry R. Schoolcraft, Notes on the Iroouois (Albany, N. V.: Erastus H. Pease Co., 1847). The latter three sources contain vocabulary lists for some of the Indian tribes (Mohawk, Seneca, Shawnee, and Wyandot) inhabiting the regions surrounding Lebanon, N. V. and Union Village, Ohio. No correlation could be established between the unknown language phrases and the Indian languages. 146 gifts. Our Inventory classifies them as anthems. A new category could be considered; that of the gift/anthems. As one can see, gray areas do exist in the classifying of the various songs. Careful consideration was given to both Harold Cook and Daniel Patterson's approach regarding the placement of each song into a particular genre.

The Manuscript Inventories The eleven manuscript inventories (Appendices A-K) serve as a listing of the contents of each manuscript. Each inventory consists of fourteen columns, as follows; (1) serial number (2) manuscript number (3) song number (4) page number (5) type (genre) (6) place (7) date (8) title (9) first line (10) number of stanzas (11) author (12) alphabetical notation (13) rhythmic notation and (14) composer. The following is an explanation of the type of information found in each column: 1. Record number (unlabeled): a number that is automatically assigned to each horizontal entry by the Microsoft File software program. This column serves as the equivalent of the "Song. No." column for the subsequent pages of each division within the inventory. 2. MS number: this number is the specific manuscript identifier assigned to the Union Village manuscripts from the Patterson checklist (UVl2, UV22, UVl3, etc.).86 3. Song number: the number assigned to each song.

86p8tlerson, on. cit.. 518-20. The Union Village manuscripts are listed on these pages within Patterson's comprehensive manuscript checklist for all of the Shaker communities, 479-528. 147 4. Page number: the page numbers are those of the manuscript or those provided by the present author if manuscript pagination was lacking. The beginning and ending page for each song is provided as well as the song's location on the page (s=supra, m=medla, l=lnfra). When more than three songs appeared on a page, an additional designator Is used to Indicate the song's relative position on the page. For example, UVl 1, Songs 251-254 are designated as follows: Song 251, p.284s; Song 252, p. 284ma; Song 253, 284mb, Song 254, p.284l. Songs 252 and 253 are In the middle of the page, with Song 252 (p. 284ma) being located above Song 253, which is in a lower position (p. 284mb). The small case letters, "a" and "b". Indicate relative position within the supra, media, and infra levels. 5. Type: this column indicates the type of each song. The abbreviations are: A, anthems; E, extra songs; P, songs of the Gospel Parents; G, gift songs; H, hymns; L, laboring songs; and 0, occasional songs. Two song types, ballads and solemn songs, were not found in the eleven Inventoried manuscripts. 6. Place: the name of the Shaker region, community or location within the community, as stated In the manuscript. 7. Date: the date associated with a song as provided by the manuscript. 8. Title: the title is given as stated in the manuscript. 9. First line: the first phrase or line of each song Is given. 10. Stanzas, the number of stanzas is provided for each. For documentation purposes, the anthems are Indicated as having one stanza, although they actually represent prose texts. 11. Author: a name is listed as author if only the text Is provided or the manuscript has a statement saying "words by . . . ." 148 12. Alpha Notation: the Inclpits provide the opening pitches of each song bearing notation. This column was then used to provide the thematic Index which lists the Inclpits In alphabetical order. The letters "C-B" provide the pitches for the octave below middle "c"; the letters "c-b" are the pitches of the middle "c" octave; while an apostrophe (c") Is used to represent the pitches In the octave above middle "c“. The manuscript notation is not always legible In that a “c" m ay be an "e/ or a “g“ may be an "a." The musical setting and the characteristics of the handwriting were considered in determining the best solution. 13. Rhythmic notation: the alpha notation Inclpit Is reproduced with the rhythms inserted. Numbers Indicate the particular note value: 2. half note; 4, quarter note; 8, eighth note; 6, sixteenth note; and 3, a thirty- second note. Dotted values are Indicated by a dot following a number. A note value remains in effect even across bar lines until a new note value appears.87 14. Composer: A given name is assumed to be the composer if music Is present or If the manuscript has a statem ent saying "composed by . . . ." Manuscript UVl6, Song 6, Is an exam ple In which two names for a song are given Identifying author of the tex t (Eldress Sally) and composer of the music (Louisa Crosby). Song 5, In the sa m e manuscript, indicates Harvey

^^he author adapted Barry S. Brook's "The Plaine and Easle Code" notatlonal system for the alphabetical and rhythmic notation columns. See: E. Eugene Helm and Albert T. Luper, Words and Music, rev. ed. (Totowa. New Jersey, 1982), 72. 1 4 9 Eads and Oliver C. Hampton both as composer88 in one case, UVl6, Song 8, two names are given, Susanna C. Liddil and Louisa Crosby, without specifying who was the author or composer. The Inventories retain the Shaker orthography, including misspellings. The Information provided in each column is stated as found within the Individual manuscript. Questions of interpretation, such as a possible composer, author of a song, or date of composition, remain for a future study. Five comprehensive Indices were created from the manuscript Inventories; title, first line, author, alphabetical notation (thematic) and composer (Appendices M-Q). For each index entry, the manuscript number and song number are provided, allowing one to review the complete entry for a particular song by entering the respective inventory Information. The entries for the first line Index and alphabetical notation index were recorded at the point of distinction so that differences in the songs would be apparent.

88patterson, oo. cit.. 126. Patterson remarks that joint composership of a melody is very rare. Patterson cites one example In which Moses Thayer and Oliver C. Hampton mutually composed a laboring song. CHAPTER IV UNION VILLAGE MANUSCRIPT 12 1842-1856

This hymnal, UVl2, the earliest in this study, was compiled by Vincy McNemar (1797-1878), the eldest daughter of Richard, who was one of the founders of Union Village. During her lifetime, Vincy composed many hymns in addition to holding a variety of positions within the Shaker community.^ The hymnal may be described as follows. The cover has a label Inscribed "Papers of the Shakers 200 [the numeral 198 has been crossed out] Ohio Union Village." The title page [1] reads "A/Selectlon of Hymns/Composed/After the year end1ng/42/Written mostly/By/Vlncy M[clNemar/Sketches/From 1842 till 1856." This Is followed by a blank page [11] and then the first song, "Commemoration of Mother Ann's Birth," which begins the collection. The volume, consisting of 129 pages, is paginated for pages 1-101. The remaining pages [102-132] are not numbered. Pages [123- 132] contain an Incomplete Index. No songs bear dates. The hymnal contains two diary or Joumal-type entries. Both entries, which are to be found on page 121, contain accounts from the

^Hazel Spencer Phillips, Richard the Shaker (Lebanon, Ohio: Hazel Spencer Phillips, 1972), 119.

150 151 autumn of 1871 and are In a different hand than that found In the manuscript proper. The entries are somewhat Illegible; the first (Oct. 18, 18711?]), however, indicates that the writer was inspired to seek the council of James McNemar, brother of Vincy, but does not give a reason. The second entry (Nov. 28, [1871?]) states that the writer had seen "light like a spark of fire I saw Abraham in company with some others." In reference to the manuscript's index, all of the songs (thirty-six) listed in the index do appear in the manuscript; twenty-five songs, however, are in the collection but not listed in the index. These non-indexed songs are numbers 23, and 38-61 (song numbers are those of the UVl2 inventory). By this, the index was completed only for the first thirty-seven songs except for Song 23. The entries for the songs are correct, although Song 37 is entered as "In Mother's love love now we'll sing" rather than by the actual first line, which uses "love" only one time. Song 24 is indexed as The lowly straight and narrow way," whereas "lovely" should be in place of "lowly." Based on the information found on the title page, the volume contains sixty-one songs, all attributed to Vincy McNemar. There are, however, five names indicated for possible composers for Songs 8, 9, 10, 14, and 15 (see Remarks and Inventory). The different handwriting style referred to in the Remarks for these songs is the same as the Journal entries mentioned above. The hand is unknown. Of the sixty-one songs in the collection, twenty-eight have some notation. The remaining thirty- three may be the sketches that the title page refers to, for some text lines are spaced in such a manner that the notation could have been Inserted. Four song categories are represented: hymns, 35; extra songs, 14; laboring songs, 9; occassional songs, 3. There are two sets consisting of two identical songs each. In the first set. Songs 3 and 9, Song 3 has complete notation 152 while Song 9 has no notation. In the second set. Songs 14 and 19, Song 14 has complete notation while Song 19 has no notation. It is not apparent why these duplications are present. There is only one song that has a text phrase of an unknown language. Song 49. Song 16, a laboring song, is of musical interest in that three eighth-notes occur on the word "shake" three out of the four times the word appears, indicating the possible use of word painting (see Plate I).

Remarks on songs

4. The text to this song concerns the opening of Shaker testimony in the western communities.

6. The composer's name is entered in a different handwriting style than the song.

9. The composer's name is entered in a different handwriting style than the song.

10. The composer's name is entered at the beginning in a different handwriting style than the song.

14. The composer's initials are entered at the beginning in a different handwriting style than the song.

15. The composer's name is entered at the beginning in a different handwriting style than the song. The initials "J. M." appear at the end in the handwriting style of the song. Page 41i is blank.

37. The tune is incomplete; only fifteen notes are given.

40. The text is incomplete; only the first three words are provided ("See the gifts").

49. One line of unknown language.

54. The full title is "A funeral hymn Sacred to the memory of Brother Jacob Holaway." Plate 1. UV12 Sons 16 Me want to shake

M± J.:; •? î||lII ti /

f: , / ;■ r- , , . l 4 * ■ --• - * / ' ■ tilt/' /r // f tilu l%Jf .Ht* n*t'iH r**if'4 tt/r /#€ f / /# ' '•■ c M ^ 1 ' y t^wf é.' n r/ ■/*'fdJOt, at-9! il/ tXAtAé . /. /// */" f/'r/'/f/ ' / / / , •I* C '/ , < ,/ c c- , * ’} ;/ Ï ; y ^ %,! »o/djK* . f «.'i* : J C'-' „ c] , ^ ^ ^ ** I ‘ i *■ -■i I I ' ■ i ' - cÆi.t^'^nx/ f£, 7^ t> ^ '/c A* éj$ // / i: s c , i i J 1 •'•j '|.- 7 — '/ ' ' . /fc a Aid/ /sf9t r»t ■ / / t i ' . t . / i t t r f / f i n .•/fyri\f//.ifiti i t c t i f 71 * . ^ ' I ®':jl* V I I

c/6»y. '/tl/.^ f / l l l *1.11*1'f / lt'l*/*'1^.l Oi ' 't' j •■•

('e*/ t-*//it f.- %. mît itd'/t/ir^ /'dt€Æ.'/

,1^ t: a-' 'L ? ■VLi - 'i'^ ^ "'

*^l**Un/ tj/i*Llt Â tMiii .tifi 1 *'• '■ ( , _ o '*•

59. The title and text for this song are illegible. The best realization is given for both. CHAPTER V UNION VILLAGE MANUSCRIPT 22 1844

This manuscript, which consists of only nine pages, represents the briefest volume of the eleven hymnals Included in this study. There Is no prefatory material to the volume In the manner of Inscription, ownership statement, or any other comment on the cover or flyleaves prior to the actual songs. The cover has the Library of Congress label "Papers of Shakers 202, Ohio, Union Village" In the lower left comer. The upper left comer has a partially obscured label reading "Funeral Hymn A. C. Houston." As the Inventory reveals, UV22 contains four songs, only the first of which is given a title, musical notation, and a date of composition. The remaining three have only the text provided.- The texts of these do not have the same metrical structure as the first song, indicating that these texts cannot be sung to the melody of that song. None of the texts use any unknown language phrases. The first three items are occasional songs—in that they were written for the specific occasion of Brother Andrew C. Houston's funeral. The fourth item of the manuscript is a gift song given by the spirit of Houston. None of the four songs Indicate by name a composer, author, or place of composition. There are no page numbers In the manuscript. Those Indicated in the Inventory are from the present author.

155 156 This volume Is of interest primarily because it is devoted to the memory of one man. The texts reveal biographical characteristics of Andrew C. Houston, through which one is able to learn something about his personality and how he was regarded by his Shaker contemporaries.

KemorKg-Qn. Songs 1. The first song is given the title "A Funeral Hymn Sacred to the memory of Brother Andrew C. Houston Oct. B^h 1844" Ip. 1J (see Plate II). This statement is important, for comments at the beginning of the other three songs refer, directly or indirectly, to this initial title. The song consists of fifteen measures of music and seven stanzas of eight lines each. Stanza 1 appears with the music notation, stanzas 2-6 are numbered, while stanza 7 is unnumbered. The stanzas express various thoughts about Brother Houston. The text indicates that he was "Struck down in the days of his prime" (Stanza 1 Ip. II) and comments on the manner in which he treated other people (To Aged was he ever kind/To those of his equals the same/A stay to the Juvenile mind," Stanza 4 Ip. 3]). 2. The second funeral hymn has a prefatory statement reading The following Hymn was also composed for the same occasion" Ip. 51. The text, which begins on p. 6, is not titled; the first line, however, is "How happy that immortal mind." The four numbered stanzas of eight lines express sentiments about Houston sim ilar to those of the previous hymns, an example being "A faithful pillar firm end strong. . . A strength to young and old" (Stanza 2 Ip. 61). 3. The third occasional funeral hymn begins with a prefatory statement similar to the second hymn, stating "Another for the same occasion" Ip. Bl. The hymn is untitled and consists of one unnumbered Plate II. UV22 Song 1 0 Angelic Spirits Draw nigh

itu.- (Vn

'■ /: 4 *-- î CL ■u. i I C- C- l r . t f \ V.vw /irTp

lit . /, - ' - I ♦- A:-"' "L- T f j ------^r^/ift-Y- a ft S /i/t! ■r*. 1 . ü

. - f I t- . . / / / - . I I " " •'1 *

.<*1 7 ^ 1 !' ‘•('cV *-1 T" . _«j^. ' &» .11 ._ -%K: Cf.Çf «VI 'si 158

stanza of eight-lines. The beginning three lines of the stanza are “Farewell beloved Brother/Farewell in peace and love/Now with your heavenly Mother" [p. 81. The third line appears to be a reference to Mother Ann Lee, the founder of the Shaker sect. 4. The final hymn text also has an introductory comment, stating that This little farewell address was red [received] from Br. Andrew a short time after his decease" [p. 8). This song consists of two eight-line numbered stanzas and represents a gift song instead of an occasional song as in the three previous examples. The manuscript does not indicate which Shaker member received the song from Brother Houston's spirit or the circumstances under which his spirit came to visit. The first stanza states “My spirit hath taken its fllght/To heavenly mansions above" [p. 91. The final four lines of the last stanza, “Remember then 0 ye Beloved/Your Brother who from you is called/But think not I've hastily fled/No more to be seen in your fold" [p. 91, seem to imply that Brother Houston's spirit may return again. CHAPTER VI UNION VILLAGE MANUSCRIPTS Î844-1858

Susannah Redmon, the compiler of this hymnal, apparently resided at either of two Shaker communities. Pleasant Hill or Union Village.l Beyond this, little else seems to be known of her. There Is no Information on the cover. Page HI bears the number SM214, which Is the Western Reserve Historical Society library catalogue number (SM Is the abbreviation for Shaker Music). Page [111 has on It, In a rather well-executed handwriting style, the year 1844 and the large Initials S. R., apparently standing for Susannah Redmon. Page 11111 Is blank. The title page [1v] Is Inscribed “A/Collection of Hymns/By/Susannah Redmon/Flrst Order Union Village/November 4,1844." Page [vl Is blank. The manuscript proper begins on page 1 with the hymn "Mother Ann's Birth Day." The manuscript pages are numbered accurately as pages 1-206 with the exception of page 101, which Is missing from the manuscript; pages 1207-231] are unnumbered (see Remarks, Songs 10 and 62 for two exceptions). There Is only one literary

1 Harold Vaughn Smith, Oliver C. Hamoton and Other Shaker Teacher- Muslclans of Ohio and Kentucky (Ph. D. dissertation. Ball State University, 1981; Ann Arbor, Mich: University Microfilms, 82-01910), 120. Smith, In his list of Shaker Teachers and Musicians, provides Information only as to Redmon's community. Pleasant Hill.

139 160 item, pages 204-207, titled "A few words given by Brother Daniel Redmon on the day of his funeral. December the 22, 1846." After the close of the statement, there is the following: "U. V. 1st Order, 1846 and Given by inspiration. E. Hunt." Redmon recounts, through his spirit, that he appreciates being with the Brethren and Sisters, thanks those who nursed him during his "late affliction," and gives them his blessing. Most notable is the next part of the account, in which Hunt indicates that Brother Daniel walked up and down with a beautiful musical instrument, a many-stringed gold harp. Daniel then relates that after his release (death) he was greeted by a certain Father David and taken to the holy city. The manuscript has an index (pp. [208-230, p. 231 is blank]), in two cases, misspellings in the first lines of the songs are corrected in the index (Song 24, "strait" to "straight"; Song 79, "imortal" to "immortal"). Conversely, in another example, a word in the first line is correct but misspelled in the index (Song 30, "parents' to "parrents"). There are seven songs in the manuscript proper that are not listed in the index (Songs 9, 70, 71, 72, 76, 81, and 87). The last page of the index (p. 230) contains eight items that are not in the manuscript. No additional information is provided for these songs. The page is somewhat illegible, and the best realization is given for each:

1. My hark is now in time 2. I am happy free and mery 3. It is a pretty boon 4. All bondage we will bury 5. I worship God in spirit 6. His love [word?] to merit 7. And all who will [two words?] 8. And join in the dance. 161 Seven names are listed in the Inventory as authors of their respective song texts. Musical notation is not present for these songs. Of the seven listed, four are represented by initials that are not identifiable as full names based upon full names that appear in the manuscript. The only composer listed is C. Boyd. The musical contents of the manuscript include eighty-eight songs, of which thirty-six are dated. The greatest number of these date from 1844, with twelve songs, and 1845, with eleven. Of those from 1844, six (Songs 21-26) were written in December of that year. Only one song was written in 1849 and 1858. Six song types are presented throughout the hymnal; hymns, 50; occasional, 27; extra songs, 5; anthems, 3; gift songs, 2; and laboring songs, 1. Of all these songs, sixty-four are without notation, and in twenty-four, the notation is present. In regard to place of composition or origin, only twenty-four are designated as Union Village; no other places are indicated. In addition, all of the songs have text. Three songs incorporate unknown language phrases into their text (see Remarks: Songs 48,49, and 57). One song of particular interest is Song 3, "Mother’s Western Flock." The first line, "My children shall grow in the Wests," is indicative of Mother Ann’s desire to see growth in the sect. The second stanza, lines 7 and 8, expresses the anticipation of receiving non-members, for it states, "The church it shall grow in the West/An thousands shall come to the feast." Song 22, "Wide Awake," reveals its Shaker heritage by the first line. "Wide awake arise and shake." "Shake" is being used in its literal sense of an act as one awakens. It may also be a reflection on the term "Shakers." 162 Remarks on sonos

7. Page 16, infra blank.

8. Title not in MS, extrapolated from title for Song No. 9.

9. Text identical to Song 8 except for stanza 1, line 4, where "love" is rendered as "time".

10. Page 21, missing from MS, or a misnumbering has taken place. There does not appear to be material missing from the song.

27. N.H.=North House or possibly author's initials.

ÔÔ. wiven by inspiration from Brother H.M. 1?);“ initials illegible.

36. Nine stanzas; the manuscript misnumbers the stanzas by omitting number 8, resulting in ten stanza numbers; there are only nine actual verses. The statement, "A tribute of respect from F. Joseph Blossl?] to the aged," is in a different handwriting than the song text.

48. One line of unknown language.

49. One line of unknown language. Page 82, infra blank.

50. The title is at the end of the song, which is not the usual placement.

52. Pages 90-91, blank.

54. "The two preceding songs were sung at Thankful Thomas’s funeral November 1st, 1844."

57. Two lines of unknown language. Pages 111-112, blank.

62. Pages 127-130, missing, or a misnumbering has taken place.

64. Page 141, blank.

66. Melody nearly identical to Song 65. "S. Union welcomes Thomas Smith and Co. 1850."

67. "Farewell to 2 Eastern Brethren 1850." 163

68. "Farewell to Thomas Sm. and Co. S. Union 1850."

69. "A Welcome song to David Parker and Caleb Dyer together with the South Union visiters 1850" (see Plate III).

70. "A farewell to the Ministry of the East."

71. "These words composed on the Solemn and Sorrowful occation of Elder Rufus departure from the Shores of Time. He resigned his mortal existence at W Water village August 1852." [Whitewater, Ohio!

72. "Composed by 0. C. Hampton on Elder Rufus's Decease Aug 1852."

76. "A welcome to our ministry and also the Pleasant Hill Ministry on the 22 of October 1854."

78. Pages 179-181, blank.

79 "A Funeral Hymn Sacred to the Memory of Brother Andrew C. Houston."

82. "This little farewell address was read from Brother Andrew a short time after his decease."

83. "A Funeral Hymn Sacred to the memory of Sister Catty Rubart." Page 195 is blank.

85. "A Funeral Hymn Sacred to the memory of Brother Daniel Bedmon who deceas'd December 20th, 1646 Aged 67 years."

87. Song text Is preceded by prose paragraph (p. 200-2011) explaining origin of song. Redmon given song during a vision "while he was breathing his last." Brother Andrew may also have authored some of the words. "Shortly after [Redmon's death] the following verses were presented by him [Redman] and Brother Andrew." Song text begins on page 201. "Sacred to the memory of Brother Daniel Redmon who departed this life December 21, 1646; Being 67 years 10 months 1 day old." Plate III. UV13 Song 69 “Many cheering pleasant visits'

# ■ : V : ÇÎmÇ, .*Ae e& t/ <#•** •««««<• *V *î ^ ^ ^ ^ ______^f4»M > ^^wea^fcafefc.9m4X ^ ______a4Ctjexx*t^ ««^ ^*«6» æ#8»*-#«**-’ 4&*^?«â#c. mx^0€X/ «#c; ^*4/ f i * f pMju. I

«•' «■ . % I <90 *00t »^*0 ^ ^ X lk90 ^ X té ^ f I ^ ^ S r é i^ - ; O' •Ak CHAPTER VII UNION VILLAGE MANUSCRIPT 23 1844-1861

This volume. Union Village MS. 23, is classified In the checklist of Daniel Patterson's The Shaker Spiritual as anonymous because of a lack of remarks identifying an individual who was owner, author, or composer of the hymnal. 1 Personal Inspection by the present author confirms Patterson's conclusion. There is one page ill which precedes the first song. Mother Anns birth. This page bears the Kentucky Library call number 289.8 S527 hy H. No other marks are on this page. No title page or other bibliographic data are extant with the exception of pages 3, 19, 23, and 49, which have the number 2216 placed on them. The number is in a different handwriting style than the remainder of the page and may be an accession number. Another difference In handwriting style occurs from Song 36 until the conclusion of the volume. Of the eleven songs that are dated, three are from 1844, two from 1845, one from 1858, two from 1860, and three from 1861. Those songs that have place designations are Union Village, nine songs; Canterbury, N. H., one song; and South Union, Kentucky, one song. The hymnal does not contain any letters. Journal entries, or diary accounts. Two

1 Daniel W. Patterson, The Shaker Spiritual (Princeton, New Jersey. Princeton University Press, 1979), 520.

165 166 pagination problems do exist for the collection. The first of these emerges when we note that pages 24-39 have either been misnumbered or are missing from the manuscript. In all probability, the error has been that of a misnumbering as Song No. 12 begins on p. 23 with the first stanza and continues on p. 40 with the second stanza. This conclusion Is supported by a comparison of the other occurrences of this song In UV13, Songs 6 and 9; and UV18, Song 3. All four songs. Including UV23, Song 12, have the same text. This may indicate that the pages were numbered and then removed before the song had been written in the book. The second difficulty Is encountered as we observe that pages 162- 201 are missing. The Index for the hymnal is entered on pages 202-215. There are seven songs In the manuscript that are not listed In the index (Songs 64,65,66,68,69, 71, and 79). All the songs In the Index are found In the Inventory. This Index presents Inconsistencies that are sometimes evident in indices of other Shaker manuscripts. A discrepancy may exist between the Index entry first line phrase end the actual first line as found In the song. For example. Song 14 has a first line phrase of T ear ye not ye little flock" whereas the manuscript Index entry reads "Fear ye not my little flock." One may also encounter a double Index entry for a single song. An example of this type of discrepancy Is Song 42 with two entries (p. 209,2nd and 12th entries) for "0 how I love this [the] little few." The same Is true for Song 58, "The sweet vernal breezes," Song 43, "0 come pure wisdom guide my feet," and Song 73, "I love to see the living soul." Another difficulty Is the entry listing with an incorrect page number. "0 give me three grains of com Mother is such an example. The manuscript Index indicates that the song Is located on p. Ill, when It Is actually found on p.

110. 167 The manuscript has only four composers listed. Of these four, two represent prominent Shaker songsmlths, 0. C. [Oliver C.l Hampton and Harvey L Eades. Oliver C. Hampton (1817-1901) joined the Shakers In 1822 at the same time that his father did and remained a Shaker until his death.2 Harvey L. Eades (1807-1892) was the most prominent leader and musician of the Shaker community at South Union, Kentucky.^ Edward Doming Andrews remarks that Eades was bom Into the Shakers and that he spent his entire life as a Shaker.^ Andrews lists Eades" various occupations within the community as "tailor, shoemaker, teamster, seedsman, wool carder, tin and sheet-iron worker, dentist, printer, painter, hatter, and author. In addition to these endeavors and being a musician, Eades served for the last twenty years of his life as presiding bishop of the Kentucky communities of South Union and Pleasant H111.5 The musical contents of the manuscript include six Shaker song types: hymns, 45; laboring songs, 21; occasional songs, 13; extra songs, 8; gift songs, 2; and anthems, 1. Of these ninety songs, eighty-seven have first lines associated with them and forty-seven songs have notation. The majority of the hymns appear in the first part of the volume (Songs 1-52), followed by a section of occasional songs (Songs 58-70) and the laboring

^Harold Vaughn Smith, Oliver C. Hamoton and the Other Shaker Teacher-Muslcians of Ohio and Kentucku (Ph.D. dissertation. Ball State University, 1981; Ann Arbor, Mich: University Microfilms, 82-01910), 42.

^Patterson, oo. cit.. p. 286.

^Edward Deming Andrews, The People Called Shakers: A Search for the Perfect Society, (n. p., Oxford University Press, 1953), new enlarged edition (New York: Dover Publications, 1963), 234.

234 and 108. 168 songs (Songs 72-90). The first fifteen hymns ore labeled as Hymn 1st, Hymn 2nd, Hymn 3rd, etc. The remainder of the songs do not carry this type of numerical identification. Manuscripts UV23 and UV13 (Chapter VI) are sim ilar in that the first four songs of each are not only identical but also occur in the same sequence. Two songs in this collection are of interest. Mothers Western Flock appears here for the third time, the other two occurrences being in IIV12 (Chapter IV) and UV13 (Chapter VI). It is worthy of note that these three manuscripts, the earliest of the series, contain a song concerning the settling of the Shakers in the West while the other nine manuscripts do not. This may be indicative of a change of attitude from the struggle of the early Shakers in establishing their communities (and utilizing this song as a statement of hope) to a point of well-established communities (in which such a song was no longer timely). The second song, and a most intriguing one, is Song 57, "0 give me three grains of com, Mother" (see Plate IV). This extra song seems to be most unusual because it has a very grim text. There are references to dying from hunger and cold, "the agony of such death no lips have ever told (Stanza 2, lines 3 and 4), "it gnaws like a wolf at my head/A wolf that was fierce for blood" (Stanza 3, lines 1 and 2). The song may be a secular folk-tune for the text also contains references to famine in Ireland. If so, the Shakers may have borrowed it for the rich imagery the song uses or as a symbolic song. "Mother" may refer to Mother Ann and the starvation may be spiritual starvation. Plate IV. UV23 SoQg 57 ”0 give me three grains of com. Mother."

j \. . . M SS DIVISION /// rr 1 !B «KHKKY U«»RY WKU III '/ft i..y tf-fJ/" t-»4y 'X'**".*-« ;• ^ .*/*»• yte I il ^ X t mi ttrtt- - > 1.P .* % X^ ^ I M SS DIVISION K^WnjCKY UBRARY WRU i ^ ., (/ . : . ,BOWyNG.eHEEN, ,| -■ z, ' . .* KY.t 't • t t ' • ■r

:j , / ^. ,'^ . ( * \ r r , .'-r.t . . . , > . f % y . - ' . I ' f X , I ^ { &' 1 a_. » / / i *»•» f s % « - ■.y t s\-Y € n->i% " ;V .•'^ fX . c ./^ /* t /•■»■$■■ I / . ' / . . fi m .'..iy . t^ tt^en 't -ty t ^ J-ciO'^r « / [ /■«. # (.^/^ tX ^tyty-i. Ylr I'iy' c-t^ **y * I i 4 .y^'^.'i*I' r;'. / g& f. I /^f /cx^ I *g y , * / . ' * ■ • v»s4{ /f < »t e^tx. /^y ^ ''"j " i / ■ / O' o 170 Remarks on sonos

11. “Given by inspiration Union Village"

12. A misnumbering of the pages occurs after page 23. Page 23 is followed by page number 40, with no page numbers 24-39 occurring. The hymn numbering sequence, however, is correct.

16. Page 46 is blank.

22 For numbers 22,23,24, the word “End" is placed after the last verse for each song.

25. U. V. N. H. = Union Village, probably North House.

28. From page 67 on, only right hand pages are numbered by odd numbers. Even numbers supplied by the present author.

32. The manuscript has one page numbered as 75, then a following unnumbered page. These pages are designated in our inventory os 75a and 75b. The following page is correctly numbered as 76. Only the first eight notes of the song are given.

33. Songs 33 and 34 appear on pages designated here as 77a, 77b, 77c, and 77d. The MS has, at this point, one unnumbered page [77a], then a page 77 [77b], an unnumbered page [77c], followed by another page, also numbered as 77 [77dl.

36. Text incomplete. Remainder of the manuscript may be in different hand.

37. Text incomplete. Page 84 is illegible or blank.

38. Text incomplete. Page 86 is mostly blank.

41. Text incomplete; pp. 89i and 90 are blank.

51. Page lOOi, blank.

56. Text Incomplete; pp. 1081-109 are blank. 171 57. 10 stanzas plus a statement on p. 113s (1131, blank): The philosophy of the ultimate relationship existing between cause and effect, finite mind can not comprehend." This may refer to starvation and death— physically or spiritually, as Stanzas 1 and 2 make references to "0 give me three grains of com/To keep me from starving mother," "I'm dying from hunger and cold Mother."

56. Name given at beginning of song not leglble-posslbly Sr [Sister] A. Rollins. Melody incomplete, 15 notes given. Possibly a funeral hymn.

61. Page 1271 has the first line ("How fleet and uncertain the days and the years") of the song that actually begins on p. 128. The copyist must have decided to begin the song on a full new page rather than at the bottom of p. 1271.

63. Tunes In memory of Br. Ashbel Hetabel Deceased March 28— 1860."

64. "Eli Houston's Funeral Hymn Deceased Jun 8th, 1861 Aged 82 years;" probably in memory of Eli Houston.

66. "A funeral hymn in memory of Sister Eliza Hunt and also sung at the funeral of Sister Ann Middleton who deceased April 10th, 1861."

68. "By Br. Nicklas." Notated with standard 4 /4 time signature.

69. On page 156, after the final verse, there are two additional lines of text ("We'll not forget thy walk so comely/Thy hearts Intent to honor God") that are marked with on "X." Another "X," placed on p. 155, Indicates that these lines may be substituted for the last two lines on p. 155.

72. Songs 72-78 are located on p. 203 and labeled as Quicksongs, a type of laboring song. This page begins an index for the MS (pp. 162-201 are missing). Only the opening notes are given for these tunes as If they formed a thematic Index; the songs, however, are not found In the manuscript proper.

79. Songs 79-90, all marches, are presented In the same manner as are Nos. 72-78. These songs occur on p. 204 within in the MS. index. The complete inctpit Is given In the inventory except for Nos. 83,84,87, 89, and 90, as those Inclplts in the index were lengthy. The final song Item listed on p. 204 (Alpha notation: eecAAcA; rhythm notation: 4.e|8cAAcA) Is for Song 19. 172

86. This song, for which there Is only the inclpit, is most likely identical to Song 89 or may form a variant as there is a difference of only two pitches (see Inventory UV23, Songs 86 and 89). CHAPTER VII! UNION VILLAGE MANUSCRIPT 16 C. 1845

This hymnal Is the fourth largest In number of songs of the eleven in this study. It contains 206 songs. The other three large hymnals are UV20, 455 songs; UV24,268 songs; and UVl 1,258 songs. The title page indicates that UV16 belonged to Sylvia Scott; there is, however, little additional information about her within the hymnal. Prefatory material is also minimal. The cover was unavailable for inspection and p. lil is blank. The title page, liil, reads as follows: Sylvia Scott's/Hymn Book;/Containing/a/Selection of Hymns and/Anthems;/Adapted to the Worship of/God/In Christ's Second Appearing/Union Village,/June, 1845. Page [iii] contains the only other information regarding Sylvia Scott; it reads “Sylvia Scott Bom 1799 the 2 Isl£l the 26 of August on Monday I Srl?l." The manuscript bears pagination for pages 1-144; pages 42-43 (one leaf), however, are missing, proven by the fact that the index lists one song, “Father I humbly pray,“ as being on these pages. This is the only song in the index that is not found in the manuscript proper; it is not, therefore, represented in the inventory. There are two unnumbered pages, which were found between manuscript pages 51 and 52, that are designated in the inventory as pages 114b and c. Their proper location within the manuscript is uncertain; they were, therefore, placed at the end of the inventory but prior to the index. 173 174 Of the 206 items in the manuscript, only eight are specifically dated, the range in date being from 1844-1848. This time frame differs from that in the Patterson checklist where the only indication of date is "ca. 1845." Two songs. Nos. 5 and 9, carry the date 1844, while two songs. Nos. 115 and 167, bear the date 1848. There is one song each dated 1845 (Song 4) and 18471?! (Song 137). The remaining two. Songs 16 and 114, are dated only for the months September and April, with no year indicated. In relation to the forty-three songs that are designated as having a place of origin, thirteen can be specifically indentified as Union Village. Fourteen more may possibly be attributed to Union Village if the location within the community is that of Union Village; e. g., "Chh" for church family or "N. House" for North House. Second in number to Union Village locations are six songs from New Lebanon, N. Y. The spiritual name. Holy Mount, is also given for some songs. The manuscript includes an index on pp. [145-151] which is alphabetically arranged. All songs in the index are found in the manuscript proper except for the song "Father I humbly pray." There is a considerable number of songs in the manuscript that are not in the index. These are Songs 2, 3, 12, 14, 17, 19, 23, 29, 33-37, 40, 42, 45, 47-49, 51, 52, 58, 59, 61,64, 65-67, 70, 73-76, 81, 82, 84, 85, 87, 88,91, 94-97, 99, 100, 101, 103, 106-111, 113, 115-118, 122, 123, 125-129, 131-133, 135-142, 145- 147, 149-151, 156, 159, 164, 165-176, 179, 180, 185-187, 191, 192, 196, 198, and 201-206. Songs 136 (p. 101b) and 143 (p. 107) each have the same first line, "Away away all earthly things," except for the misspelling of "erthly" in Song 143; otherwise, the texts of the two songs are identical. Double index entries do occur for Songs 9 and 19; and Songs 119 and 134. In the latter example, there is a slight variation in the text. 175 The manuscript contains only three songs with notation (Songs 1, 2, and 89); none of these songs have any names associated with them. There are. In contrast, songs without notation for which author and/or composer attributions are given. Song 5 Indicates that It was mutually composed by Harvey Eads lEadesl and Oliver Hampton (see Remarks, Song 5). A similar statement is given for Song 6 indicating that Eldress Sally and Louisa Crosby created the song (see Remarks, Song 6). The Inscription to Song 8, In contrast to the above examples, only states two names, Susanna C. Liddll and Louisa Crosby, but does not specify which of the two composed or authored the song. Eads and Hampton are listed separately for three other songs apiece (Eads, Songs 4 ,1 0 ,1 4 ; Hampton, Songs 3,9. and 18). The musical genres of the 206 songs are as follows; Extra songs, 134; hymns, 38; laboring songs, 16; anthems, 14; occasional songs, 3; and gift songs, 1. The high number of extra songs is not unusual if one considers Patterson's comment that the extra songs represent the largest category of songs. 1 This may be true for the total number of Shaker songs but the proportion does vary from hymnal to hymnal. All of the songs have text which means that wordless tunes were not included. One of the songs of particular Interest Is Haoou Mansion. Song 6. It Is classified as a gift song because the words were received through Inspiration (see Remarks, Song 6). It Is unusual for Its use of an unknown language. The first two lines are "0 my holy la vac ne voon my holy holy/al fero an ce lin da veen. This song appears also In UVl8, Song 9 with the same author/composer Inscription as UVl6, Song 6. In almost all cases, based upon examination of the present manuscripts, the use of unknown languages

1 Daniel W. Patterson, The Shaker Solritual (Princeton, New Jersey: Princeton University Press, 1979), 201. 176 is reserved for anthems. Neither of these manuscripts, UVl6 or UVl8, indicate Song 6 as an anthem. Oliver Hampton's entire manuscript (UV6) contains 101 anthems and UVl6, Song 6, is not among them. Of the three songs with notation. Songs 1, 2, and 89, Song 1 is an anthem, incorporating an unknown language. Song 2 is a hymn with four verses, and Song 89 is an extra song (see Plate V). There do not appear to be any unusual musical characteristics among them to assist in explaining why only these three out of the body of 206 songs would be notated. The extra song Heavenly Harpers (Song 193) has some interesting imagery and almost a sensual element to it. The first two lines, "Hear the heavenly harpers sounding/Hark they play the songs of love," reveal some of this imagery as does the third line of the second stanza "Swell their songs of love victorious." The Shakers may have led a celibate and somewhat austere life; they did, however, often reveal the denied elements in the text of their songs.

Remarks

1. Three lines of unknown language.

2. "A Funeral Hymn Sacred to the memory of Brother Daniel Boyd June 26 1845."

5. "A Funeral Hymn Sacred to the memory of Brother Andrew C. Houston." The following statem ent occurs at the end of the song, “A Funeral Hymn composed by Harvey Eads and Oliver C. Hampton." The MS renders Union Village as "Unin Village."

6. "Words given by inspiration for Eldress Sally and tuned by Louisa Crosby." Two lines of unknown language.

7. N.H.—probably North House at Union Village. Page 14i is blank. Plate V. UV16 Song 89 “Mothers love is flowing"

•r'/'/

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J k A A . r ’ ô ù t ^aaaa #a»af ^1»*- .'• .

^ *-* ^ ^ I ^ 178 8. ’Susanna C. Liddil and Louisa Crosby.’ The inscription does not indicate who authored the words.

14. "Harvey LE." P. 22i blank.

19. Identical to Song 9. No attribution given for Song 19.

25. First stanza is the traditional "Lord's Prayer." It is written in one hand-writing style. The four subsequent verses are in a different hand.

27. Penultimate line is in an unknown language. One line uses the word "holy," as "ho ho ho holy."

29. Pages 42 and 43 are missing.

39. The place of Canterbury, New York is incorrect, as there was no settlement in New York by that name or close to that name. The place must be Canterbury, New Hampshire.

49. One line of unknown language.

55. One line of unknown language.

64. Four lines of unkown language.

71. Four lines of unknown language

81. U.V.F.O.—Union Village, First Order. Stated in MS. as F.O.U.V.

94. Alternate words of "fight, fight" w ritten above text of "Shake, Shake."

96. Penultimate line uses text phrase "ho ho ho ho ho ho holiness."

98. Three lines of unknown language.

111. W. Water—Whitewater,Ohio.

113. R., L —possibly the initials for Lovina Rollins who is identified as the author of Song 51.

114. Four lines of unknown language. 179

118. Holy Mount—Mt. Lebanon, New York.

133. Second line of text—“give me one 1 2 3 4 all of these and many more." Use of numerals in text appears to be unusual.

135. Possible alternative title “Path of Sorrow." This phrase is written below the title "Watchful Parent." The text for this song is written on pages numbered 100.101, and 101, which are Identified in the inventory as 100, 101a, and 101b.

136. Letters of initials for name of author or place are illegible.

139. Text is labeled as “Quick Song." This heading may also apply to Songs 140 and 141 because the numeral “3“ seems to be written after the heading "Quick Song."

142. Third word of title is illegible except for the letter “P."

147. Title in MS. is “2nd Advent." It is spelled out in inventory for computer alphabetizing.

163. Two lines of unknown language.

179. Title and third line in unknown language.

186. Page 133 is missing or this number is skipped in pagination sequence.

189. Four lines of unknown language.

202. The text of this song has four couplets with the words "Chorus" placed between each couplet (see Stanzas column). The term is spelled "chorus" or "corus" in the MS. The text does not clarify which set of words, if any, is the chorus text. The two unnumbered pages, upon which Songs 202-206 occur, appear within the MS between pp. 51-52 (Songs 44-46). The unnumbered pages are designated here as 144b and 144c, and placed at the end of the inventory. This is because the hand-writing and style of the text seem to indicate that these two pages may have been mislocated by placing them between pp. 51-52. CHAPTER IX UNION VILLAGE MANUSCRIPT 18 1845-?

Union Village Manuscript 18 Is the second anonymous manuscript in this study and contains ninety-nine songs. As In the case of UV22, this hymnal contains no Information Identifying a possible owner or compiler. The cover carries the Library of Congress label for its Shaker collection, "Papers of the Shakers, 205, Ohio, Union Village." Page II] contains the date 1846 and the comment "see p. 36." Page 36 contains the song words of Eternal Power, with the date March 17, 1846. There Is no title page to the manuscript. In the manner of non-musical material, there are several diary or Journal entries In the manuscript. These are discussed In the "Remarks" section of this chapter. The most unusual Item of the hymnal, and probably the most unusual for the entire set In this study, is a recipe for "Doughnuts without eggs" that follows Song 8. The manuscript Is without pagination. The present author has provided through-paginated numbers, and these are used In all references. Based on the specific dates associated with particular songs, the songs in the hymnal date from 1842 to 1846. Daniel Patterson's Shaker manuscript checklist states a date of ca. 1845-?. Thirteen songs bear dates, of which nine are from 1846 and one each from 1842, 1843, 1844, and 1845. Sixteen songs are associated with places, of which ten are Union Village, four are Eastern (New York or New England), and

180 181 one is the Centre House [Union Village?]. The manuscript does contain an index; all of the songs listed In this index are found in the manuscript Additional songs found in the manuscript beyond those in the index are Songs i9, 26, 28, 33, 34, 44, 45, 47, 51, 52, 54, 69, 82, 98, and 99. The manuscript contains the names of three composers and many authors. Of the composers listed, Harvey L. Eads [Eades] composed Song 1, Andrew c. Houston composed Song 5, and Sanford Russell composed Song 11. Andrew C. Houston was an elder of the Union Village community, and Sanford Russell resided at the Shaker settlement of South Union, Kentucky and was an inventor. 1 Forty-six songs have names associated with them; these have been classified as possible authors, since no notation is present. Three author's names are credited with two songs each; Oliver C. Hampton, Andrew C. Houston, and Voluntine Lewis. The name of Lucina Risley, a resident of Union Village, appears in full for six songs and by the initials L. R. [Lucina Risley?] for three songs. This large number of songs associated with Risley's name may indicate that she was the owner or compiler of the manuscript. The remainder of the forty-six songs bear unique names. Manuscript UVl8 contains ninety-nine songs, ninety-five with text only and four with musical notation and text. The manuscript contains no songs bearing only music. The song categories represented in the collection are: anthems, 40, hymns, 27; extra songs, 26; occasional songs, 3; laboring songs, 2; and gift songs, 1.

lAnna White and Leila S. Taylor, Shakerism. Its Meaning and Message: Embracing An Historical Account. Statement of Belief and Spiritual Experience of the Church from Its Rise to the Present Peu (Columbus, Ohio: Press of Fred J. Heer, 1904; reprint, New York: AMS Press, 1971), 230 and 311. 182 The first song in the hymnal Is an anthem. It is notated for the first seven and one-half lines. The remainder of the song, twelve and one-half lines, is not notated. The anthem displays the typical characteristics for the genre, most notably a through-composed melody (for the portion provided In Song 1), a prose text, and the use of unknown language phrases. The range of the melody, which is not divided into measures, is an eleventh (G-C). The melody does contain a clearly outlined C major triad on the words "0 come" (cegC) In the third line of text. Song 11, The Trumpet Sounding Angel, also^wlfn Incomplete notation, is another anthem that reveals the characteristics described above. This anthem differs from Song 1 in that It Is measured and contains one Internal repeat of the music and text. Song 10, Mighty Angel of Light. Is another anthem; this one, however, contains complete notation. The last of the four songs with notation is Song 5, "I love my beautiful Mother," a typical extra song of one verse (see Plate VI). The melodic range of this song Is an octave (c-C).

Remarks on songs

I. The name "Amanda" is entered after the song title. It is unclear to whom the name refers. Melody appears to be incomplete. Three lines of unknown language.

3. Two lines of unknown language.

8. Page 101 has a recipe for "Doughnuts without eggs." The writing for the recipe and journal entries found elsewhere in the manuscript is in a different hand from the songs.

9. "Given by Inspiration." Two lines of unknown language.

10. "An Eastern Anthem."

II. Melody is incomplete. Notation illegible. Piftte VI. UV18 Song 5 I love my beautiful Mother

«%,. ^UA€^ • *■* ^téd^i^/eF./^té^é

^J&*m —y «&«y.Cj^AAét»m . f /

^ é fm ■■■»<* —~* m^-^fgé^fm*yK3^

i4^*f .' f « f###^ ^^Mirr

^l-ilir-^T <««»•» 1 {/ . e* ; j i k ^ 4)# " *4? 4Ùf ce^ÿjtA^ i W : ^ ^ f- - ‘ .*# f ' »*#f / ^ y t - ' ^ f ÿ T

#j* té^^^y0

■ '■; ••: ••* . '. ■ , ^ J^ a, *'«7» #m^ **##4# m###,' ^ 'jU V -A ' ':! T. 1 -.. '

w00 184

12. The initials "L. R." ore possibly those of Lucino Risely, who is listed os author of Song 7 in the inventory.

13. “A Funeral Hymn Sacred to the Memory of Brother Andrew C. Houston." Song text has prefatory comment asking angelic spirits to draw nigh and guide Brother Andrew to a happier clime.

16. Inscription at end of song is mostly illegible. "Given by inspiration . . . ."

17. "A Hymn Sacred to the Memory of [name illegible, possibly Julia Relumbarj.

18. Fourth stanza appears to be incomplete. Page 24 is some type of diary entry for Monday Sept. 4. The entry mentions a sister moving into the eldresses room because of her poor health, the harvesting of com, working at the broom , and cooking. The entry is the same handwriting style as the recipe cited for Song 8 above.

19. This song is followed by a half page and a full page (251-26) of the continuing diary entry (Song 18). The dates covered are Sept. 9 (Sat )-Sept. 13 (Wed.). The entry discusses a gift, the Ministry’s return from Whitewater, the diarist scalding her fingers, and a visit to Lebanon [Ohio?] with Michael and Elder 0. [?]. The account does not give the full name of Elder 0.

20. The diary entry from Song 19 continues on pp. 27-28 and is written in the right hand margin between the song text lines. The entry indicates that Michael bought some liquor, became drunk, had a fight, and could not remember the event.

34. One line of unknown language. Text appears to be incomplete.

36. Three lines of unknown language. Two occurrences of the word "holy" as "Ho ho ho holy" and "Hooly." This appears quite frequently in Shaker songs.

37. One line of unknown language. Second line of text, "Ho ho ho ho ho ho ho with the holy angel," represents an unusually large number of repetitions of the syllable "ho." 185 38. Text has three Internal repeat signs.

47. "Quick Step Call for Action"—the type of song is a laboring song (quick step), the title is "Call for Action."

49. The initials "L. R.," are probably those of Lucina Risley, listed as author of Song 7 in the inventory. Page 481 has another diary entry for Friday the 15th, no month—author states she Is having an eight-hour bout of cholic Isi£l but is getting better.

55. Three lines of unknown language.

56. Author is probably Lucina Risley; see Remark, Song 49.

57. This song has nineteen stanzas, which is unusually lengthy. The text Is about a person condemned to Hell, having not heeded the word of the Lord.

58. Three lines of unknown language.

61. One line of unknown language. Diary entry for Sept. 16: "they finished the sweet com," p. 65i.

62. The foregoing was taken from a gold plate." Song 62 must therefore be one of the gold plate anthems. The diary entries for Sabbath 17, and Monday 18 [the month Is not specified], which are found on pages 621 and 63i, are mostly illegible.

64. "Coppied Oct. 11th 18461?] from one of the little gold plates, given August 30 to Clarrissa Paterson." Three lines of unknown language.

66. One line of unknown language.

68. "But a voice of a trumpet to to to to to to soounds," probebiy In imitation of the sounding of a trumpet.

71. Three 1 i nes of unknown 1 anguage.

73. One line of unknown language.

76. Three lines of unknown language.

77. One line of unknown language. 186

70. Five lines of unknown language. The text concerns the blowing of a trumpet, with the last word “blowowon" in imitation of the trumpet sound.

79. One line of unknown language. The name Millennie is written between Songs 79 and 80 but it appears to be unrelated to either song. It may be the name of the individual who wrote the diary entries, as the handwriting style seems similar, or a possible reference to the Millennium.

84. Five lines of unknown language.

85. Two lines of unknown language. Song “copied from a gold plate."

86. One line of unknown language. “Trumpet loudly sounding too too too too too too"—trumpet imitation.

87. Three lines of unknown language.

90. Two lines of unknown language.

91. Four lines of unknown language.

93. One line of unknown language.

94. Five lines of unknown language. The authors name may be “Legier rather than “Ligier," see Song 73, in the inventory. The text is not legible.

95. One line of unknown language. See UV6, Song 39 for the musical setting of this song.

97. This song is followed by a two-page index of the songs in the manuscript (MS pp. 101-102). The index is incomplete, however, for it lists only 84 songs of the 99 determined by this inventory.

98. This text, which appears after the MS index, is followed by one single song index entry reading “0 Sing ye saints ye joys of heaven, 65“ [p. 65 of MS]. This is Song 82 (p. 86i) in the inventory. 187

99. This is the last song in the manuscript, appearing after the MS index, it has four stanzas of eight lines; the fifth stanza has six lines and, based upon the rhyme scheme, appears to be incomplete. This may indicate that one or more pages of the MS are missing. CHAPTER X UNION VILLAGE MANUSCRIPT 20 1846-?

Manuscript UV20 is unusual in that it contains the greatest number of songs, 455, of any of the eleven hymnals in this study; it is, however, only the fifth largest in number of pages. UV13, 6, 11, and 24 contain more pages but fewer songs. The cover of the manuscript has two labels. One is the Library of Congress, stating "Papers of Shakers, 207, Ohio Union Village." It is located in the lower-left comer, whereas the second label is centered on the cover and is partially illegible. This label states "No. 5/Hymns/1846-I4771/J. P. M., Ac. 1090." The initials "J. P. M." most likely refer to John Patterson MacLean, who was one of the first bibliographers of Shaker materials.i Page li] has several phrases: "0 my heavenly [word?) 8/Hear is a ball of holy [lacunaj/Samule Harres|?]/A[?) indanl?) union!?) [word?). These appear to be isolated statem ents but the partial illegibility makes them difficult to decipher. Pages [ii and iii) are blank. The title page

ij. P. MacLean, A Bibliography of Shaker Literature with. An Introductoru Studu of the Writings and Publications Pertaining to Ohio Believers (Columbus, Ohio: Fred J. Heer, 1905), 3. MacLean's bibliography cites several manuscripts in section IV, "Bound Volumes in Author's Library," although MS. UV20 is not among them. It is possible that MacLean acquired the volume after 1905 or had chosen not to include it in the bibliography. The volume lists 523 Shaker items.

188 189 [lv] reads as follows. "Containing/A choice selectlon/of/Hyms Anthems & Spiritual songs/used by the Children of Zlon/0 come let us sing unto the Lordj/let us make a Joyful noise to the rock/of our salvatlon./Psalms/January 11th, 1846/." Page lv] Is blank. The manuscript proper begins with the first song, "0 sound holy praise unto the Lord." Page numbering is provided for the first nine pages but remains absent, with two exceptions. For pages [10-196], the numbering is provided by the present author. Page numbers do occur for manuscript pages 112-113 [inventory pp. 108-109], Songs 232-237. The other occurrence for pagination is for pages 194-195 [Inventory pp. 188-189], Songs 432-437. The chronology of the five songs that bear dates spans the years 1846-18501?] with one song for each year, with the exception of 1849 which is represented by two songs (Songs 205 and 206). Ninety-one songs have place identifications. Eastern, 15; Enfield, [Conn.?], 10; Enfield, N. H., 2; Kentucky, 3; P. H. [Pleasant Hill, Kentucky], 22; South Union, Kentucky, 10; Union Village, Ohio, 24; Whitewater, 4; location within an unidentified community, 1. The manuscript does not have an Index. The listing of names for composers and authors is minimal. No authors names are given, and only four songs are associated with a composers name. Of these four, three of the citations refer to a single individual, Moses w. Thayer (Songs 390, 391, and 447). Song 447 states Thayers initials, "M. W. T." According to Patterson, little is known about Moses Thayer (1822[?]-?). He had joined the North Union, Ohio (Shaker Heights, Ohio) community at the age of seventeen (1839) and moved to Union Village In 1845. Thayer apparently left the Shakers later that year.z The

^Daniel W. Patterson, The Shaker Spiritual (Princeton, New Jersey: Princeton University Press, 1979), 126. 190 remaining composer is listed "Warren." The manuscript gives no additional information about this individual. The musical contents are represented by five categories of Shaker songs: extra songs, 349; laboring songs, 84; hymns, 14; anthems, 7; and gift songs, 1. Of the 455 songs in the volume, only six are without notation (Songs 8, 208, 210, 212, 233, and 262). Specific songs are of some interest. Song 10, "No pleasure in babies dark region," a hymn with four verses, exhibits the typical musical structures for this song type. It is composed of two sections of six measures each with each secton being repeated. The second section begins a fifth higher (g) than the opening measure (£). Many times in Shaker hymns, the second section is at a higher pitch level than the first. The melody is in 6/8 meter, and the barring of the measures is correct. The text is worthy of comment because it clearly states some of the Shaker beliefs. The second stanza, for example, states that the "little children are Mothers [Mother Ann]" and that all are "United as sisters and brothers" who are "Preparing for millions of others." Song 197, "0 come shake yourselves," is classified as a laboring song. The text reveals phrases which could be used for exercise such as "shake yourselves," "come be a moving," and "spring into liberty." The rhythm is one of almost constant eighth and sixteenth notes. There is one four-measure, wordless phrase that may have been sung with vocables. An extra song. Song 190, "I hate the flesh the nasty flesh and I will always shame it," clearly expresses the belief that the Shakers held in maintaining a celibate life. The final line states The root of sin that dwells within for surely I dispise it." 191

Remarks on sonos

I. Three lines of unknown language. Use of word "hooooly."

3. Three lines of unknown language. Melody incomplete.

8. Four lines of unknown language. to. The word "babies," in the first line, apparently refers to Babylon.

II. One line of unknown language. The first three notes are each preceded by a lower-step grace note.

19. There may be a missing or illegible note between the first and second notes of the Inclplt.

22. Each line ends with an 11 -note melisma.

27. One line of unknown language.

34. One line of unknown language.

40. Melody may be Incomplete.

46. One line of unknown language.

51. First note of melody preceded by a lower B grace note. "The above was given by Mother Ann’s little Angel of love." The attribution implies that this is a gift song, it could be considered as a song of the Gospel Parents since it is Mother Ann's dove that brought it. New Geloucester [Gloucester] is the Sabbathday Lake, Maine, Shaker community (see Plate VII).

52. First note of melody preceded by a lower grace note. Pitch of grace note is illegible.

61. This song has a chorus with three repetitions. Second verse has several musical references to the sounds of the nightingale. "Their sweet ni tes notes of music rang/These pleasant groves where the nightingale singeth/Their melodious songs of praise." Plate Vil. UY20 Song 31 "What is prettier than freedom freedom

I • • -***^ t ± C—N « ^|tZ '>^^1 f f y ^ •'-^1 ^ 1 '~J( ! . :WSS«a£U -<-4 y -C* »*r / « /*W ^ -1-»Ul^u ./iui ^ _^W V 4r_/c4b^______I V I f l I ' " : - J I

w „ ; -

Î *1*^.- ^ •* *]*''*. e^^ptArtrH -ce^(/ >T^CC«f .UXé^'^ _64*f ^S'wâùflûaee^ . f ; ^ >=J l|- ^ # I ^^Jkr4 I <__3=V Î-Î}

# ( ' f ' ' :f% ! ' f|‘ ' L=f - *_j I W-' ir^ ^imA f i t*’ ’^- * ^rt.^ggg* yÂta/tt^ ■*^C>H» .TÙûJUti 0^aMAff "lit [4###6rv x*a^S^- «< 4W< ^ ' -J«jp J, t'^-i \=k'h=^( i.^‘* ‘ a , I •>■ I - - J V=" "^1 i i J* \ i\* .’a. I U0^- r%.ex*»t^r'tCXA-Vt^ .u Kt' w*»&f . 26 ./Iigryimn'iiie I »J_&=g:r^ ]! I ' 1., * ^---^ i2&^ «•'mJ éJlC**yu.■ ^ ^ y i #**, ‘ )i*% ■< VV(‘L_3=? €%U(T i-.

•O N) 193 66. First and third notes preceded by lower-step grace note.

70. First three notes are a triplet.

101. The first measure contains a second set of notes to be sung as part of the repeat; 4d8d4e8e|.

104. The fourth note, g, of the first measure is illegible.

105. The final two lines of text are written one below the other, with no notation in between. Two lines of notation immediately follow. Dotted lines connect the words of the text to the appropriate notation. It is interesting that the scribe took the time to correct the misplacement in this manner rather than rewrite the text and music with the correct alignment.

119. This song begins with an eight-measure melodic line without text. The text begins with the second line of music.

152. Fifth note, g, is preceded by a lower grace note.

155. Fourth note, g, is preceded by a lower grace note.

165. First eight measures of music are without text. Initials M.W.IZ.?! are at the end of the song—it is unknown as to whom or what this may refer.

167. First eight measures are without text. This song is very similar in melodic structure to Song 165.

168. First eight measures are without text. This song is very similar in melodic structure to Song 165 and 167.

177. The second barline is apparently a mistake, for it creates a measure of one beat.

195. Last note of incipit e preceded by a lower grace note.

231. First note preceded by lower grace note. Fourth note, g, may be a different pitch (the note name is partially obscured).

253. First, second, end sixth notes preceded by a lower grace note. 194

274. The word "souldiers" in the first line of text is probably a variant of "soldiers." William A. Craigie, in A Dictionary of American English on Historical Principles (Chicago. University of Chicago Press, 1940) IV, p. 2173, cites an example from the year 1717 that indicates "souldiers" was an acceptable spelling; "Praying a further Continuance of ten souldiers in the Publick pay."

282. The initials "W. W." or "W. W. V." indicate Whitewater (Village), Ohio.

288. Full title: "Mother Ann's Earnest Suplication to Almighty God."

291. First note, e, preceded by a lower grace note.

322. For spelling of the word "souldiers" see Remarks for Song 274. Third note may be £ instead of g—possibly corrected by Shaker transcriber.

330. Name at the end of the song is illegible except for "Warren," then followed by one or two words—possibly "County, Ohio" or a person's full name. Warren County, Ohio was the location of the Union Village settlement.

342. Text for first line is incomplete; only first two words are given, of which the second word is not complete. The remaining four lines are mostly illegible.

365. The first line of text indicates that the word "sound" be sung in place of the word "name" when the repeat is taken. The second measure of the incipit is stated as in the manuscript, the time signature being 3/4. The measure has one-half beat too much. The second "C of the measure is probably an eighth note instead of a quarter note.

381. Note that in the first beat of the Incipit there are five 16th notes instead of four. The MS does not indicate this grouping to be a quintuplet.

385. Fifth note, g, preceded by lower grace note.

390. Composer's name appears to be in different handwriting than the song.

391. Composer's name appears to be in different handwriting than the song. 1 9 5 398. First note preceded by lower grace note.

404. First note preceded by a lower grace note.

408. First four measures of music without text. Text begins with fifth measure.

447. Composers initials ”11. W. I." are probably those of Moses W. Thayer.

449. In the first line of text the word "posec" is mostly illegible. The word is probably "possess." CHAPTER XI UNION VILLAGE MANUSCRIPT 11 1846-1854

James McNemar (1796-1875) was the compiler of Union Village Manuscript 11. James' father, Richard McNemar, was one of the founders of the Union Village Shaker community. Richard converted to Shakensm when James was nine years old (1605). According to Patterson, James was the primary reason that his father became a Shaker. 1 As a boy, James experienced "fits’ or convulsions and it was a group of Shaker missionaries that prayed for the boy's release from such afflictions. The healing session apparently cured James and thereby convinced his father of the power of the Shaker faith. The McNemar family remained involved with the Shakers for their lifetime. The manuscript cover bears no information other than the Library of Congress label "Papers of Shakers, 206, Ohio, Union Village." The number "6" appears to have been written over with a "7" to make the label read 207. The correct volume number, based on the Library of Congress index, is 206. Page li) bears James McNemar's name, in brackets, and his death date, August 16, 1875. There ore two lines of other information totaling about

1 Daniel W. Patterson, The Shaker Spiritual (Princeton, New Jersey. Princeton University Press, 1979), 189.

196 197 rive words but these are Illegible. Page [11], the title page, states "James Mnemars Book of/Anthems, December 27, 1846." An examination of the manuscript, however, does not reveal dates for songs prior to 1848. The first song, "Ho Ho 0 rejoice rejoice," an anthem, follows the title page. Pagination for the manuscript Is correct from pages 1-244, the exception being two contiguous pages numbered as 103 and 103 (our Inventory designates these as 103a and 103b). Pages 245-249 are missing from the volume. The correct numbering resumes at page 250 and concludes with page 291. The manuscript is the second In number of pages only to UV24, which has 326. In number of songs, UV11, ranks third with 258 (UV20, 455 songs; UV24, 268 songs). Fifteen songs bear dates In a range from 1848 to 1854; eleven of these have designations for months, and within these, seven have specific days (Patterson's checklist specifies a span of dates from 1846 to 1854). Within this seven-year period, the years 1849 and 1853 are not represented. The songs appear to fall Into chronological groups that may indicate the order In which the songs were placed In the manuscript. Songs 95 and 101 bear dates for Oct, 1850; Songs 155, 163, and 167 carry dates of Aug 3, 1851, Dec, 1851, and Sept 8, 1851, respectively. The year 1852 is represented by has two songs (Nos. 166 and 169) from January 4, two (Nos. 204 and 207) from May, and one (No. 212) from June. Songs 217 and 219 are from 1854. Three songs occur later In the manuscript, disrupting the chronological sequence—songs 237 and 239 date from 1849, while Song 248 bears a date of 1851. The table of contents, located on pages 267-268, Is labeled "Beginning." It lists the songs for pages 1-92 and 110. All of these songs ore In the manuscript. These thirty-three songs are represented In the 198 Inventory as Songs 1-24, 26, 32-36, 38, 39, and 55. Pages 270-291, which follow the table of contents, contain Songs 222-258. The majority of these are In a different handwriting style than are those songs prior to the table of contents. Seven out of 258 songs are accompanied by composers names, a small proportion In relation to the total number of songs. I. [Israeli Trotter Is the only name that occurs for two songs (Nos. 252 and 253). Mother Ann is represented by one. Song 239 (see Remarks. Song 239). Other names are Viola Hoffman (Song 168), Eliza Hunt (Song 218), L. Rotten (Song 166), and the Initials “W. S." (Song 165). The musical contents of the hymnal Include five genres of hymns and anthems: extra songs, 105; laboring songs, 67; hymns, 44; anthems, 40; and songs of the Gospel Parents, 2. Of the 258 songs that comprise the volume, 224 bear notation. The two songs of the Gospel Parents deserve additional comment. The Gospel Parents were the initial founders of the Shaker movement: Mother Ann Lee, Father William Lee, and Father James Whittaker. Song 83 may be a song by Father James, for it bears the title Father Jame s Song (see Plate VIII). No other information is provided other than the location of "Church holy mt." Holy Mount was the spiritual name the Shaker ministry assigned to the Lebanon, New York community. This is the only occurrence of the song in the series of manuscripts included in this study. The song is approximately eleven measures in length, with a melodic range of a ninth. The text is brief, "0 the blessed gospel 0 the blessed gospel it shall be mine/I will labor for it I will labor for it it shall be mine." Each line appears to bear repeat signs resulting in a musical structure of aabb. The penultimate measures of each line utilize grace notes, one for each of two half notes in the measures. Plate Vill UVl 1 Song 83 Father lame# Song

Jill 6/^^^ A -^A re-^'

~ c / j af

e t e I d d I eC c^(T ^ C CAOt^t^

5 '''V. " / r _ v . - — - /Uf ' "I YI '*■ _ 41V rr- '' -^ ' / I ' • ' 4^' F I » ;J ■/c^alef Y ^ cif^ÆZyryy- -^ c ^ I y-^ ifl> c. y- jc- it C\ ^ I C‘ ^ -^ // Î ' ^ Z //.«^ e I** & ' 1 ?! „ / r P F - ' ^ I . ^ - V ( j

;^%Cz yù ■A/^^ . f ,t 1W| v4 !J {Jr/:iJj ^1 »34-| ^ ,4

- I c . ^ ______c^ ^ ( '^- eTej- ■ y <. ~ / m-taa/ ' ■ - I " J ^ l - ^ . ^ ' n . Ziy/tf-xye. "• /tacMa^’Z ZdSL^dZZ^tyeÂf4 )(■ î__^j C^T U| " J‘ ~ ^""I - 5 / ini"' .W" » ^ y gtf^/ ,^Z»2:î^4-X__^_ ,'f//î ('i^ /" f ayf a^ya-‘ '• -Zta^y ~Zry ^Z*-ay,y^ZyytyaA^âr ~7i ca~^âatâCy <43 <43 200 Song 239 may also be a song from the Gospel Parents, since the inscription reads "Sung by our ever blessed Mother Ann on the Holy Mount [Lebanon, New York]—Sent from Mother Lucy Smith to P. Hill [Pleasant Hill] Aug. "48." The structure of the song, however, indicates that it may be an extra song. The song occurs in UV24, Song 90, but without an inscription. Song 237 may have some relationship to Song 239, as they are the only two which bear dates of 1848 and are in close proximity to each other within the manuscript. The possibility exists, therefore, that Song 237 may also be from Mother Ann.

Remarks on sonos

1. The first line of this song in the MS index is "Ho ho rejoice rejoice 0 all ye mighty Angels."

2. One line of unknown language. Page 5 infra is blank.

3. Four lines of unknown language. The pitches g li of the incipit are notated in the MS as a triplet.

4. The sixth note of the incipit is preceded by a lower grace note.

5. One line of unknown language.

9. Three lines of unknown language. Page 21 infra is blank. Page 22 has what appears to be an additional line of notation and text with an insert symbol (♦). The location within Song 9 for this insert is unclear.

10. One line of unknown language.

12. One line of unknown language.

13. Two lines of unknown language.

14. One line of unknown language. Thefirst note of the incipit is preceded by a lower grace note. 201

15. Four lines of unknown language.

16 Six lines of unknown language.

18. Three lines of unknown language.

19. Four lines of unknown language. The MS index gives the unknown language of the first line as "vastavana."

20. Five lines of unknown language.

21. Three lines of unknown language.

22. One line of unknown language. Page 58i has five lines of text and music notation crossed out by “x's." This crossed-out section is the first part to the song that begins on page 59, "Heark heark saith your heavenly Father." Notationally the two sections are identical; there is, however, a difference of a few words in the text.

23. Four lines of unknown language.

24. Four lines of unknown language.

25. One line of unknown language.

26. One line of unknown language.

31. The time signature indicates 6/8; the first measure, however, has three eighth-note beats too many; there probably should be a bar line after the first two notes (4c8d). This would create a pick-up to the first full measure.

32. Four lines of unknown language.

34. Six lines of unknown language.

35. Two lines of unknown language.

38. The first note of the Incipit is preceded by a lower grace note. 202 51. Songs 51 and 52 appear on the two contiguous pages In the MS numbered as pages 103 and 103. As remarked above, these pages ore designated In our inventory as page 103o (Song 51) and page 103b (Song 52). The pagination from page 104 to the end of the MS is correct.

54. Notation is present only for the first two lines of text; it does not have bar lines.

57. This song is preceded by the following statement: "Some hymns composed on the occasion of the praying for a last world Aug. 2 1849."

60. This song opens with approximately thirty measures of music without text. The text begins with the fourth line of notation.

61. Three lines of unknown language.

63. Five lines of unknown language. One line of text and notation is written vertically along the right margin of page 131, presumably because it would not fit at the bottom of the page.

64. Two lines of unknown language.

65. One line of unknown language. Page 135 infra contains the second and third stanzas for Song 65, which begins on page 136. The transcriber Indicates with a symbol (*) the placement of the stanzas at the end of the song.

71. The melody appears to be incomplete.

76. This song may be incomplete as there is no end of song bar line marker at the end of the last line. The remainder of the page, however, is blank.

77. The notation is very faded. The incipit is the best realization of the notation.

80. The text to this song is seven lines in length and may be incomplete, as one-half of page 152 is blank.

95. The first note of the incipit, g, is preceded by a lower sixteenth grace note. The sixth note of the incipit Is preceded by a lower eighth grace note. 203

96. The song has no text.

98. The song has no text.

99. This song is in 2/4; the first two bar lines are missing.

101. The fourth note of the incipit, g, is preceded by a lower sixteenth grace note. The fifth note of the incipit, e, is preceded by a lower eighth grace note.

106. The first note of the incipit is missing. The incipit begins with the notes for the second word, "your," of the first line of text. A bar line is missing for the first measure.

107. According to metrical design, there probably should be a bar line after the first note of the incipit.

115. The following heading is placed above Song 115: "Second Family Songs." No indication is given as to how many songs are in this grouping. The term refers to one of the organizational structures of a Shaker community (see Chapter I, pp. 57-60).

116. The appearance of the thirty-second (note 3A) is extremely rare.

117. This song is probably incomplete, as there is no end-of-song double barline.

154. There probably should be a bar line after the second note d of the incipit to create an anacrusis.

156. A statement for the third line of the song reads "one space too high." This statement is written vertically along the left margin of the page.

179. The text to this song may be incomplete, for page 2241 is blank. The rhyme scheme also appears to indicate additional text.

200. The pages following this song (pp. 245-249) are missing from the MS. See Chapter III for discussion on pagination in MS.

204. The date for the year is obscured by the center binding. Based upon dates for other songs in close proximity to Song 204, the date may be 1852. 204

205. The word "imperfecl" is written just above the first two measures. This song is an incorrect version of Song 207.

215. Written vertically along the right-hand margin is the statement The key note of the last part of this song should have been written c [cl instead of g [Gl." If true, this would raise all notes in the second division of the song by the interval of a fourth.

216. The seventh note of the incipit, g, is preceded by a lower grace note. The remainder of page 260 and all of page 261 are blank. The top of page 262 has four lines of text crossed out (first line "And may good health attend you ") These lines are not rewritten elsewhere in the MS.

218. Inscription at end of song; "From America Ridel?] to Eliza Hunt."

221. Page 266 is partially blank. Pages 267-268 contain a first line listing for the first thirty-three songs in the MS (pp. 1-110). Page 269 is blank. Pages 270-281, which follow the index, contain additional songs that appear to be in a different handwriting than the previous songs. Pages 282- 291 contain songs in the earlier handwriting.

225. First note of incipit, c, is preceded by lower grace note.

226. Fourth note of incipit, g, is preceded by lower grace note.

237. This song opens with a scale passage, a rare occurrence.

239. Fifth note of incipit, c, is preceded by a lower grace note. Inscription at end of song: "Sung by our ever blessed Mother Ann in the Holy Mount. Sent from Mother Lucy Smith to P. Hill Aug. ’48."

248. The inscription for this song reads "Christmas gift 2nd Order, "51

256. This song and Song 257 appear on the last two pages of MS. Both are very faint and difficult to read. They do not appear to be complete.

257. First line, "Come love Mothers love and 0 Come," is the only text provided for the song. CHAPTER XII UNION VILLAGE MANUSCRIPT 6 c. 1847

Union Village Manuscript 6 is unique within the eleven manuscripts in this study for it is the only one exclusively devoted to one song type— anthems. Two labels appear on the cover. The first is the “Papers of Shakers" marking for the Library of Congress; the label, however, lacks the volume number 1360] that is usually found. The second label is a complete quotation of the statement from the title page. The title page reads “These Anthems were written by/Charles D. Hampton, (Gold Plates) About the/year 1847, I think, Eliza Hunt while in meeting/declared she saw (spiritually) gold plates presented to each/of the Brethren and Sisters on these were written Anthems/and the following are said to be the Anthems." The previous quotation is written at the top of the page, followed by a centered statement reading “Inspired/Anthems/Given on Gold Plates,7August 30, 1846[8]/Union Village, Ohio." The last date, 184618], is inconsistent with the previous date, 1847. No clarification of this problem is found in the manuscript or other sources consulted. It is the present authors hypothesis that the latter date may be 1848. The title page contains the only dates to be found in the anthem book. There is one blank page lij prior to the first song [p. 5], "Mother weeps she weeps in sorrow." Pagination for the entire manuscript is correct for pages 5-252. Pages 1-4, as numbered pages, are

205 206 missing, or a misnumbering has taken place. Based upon an examination of the Index, no material is missing from the volume. The title page associates all of the songs except one to Union Village, the years 1646-47, and Charles D. Hampton as received by Eliza Hunt; there are, however, no specific attributions (neither composer, author, nor title) given for the individual songs. As a result, those columns remain unfilled in the inventory. The manuscript contains an index for the 101 songs in the manuscript. No songs are missing, nor did the inventory reveal additional songs. There are two errors within the index. Songs 2 and 3 are listed as beginning on pages 9 and 6, respectively; the reverse, however, is true. The first line entries for the songs are correct. Song 30 is listed as beginning on page 70, when in actuality it begins on page 59. The manuscript contains 101 anthems, of which twenty-nine have notation. Those anthems without notation have the equivalent of double spacing between the lines of text so that notation may be added. Shaker anthems are lengthy songs, through-composed, and have a prose text. The greatest majority of anthems have unknown language phrases. The sixth anthem, "My Son the savior of man," describes the appearance of Christ to Ann Lee while she was in prison at Manchester, England. The opening lines are "My Son the savior of man take with thee/twelve of my most holy Angels twelve of my/loudest sounding trumpeters and descend to earth/and enter the prison in Manchester Where/You will find my daughter my first bom/among women." This text confirms the Shaker belief that Mother Ann was considered to be Christ in the Second Appearing. 207 Word painting in the texts is common in Shaker songs and especially in the anthems. "Harken 0 Earth and hear the heavens above" has two notable examples. On page 21, line 5, the phrase "0 Earth shall mortal power stay the roooooling judgements from my hand" is set to the melody Oedcdcdef to indicate the rolling. There may also be the implied notion of a double entendre: rolling equals ruling. Anthem 32, "Fear ye not fear ye not my lovely Li a syl la van," is of special significance (see Plate IX). It is the only anthem in the collection for which a place of origin is given. A statement at the end of the anthem reads "This anthem was sung in Manchester, England by the Holy Anointing Angel in company with twelve of the bright and shining angels of conviction, who were to accompany Mother Ann to America." The text refers to Mother Ann leading "forth the virgin band" and that God "will safely guide thee over the rolling/deep. The angry billows against thee beat/for soon on Columbias happy shore shall/freedom thy shining light adore" (p. 76, lines 4-7). Anthems 54 and 83 present what may be a unique translation of an unknown language phrase. The first line of Song 54 is rendered as "I am calling I am calling saith the Lord my lovely ran sa ve na from afar." Song 63, for which the text is somewhat different, has a first line of "I am calling I am calling saith the Lord I am calling my chosen from afar." Based upon this comparison, "ran sa ve na" may be the equivalent of "chosen."

Remarks on songs

1. One line of unknown language.

2. Two lines of unknown language.

3. One line of unknown language. The fourth pitch, e, is preceded by a lower grace note. Plate IX UV6 Song 32 "Fear ye not fear ye not

CLxt-dt. / v i f f z r t t t f é i'^ c c ^ /t/r v é /L itty^H.4%i%%yc^ _VzArt ^ ft«^X 'j. ^ j î " "fl < 0; T dtHTV^ Ct/t-/A ,/lccf diî^.l/tJ^ jâô, ,VfJM) ü a» .lît- /./i4ê. f/eé■ fu^ ■ y ^ c_J I *i' ^ { ' t __ £ , -I iuv'cv /âJ- /iù. ^-- CU 7, K C 1 4^ A-tX . iix^ ^V-vu * Cfi£Ù^ ‘C^ Z/it. ^fT^/t C^Ct / tr f/tfc, « p —#=î .'y 1 - ' 1, I g ^ ./cvx.^. ^^tx^â-écapo^ Û/ ^teyy j^rve^ - ZZ lc £e€yf^}^ c/ i t r ty 11-r-Z^f \ '"l^ 4 ' M - , - I " “ ^ fllLÇi/tl tj/lU./é /fttr /itstfit, / / , / / f y . /. - - 4 j / V "y \ V / *1,

p^^Â,aU€4^ ^li-vC yÂc^. yZrtt^.A./ty ,/vr^ 4 -^ fj-c' i - ( 3 1 '^tdl he- utr^ ^caV 6t /.',n^,/*ay cC> /S ilttltr/-. / f / i t / c J ccZ^ t Â i : 11? ./ ^tur »//zCf X% |: e " T W QÔ •' » . ’ ■ . / /ff im/pi-‘ iÂer Jett/£> -^rtcj ^ . Û £ t.Z ^ ^ Z v tX. ^ / k l ! C fZ t-1 / / t «/ P - . - —I - t ---- f I r f A ( c l $------fl------1 “t-——i u / l AA' .Pipy iftrCy iX*t.»*g^pét,Pt:f ÛCa/tê^ . j A t J^ffit.'Sjrm»^ n c £ ti C7tr -Æe/t, / t ^ u /f f /' t»#f ^ c ^ ^ L - u » y , y . I ^ I / ; § ^ i 3 ^ ' /rice^ tM /% êC ytê/v^é^ /Æ tA & A »U fû trve^ c M zir //z>rc^ z/tc- tZy-Zfc j Ü ^<1 ; 1 j ^ G a ' f **^ %d J ^ i 5 3 • ^ ^ ^ l i

'*’.lvia-4vc c c^ r ^ rfv cf ^tr-ctx€tx>tyr 'Z_ e > t^ ' z /-/' I t / t y i- aZct/cz /A A ^ T ^ ^ j9 r $ f ^ to t o00 Plate IX (Cbiitinued) UV6 Song 32 Tear ye not fear ye not

y LI , ^ I ^—r—:! ^ \ I r:r* _ . ;l»^ ##^ y p f #«#jLdrt*-t^ X«. ■ «g— #4^ a^y^»*tàC /%«/ t £>**■ éirL ÛL^U Æ/^ r r ^ .• 4' / ( - " - y €4rÂ* x^c^-c^ /* A t« */A-ifuCô ^kgr.itgy — ■ - - ... ^ ^ I 4 ® n " I ^ ■;

y f’ - Jf ^ - F f ^5^? p -- -- ééV/

• ^ y" ' 7 ^ y ® I ^ /tS^^ ^ ffccx-t^e^- U-^ct-trC Xr/

y^L V^/-#t-^«a*«cJ?^Awj£s <4 M£.£Mf€4£^ » /^ - tf./tXA. /ctC.J0 ^ £K^££ ak* awO iX/i.cJfed^ C0^ £■« ^ar

ffta/Uf^. fc-^j.e-X-' ct/t^^- _éÂ£££-€y c€^tM-€£-/*C c//*<»-t * * ItC ' aUc^ ^ ^a tÏiC /t*ct^éf-. y^r^l^L

^ S iJ ’ aàiSi„ ds«c<£> «^rZ*3? •.

Xir^ ^C0t£-' , ^c^tJ GA.0t£./- >||,-^ -y'‘î 1r— N)O o 210

4. Four lines of unknown language. The pitches efg in the incipit are an eighth-note triplet. The right-hand margin of p. 12 is obscured, making the last note or word of each line unreadable.

5. One line of unknown language.

6. One line of unknown language.

7. Three lines of unknown language. The last five lines of text have words such as "Ho ho ho ly," "low o o ly," "flaaames," "praaaaaaises," "praaaaises."

8. Four lines of unknown language.

9. Two lines of unknown language.

10. One line of unknown language.

11. Four lines of unknown language.

12. Three lines of unknown 1 anguage.

13. One line of unknown language.

14. Three lines of unknown language.

15. Four lines of unknown language.

18. One line of unknown language. This song has no bar lines for the first twelve lines of text. Lines 13-18 have bar lines.

19. Two lines of unknown language. The entire song has no bar lines.

20. Two lines of unknown language. The phrase "di la macre veen" appears five times throughout the text.

21. This song, which is without music notation, has a repeat sign above the word "lead" in the twelfth line of text. No other repeat signs are indicated.

23. Five lines of unknown language. 211

24. One line of unknown language.

25. This song has notation only for the first line of text. The sixth note, Ç, in the incipit is preceded by a lower grace note.

26. Six lines of unknown language.

28. One line of unknown language.

29. Four lines of unknown language.

30. The manuscript index indicates that Song 30 begins on p. 70; it is, however, actually located on p. 69.

31. Four lines of unknown language. The MS index gives the last three words of the first line of text as "sen na va."

32. Four lines of unknown language. The unknown language phrase "Lia syl la van" occurs in its second statement as "Lia syl a van." The last line of the song has a performance direction to sing the melody line "octave below." The MS index renders the first line as "Fear Ve not Ve Lovely." The actual first line is "Fear ye not fear ye not my lovely."

33. After the seventeenth line of text the following statement is given: "Quick song here without words was sung by the Angel and then go on." The Angel may be the holy anointing angel referred to in the inscription to Song 32 (see the discussion of Song 32 in this chapter).

35. Three lines of unknown language.

38. Two lines of unknown language.

39. One line of unknown language. The first note is preceded by a lower grace note. This anthem appears in UV18, Song 95, without music notation, where it is attributed to Moses Miller in that MS. The current manuscript, UV6, does not specify an author or composer's name.

41. One line of unknown language. The MS index renders the first line as “0 ho saith..." The actual first line is "0 ho ho saith..."

42. Two lines of unknown language. 212

43. Four lines of unknown longuoge. The seventh note of the incipit, g, is preceded by o lower grace note. On MS poge 105 the third line has two asterisks within a blank space. An asterisk at the end of Song 43 is followed by eight measures of music without text. Apparently these eight measures are to be inserted between the asterisks in the third line.

44. Three lines of unknown language.

45. Four lines of unknown language.

46. Two lines of unknown language. The MS index gives the first line as “Awake Zion awake." The actual first line of text is “Awake awoke 0 Zion Awake." The text has several examples of “too too too" for blowing on a trumpet.

47. One line of unknown language.

48. Three lines of unknown language.

49. Three lines of unknown language.

50. Seven lines of unknown language. Within these seven lines, the phrase “0 e len e va“ appears five times.

51. Six lines of unknown language.

52. Seven lines of unknown language.

53. Two lines of unknown language. The MS index entry for the first line is “Behold I am a van sel." The actual first line is “Behold I am I van sel."

54. Four lines of unknown language. This song text is very similar to Song 83 (see discussion of these two songs in the present chapter).

55. Two lines of unknown language.

57. Two lines of unknown language.

58. Four lines of unknown language.

61. Five lines of unknown language. 213

62. One line of unknown language.

64. Two lines of unknown language.

65. One line of unknown language.

66. Three lines of unknown language.

67. Three lines of unknown language.

68. Three lines of unknown language. The MS index indicates the first line as "0 draw nigh unto me."

69. Four lines of unknown language.

70. One line of unknown language.

71. Seven lines of unknown language.

72. Three lines of unknown language.

74. Two lines of unknown language. The MS index lists Songs 73,74,75, and 76 as 73,75,74, and 76.

76. Two lines of unknown language.

77. Five lines of unknown language.

76. One line of unknown language.

79. Two lines of unknown language.

60. Six lines of unknown language.

61. Three lines of unknown language.

62. Eight lines of unknown language.

83. Three lines of unknown language.

64. Six lines of unknown language. 214

65. Three lines of unknown longuoge.

86. Two lines of unknown longuoge.

87. Two lines of unknown longuoge. The MS index renders the first line os "81essed is my."

88. Two lines of unknown 1 onguoge.

89 Two lines of unknown longuoge.

90. Two lines of unknown longuoge.

91. One line of unknown longuoge. The MS index gives the first line os “Arise orise ye holy."

92. One line of unknown longuoge.

93. Four lines of unknown longuoge.

94. Three lines of unknown longuoge.

95. Five lines of unknown longuoge. The MS index reverses Songs 94 end 95.

96. Four lines of unknown longuoge. The MS index entry renders the first line os "0 sing oloud."

97. Six lines of unknown longuoge. The MS index indicotes the first line os "0 Eolin ves to ve."

98. Five lines of unknown longuoge.

101. One line of unknown longuoge. Poge 252 is the lost poge with o song text in the MS. The finol line on p. 252 is incomplete. CHAPTER XIII UNION VILLAGE MANUSCRIPT M 1847-1848

Union Village Manuscript 14 is the third smallest of this study and contains seventy-one songs. The two smaller manuscripts are UV22, with nine songs, and UV12, with sixty-one songs. There is one preliminary page li] followed by the title page which states: "A/Book of Anthems, & Spiritual Songs:/Written by Lucina Risley/First Order/Union Village/November 20th 1847." Page liiil precedes the first song. Sublime Effusions. The preliminary pages, except for the title page, are blank. Lucina Risley, a resident of Union Village, was a Shaker musician. One of her relatives, Chester Risley, aided in the development of the Shaker community of North Uni on. 1 This manuscript contains literary material consisting of five letters written during the 1870's and two accounts of events from 1865 and 1875. UV14 is correctly paginated for pages 1-118, which contain the musical material. The seven items, which are found on manuscript pages 119-147, are described below. Pages 120-147 of the manuscript are not

1 Edward Doming Andrews, The People Called Shakers: A Search for the Perfect Society ((n.p.l Oxford University Press, 1953; new enlarged edition. New York: Dover Publications, 1963), 88.

215 216 numbered; the page numbers have, however, been provided by the present author. The beginning of each item will be quoted. Item 1. pp. 119-122 (pp. 123-124, blank). Letter to Eldress Alvira Hulett at Hancock, Massachusetts, from "Your humble child Emma J. Clough." "Mt. Lebanon Col [Columbia] Co [County] N.V., Sep. 5th, 1675, Ever Respected Friend and Mother. The reason why I address you thus. Is founded back sometime previous In which I was privileged to meet you." The text of the letter Indicates Clough's joy In anticipation of a meeting with Hulett at Mt. Lebanon. Clough remarks that she has been at Mt. Lebanon for two years and expresses thoughts on what it means to be a T rue Shaker—happiness comes from good deeds and denying worldly joys. Item 2 pp. 125-120 Testimony of Emma J. Clough regarding a number of fires.

"Date of the Fires Dwelling February 6th IlFerbary (§i£] 27th|| A written account of the investigation. Testimony against (Charles Harris) Held in Hudson; March 23rd 1675 Before the Grand Jury. Being one of the witnesses against the supposed defendent (having seen him the morning of the Fire) I appeared. The proceedings were thus. Questions by the District Attorney."

The account then lists approximately seventeen questions and answers regarding the fires. Clough states that she saw Charles Harris enter the woodshed; the account, however, does not state that she saw him set the fire nor does it indicate whether or not he was found to be guilty. Item 3 pp. 129-133. Letter to Cornelia French at Mt. Lebanon, Col. [Columbia] Co. [County], New York from Emma J. Clough, Mt. Lebanon, Col. Co., New York, Dec 26th, 1673. "Dear Cornelia, It is with a heart imbued with 217 love and affection towards you that Inclines me at this time to address you In this w ise;. . In the letter Clough asks French to be understanding and to recognize the amount of time It takes to write and not to think negatively of her. Clough asks for Cornelia's support and friendship in the future. Clough thanks French for being a good friend and mother and thanks her for her love, help, and affection. Item 4. pp. 134-136. Letter to Eldress Polly Reed, Mount of Hope, Co. of Endurance, State of Love, from Emma J. Clough, Mt. Lebanon Col. Co. N.V. Feb. 3rd, 1876. "Fondly Remember'd Parent. Being reminded that it was my Dear Mothers Birthday [fifty-eighth], & knowing that I could not meet you face to face thought there would be no harm in writing a Baby's letter as I have so lately been weaned; Ah! weaned!" The letter then proceeds to be written in baby-style talk for the next four paragraphs "1 twied to drow strong—(But tinking all de time how dood dal was Mama dave me." The letter returns to normal speech patterns and Clough then discusses holding to principles "which are to me dearer than life." Clough closes the letter by wishing her mother a "Life Insurance of Peace & happiness; realizing your burdens & toils are great." Item 5. pp. 137-141. "Visionary view of the travel of the Soul. Related to the Ministry in our afternoon meeting December 31st, 1865 By a young Sister." The name Augusta Stone is given at the end of the document, probably representing the original author. Following that name is the statement "Coppied because of its peculiar and sublime sentiment. For my good & perusal. Emma Clough. August 7,1875." This item, written in the first person, discusses the young sisters straying, her search for the "fire of truth" and then a plea to the Ministry to 218 forgive her and allow her back Into the fold. The opening sentence Is "She kneeled down before the Ministry, (& said) "May I have the privilege of speaking to you. Good Ministry." " Item 6. pp. 142-143 (p. 144, blank). This letter Is addressed to "Dear Str [Sister] Josephine at Mt. Lebanon Col. Co. New York. May 14th 76." The first sentence is "Having bid adieu to basement scenes (for the week) to enjoy another sabbath day of which affords me more time; I awoke on this bright and bracing Sabbath mom." This letter is incomplete or pages may be missing from the manuscript. There is no signature indicating the author. The letter remarks about gaining energy to write, reviving the spirit, and looking to the future but being cautious by stating "Build not to many air castles, which may fall." The author then apologizes for not writing sooner. Item 7. pp. 145-146 (p. 147, blank). This is a letter to Sister Thankful and Abigail in the form of a poem. It is undated and closes with the statement "To Sisters Thankful and Abigail Russell with everlasting love & blessing from your affectionate Sr. Lucina." The poem is two stanzas in length and is a testimony of Luclna's love. She indicates that her love Is a plentiful gift "For I have plenty for all to have some/l roll it I wave It I send It In a ball/Love Love is the treasure I send to you all." The poem also states "And while you ore chanting those sweet pleasant songs/Remember Lucina as you travel along." The dates indicated for the songs range from 1844-1849, a wider span than the dates of 1847-1848 cited In Patterson's checklist of Shaker manuscripts. The number of songs for each year are: 1844, 1; 1845, 1; 1846, 2; 1847, 28; 1848, 5; and 1849, 4. Songs 34 and 58 bear dates of a month and day without a specific year. Based upon the dates of songs found 219 In close proximity within the manuscript. Songs 34 and 58 were probably

composed on or for "Pentecost, 1 8 4 5 , " which was May 1 1 of that y e a r.2 The date Is w ritten within a v ertical rectangle at the very beginning of Songs 34-37,39,51, and 58. The dates are usually placed at the end of the song. A remark for Song 44 reads "Received by Oliver C. Hampton In the holy sanctuary August 31th 1849 and written In this book January 4th 1848." The dates for the year may have been reversed by the scribe. Another possibility Is that the scribe may have meant to write 1846 Instead of 1849, Inverting the numeral "6." If this was the case, then these years would match those of Song 53. A similar type of difficulty Is present In Song 49 and 64 (see Remarks 49 and 64). Thirty-five songs are associated with places. Twenty-six songs are from Union Village, while three songs each are from Pleasant Hill and South Union, and one song each is fro m North Union and Whitewater. Song 40 carries the statement, "An Eastern Song." The manuscript does not contain an Index. Composers are indicated fo r ten songs but no authors are mentioned. No single name dominates the l i s t a s eight songs have one name each. Eliza Sharp Is the only name that appears for two songs. James McNemar (1796- 1875), the composer of Song 49, w a s the son of Richard McNemar, one of the founders of Union Village. J a m e s and his sister, Vincy, were known as Shaker musicians.^

^Newton J. Darden, S tan d a rd Reference Calendar: Never Out of Date (Washington, D. C.: Standard Calendar Association, 1935), 8 and 19.

3Rose Mary Lawson, "S h ak er Women of the West," The Shaker Messenger IX/3 (Fall 1986), 10. 220 The musical contents of the manuscript contain five genres; extra songs, 36; hymns, 15, anthems, 15; and laboring songs, 5. Of these seventy- one songs, seventy have text with notation. Song 9, Little Busy Bee, is the only song without notation. Song 12. Hymn from Isaiah Chao. 35th. Is an example of a borrowing of text from the Bible (see Plate X). The text Is a rhymed paraphrase of the thoughts presented In the biblical chapter. Each stanza consists of four lines with an aabb rhyme scheme. Musically, the song represents an example of changing meters. Meter changes occur in each of the first eight measures incorporating 4/4, 3/4, 4/4, 3/4, 2/4, 3/4, 2/4, and 3/4 time signatures. Similar changes exist for the remainder of the song.

Remarks on songs

2. The third note of the incipt e is preceded by a lower sixteenth grace note.

4. “slow this Is rightly a triple time tune."

8. "From Eliza Sharp to the Ministry at Union Village."

10. "From Eliza Sharp to the Singers at Union Village."

22. "Sent from Adeline Wells of White Water to L.C. Liddle of Union Village 1847."

26. "Sister Lois Spinning She sends this song or hymn to Phlla and Rhoda with her very best love."

27. Five lines of unknown language.

29. Four lines of unknown language. Text describes the playing of the trumpet with the words "toot toot toot."

30. Two lines of unknown language. Plate X. UV14 Song 12 Hvmn from Isaiah Chan.

f-!' . - * ». -C> I V.I-, 1 1 o Vk\cZtU~t,>LAjt * ’I l jL t - L t i V H 0 V » »!' --«i y d , i «I ' J ? i'"J*a , /—V ^ y ®l V* J’ ?> •*~ '-'I I y < ù i ^ ' *7 V

\ y y /Jr J ^ Ci" Æ-i-»»»^^-Cv-tx.Z^^xn

N1 ts j 222

35. Peasant Hill must be a misspelling for Pleasant Hill, [Kentucky).

38. This song is labelled as "a little march." This phrase is written vertically at the beginning of the song.

42. This song opens with eight and one-half measures of music before the text begins.

44. Nine lines of unknown language.

45. One line of unknown language.

46. One line of unknown language. An asterisk indicates an insertion of four measures, located at the end of the song, which is to be placed into the fourth line.

47. "A Gold plate anthem Received August 31th 1649 Union Village 1st Order." Four lines of unknown language.

48. "This little prayer was given to me of the sisters in a dream."

49. Full title: "Mother Ann’s Passage Over the Sea 1774." "An anthem given to James Mcnemer In the holy Sanctuary Aug 31th 1849 and written in to this book January 4th 1848."

52. "Received by Jesse Legier in the holy Sanctuary Aug 30 1846 And copied into this book Jan 8th 1847." The year 1847 may be a mistake and should have been 1848. Seven lines of unknown language. The eighth note of the incipit d is preceded by a lower grace note.

53. "Received by David Price in the holy sanctuary August 31th 1846 and Coppied by in to this book January 8th 1848."

55. "Pleasant Hill Oct 5 1847 Written in this book Jan 8th 1847." The correct year may be 1848.

56. "May 3d 1847 Union Vilage 1st order Written in this book Jan 8th 1848." The last line of the first stanza is missing the notation. 223 58. The last eight measures of this song are written at the top of the page immediately following the song title. A plus sign (+) Indicates that the proper placement of these measures Is at the end of the song.

62. "A South Union song said to have been given by Inspiration by Br. isaachar Written In this book Jan 9, ’48." issachar may refer to Issachar Bates.

63. "Union Village West Brick Sept 4 1847 Written here Janu Isi£J 9 1847." The dates for the year In this song and Song 64 appear to be incongruous. See Remark, Song 66.

64. "Received by William Reynols from a gold plate Aug 30th 1849 and written In this book Jan 9 1848."

65. The foregoing Anthem was sung by Divine Inspiration by one Of the Brethren on the Day of Pentecost 1 Order Union Village 1845."

66. The year of composition may be 1848, as Songs 67, 68, 69 are all dated January 8, 1848.

70. Five lines of unknown language.

71. "Gold Plate Anthem." Four lines of unknown language. Page 118 Is mostly blank and appears to have some bleed-through from p.117. CHAPTER XIV UNION VILLAGE MANUSCRIPT 24

1848-1851

Union Village Manuscript 24, the final one in this study, bears no attribution to composer, author, compiler, or owner. The cover bears the familiar Library of Congress label, "Papers of Shakers, 213, Ohio, Union Village," and one other label fragment with the statement, "Hymn book 1850 (year?)." The volume does not contain any preliminary pages and begins with the first song, an anthem, "I am Gods holy angel of Love." The hymnal lacks a title page. There are no non-musical materials such as letters, journals, or diary entries. Pagination is correct for pages 1-322 although pages 90 and 91 are missing. The statement found on page 92 reads "90-91 blank." The handwriting style for this comment is that of the songs and not a cataloguer's comment. Pages 323-346 are missing, and the table of contents occurs on pages 347-13521. Manuscript pagination ceases at page 348. Thirty-eight songs bear dates with a span from 1848 to 1851. The general distribution of the songs with dates is, with some exceptions, in chronological order throughout the manuscript. Song 88, dated 1848, follows songs for the years 1849-1851. Likewise, Songs 114-116 and 119, dated 1849, are positioned between songs for 1850 and 1851. The overall

224 225 chronology, however, probably indicates the order in which the songs were entered in the volume. Places are associated with thirty-five songs. The distribution by place is: Union Village, 19; Eastern, 5; Whitewater, 4; North Union, 2, and South Union, 1. The location within the community is given for four songs; the community, however, is not specified but is probably Union Village. The manuscript contains a table of contents (pp. 347-1352]) that is in two divisions which are given the headings, "Index of the Anthems" and "India [sic] for the Hymns." They are not true indices, however, because they are not alphabetically arranged. The ninety-six songs listed in the "indices" are in the manuscript. Additional songs revealed by the inventory are Songs 5, 35, 37, 38, 50-52, 55, 66, 83-85, 88-193 (manuscript pages 179-251), 196, 199, 200, 202, 205, 207, 208, 210, 214-216, and 219-268. This manuscript appears to contain a greater number of corruptions or misspelling in the titles and texts. The inventory reveals the following examples of titles. Song 2, The Sound ind Trumpeters: Song 76, Adoratin to G al and Song 87, Happy Antisioation. Information for composers or authors is minimal. Only one name, Oliver C. Hampton, is listed. Hampton is designated as the composer of Song 27, The Horror of this World, which is a hymn. The melody is four lines in length and notated without bar lines. It has a range of a ninth. The musical contents comprise 268 songs, of which 217 bear notation. Ninety-three songs have been given titles. All of the songs contain text with the exception of four laboring songs: Nos. 109, 111, 112, and 122. Four genres of Shaker songs are present in the manuscript: extra songs. 118; hymns, 94; laboring songs, 38; and anthems, 18. 226 A group of laboring songs. Nos. 107-112, Is found on pages 192-193 of the manuscript. Songs 107, 108, and 110 are notated in 6/8, while the remaining three. Song 109, ill, and 112, bear time signatures of 2/4. Three are wordless songs (Nos. 109, 111, and 112), which would be sung with vocables. Some laboring songs contain two divisions, one with words and one without text. The wordless division would be sung vocables. Shaker scribes or copyists did not Indicate the vocables to be used in the wordless laboring songs; apparently the method was understood from Shaker performance practices of the time. Song 107 (see Plate XI) is an example of the type of text often associated with a laboring song; "We ll leap and skip and play around/With hands and feet we'll beat and sound/The pretty way of life we've found the way of free salvation." The texted section has a rhythm of a quarter note and eighth note pattern throughout except for two eighth notes occurring on the word "free" prior to the last measure. This rhythmic change serves to emphasize the freedom of "free salvation."

Remarks on sonos

1. Six lines of unknown language.

2. Four lines of unknown language. The title is entered correctly in the inventory and may read "The Sounding Trumpeters" or The Sound and Trumpeters."

7. Three lines of unknown language.

8. One line of unknown language. First note of incipit, c, is preceded by a lower grace note.

9. One line of unknown language. Fifth note of incipit, g, is preceded by a lower grace note.

10. Three lines of unknown language. Plate XL UV24 Song 107 "We ll leap and skip"

I -J Î4 c^. J r r iu I "|U f-'.^ * ;..|i,,(.,* J |'.‘'i‘J"i>ii4-ri-

ü**^ 4 ^ * -^ y/f X#»*<«6 f y ^ t * ^ t « ' u y t f t £ ^ * ^^y « t* ~ V ------f-..--^j- e r- • i ' ...... y^-/ ■‘•^4/. .;/At . 4^a* w/ jÊ^jty.^ X /> »< %. / I 0 -//’- ‘^,1''-^Î' Ï ■//(* 4éHH^ » y V<» <^-<«>î*-» € J Î % y '% îi_ i K-1. »tc> 'l’^^''l’''f''''1-i-'W,,ij/iji7'“'jif ? t'L:

j y J ) | "■ '< 1 /B U ü | ^'V l : î * " '^ tllü i w

<4i46T^,n,\ ^<1 ‘ -Co-***- ' 'I- ' ' ^ 1 - ): d \ I L S. f lk ; { V* ^iejj ^ <-ï/s H

N> ts> 228

11. The melody is notated for all of the text present on p. 30 but Is not extant for the text on pp. 31-33s.

15. One line of unknown language. 16. Page 43 is mostly blank, a final stanza appears on p. 44s.

22. This song ends on p. 56; pp. 57 and 58 are missing from MS, as pp. 56 and 59 are facing pages.

24. The text is written as twenty-four continuous linen without any horizontal spacing between stanzas. The rhyme scheme seems to indicate three stanzas of eight lines.

25. The melody, marked "Air," is located between the first and second stanzas, without text underlaying the notation. The song is prefaced with the following paragraph: "The following Is a hymn that was composed on the ocasion [occasion] of a fast day that was appointed by the President of the United States to be a day of fasting and prayer. Zion being also called on by Holy Mother Wisdom to put on a garment of humiliation fasting and prayer and mite in the general voice of prayer beseeching God to stay his hand of judgemenlt] that children of men might have space to repent ere his home of judgement would sweep them from the earth with the besan[?l of destruction." "Besan" Is a possible misspelling of "besom," the German word for broom. The dates of the songs prior to and following Song 25 range from July 31, 1849 to August 2, 1849. If this song had been written within that period, Zachary Taylor was the President of the United States (March 5, 1649-July 9, !850}. A search of his declarations and proclamations [A Compilation of the Messages and Papers of the Presidents. 20 vols. (New York: Bureau of National Literature, 1897) VII did not reveal the "appointing" of a fast day. It may be that this song was written at a later date, as the same source indicates that Abraham Lincoln had declared some fast days, that would, however, date the song much later than any others in MS. UV12.

26. The concluding melodic line of the first stanza is located between the second and third stanzas.

31. Index renders first line as "This world 0 tis gloomy."

33. This song has no bar lines except for the first one. Song 33 is identical in text to Song 37. 229

36. Five lines of unknown language.

37. A remark written on p. 92 says "90-91 blank"—these two pages are missing from the MS, or a misnumbering has occurred.

40. The melody is provided through the first three lines of text plus one word of the fourth line. The remaining five lines have no musical notation.

42. A remark in the right-hand center margin of p. 100 soys "Note the notes of the last portion of this hymn are written an octave lower than the first part."

43. Two lines of unknown language. The time signature is 4/4; the bar lines in the incipit are not accurately placed, however.

44. The "tune," as it is called in the MS, is uncustomarily placed on p. 106 at the end of all the verses.

46. The last three notes, def.of the incipit are written as a triplet.

48. This song has no bar lines except for the first one.

55. "comlposedl at U. V. Written here Feb 3rd, 1850."

63. The scribe for this song indicates the insertion point of the last line by an asterisk and a drawing of a hand pointing to the material to be inserted.

66. The placement of the tune on p. 139 is as Song 44, with the melody at the end of all of the verses.

68. Two lines of unknown language. The second word of the title is partially illegible and may be a different word.

71. This statement found at end of the song; "Note 1 The forgoing was written in Gold and purple letters and placed upon gate post leading into the feast ground upon the holy Mt. The same was engraved upon a silver and gold trumpet was taken from the holy altar of Truth on the Holy Mt. at New Lebanon N. V. June 1 ith, 1850 writen here Aug. 25th, 1850." 230 72. This song, although very similar In title to Song 68, Is a different song. The tune, without text. Is placed in the upper right-hand comer of p. 148 along the center margin.

79. The ink is very faded for this entire song. The text is mostly illegible. The number of stanzas, six, is based upon the overall spacing of the partially visible text.

80. This song has no bar lines except for the first measure.

83. Song 83 is identical to Song 82 in text end notation. Song 83 is written in a smaller physical space on the page. It is not apparent why the songs follow each other except that Song 82 is much fainter in the handwriting than Song 83. This is the only example of successive identical songs in the MSS study. Duplicates do occur within the manuscripts; for an example, see UV 24, Songs 225 and 230.

84. This song has no bar lines except for the first measure. "Composed for a yonn [young?! sister just before she left this world at Harvard, Mass."

87. Page 177 is mostly blank and all of p. 178 is blank. Song 87 has a highly decorative beginning "initial."

90. Song 90 is Identical to UVl 1, Song 239 but Song 239 bears a Mother Ann attribution.

94. The second verse is written across the bottom part of pp. 185-185.

96. Tune is placed after text.

99. Tune is placed after text.

105. This song has no bar lines except for first measure.

107. Text begins with second line of music.

108. Text begins with second line of music.

112. Opens with ascending scale passage.

122. This statement is found at the end of this song: "These last three songs are from [name ?] to T. [?] Russell. 231

134. Bar line placement Is incorrect. The melody for Song 134 is marked as Tune 1st part/ and Tune 2nd part." The complete text is written in between the two parts.

149. The time signature is 2/4; the bar lines, however, clearly indicate 4/4 time.

160. This song has no bar lines except for first bar line.

163. “Eastern Song written here Aug 18, 1850."

164. This song has no bar lines except for first bar line.

168. The third and fourth verses are labeled as the "Second Part."

174. Statement given at the end of the song: T his song should have noted in compound time."

186. This song has no bar lines except for first bar line.

188. The letter notation is very small, making the rtiythm mostly unreadable.

195. One line of unknown language. This may be the only example of the use of unknown language in a hymn within the eleven manuscripts in this study; most occurrences are found in the anthems.

206. Statement is found at the end of the last stanza: "E. Pattersons [Hymn? Tune?I" the last word is illegible.

210. This text may be the second verse to Song 209; the rhyme scheme, however. Indicates that it is most likely a separate song text.

221. The complete title is The Love of the Angelic host of Heaven."

228. The incipit demonstrates the unusual use of the interval of an ascending ninth and descending tenth (Bc’A). This may be the result of a transcriber's mistake.

230. See Song 225 in our inventory for the notation. 232 234. The melody, marked “A ir/ Is written in the upper right-hand corner of the page, with the text on the left side of the page.

240. Only twenty-three notes of the melody are provided.

262. Use of thirty-second notes, the first two pitches of the incipit, is unusual. CHAPTER XV SUMMARY AND CONCLUSIONS

The Shakers came to America In August, 1774, entering a country that held the promise of being the Lord's chosen nation, a new beginning, and freedom from the difficulties and persecutions that they had experienced In England. This new Eden was rich in its religious variety and provided a supposedly tolerant environment for an assortment of denominations to develop. The wide number of religious sects already present Included the Roman Catholic, Jewish, Protestant, and Anabaptist faiths. The Shakers, after Initial struggles and hardships, established a central ministry at New Lebanon, New York, and became one of the most successful and long-lived communitarian societies to be founded in this country. The Shaker beliefs or practices of celibacy, separation of the sexes, belief In Mother Ann as representing Christ in the Second Appearing, bodily agitations brought about by spiritual manifestations, as well as their dances and music, made them a curiosity to many. The Shakers survived admirably and, for many years, prospered. Their success was due in large degree to the intensity of belief and commitment on the part of Shaker leaders and believers. Joseph Meacham, one the early successors to Mother Ann, established the communal organization for the sect which, in difficult times, helped the Shakers to survive. The sect's most successful years were those prior to the Civil War. The agrarian nature of the sect suffered after the war as the industrial

233 234 Revolution enabled the "world's people" to produce goods and products at a better quality and less expensively than the handmade products of the Shakers. Also, by this time period, the fervency of belief began to diminish as succeeding generations of Shakers chose not to make lifetime commitments to the sect. All of the societies were closed during the early part of this century except for Sabbathday Lake, Maine, and Canterbury, New Hampshire. During the Shakers' development and success, music was considered an Integral part of their worship services and dally lives. Shaker music was, In some ways, unorthodox compared to the music of other contemporaneous religions. A variety of music was utilized by the non- Shaker religions: chants, motets, psalms, hymns, anthems, and camp meeting and revival hymns. Many of the religions surveyed, including the communal Harmonists, permitted the use of musical instruments within the services. The Shakers, however, did not permit musical Instruments until the latter part of the nineteenth century. Musically, the Shakers developed nine genres of songs, several of which were particular to the sect: gift songs, occasional songs, solemn songs, ballads, songs of the Gospel Parents, extra songs, laboring songs, hymns and anthems. The hymns and anthems were the only genres that had a similarity to the music of other denominations of the day. The percentage of the number of songs found In each genre is of Interest. The extra songs comprise almost one-half (47%) of the 1,701 songs that have been inventoried in this study. As stated previously, this statistic supports Patterson's opinion that extra songs are found In greater numbers than the other song genres. The hymns, at 21%, are the second most numerous category. One needs to recall that Union Village was the origin of 235 the first Shaker hymns, with the first hymn being written in 1805. The third largest genre Is the anthems with 14%. One manuscript, UV6, consisting of 101 anthems, comprises almost one-half of the total number of anthems. Twelve percent of the songs in the collection comprise laboring songs. This may be a relatively small percentage considering how important dance was to the Shakers. Songs of the Gospel Parent and the gift songs comprise approximately one percent each. The percentage for songs of the Gospel Parents is understandable, since the total number of these songs Is fifty and they are mostly found in the eastern manuscripts. The most unusual percentage is that for the gift songs. One would expect this number to be considerably higher because of the influence of spiritual manifestations during the decade of “Mother’s Work" (1837-1847) and the several years following. The probable reason for the low number is that a song received as a gift or through inspiration may qualify to be catalogued in a different genre. Previous discussion, for example, demonstrated that many of the anthems were received through spiritual manifestations. In a broad sense, the anthems might, therefor, qualify as gift songs. The same may be true for the other genres, thus reducing the number of gift songs. Shaker music has been preserved in approximately 800 manuscripts containing 8,000 to 10,000 songs. The manuscripts represent almost all of the Shaker communities and incorporate all of the various genres. The notational systems utilized include those ranging from their own Shaker letteral notation to standard notational practice. The music manuscripts were one of the few truly personal belongings that a Shaker possessed not considered to be community property. Music allowed a Believer to express his or her emotions in a personal way, both in dance and in song. Shaker 236 music was created from borrowed melodies adapted to particular Shaker needs. It was freshly composed, or It came about as the result of Inspiration through spiritual manifestations. The eleven Union Village manuscripts are comparable to the larger body of Shaker songbooks. The style, contents, and character are similar to those from the other communities. The purpose of this dissertation has been to catalogue and Index a significant portion of the extant Shaker music manuscripts which originated at Union Village, Ohio. The study devotes itself to the inventorying and cataloguing of eleven manuscripts which comprise part of the total collection of twenty-six manuscripts attributed to Union Village, Ohio, the parent ministry for the western Shaker societies. This Is the first effort to comprehensively list and Index the specific contents of a given set of Shaker manuscript hymnals. The eleven manuscripts, with initial dates from the I840's, the decade of Mother Ann's Work," contain 1,701 songs. The complete contents of each of the eleven manuscripts was Inventoried including the songs as well as any journal or diary types of entries. The Inventory listings enabled the compilation of comprehensive Indices for the set: first line, author, title, composer, and thematic (alphabetical notation). Of the 1,701 songs, 1,554 contain text, either text alone or text with notation. The remaining 147 songs are lacking text. The thematic Index reveals that 1,002 songs contain notation. The author and composer Indices Identify sixty-nine songs with authors and forty-eight songs with composers, which clearly indicates that much of Shaker music was anonymous. Of the sixty-nine authored songs, fifty different individual names or Initials are Identified. Thirty Individual names are represented In the forty-eight songs associated with composers. Songs with titles number 520. 237 The first line, alphabetical notation, and title Indices reveal that some songs are duplicated among the manuscripts. The first-line index has 282 songs/sets of 654 duplicate entries, the alphabetical notation Index 145 songs/sets of 306 duplicates, and the title Index 62 songs/sets of 150 duplicates. A set may have from two to five song entries per set. The Shakers borrowed melodies from “the world" and also created their own. Tunes such as “Wayfaring Stranger, “Kedron," and “Zion's Children" were utilized, respectively, to create a ballad, a solemn song, and a laboring song.i The thematic Index will serve the researcher wishing to trace Shaker melodic Influences. The manuscripts served the utilitarian function of preserving the songs when the body of Shaker music literature became so great that It was difficult for anyone to remember all of them. For this reason, the Shakers began to notate their songs. This practical purpose resulted In a secondary outcome, that of the manuscripts now being on archival record of the sect's musical activity. In overall character, the eleven manuscripts In this study appear to bj very similar. Differences do emerge, however. Manuscript UV6 Is the only one devoted exclusively to one genre, the anthem. UV22 Is devoted to the funeral songs of one man, Andrew Houston. UV20, although not the largest In number of pages, contains the greatest number of songs, 455. This manuscript also contains the most songs of any one particular genre, 349 extra songs. Five of the eleven are considered to be anonymous In relation to ownership or authorship. The utilitarian aspect of the

1 Daniel W. Patterson, The Shaker Spiritual (Princeton, New Jersey. Princeton University Press, 1979), 561-62. 238 hymnals Is also revealed In those (UV14 and UV18) that contain journal and diary entries In addition to letters and accounts of various events. This study should be considered as a step In unlocking some of the Intricacies of Shaker music. As the study answers some questions, it also raises others for separate attention. Issues uf authorship of text or melodies, the number of tune variants, and what truly constitutes a gift song, are some of these. The eleven manuscripts reveal an intimate portrayal of the Shakers; from a doughnut recipe to testimony at a hearing on damaging fires, from songs of celebration and death to songs inspired by spiritual manifestation and brought by doves, holy angels, or native spirits. The Shaker spirit is evident throughout this manuscript study. APPENDIX A

INVENTORY UV12

239 MS Sona No. Pooe No. ITuoe Place T itle 1 UV12 1 1-48 H Commemoration of Mother Anns Birth 2 UV12 2 41-68 H 3 UV12 3 61-88 H 4 UV12 4 81-128 H 5 UV12 5 121-14 H 6 UV12 6 15-178 H 7 UV12 7 18-208 H 8 UV12 8 201-228 H 9 UV12 9 221-248 H 10 UV12 10 241-268 H 11 UV12 11 261-288 H 12 UV12 12 281-308 0 13 UV12 13 301-338 H 14 UV12 14 331-378 H 15 UV12 15 371-418 H 16 UV12 16 428 L Eastern song 17 UVÎ2 17 421-438 E Union Village 18 UV12 18 431-448 H South Union Perseverance 19 UV12 19 441-488 H Hymn from Isaiah Chap. 25th 20 UV12 20 48m E 21 UV12 21 481-498 E 2 2 UV12 22 491-50 L 23 UV12 23 51s E 24 UV12 24 511-538 H Honey Dew 25 UV12 25 531-568 H ro 4k o F irs t Line S tan zas A uthor Aloha Natali on 1 1 All Hall the great Millenium 7 edcAGGAce 2 0 ye Shining hosts of heaven 3 cedccccAG 3 That holy Jerusalem which wise men of old 3 GAccedcce 4 My children shall grow In the west 8 GAcdeec 5 This marvelous work of my Mother is great 4 Gcccdeec 6 The truly devoted their thoughts well confine 4 7 The Angel of light has descended to earth 4 GAcAcAGGA 8 Like gentle streams that never rise 4 cAGGAAG 9 That holy Jerusalem which wise men of old 3 10 0 sweet eternity How oft 1 think of thee 5 cegedeg 11 Let suff'iing saints rejoice 3 eccdccG 12 The called and chosen of this burning day 6 cdedcGcc 13 I'm thankful for this burning day 5 cdeedcdc 14 The Lord hath promised good 7 cdedcAcG 15 1 did set out while In my youth and promised 8 egaagab 16 Me want to shake shake shake 1 Gccceggg 17 1 feel Mothers love 1 love her children 1 gaggegaage 18 Arise any soul leave old below 2 cdegac 19 The Lord hath promised good 7 20 Let us walk the pretty road to heaven 1 cdeeedgede 21 Come little children be alive 1 GGccdeeed 22 Come lay aside your Idols 1 ccdegaa 23 On flowing streams we'll sail together 1 cccegaage 2 4 The lowljLstralt and narrow way 6 cdeeedc 25 Come down my dear children 4 cAGEGAccd to 4k Rhuthmic Notation Comooser 1 8el4.d6c4AGiGA4.c8el 2 4.c6e4dc|cc6cA46| 3 8GA|4c8ce|dccel 4 4G|A8cd4e6ec| 5 8Gc|4c6cd4e8ec| 6 7 4.G6A|8cAcAG6GA| 8 4.c8A|4GGA8AG| McNemar, Vincy 9 McNemar, 1. 10 4.c4e0g|ede4.gl Trotter, 1. 11 4.e|4c8c4d8c|4.cG| 12 4.c8d|4e8dc|4G8cc| 13 4.c8d4ee|dcdc! 14 8cd4.e8d4c8Ac26 M., 1. 15 8eg|4Q&g8Qb| tlcNemar, James 16 8G|4c8c4.c|8egg4.gl 17 8ga6gg8elg6sa8gel 18 4c8d4e8g4o8cl 19 20 8cdee|6edge8del 21 6G|Gccdeeedl 22 8c4c8d4e8gaa 23 8c|cceglaagel 24 4c8d4e8eedc 25 4.c8A|4GEG|Ac8cd| Nt ro MS iSono No. Pooe No. ITuDe _ P l 0 £ i _ ^ Dote T itle 2 6 UV12 26 568-58 H 27 UV12 27 59-608 H 28 UV12 28 601-628 H 29 UV12 29 621-648 H 30 UV12 30 641-68 0 A funeral hymn. Thankful Thomas 31 UV12 31 69-70 0 Thankful Thomases Farewell 32 UV12 32 71-738 H 33 UV12 33 731-75 H 34 UV12 34 76-80 H 35 UV12 35 81-83s H 36 UV12 36 831-84s E Resolution 37 UV12 37 841-85S E Lively love 38 UV12 38 851-868 E A Beggars Petition 3 9 UV12 39 861-8 7 s E 40 UV12 40 871 E Pretty Gifts 41 UV12 41 88-89S H Happy Home 42 UV12 42 891-908 Eternal Praises 43 UV12 43 90m L Freedom 44 UV12 44 901-918 L New Jerusalem 45 UV12 45 91m L Abundant blessings 46 UV12 46 911-928 L Reconciliation 47 UV12 47 921-948 H Perfect Peace 48 UV12 48 941-978 L Volunteer Soldier 49 UV12 49 971-1008 H The Judgment 50 UV12 50 1001-1028 H Wisdoms Path INJ M First Line Stanzas Author Aloha Notation 26 Oft In solemn m editation 5 27 1 love the rich pearl thats found 3 28 In the lovely vale of sorrow 3 29 Mighty God 1 do Implore thee 3 30 Illustrious Sister thou art gone 9 31 1 bid farewell to things of time 4 32 Swiftly files the weavers shuttle 5 33 What beautiful regions of perfect delight 4 34 Dear brethren and Sisters again we convene 10 35 How short and uncertain our stay 5 36 I've started on my journey 1 cdefcege 37 In Mother's love now we'll sing 1 cccceeg 38 Loving friends do help me 1 39 0 blow thy Sweet and gentle gale 1 40 See the gifts 1 41 How blight do the prospects arise 42 0 Holy Mother place my feet 1 43 Let us go forth to worship 1 44 1 am marching marching heavenward 1 ' 45 Give thanks my people salth the Lord 1 , 46 How pleasant Is the path 1 47 Far for beyond this vale of time 3 48 Behold a loyal company of soldiers brave and 2 GGccdecce 49 Search search vain mortals search 1 say 5 50 0 come pure Wisdom guide my feet 3 N) Rhuthmic Notation Comooser 26 27 28 29 30 31 32 33 34 35 36 Bcdefcege 37 4cccceeg 38 39 40 41 42 43 44 45 46 47 48 4G|8Gccd|ecce| 49 50 rsj wi MS Sono No. Poae No. Tudo b= £ 1 S S 2 — : D o t| T itle 51 UV12 51 1021-105s H Blessings of the faithful 52 UV12 52 1051-108s H 53 UV12 53 108m E 5 4 UV12 54 1081-1 I ls 0 A funeral hymn . . . Jacob Hoi away 55 UV12 55 1111-112S L 56 UV12 56 1121-113s E Mothers Love 57 UV12 57 1131-114s E 58 UV12 58 1141 E 59 UV12 59 115 E Pure Love 60 UV12 60 116-118s H The sea of time 61 UV12 61 1181-120s H

JkN) First Line Aloha Notation 51 How beautiful are those 6 5 2 0 Mother bless me with thy tender love 4 5 3 Thy gates shall be blessed 1 5 4 Our aged friend has gone 5 5 5 Come love come love pure heavenly love 1 56 0 don't you want Mothers love 1 cegedccc 5 7 1 love the pretty way of God 1 AddddAB 5 8 1 have 1 cegeeed 5 9 0 what came 1 60 This mortal life is well compared 5

61 Yet naught shall mar my constancy 2 ......

N) A. Rhuthmic Notation Comooser 51 52 53 54 55 56 Scelgedcccl 57 6A|4d8d4d8d|4A8B 58 8ce4g8eeed 59 60 61

00 APPENDIX B

INVENTORY UV22

2 4 9 MS Sona Mo. Paoe Ho. THP® Place Date T itle 1 UV22 1 l“5s 0 Oct. 8, 1844 A Funeral Hymn . . . Andrew C. Houston 2 UV22 2 51-7 0 3 UV22 3 8s 0 4 UV22 4 81-9 G

M O First Line Stanzas Author Aloha Notation 1 0 Angelic Spirits draw nigh 7 cGEGAcced 2 How Happy the Immortal mind 4 3 Farewell Beloved Brother 1 4 Farewell My Dearest Companions on Earth 2

NJ 252

9 g u <

!CM CMM APPENDIX C

INVENTORY UV13

253 MS ISoiiQ No.1 Paae No. tTuDO Place Date 1 UV13 1 1-3 H 2 UVI3 2 4-6 H 3 UV13 3 7-10 H 4 UV13 4 11-12 H 5 UV13 5 13 H 6 UVÎ3 6 14 H 7 UV13 7 15-168 H 8 UV13 8 17-189 H 9 UV13 9 181-19 H May 1844 10 UV13 10 20-228 H U. V. 1 St Order 1844 11 UV13 11 221-23 G 12 UV13 12 24 H 13 UV13 13 25 H U.V. 1st Order 1844 14 UV13 14 26-278 H U.V. let Order 15 UV13 15 271-28 H 16 UV13 16 29-308 H 17 UV13 17 301-31 H 18 UV13 18 32-348 H 19 UV13 19 341-35 H 20 UV13 20 36-398 H 21 UV13 21 391-408 H U. V. 1 St Order Dec. 1844 22 UV13 22 401-418 H U. V. 1 St Order Dec. 1844 23 UV13 23 411-438 H U. V. 1st Order Dec. 1844 2 4 UV13 24 431-458 H U. V. 18t Order Dec. 1844 25 UV13 25 451-468 H U. V. 18t Order Dec. 1844 \J\tsj Title First Line 1 Mother Ann's Birth Day All hall the great Millenium 2 Gods Visitation Hark ye little flock the trumpet sound 3 Mothers Western Flock My children shall grow In the Wests 4 Mothers marvelous work This marvelous work of my Mother Is great 5 Solid Rock Fear ye not ye little flock 6 Steadfast Desire 0 heavenly parents hear my prayer 7 A Balm of Love 0 come sweet love thou balm of heaven 8 The Way of God In obedience let me go 9 The Way of God In obedience let me go 10 A Prayer In Tribulation 0 Blessed Savior hear my pray'r 11 Heavenly Invitation Behold on Zion walls 1 stand 12 A Sincere Prayer 0 heavenly father hear me now 13 Prayer of Resignation 0 Heavenly Father 1 cry 14 Sabbath Morning Hymn Another week has pass'd away 15 Good Resolutions Whatever composes sweet union 16 Sincere Feelings Holy Father crown my spirit 17 An Angels Petition When Judgments like a might flood 18 Travel of Zlons Children True comfort now begins to flow 19 Time Hastens Time hastens on without delay 20 Beautiful Eschortatlon Cheer up and be encouraged 21 Yearly Sacrifice Mother says my loving children 22 Wide Awake Wide awake arise and shake 23 A Sure Foundation The laws Mountzlon 24 1 love the strait and narrow way 25 An Humble Prayer 0 God 1 love to feel thy power ro L/l Stanzas Author Aloha Notation Rhuthmic Notation Comooser % 6 2 6 3 8 4 4 5 1 6 2 7 3 0 3 9 3 10 3 11 3 12 2 13 2 14 3 15 3 8., A 16 3 17 3 18 5 19 3 20 7 21 2 22 2 23 6 24 3 H., A. 25 3 H., C. N) O' MS Sono No. Pooo No. Tfipe Piece Dete 26 UV13 26 461“46s H U. V. 18t Order Dec. 1644 27 UV13 27 461-498 H U. V. 18t Order N. H. 1644 28 UV13 26 491-50 H 29 UV13 29 51-52 H 30 UV13 30 53-54 H U. V. 18t Order 1845 31 UV13 31 55 L U. V. 1st Order 1845 32 UV13 32 56 H Union Village 1st Order 1845 33 UV13 33 57-56 H U. V. Second Order 1645 34 UV13 34 59 H U. V. 1 St Order 1645 35 UV13 35 60-618 H Ü. V. 1 St Order 1844 36 UVÎ3 36 611-65 H 37 UV13 37 66 H 36 UV13 38 67 H U. V. Second Order 1645 39 UV13 39 68-69 H U. V. 1 St Order 1645 40 UV13 40 70 H 41 UV13 41 71 E 42 UV13 42 72-738 H 43 UV13 43 731-74 H 44 UV13 44 75s H U. V. 1 St Order 1645 45 UV13 45 751-768 E U. V. 1st Order 1645 46 UV13 46 761 E U. V. 1 St Order 1645 47 UV13 47 77 E U. V. 1 St Order 1645 48 UV13 46 76-608 A 49 UV13 49 601-62 A N> 50 UV13 50 63-65s 0 L/l '«J Title First Line 26 The Voice of Wisdom The voice of pure wisdom Is calling aloud 27 Heavenly Desire 0 May 1 walk the narrow road 28 Hymn to Repentance Come purifying love and flow 29 Beauties of Zion All Hall! The bright celestial dawn 30 Praise and Adoration My heavenly parents I'll adore 31 The Pretty Way 0 the pretty pretty way 32 Sweet Devotion Come come be alive quick In every motion 33 The Comforter Now Mother says my children dear 34 A Penitent Prayer 0 Lord let thy spirits draw nigh 35 0 may repentance wash my soul 36 A tribute of respect Come aged friends and gather near 37 Gospel Purity In gospel purity and love 30 Heavenly Admonition 0 my soul be gathering good 39 In perfect resignation 40 0 heavenly father hear my cry 41 Love Is flowing like an ocean 42 With our little barks secure 43 The Angels are sounding 44 0 heavenly father hear me hear me 45 We will cry for the rocks to open 46 1 love to dwell In the lowly ground 47 1 love 1 love the power of God 48 0 Come 0 come says blessed mother 49 1 am calling 1 am celling my faithful servants home 50 Thomas Gee's Funeral hymn How sad and affecting the scene onPO 00 Stanzas Author Aloha Notation Rhythmic Notation Comoosor 26 3 27 2 28 3 29 4 30 4 31 2 H., A. 32 1 cdeedccddgg GcdôeeGdjôccddOggl 33 4 34 2 35 3 36 9 37 2 38 2 39 4 40 2 41 1 42 2 Collins, Harriet 43 3 44 2 45 1 46 1 47 1 48 1 Gccdedc 8Gc|4.c8ded4c| 49 1 cdedcc 8cd4e8dc4ci 50 4 cGEGGAcc 8.c|8GEG6GA8cci U1t o \0 MS Sona No. Pooo No. Type Place Dote 51 UV13 51 851-86 H 52 UV13 52 87-89 0 53 UV13 53 92-968 0 54 UV13 54 961-98 0 November 1, 1849 55 UV13 55 99-102 H 56 UV13 56 103-1088 H 57 UV13 57 1081-110 A 58 UV13 5a 113-116 H 59 UV13 59 117-1188 A 60 UV13 60 1181-121 H 61 UV13 61 122-1268 H Jen. 18, 1852 62 UV13 62 1261-1338 H 63 UV13 63 1331-1368 0 64 UV13 64 1361-140 0 65 UV13 65 142-143 0 66 UV13 66 144-146 0 1850 67 UV13 67 147-149 0 1850 68 UV13 68 150-1528 0 1850 69 UV13 69 1521-153 0 1850 70 UV13 70 154-1568 0 Aug. 17, 185[21 71 UV13 71 1561-160 0 Auguet 1852 72 UV13 72 161-164 0 Aug. 1852 73 UV13 73 165-1668 0 Aug. 6, 1854 74 UV13 74 1661-167 0 75 UVÎ3 75 168-1698 0 ro ON o Title First Line 51 How happy that immortal mind 52 This mortal life Is well compar'd 53 11 lustrous sister thou art gon 5 4 1 bid farewell to things of time 55 The vernal scene Is now returning 56 Dear Brethren and Sisters again 57 Heavenly blessings are free 59 How short and uncertain our stay 59 How blessed are the dead 60 The days of man are few 61 Of all the sad changes this earth does present 62 How solemn Is the warning given 63 Our aged friend has gon 6 4 As Shadows deepen o'er the land 65 Ye children of Mother Who love one another 66 What pleasant sensation where gospel relation 67 Kind loving friends of Mothers fold 68 Now as times approaching 69 Many cheering pleasant visits 70 Dear friends the time has roll'd around 71 Can we Shall we grieve no more 72 Ye winds of the morning 73 A Farewell 0 do receive our love kind friends 7 4 Welcome lovely ministry 75 Kind southern friends tv j ON 262

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C4 K> in Oi o « W in ID 03 Ol O M in in in in in in in s in ID ID ID ID ID ID ID ID ID ID h - h - h - MS Sono No. Pooo No. Tffpe Ploce Date 7 6 UV13 76 1691-1728 0 October 22, 1854 77 UV13 77 1721-174 0 76 UV13 78 175-178 0 March 9, 1858 79 UV13 79 182-185 0 Union Village Oct. 8, 1844 80 UV13 80 186-187 0 81 UV13 81 188s 0 82 UV13 82 1881-189 6 83 UV13 83 190-1938 0 84 UV13 84 1931-194 0 85 UV13 85 196-1988 0 December 21, 1846 86 UV13 86 1981-199 0 1 87 UV13 87 200-201 G 88 UV13 88 202-2048 0 U. V. 18t Order December 21, 1846

fO O' Title First Line 76 0 welcome 0 welcome ye chosen and few 77 The streams of life uncertain roll 78 Dear friends In silence we assemble 79 A Funeral Hymn . . . Andrew C. Houston 0 Angelic spirits draw nigh 80 Another on the same occasion How happy that 1 mortal mind 81 Another for the same occasion Farewell beloved brother 82 Farewell my dearest companions 83 A Funeral Hymn . . . Sister Catty RubartCome loving friends and gather near 84 Behold a pillar firm and strong 85 A Funeral Hymn . . . Daniel Redmon Our aged Brother and our friend 86 Another for the some occasion Our good brother Daniel Is gon 87 I've laid with the righteous 88 Sacred to . . . Brother Daniel Redmon Good Brother Daniel now has ceas’d

ro O' Stanzas Author Aloha Notation Rhuthmic Notation Comoosor 76 2 GABcGFGGF 8G6ABI4C8GF4G8GFI 77 4 78 7 egaabc" 6egaa4bC Boyd, C. 79 7 CGEGAcc 4.C8GEGIACC 80 4 81 1 82 2 Houston, Andrew C. 83 6 84 3 85 4 . 86 3 87 2 Redmon, Daniel 88 4

NJ O Ln APPENDIX D

INVENTORY UV23

266 MS iSono No.l Paae No. tTuDol Ploce Dote 1 UV23 1 1-3 H 2 UV23 2 4 -6 H 3 UV23 3 7 -1 0 H 4 UV23 4 11-12 H 5 UV23 5 13-148 H 6 UV23 6 141-15 H 7 UV23 7 16-178 H 8 UV23 8 171-18 H 9 UV23 9 19-20 H 10 UV23 10 21 H 11 UV23 11 22-238 G Union Village 12 UV23 12 231-40 H Union Village firet order 13 UV23 13 41-428 H 14 UV23 14 421-438 H 15 UV23 15 431-458 H Union Village first order 16 UV23 16 451-468 H 17 UV23 17 4 7 -4 9 H 18 UV23 18 50-518 H 19 UV23 19 51m L 20 UV23 20 511-538 H 21 UV23 21 531-548 H 22 UV23 22 541-588 H 23 UV23 23 581-618 H 24 UV23 24 611-638 H let Order 1844 25 UV23 25 631-64 H U. V. N. H. 1844 NJ O' ■sj T itle F irst Line S tanzas 1 Mother Ann's Birth All hall the^reat Millennium 6 2 God's Visetatlon Hark ye little flock the trumpet sounds 6 3 Mothers Western Flock My children shall grow In the West 8 4 Mothers marvelous work This marvelous work of my Mother Is great 4 5 A Balm of Love 0 come Sweet love thou balm of heaven 3 6 A Prayer In distress 0 blessed Savior hear my prayer 3 7 Heavenly invitation Behold on Zlons walls i stand 3 8 Sweet Repentance Time hasten on without delay 3 9 Supplication and Prayer Lord we now appear before thee 4 10 Steadfast Desire 0 heavenly Parents hear my prayer 2 11 The Angels Petition When Judgments like a mighty flood 3 12 The way of God In obedience let me go 3 13 Sabbath Morning Hymn An other week has passed away 3 14 Mothers Flock Fear ye not ye little flock 2 15 Rejoice In my goodness 4 16 Gods protection and Savior 0 God of my salvation 2 17 True comfort now begins to flow 5 18 Whatever composes sweet union 3 19 2 0 In the vale of peace and union 2 21 Come 0 come my little flock 2 2 2 Ture Encouragement Cheer up and be encouraged 7 2 3 A Sure Foundation The laws of Mount Zion 3 2 4 The Voice of Wisdom The voice of pure wisdom Is calling aloud 3 2 5 Heavenly Desire 0 may 1 walk the narrow road 2 N i O' 00 Author Aloha Notation Rhuthmic Notation Comoosor 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 ageegabba 4.a8g4eelgab8ba| 18 19 eecAAcA 4.e|8ecAAcAi 20 ccdaccde 8cc4.d8e|ccde 21 ABcdeeg 4A884c8d|4e8e4.gl 22 cdeeecd 8.cbd8ee|ec4di 23 GAcAGEE 4.GI8ACAGEEI 24 cAGGAcde 4.c8A|4G8GA4c8de| Gccdeg 8Gci4.c8d4eg| N) 25 ON «O MS iSonfl No. Poae Mo. iTupel Ploco D ate 26 UV23 26 65-66 H u. V. F. 0. Jan. 12,1645 27 UV23 27 67-668 H 28 UV23 26 661-708 H 29 UV23 29 701-728 H 30 UV23 30 721-738 H U. V. Second Order 1645 31 UV23 31 731-758 H South Union 1644 32 UV23 32 75b-76a H 33 UV23 33 77a-77b r i 3 4 UV23 34 77c-77b8 H 35 UV23 35 77d1-60 H 36 UV23 36 61-62 H 37 UV23 37 63-64 H 38 UV23 36 65-66 A 39 UV23 39 67 L 40 UV23 40 66 H 41 UV23 41 69-90 H 42 UV23 42 91 H 43 UV23 43 92-93 H Union Village 4 4 UV23 44 94-958 H Union Village 45 UV23 45 951 E 46 UV23 46 96 H 47 UV23 47 97 H 48 UV23 46 968 E 49 UV23 49 96m E 50 UV23 50 961-998 H N) "si O T itle F irs t Line S tan zas 26 A fervent prayer 0 God 1 love to feel thy power 3 27 Path of peace In gospel purity and love 2 28 In perfect resignation 4 29 Prayer of Tribulation 0 heavenly father hear my cry 2 30 Precious Promise 0 my soul be gathering good 2 31 The angels are sounding 3 32 A Humble Prayer Father 1 humbly pray 3 33 Arise my Soul with Courage new 3 3 4 Keep away keep away let my spirit go free 5 35 The Home of My Parents Let me go to that home 5 36 How blest Is the seasons 2 37 A Song of Voctory This little band of soldiers brave 1 38 A Funeral Anthem How blessed are the dead who die 1 39 0 holy Mother place my feet 1 40 My Home My Home Is the gospel a treasure to me 2

41 Enrapturing Scenes Vain world with all thy fleeting charms . 1 42 0 how 1 love the little few 2 43 Earnest entreaty 0 come pure wisdom guide my feet 4 4 4 Blooming Bowers Far far beyond this vale of time 3 45 What tho grief and sorrow fill my path 1 46 In humiliation dear Mother do lead me 2 47 Wings of time While on the wings of time 1 glide 1 48 0 heaven 0 heaven the heaven of heavens 2 49 Come gather come gather around I 50 Gospel Relation NJ My gospel relations 1 love them most dear 2 >sl Author Aloha Notation Rhuthmic Notation Comooaor 26 cAAgggac 2c4A8AG|4G6Ac| 27 GAceddca GGAceddcAl 28 edccGA 4e8d|4c8c4G8A| 29 CGEFGAGE 4.c4G8E|FGA4G8Ei 30 GAccdedc 8GAc4c8d|4e8d4c 31 GAIccdeAc 8GA|4c8cd4s8Ac 32 ggagecce 4ggagecce 33 34 cdedeg 4.c8d8.e6d8egi 35 36 3 7 30 39 cccdee 4.c8c4.c8d4.e8e 40 41 42 43 44 45 46 47 48 49 50 ts) "sj N> MS ISonaNo. Page Ho. iruoel Place Date I 51 UV23 51 991-100 H 52 UV23 52 101-1028 E 53 UV23 53 1021 E 5 4 UV23 54 103 E 55 UV23 55 104 E 56 UV23 56 105-109 H 57 UV23 57 110-1138 E 58 UV23 56 114-1208 0 March 26, 1858 59 UV23 59 1201-122 0 60 UV23 60 123-1268 0 61 UV23 61 1261-1278 0 Feb. '61 62 UV23 62 128-132 0 Sept. 11, 1860 63 UV23 63 133-1368 0 March 28, 1860 6 4 UV23 64 1361-139 0 Jan. 8, 1861 65 UV23 65 140-1438 0 66 UV23 66 1431-1468 0 April 10.1861 67 UV23 67 1461-149 0 68 UV23 68 150-1538 0 69 UV23 69 1531-156 0 Canterbury, N.H. 70 UV23 70 157-158 0 71 UV23 71 159-161 G 72 UV23 72 203 L 73 UV23 73 203 L 74 UV23 74 203 L 75 UV23 75 203 L T itle F irs t Line S tan zas 51 Lo 1 am your heaven Father 4 52 The blessed How blessed and jlorlous It Is 1 53 0 come heavenly love 1 5 4 AH who will themselves deny 1 55 0 come thou true virtue 2 56 When Jephta led forth 4 57 0 give me three grains of com Mother to 50 The sweet vernal breezes 7 59 A Lovers Funeral Lo our Mother still Is calling 5 60 Ale the Parkhurst Funeral Hymn The dags are numbered now of one 6 61 Dear brethren and sisters farewell 1 62 E. S ister Nancy He'S Funeral Hymn How fleet and uncertain the days and the years 6 63 Tunes . . . Ashbel Hetabel Hear the knocking, 0 how steady 6 64 Ell Houston’s Funeral Hymn How blessed and crowned above all others 6 65 0 life what art thou but a quick passing dream 6 66 A funeral hymn . . . Eliza Hunt Once more In the circle of times fleeting years 5 67 E. J. John’s Funeral hymn Time like an ever flowing river 6 68 What means this calm 1 69 Let holy calmness rule each mansion 2 70 Our days on earth at most are few 3 71 Think 0 think of what Is right 5 72 Wide awake we all must be 1 73 1 love to see the living soul 1 7 4 1 have a little union song 1 75 1 am a little cheerful dove 1 K) Author Aloha Notation Rhuthmic Notation Comoosor 51 52 Gccbceecd BGccbcaac4d 53 gefefg 4.g4.a6faf4.g 54 cdedcdefg 4cda8dc4dBaf2g 55 56 57 agagegg 6a3.g6oBgagg 58 cAGAce 4.c6A4GAce Hampton, 0. C. 59 60 cAGGEDCD 4.CBAI4G6GE406CDI 61 GAcAAAcc 4.GBAICAAACCI H., Danlcal?] 62 GFECEGcB 4.G6FIECEGCB 63 64 65 66 67 68 Gcdedefg 4G|cdad|afg Nicklas 69 edcAcd 4a|dc4.A8c|2d Nlcklas 70 ABcccBA 4AB|ccc8BA| 71 cegggggcg 4c8a4g8glggg4c8g Eadas, H. L. 72 cdedega 4c8d4a6d4a8g4.a 73 74 eccccddddsaeed 4a6ccccddddaaaa4d 75 GGEGcda 4GBG4EGc8d4.a ro MS ISono No.l Paae Ho. ITume P la c e D ate 76 UV23 76 203 77 UV23 77 203 L 78 UV23 78 203 L 79 UV23 79 204 L 80 UV23 80 204 L 81 UV23 81 204 L 82 UV23 82 204 L 83 UV23 83 204 L 84 UV23 84 204 L 85 UV23 85 204 L 86 UV23 86 204 L 87 UV23 87 204 L 88 UV23 88 204 89 UV23 39 204 L 90 UV23 90 204 L

tv} SJv•vI T itle F irs t Line S ten zes 76 Come pretty freedom fill 1 77 In the eheking work advance 1 78 Simple and free 3 mean to be 1 79 To heaven 1 am bound to go 1 80 Lo we are moving moving on 1 81 The purifying fire Is burning 1 82 See the lovely band of Angele 1 83 8 4 1 will march 1 will go 1 85 I'm bound for a happier clime 1 86 0 hasten on ye lovely few 1 87 Come come ye weary come 1 88 0 what peace and consolation 1 89 0 hasten on ye lovely few 1 90 1

N3 Author Aloha Notation Rhuthmic Notation Com oosor 76 edsgdedcd BeôdeBgdedcd 77 cdetgeacded ôcdeeSgôeeBcded 78 ccdeegeem 3cc6deegeee 79 efedBABde 4eBfedB6ABBd4e 80 cdecggogeag 4.cBd8c4gg4.aBgea4g 81 cdddegage Bc4d8d4d8a|4gBa4g8ei 82 cdcdaeeg B.c6dB.c6d8eeeg 83 GGccceeaccc BGG4cBcc4e8ee4c8cc 8 4 ceGFFECD [email protected] 85 GccccddcA 4G8c6cc8c6dd6cA| 86 GgeeadBAA 4G8g6@@8.@6d88A4A 87 cdedefg 4c8d4e8dafg 88 GGEGcdcG 4G8G4£8G4c8d4c8G 89 geedBAA 8ge8.e6d88A4A 90 cegfddeg [email protected]

oo APPENDIX E

INVENTORY UV16

2 7 9 MS ISono No. Pooo No. ITudoI Ploco Date 1 UV16 1 1=38 A 2 UV16 2 31-58 H 3 UV16 3 51 E 4 UV16 4 6-88 0 June 26, 1845 5 UV16 5 81-11 0 Union Village Oct. 1, 1844 6 UV16 6 12-138 G 7 UV16 7 131-148 A Firet Order N. H. 8 UV16 8 15-161 H 9 UV16 9 168-17 H U. V. let Order Centre H. 1844 10 UV16 10 18-198 A 11 UV16 11 19m E 12 UV16 12 191 E 13 UV16 13 20-218 E Firet Order North House 14 UV16 14 211 E 15 UV16 15 228 E 16 UV16 16 23-248 H N. House Sept. 28 17 UV16 17 241-25 0 18 UV16 18 26 H Union Village 1st Order Center House 19 UV16 19 27-288 H 20 UV16 20 281-29 H 21 UV16 21 30 H 22 UV16 22 31-328 H 23 UV16 23 321-338 H 24 UV16 24 331-348 H 1st Order North House 25 UV16 25 341-368 H ro 00 o T itle F irs t Line 1 Morning Dawn of Joy In Zion 0 Si an si Is len vool 2 In perfect resignation 3 1 love my beautiful Mother 0 holy Mother 4 A Funeral Hymn . . . Daniel Boyd Time 0 Time how swiftly flying 5 A Funeral Hymn . . . Andrew C. Houston 0 Angelic spirits draw nigh 6 Happy Mansion 0 my holy la vac ne voon 7 Draw near Draw near my beloved children 8 0 Mother hear my fervent prayer 9 Holy Father crown my spirit 10 Behold says the mighty and proclaiming 11 0 hearken to me my little ones 12 1 am a little bird from the heaven above 13 Praise to God 0 1 will sing praises to the God of heaven 14 1 love to dwell In the lowly ground 15 Serious Meditation Vain time vain time how fleeting 16 0 Lord give me a living sense 17 A Welcome Song Loving gospel kindred dear 18 0 Heavenly Father 1 cry 19 Mothers Children Holy Father crown my spirit 20 See Zlons children moving on 21 How freely does heaven her blessings bestow 22 Come lift up your heads all crossbearing few 23 Protect me 0 merciful father 2 4 0 Mother give me life and zeal 25 The Saviors Universal Prayer Our father who art In heaven M oo S tan zas A uthnr Aloha Notation Rhuthmic Notation 1 1 ccSfedcc 4ccGfi06dc2cl 2 4 edccGA 4e6d|4c8c4G6A| 3 1 4 5 5 7 6 1 Sally, El dress 7 1 8 3 9 3 10 1 11 1 12 1 13 1 14 1 15 1 16 3 17 3 18 2 19 3 20 3 21 2 22 3 23 2 2 4 2 25 5 NJ 00 tsj Com ooser 1 2 3 H., A. C. 4 Eads, Harvy L 5 Eads, Harvay and Oliver C. Hampton 6 Crosby, Louisa 7 8 Crosby, Louisa and Susanna C. Liddll 9 Hampton, Oliver C. 10 Eads, Harvey L. 11 12 13 14 Eads, Harvey L 15 Crosby, Louisa 16 17 18 Hampton, Oliver 19 20 21 22 23 2 4 25 ts) OO0 9 MS Sono No.i Pooe Ho. iTuooi P lace Date 26 UV16 26 361-388 H 27 UV16 27 381-39 A 28 UV16 28 40-418 H 29 UV16 29 411 E 30 UV16 30 44-458 E 31 UV16 31 45m E 32 UV16 32 451-468 E 33 UV16 33 46m E 34 UV16 34 461 E Shirley 35 UV16 35 478 L Harvard 36 UV16 36 471 E Eastern 37 UV16 37 48s E Union Village 38 UV16 38 48m E 39 UV16 39 481 E Centerbury, N. York 40 UV16 40 49s E U. V., Ohio 41 UV16 41 49m E 42 UV16 42 491 E 43 UV16 43 50 H Shirley 44 UV16 44 518 H 45 UV16 45 511 E 46 UV16 46 528 E Chh. 47 UV16 47 52m E 48 UV16 48 521 E 49 UV16 49 53 A 50 UV16 50 548 E N> 00 Title First Une 26 My Mother 0 Mother 1 do love thee 27 Stand stand ye fast stand ye 28 The way of life It Is so free 29 1 pray each word and thought 30 Holy Spirit Supllcated 0 holy Spirits pure and divine gather 31 The Savior’s Prayer 0 holy Father holy Fath the power roll 32 Cup of Wine My Mother has sent to me a cup 33 I’ll be alive and moving 3 4 Holy Love Love love holy love 35 Happy Hour I’m marching on to my happy hour 36 Angelic Band Hark hear the bright angelic band 37 Purifying Fire 1 feel my Mothers love Increase 38 Freedom Freedom freedom pretty way 39 Fervent Prayer 0 my God remember me 40 Pretty Home Here's my Mothers pretty love 41 The Fear of the Lord Fear ye the Lord 42 Car of Liberty I’ll glide over the waters 43 Come come on brave soldiers come 44 01 see on you 45 Golden Trumpets Lo the Angels tune sounding 46 0 holy holy living power 47 Come 0 come here’s heavenly love 48 My love my love Is from heaven above 49 Glorious Promises Ho ho salth your heavenly Father 50 Come my holy Savior’s love ts) 00 L /l Stanzas Autlinr Aloha Natation Rhuthmic Notation 26 4 27 1 28 2 29 3 30 3 31 1 32 2 33 1 34 1 35 1 36 1 37 1 36 1 39 1 40 1 41 1 42 1 43 2 44 2 45 1 46 1 47 1 48 1 49 2 1 NJ 50 OO ON Comooser 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 to •oOO MS Sona No.i Pooe No. ITuoe P lace Dote 31 UV16 51 541-558 L 52 UV16 52 55m E 53 UV16 53 551 E 5 4 UV16 54 56s H 55 UV16 55 561-57 E 56 UV16 56 58 E 57 UV16 57 59s E 58 UV16 58 59m E 59 UV16 59 591 E 60 UV16 60 60s E 61 UV16 61 601 L 62 UV16 62 61s L N. 8. 63 UV16 63 611 E N. 8. 6 4 UV16 64 62s E 65 UV16 65 62m E 66 UV16 66 621 E 67 UV16 67 63-658 E 68 UV16 68 651 E 69 UV16 69 66s E 70 UV16 70 661 E 71 UV16 71 67-68S A Chh 72 UV16 72 661 E 73 UV16 73 69s E 7 4 UV16 74 691 E U. V. First Order 75 UV16 75 70s E tsj OO 00 T itle F irs t Line 51 Repose Here's a place of repose 52 i want to feel more Love 53 Most hi God with Might and power 5 4 The angels are sounding on the golden trumpets 55 0 hear our Mother calling 56 Time time like fleeting flowers 57 Beauty of the Faithful 0 how beautiful are the faithful 58 Who led me to the faithful 59 Holy Mothers love Is flowing 60 Mothers Love Our mothers cup Is full of love 61 1 want to be united with 62 Arise my soul and move along 63 0 come holy love 6 4 Lo be se be van 65 Come love come love come love 66 ! have a little chosen band 67 Hark ye little flock the trumpet 68 Our Mother doth love 69 Now 1 feel my mother's love 70 In Zlons pure mention of rest 71 Veiled Messengers Arise go ye forth 12 0 come my dear children 73 1 love my blessed mother Lo Lo 74 Heights of Sina From the heights of fair Sina 7È 0 My Ever blessed Saviour ts ) 00 Stanzas Author Alaha Notation Rhuthmic Notation 51 2 Rollins, Lovlno 52 1 53 1 54 1 55 1 56 57 1 59 1 59 1 60 Heabast,John 61 1 62 1 63 1 64 4 65 1 66 1 67 68 1 69 W., J. 70 1 71 1 72 1 73 1 74 2 75 N) 1 O O Composer 51 52 53 54 55 56 57 58 59 60 61 62 63 64 ■ 65 66 67 68 69 70 71 72 73 74 75 NJ «O MS Sona No.i Pooe No. Tuoe Place Dote 76 UV16 76 701 E 77 UV16 77 71s E 78 UV16 78 71m L 79 UV16 79 711 E N. B. 80 UV16 80 72 H 81 UV16 81 73-748 A U. V. F. 0. 82 UV16 82 74m E 83 UV16 83 741 E W. 8. 84 UV16 84 75s E W. 8. 85 UV16 85 75m E W. 8. 86 UV16 86 751 E 87 UV16 87 76s E 88 UV16 88 76m E 89 UV16 89 761 E 90 UV16 90 77 H 91 UV16 91 78s E 92 UV16 92 781 E 93 UV16 93 79-80S H 94 UV16 94 801 L 95 UV16 95 81 H 96 UV16 96 82-83S H 97 UV16 97 83m E N. 8. 98 UV16 98 831-848 A 99 UVIê 99 841 E 100 UV16 100 85s H White Water N) N) Title First Line 76 0 come my children do 77 Solemn and Affecting Prayer When the storm s of sorrow roll 78 We will bow and bend like a willow 79 Come come holy power 80 Encouragements We'll Join with our Mother 81 The Pie 0 cene 0 Zion even now doth thy God 82 1 have a little crumb 83 Come come be alive gather wisdom 84 Holy angels round us hover 85 If I'll be patient meek and mild 86 Awake my soul press on thy way 87 On flowing stream's we'l sail together 88 Robe of Purity 0 what a pure and dear relation we are 89 Mother's love Is flowing 90 The beautiful gift of repentance 1 want 91 Come come holy love come come from above 92 The true heirs of Heaven 93 Hymn from Isah Chap 35 The Lord hath prom ised good to Zion 94 Good Resolution 0 now 1 will arise and Shake Shake 95 Love and Union 0 how blessed are they 96 Rejoicing Saints 0 rejoice rejoice 0 Jerusalem 97 Purifying Zion 0 let the power flow 98 Blessed are they salth the Lord 99 Steadfast Resolution Tho sorrow may roll with you 100 City of Light 0 Zion arise In beauty and gladness NJ Stanzas Author Aloha Notation Rhuthmic Notation 76 1 77 1 78 1 79 1 H., E. 80 4 81 1 82 1 83 1 Rollins, Lovlno 84 1 Hamton, Eliza 85 1 Ditto, Jane 86 1 87 1 88 1 89 1 998999 eggsgeggl 90 2 91 1 92 2 93 7 94 1 95 3 96 1 97 1 Hamton, Eliza 98 1 |W | 1 |100 2 N» O Comooser 76 77 73 79 60 81 82 83 84 85 86 87 88 89 90 91 92 93 94 9 5 96 97 98 99 vON) L/l MS ISono No.i Pooe No. ITudo Place Dote 101 UV16 101 651-668 E UV16 102 66m E UV16 103 661 L UV16 104 67s L UV16 105 67m E New Lebanon UV16 106 671 E UV16 107 66-698 E UV16 106 69m L UV16 109 691 E U. V. Chh 110 UV16 110 90s E 111 UV16 111 90m E W. Water Village 112 UV16 112 901 E 113 UV16 113 91 H 114 UV16 114 92-938 A U. V. First Order April 115 UV16 115 938 E U. V. Chh 1646 116 UV16 116 93m E 117 UV16 117 931 E 116 UV16 118 948 H Holy Mount Second Order 119 UV16 119 941 E UV16 120 958 E 121 UV16 121 951 E 122 UV16 122 968 E 123 UV16 123 96m E 124 UV16 124 961 E UV16 125 978 E NJ O OS T itle First Lins 101 Cheering Invitation 0 come all ye that seek salvation Lovely Vale This lovely vale 1 mean to treed 103 Pretty Freedom Bound up Wound up don't you hate to feel 104 Heavenly Race We have the heavenly race to run 105 Sweet Coneolatlon Sweet consolation fills my soul 106 Living souls for heaven bound 107 Here's holy Angels here 0 ye virgins rejoice rejoice 0 Mother give me holy power 110 Cheering Praises Remember 0 my children 111 Dependent Feeling 0 Mother help me 112 Come be advancing move while the w atters move 113 A sincere Prayer 0 heavenly Father do hear me 1 pray 114 La Vander ree Arise arise 0 Se la vander ree 115 Child's Petition Holy Holy Heavenly Father do protect 116 Let the music now begin 117 My children sals Mother do keep very low 118 Watchful Parent 0 my children says Mother 1 know every hart 119 When tribulation round you rolls The Beggar With care 1 will gather 121 Call to Zion Who shall praise the Lord 122 Song of Praise Hallelula shout and sing praises 123 Beautiful Rode 0 the beautiful way the Heavenly Rode 124 Freedom from Bondage Come come turn away from bondage NJ Wise virgins 0 See the virgins marching on O Stanzas Author Aloha Notation Rhuthmic Notation 101 2 102 1 103 1 104 1 1 1 11071 1 106 2 109 1 110 1 111 1 112 1 113 1 R., L 114 1 115 1 116 1 117 118 1 119 1 120 1 121 1 122 1 123 1 124 1 125 1 1 N» OO Comooser 101 102 103 104

1107

110 111 112 113 114 115 116 117 118 119 120 121 122 123

w sO O MS Sona No. Pooe No. ITuoel Ploco Dote UV16 126 97m E 127 UV16 127 971 E UV16 128 988 E UV16 129 98s E UV16 130 98m E 131 UV16 131 981 E UV16 132 998 E 1 3 3 UV16 133 99m E 1 3 4 UV16 134 991 E I135IUV1Ô 135 100-101b8 H New Lebanon 1 3 6 UV16 136 lO lbl E 137 UV16 137 1028 E New Lebanon Holy Mount May 18471?! UV16 136 1021-1038 H UV16 139 103m L UV16 140 1031 L 141 UV16 141 104 L 142 UV16 142 105-1078 H 1 4 3 UV16 143 1071 E 144 UV16 144 1088 E UV16 1 ^ 1081 E UV16 146 1098 E 147 UV16 147 109m E UV16 148 1091 E UVI6 149 1108 L UV16 150 1101 E Title First Line 126 Pe&sfui Shore 1 will praise and glorify my God 127 Wisdoms Blessings 1 have come says holy wisdom to strengthen Overflowing Treasure I've got Mother's love an overflowing treasure Power of God 0 the blessed power of God may 1 have Sounding Praise Sound 0 Sound the love of your God 131 The morning lark 1 am a bright Lark 132 Purity Desired 0 holy angels guard around me 133 Pretty Treasure Onley look and see pretty treasures 134 A Crown of Life When tribulation round you rolls 135Watchful Parent Rise my soul for Inspiration 136 Earthly things departing Away away all earthly things 137 The Saviors Call Living souls for heaven bound United Prayer 0 God we bow before the Pretty Road Let us walk the pretty road For the ministry How pretty you look like the heavens 141 0 how 1 love to dance 142 A Faithful P 1 will walk In true obedience 143 Erthly Things departing Away away all earthlly things 144 Blessing by Justification When you have your Justification 145 Lower yet 0 come salth Mother In love 146 Come be Mooving Come 0 come ye lovely band 147 Second Advent 0 Shout all ye living For heaven 1 am bound Bowing Low I'll bow my spirit low low low Angelic Band Low the Band of Holy Angels w o Author AlDho NototlonlRhuthmic Notatlonl 126 1 127 1 128 1 1 1 131 1 132 1 133 1 134 1 135 6 136 1 137 1 138 2 139 1 140 1 141 2 142 6 143 1 144 2 145 1 146 1 11471 1 1 1 1 w o N) Composer 126 127

130 131 132 133 134 135 136 137

•

141 142 143 144 145 146 147

w wo MS Sona No. Pooe No. Tuoe Ploco Dote 151 UV16 151 1118 E 152 UV16 152 1111 E 153 UV16 153 1128 E 154 UV16 154 1121 E 155 UV16 155 1138 E 156 UV16 156 1131 E 157 UV16 157 1148 L 158 UV16 158 1141 L 159 UV16 159 1158 E 160 UV16 160 1151 E 161 UV16 161 1168 E 162 UV16 162 1161 E 163 UV16 163 117-1188 A 164 UV16 164 1181 E w. 8. 165 UV16 165 119-1208 A u. Village Chh 166 UV16 166 1201-1218 E Holy Mount 167 UV16 167 121m E U. Village Chh 1848 168 UV16 168 1211 E 169 UV16 169 1228 A 170 UV16 170 1221 E W. 8. 171 UV16 171 1238 E W. 8. 172 UV16 172 1231 E W. 8. 173 UV16 173 1248 E 174 UV16 174 1241 E UV16 175 1258 w 175 H o T itle F irs t Line 151 Trumpet of Power Lo lo says Mother I have come 152 Fount of Love Will you walk with me to the fount of love 153 Lovely Band Come come ye lovely band 154 Fount of Love Will you drink with me 155 The Happy Land March on to Canaans happy land Banner of Love 111 wave my banner of love 157 A March March on march on 0 ye well beloved few Come little children be alive Angelic Band Lo the band of holy angels The sweetest employment that mortal 161 Come home to Mothers mansion 162 All mighty Jehova remember thy children 163 City of the Lord Behold the day of the Lord Purifying Fire of Zion 1 am thankful for the purifying fire The Sounding Trumpeters 0 Sound Sound ye holy trumpeters sound Faithful Servent Behold the field is fully ripe 167! Awakened Soul 0 how swift the moments roll Pretty Love Love pretty love 0 how 1 love to feel it Gospel Trumpet 1 am thankful for the gospel 170 0 Come be alive come be moving on 171 Love love is flowing 172 imploring Protection 0 Mother do protect me 173 Heavenly Home 1 am Moving on my way 174 0 Lord do protect us 175 Eternal Prais Holy holy 0 holy father o L /l Stanzas Author Aloha Notation Rhuthmic Notation 151 1 152 1 153 1 154 1 155 1 1 157 2 1 1 1 161 1 1 1 1 R., M. 165 1 166 1 167 1 \ 1 170 1 S., S. 171 1 H , E. 172 1 D., E. 173 1 174 2 175 1 LW O o\ Cofngoser 151 152 153 154 155 156 157

161 162 163

IÏ67T

170 171 172 173 174 175 w o •Nj MS ISona No. Pooo No. Tuoel PIOGO Doto 176 UV16 176 1251 E 177 UV16 177 126 H 178 UV16 178 127 H 179 UV16 179 128s A 180 UV16 180 1281 E 181 UV16 181 129s E UV16 182 1291 L ÜV16 183 130-131S H 184 UV16 184 1311 H UV16 163 132s H UV16 186 1321 E UV16 187 134s E UV16 188 1341-135s E UV16 189 1351-136s A UV16 190 1361-139s H U. V. r ï 9 î UV16 191 1391-140s H UV16 192 1401-141S H UV16 193 1411 E UV16 194 142s E H. Mount 195 UV16 195 142m E Holy Mount UV16 196 1421 E 197 UV16 197 143s E UV16 198 143m E UV16 199 1431 E w 200 UV16 200 1440S E o 00 T itle F ir s t Line 176 Come love come love 0 come humility 177 Saints Repose A rest from all sorrow and pain 178 The day of the Lord The day of the Lord 179 0 v1 Ian ale E ca ree voe 1 will go on my rejoicing Sweet and calmley moving on k a i Peaceful Abode Sing praises and give thanks A Good March We will march our on way Celestial Beauty Behold what celestial beauty Souls Desire Holy Mother bless 0 bless me A good Believer 1 mean to be a good believer 0 what Joy awaits the faithful Î87 True joining I'll bow In submission Drawn Sword Stand ye fast 0 my soul • Ho ho ho 1 am Be silent all flesh 191 0 our holy heavenly Father 0 let us bow In greatful thanks Heavenly Harpers Hear the heavenly harpers sounding Call to the Weary Com unto me All ye heavy laden Firm Premise Farewell to earth thy pleasures Love love let It roll |197|Sov1or Comfort Comfort one another my beloved children Victory 0 ye children of mount Zion 0 Lord protect my feeble bark Joyful March We have found the narrow way | tw soo Author Aloha Notation Rhythmic Notation 176 2 177 2 178 2 179 1 2 181 1 1 3 2 1 2 187 1 1 1 11 J., M. i9 i 6 192 2 193 2 194 1 Blake, Hannah 195 1 196 1 197 1 1 1 |2ÔÔ] 1 Cm O Comooser 176 177 178 179

181 182 183 184 185 186 187

191 192 193 194 195 196 197 MS Sono No. Pooo No. iTuoo P lace Doto UV16 201 14401 E UV16 202 144bs E UV16 203 144bm E UV16 204 144b1 E 205 144CS E 206 144C1 E

N) T i tl e F i r s t Line 2 0 1 Sacred Hymn Harpe that once on willows hung In 1o humiliation 0 come lay aside Geather out scatter out Ye shall be clothed 1206 0 who Is thirsty come come

(M 314

(ja L/l APPENDIX F

INVENTORY UV18

316 MS Sona No. Pooo No. THPe PIOGO Doto 1 UV18 1 1-2 A Union Village 1st Order 1845 2 UV18 2 3-4S A ü.V. 1st Order N.H. 3 UV18 3 41-5 s H U.V. 1 s t Order 1844 4 UV18 4 51-6 s E North House 5 UV18 5 61 E 6 UV18 6 7-8S A 7 UV18 7 81-9S E 8 UV18 8 91-IOs E 9 UV18 9 11-12 G 10 UV18 10 13 A Eastern 11 UV18 11 14-158 A 12 UV18 12 151 H 13 UV18 13 16-18S 0 14 UV18 14 181 E 15 UV18 15 19 H Centre House 1843 16 UV18 16 20-21 H 17 UV18 17 22 0 18 UV18 18 2 3 -2 4 0 19 UV18 19 25-26 E 20 UV18 20 27-28S H Eastern song 21 UV18 21 281 H 22 UV18 22 29 H 23 UV18 23 30 H 2 4 UV18 24 31-3 2 s H 25 UV18 25 321 H tu r-» N T itle F irs t Line 1 The Angels Coll Behold says the mighty 2 Holy Angel 1 am an holy angel 3 Obedience In obedience let me go 4 1 am your Mother your Mother 5 1 love my beautiful Mother 6 Guide Thro Tribulation Fear ye nor neither be ye faint harted 7 Comfort in Obedience 1 will comfort you my people 8 1 will Rejoice 0 i will rejoice yea 1 will rejoice 9 From the Angel of Love 0 my holy lavae na noon 10 Mighty Angel of Light Go ye forth go ye forth thou mighty angel 11 The Trumpet Sounding Angel Heark Heark the trumpet sounding Angel 12 Profitable Meditation 0 Lord give me a humble 13 A Funeral Hymn . . . Andrew C. Houston This mortal life is well compar’d 14 ■ With the Saints we will advance 15 Sabbath Morning Hymn Another week has pass'd away 16 Mothers Marvelous Work This marvelous work of my Mother 17 Funeral Hymn Behold a pillar firm and strong 18 A Funeral Hymn Come loving friends and gather near 19 Sound sound sound aloud 20 Sw eet Love 0 come sweet love thou balm of heaven 21 A Humble Petition 0 God of my salvation 22 Vain and Empty Time Vain and empty time move on 23 A Beautiful Prayer 0 heavenly Father hear me now 2 4 Deep Suplication 0 blessed savior hear my prayer 25 A Humble Entreaty 0 heavenly parents hear my prayer CM 00 Stanzas Author Aloha Notation Rhuthmic Notation Composer 1 1 Gccega 4Gcce4.g8a Eads, Harvey L. 2 1 Spinning, Lois 3 Hampton, Oliver C. 4 1 Crosby, Louisa 5 1 efgfecef 6efjgf4e2c8ef Houston, Andrew C. 6 1 Lockwood, Melinda 7 1 Risley, Lucina 0 1 Crosby, Louisa 9 1 Sally, El dress 10 1 GAccgged 8GA|2c6cg4g6ed| 11 1 GcGEOG 2GI4CGEDGI Russell, Sanford 12 2 R., L 13 5 14 1 15 3 16 4 17 3 18 4 19 1 20 3 21 2 Beedely, Abner 22 2 Patterson, Eunice 23 2 Hampton, Oliver C. 2 4 3 Houston, Andrew C. 25 2 Patterson, Eunice M «O MS Sona No. POQO No. Tjipe P lace D ate 26 UV18 26 33 H 27 UVI8 27 34 H 28 UV18 28 35s H 29 UV18 29 351 H 30 UV18 30 36s E 31 UV18 31 361 E 32 UV18 32 37s E 1842 33 UV18 33 37m E 3 4 UV18 34 371 L 35 UV18 35 38-39S H 36 UV18 36 391-40 A Union VIIage 1st Order 37 UV18 37 41s A 38 UV18 38 411-4 2 s A 39 UV18 39 421 H 40 UV18 40 43 A U.V. 1 St Order March 27, 1846 41 UV18 41 44s E U.V. 1st Order March 22, 1846 42 UV18 42 441 E 43 UV18 43 45s E Eastern Song 4 4 UV18 44 45m E 4 5 UV1S 45 451 E 46 UV18 46 46s E Eastern 47 UV18 47 461 L 48 UV18 48 47 H 49 UV18 49 48 H June 4, 1846 50 UV18 50 49s E w N> O T i t l e F i r s t L ine 26 Plain Truth Now I'll seek my faith plain 27 Blessed Day Blessed is the day that i enjoy 2 8 Sabbath Momg Hym Another week has pass away 2 9 0 my peace my peace with God 3 0 Heavenly Treasure Nothing on earth 1 prize above 31 Heavenly Love 1 love to gather heavenly love 3 2 0 my Mother do p ro tect me! 33 I love my pretty Mother 3 4 Be 0 le vender vender vo 35 Good Resolution Time hastens on w ithout delay 36 A Beautiful Anthem Rejoice rejoice 0 Zion rejoice 3 7 Song of the Ancient Shepherdes Ho ho se len a pa twah 38 The Trumpet of the Lord Blow ye trumpet of the Lord 3 9 0 what a rich blessing 4 0 Word of Eternal Power Behold saith the mighty angel 41 Bending Willow 0 bow low bow low and gather 4 2 0 who can think to sacrifice 43 Maternal Protection When sorrow s fill thy heart 4 4 Holy Jubilee Raise your voice you chosen few 4 5 Mothers love 0 come Mothers love 46 The Peacemakers 0 how blessed are the peace makers 4 7 Call for Action Come Brethren and Sisters While the fire 48 A Humble Prayer Father 1 humbly pray 49 Continued Elders can you forgive 5 0 Holy Love With holy love we are fill'd w ISJ A uthor Aloho Notation Rhuthmic Notation Com ooser 26 2 Houston, Andrew C. 27 2 28 1 29 1 30 1 Risley, Lucina 31 1 Risley, Lucina 32 1 Risley, Lucina 33 Risley, Lucina 3 4 1 35 36 1 37 1 38 1 39 40 1 41 1 42 1 43 1 Patterson, Emily 4 4 1 45 1 46 1 47 1 48 4 49 2 R., L

50 1 b s t NJ N) MS Sona No.Poae No.T|fpo Ploce 1 Date 51 UV18 51 49m E 52UV18 52 491 E 5 3 UV18 53 50s E 5 4 UV18 54 501 H 5 5 UV18 55 51 A 5 6 UV18 56 52 H May 5, 1846 5 7 UV18 57 53-60 H 5 8 UV18 58 61-62s A Union Vlllag 1st Order 1846 5 9 UV18 59 621 E 6 0 UV18 60 63 H ü.V, 1 s t order Sept 4, 1846 61 UV18 61 64-65 A Sept 1846 6 2 UV18 62 66 A Union Village 1st Order 1846 6 3 UV18 63 67 A Union Village First Order 6 4 UV18 64 68-69 A Oct. 11, 1846 6 5 UV18 65 7 0 -7 1s A 66 UV18 66 71m A 6 7 UV18 67 711-73S H 68 UV18 68 731-74s A 69UV18 69 74m E 70UV18 70 741 A 71 UV18 71 75-76S A 72 UV18 72 761-77S A 7 3 UV18 73 771-78S A 7 4 UV18 74 781-80s H 7 5 UV18 75 801-81s H M N) ÇjO T itle F irs t Line 51 Heavenly invitation Come come come come 0 come my Children 52 Holy City 0 low the holy Angels 53 Holy S p irits 0 holy spirits pure and divine 54 A Prayer 0 my heavenly parents 55 Holy Seraphs 0 come holy seraphs 56 A Humble Petlton In deep supplication 111 pray 57 The Wandering Allen When gentle spring 1 had clad 58 The Mlllenlal Morn Arise arise cryeth the watchman 59 0 hall! 0 hall! this glorious day 60 A Heartfelt Prayer Blessed Mother don't forget me 61 Heavenly Music Hoi Hoi 0 rejoice rejoice 62 The Heavenly Fathers promise Ho ho saith your heavenly Father 63 Angels Commission Seal ye my servant 6 4 The glory of Zion Arise and shine 0 Zion 65 A beautiful Anthem My son the savior of men 66 Heark 0 do hearken ye 67 0 come sweet peace 68 Mother weeps she weeps In sorrow 69 Come come here Mothers love 70 0 Zion 0 Zion rejoice rejoice 71 Hearken 0 earth and hear ye heavens 72 Rejoice rejoice 0 my children 73 Leap leap for joy leap all ye 7 4 The prophets saw In vision 75 0 blessed gospel happy sound w NJ Authcr Aloha Notation Rhuthmic Notation Comoosor 51 1 5 2 1 5 3 1 5 4 2 5 5 2 5 6 2 R., L. 5 7 19 5 8 Sharp, Sally 5 9 6 0 61 1 Martin, John 6 2 1 Sen, Polly Clark 6 3 1 Reynold, William 6 4 1 Paterson, Cl arise 6 5 1 Houston, Eli 6 6 6 7 6 8 1 Spinning, Stephen 6 9 1 7 0 1 71 1 Hunt, Eliza 7 2 1 Hampton, Charles 7 3 1 Legier, Naomi 7 4 5 7 5 3 w N) LVI MS Song No. Pooo No. T||P8 P lace Date 76 UV18 76 811 A 77 UV18 77 82s A 78 UV18 78 82I-83S A 79 UV18 79 831-85S A 80 UV18 80 851 A 81 UV18 81 86s H 82 UV18 82 861 E 83 UV18 83 87-88S A 8 4 UV18 84 881 A 85 UV18 85 89-90S A 86 UV18 86 901-91S A 87 UV18 87 91-9 2 s A 88 UV18 88 921 E 89 UV18 89 93s E 90 UV18 90 931-9 4 s A 91 UV18 91 941-9 5 s A 92 UV18 92 951-96S A 93 UV18 93 961 A 9 4 UV18 94 97-98S A 95 UV18 95 981-99S A 96 UV18 96 9 9 1 -100s A 97 UV18 97 1001 A 98 UV18 98 103s E 99 UV18 99 1031-104 H w ro O' T itle F irs t Line 76 Lo 1 am an Angel of Gods 77 1 love the blessed gospel 78 1 am a holy angel of God 79 Come 0 my lovely children 80 In the low valley of union 81 The devil Is offended 82 0 Sing ye saints the joys of heaven 83 Holy Mothers Love Words rightly spoken peace 8 4 1 le voo 1 le voo nee nee 85 Blessed ore the Chosen of the Lord Blessed are they saith the Lord 86 Lift up thy voice like a trumpet 87 0 1 see a re len a va 88 Rejoice and be comforted my children 89 0 fear ye not my little flock 90 Behold the trumpet sounding angel 91 Arise go ye forth my holy se vas ta ve no 92 0 brethren and sisters let us humble ourselves 93 With angels bright and holy spirits 9 4 Stand ye stand ye fast 95 0 Zion even now doth thy God 96 0 what glory and beauty 97 On the banks of sweet freedom 98 A quick conscience Is a blessing 99 When Joseph his brethren beheld LW NJ •sj Stanzas Author Aloha Notation Rhuthmic Notation Com ooser 76 1 Voluntlne, Lewis 77 1 Johnson Prudence 78 1 Buchanan; Melinda 79 1 Balllt, Alratha 80 1 McNeely, Rebecca 81 82 1 83 1 8 4 1 85 1 Patterson, Elcey 86 1 Houston, Denica 87 1 Risley, Lucina 88 1 89 1 Graham, Marla 90 1 Duncan, Rachel 91 1 Miller, Lucy 92 1 93 1 Voluntlne, Lewis 9 4 1 Ligler, Jesse 95 1 Miller, Moses 96 1 Faith, Lucy 97 1 98 1 99 5 tw N) 00 APPENDIX G

INVENTORY UV20

329 MS Sona No. Poae No. THpe Place Date 1 UV20 1 1-48 A 2 UV20 2 41 A 3 UV20 3 5-78 A 4 UV20 4 71-88 A U. V. l8t order March 27, 1846 5 UV20 5 81 H 6 UV20 6 98 H 7 UV20 7 91 E 8 UV20 8 10 A 9 UV20 9 11-128 A 10 UV20 10 121-138 H 11 UV20 11 131 A 12 UV20 12 148 E 13 UV20 13 141 E 14 UV20 14 15 H 15 UV20 15 16 H 16 UV20 16 178 E 17 UV20 17 17m E 18 UV20 18 171 E 19 UV20 19 168 H 20 UV20 20 181 E 21 UV20 21 198 E 22 UV20 22 191 E 23 UV20 23 208 E 24 UV20 24 20m E 25 UV20 25 201 E CM CM Title First Line Stanzas 1 0 sound holy praise unto the Lord 1 2 Thus saith your Heavenly Father 1 3 Zlons Beauty Rejoice rejoice 0 Zion 1 4 Word of Eternal Power Behold saith the mlghty^Angel 1 5 A Prayer 0 my heavenly Parents 2 6 How precious Is the heavenly way 3 7 i love the precious way of God 1 8 0 come ye bright seraphs 1 9 Blow ye the trumpet of the Lord 1 10 No pleasure In babies dark region 4 11 The Saviors Blessing 0 my ve 0 Is ven les v1 1 12 0 holy spirits pure and divine 1 13 0 Zion 0 Zion arise 1 14 Father 1 humbly pray 3 15 We now have come to the close of the week 2 16 0 holy Father holy Father 1 17 In humble prayer to thee we bow 2 18 Our Mother now Is calling 1 19 Low down In the valley 2 20 Come 0 come my little ones 1 21 Hark hear the heavenly harpers 1 22 While we re going on our way 1 23 0 holy holy Mother 1 24 The angels are sounging 1 25 w I've prepared a holy fountain 1 oa A u th o r Aloha Notation Rhuthmic Notation C o m p o ser 1 ceggageg 6cel2gg|8age4.g| 2 cegedc 2c|4eg8ed4cl 3 Gccgged 8Gc|2clg8ge4dl 4 gogec 8g6a8ge2c| 5 GAccde 4.G8A|4c6cd8e 6 edeAcd 4.e8d|4eAcd| 7 cegggeg 4.c8ei4g8ggeg| 8 9 cdegegcd 4.c6de2gi4egcdl 10 cdcGAGdd 4c8d|cGAGdd| 11 gcegedeed 2gc|4e8gedeedl 12 ogees 2a8ge|4e2ai 13 ggegcde 4.g|8gegcdel 14 gggedccde 2g4gg|e8dc4c8de| 15 EGGGAcce 8EG|4686A4c8ce| 16 cdeddd 4.c8d4e8d|4d2d| 17 eedbdd 2ej8ed4b4.b8di 18 egeggaaa 6e|gegg8a6aa| 19 Gcdefgga Gi8.c6d8ef4g8go| 2 0 egaabge 4e8g4a8a|4b8g4.ei 21 cggaagg 4c8ggiaoggl 2 2 ccedega 8cced|eg4o| 2 3 cdedef 8.c6d|8edef| 2 4 cedceg 8c|edc4.e8gi 2 5 edegaac'ag 8.e6d8eglaac'6agl CM CMrsj MS Sona No. Paae No. THpe Place Date 26 UV20 26 218 E 27 UV20 27 21m E 28 UV20 28 211 E 29 UV20 29 22s E 30 UV20 30 22m E 31 UV20 31 221 E 32 UV20 32 23s E 33 UV20 33 231 E 34 UV20 34 24s E 35 UV20 35 24m E 36 UV20 36 241 E 37 UV20 37 25s E 38 UV20 36 25m E 39 UV20 39 251 E 40 UV20 40 26s E 41 UV20 41 26m L 42 UV20 42 261 E 43 UV20 43 27s L 44 UV20 44 27m L 45 UV20 45 271 E 46 UV20 46 28s E 47 UV20 47 28m E 48 UV20 48 281 E 49 UV20 49 29s E 50 UV20 50 29m L Title First Line Stanzas 26 Holy holy we must be pure 1 27 0 come holy holy power 1 28 A sweet melodious sound I hear 1 29 1 feel my Mother's love Increase 1 30 Come blight angelic fire divine 1 31 Hark hear the heavenly harpers 1 32 0 Zion 0 Zion arise and press forward 1 33 Holy angels are descending 1 34 March on 0 ye trumpeters 1 35 0 brethren and sisters 1 see a blight band 1 36 We will labour night and day 1 37 0 come ye afflicted 1 38 Sound sound your trumpets loud 1 39 0 come holy holy power 1 40 Hall the day of Jubilee 1 41 0 my soul be awake 1 42 Send forth thy blessing 1 43 As we march around the fountain 1 44 He will labour night and day 1 45 0 come lay aside every heavy burden 1 46 Here 1 fly through the earth 1 47 0 my soul be awake 1 48 The angels are descending 1 49 Come my holy Savior’s love 1 50 Brethren will you now receive 1 A uthor 1 Aloha Notation Rhuthmic Notation Composer 26 cdcAcAA 8.c6d8cA|cA4A| 27 cdcGAAcd 4c8d4c8G|4A8A4c8d| 28 Gccee 8G|4c8c4e8e| 29 cdeggag 8c6de|8ggag| 30 ccdde 8c|4c8d4d8e| 31 cggaoge 4c8gg|aage| 32 ggegedec 4.g8gegiede4.c| 33 cegggab 8celggg6abi 3 4 ceggageg 8ce|4g8.g6a|8ge4g| 35 ccdegab 8c|cdegabl 36 ccAGAcc 8ccAG|Ac4c| 37 ceggaigee 8ce|4g8ga|8ge4el 38 cccgag 4c8cc|8ga4gi 39 cdcGAAcd 4c8d4c6G|4A8A4c8d| 40 GAcedced 4G8A4c8e|dce4.d| 41 cdedeg 4c6d4.ei4d8e4.gi 42 edcdee 8.e6d8cd|4eei 43 EEcAAA 8EEI8.C6A8AAI 4 4 ccAGAcc 8ccAG|Ac4c| 45 ceggf 4ce|8gg4fl 46 cdece 8cd|4e8cel 47 cdedeg 4c8d4.el4d8e4.gi 48 Gcccc 8G|4c8c4c8c| 49 egabage 8eg8.a6b|8ag4ei 50 ccccGGG 6cccc6G8Gi OOw KJI MS iSona Ho. Paae No. ITuoe P la c e Dote 51 UV20 51 291 G New Geloucester 52 UV20 52 30 L 53 UV20 53 318 E 5 4 UV20 54 31m L 55 UV20 55 311 E 56 UV20 56 328 L 57 ÜV20 57 321 E South Union 1847 58 UV20 58 338 E 5 9 UV20 59 33m E 60 UV20 60 33! E 61 UV20 61 34 H 62 UV20 62 358 E 63 UV20 63 351 L 6 4 UV20 64 368 E 65 UV20 65 36m E 66 UV20 66 361 E 67 UV20 67 378 L 68 UV20 68 371 L 69 UV20 69 388 E 70 UV20 70 381 E 71 UV20 71 398 E 72 UV20 72 39m E 73 UV20 73 391 E 7 4 UV20 74 408 E 75 UV20 75 401 E w tw o\ T itl e F i r s t L ine S ta n z a s 51 What is prettier than freedom freedom 1 5 2 0 brethren and sisters do let us be 1 5 3 Here we go here we go 1 5 4 Skip skip like fauns 1 5 5 0 come gather gather 1 5 6 I'll labor to gain the gifts of God 1 5 7 Come come come end eat here is the bread 1 5 8 Come love come love come love undefiled 1 5 9 0 holy holy living power 1 6 0 0 come come holy love 1 61 1 go 1 go to my happy mansion 1 6 2 M others Love My love my love is from heaven above 1 6 3 A march of comfort Rejoice 0 my beloved 1 6 4 Come come gather love Mother’s love 1 6 5 0 my soul 0 my soul 1 6 6 More love more love Brethren and S iste rs 1 6 7 0 now 1 mean to rise and fight 1 6 8 0 here we move all in a band 1 6 9 0 my soul 0 my soul 0 hear ye 1 7 0 0 come celestial breezes of heaven 1 71 All my talents while 1 live 1 7 2 More zeal more zeal more pow er 1 7 3 0 how sweet 0 how caring 1 7 4 We'll soar away on wings of love 1 7 5 Away away on wings of victory 1 Author Aloha Notation Rhuthmic Notation Comoooor 51 cGGAGE 6CG6GAGEI 52 eedde 4e|ed8d4.el 53 ccdegg 8cc4dl8eg4gl 5 4 CDDccAG 4.C4D8DI4C8C4A8GI 55 ccGGAccd 4c8c4G8G|4A8c4c8di 56 cdddgg 8c|ddd4g8g| 57 gceggc 4.gc|8egg4.c| 58 gcdceg 4.gc|dciegl 59 cegged 4.c8ei4gg8edl 60 ggeegeA 4.g8g|4ee|8ge4A| 61 Gccece 4G|8cceGce| 62 efgag 8ef|4g8ag| 63 cdeedcd 8.c6d8eeldc4d| 6 4 cgeec 4cg|8ee4c| 65 GAcdeg 8GA4c|8de4gj 66 ggggffded 8gggg|f6fd8ed| 67 ceegeee 8.c8e6e|8g6e8ebe| 68 cdeeec 8.c6d|8eeec| 69 GAcdeg 8GA4c|8de4g[ 70 cdeggag 8cde|8ggagi 71 cAAGA 4C6AAGAI 72 Gcdccde 8.Gc|dc|c8d6e| 73 ccecefe 8cc4e|8cefei 7 4 ceggggagag 4c6ei4g8g4g8g|aga4.gi 75 ceggggggec 14c8e|4g8g4g8gl4g8g4e8c| W 00 MS Sona No. Peoo No. T||po P lace Date 76 UV20 76 418 E 77 UV20 77 411 E 78 UV20 78 428 E 79 UV20 79 421 E 80 UV20 80 438 E 81 UV20 81 43m E 82 UV20 82 431 E 83 UV20 83 448 E 8 4 UV2Ô 84 441 “45s L 85 UV20 85 451 L 86 UV20 86 468 E 87 UV20 87 461 L 88 UV20 88 478 E 89 UV20 89 471 L 90 UV20 90 48s E 91 UV20 91 481 E 92 UV20 92 498 E 93 UV20 93 491 E 9 4 UV20 94 508 E 95 UV20 95 50m E 96 UV20 96 501 E 97 UV20 97 518 E 98 UV20 98 51m E 99 UV20 99 511 L 100 UV20 100 528 E T itle F irs t Line S ta n z a s 76 Lo 1 fly 1o 1 fly 1 77 Sweet sweet the sweetest of love 1 78 On the wings of love 1 79 Love love holy love 1 80 We have bro't Mother's love 1 81 I have a little chosen band 1 82 Here Is a ball of holy heaven 1 83 Beautiful upon the mountain 1 84 Why 1 wander you don't laugh 1 85 Who will bow and bend like the willow? 1 86 1 hate bondage I love freedom 1 87 0 ye virgins rejoice rejoice 1 88 Hall glorious light of gospel truth 1 89 Lo the morning has come the day 1 90 0 here Is love love love pure love 1 91 We re going home to heaven 1 92 1 can tell you what makes me 1 93 In thanksgiving we'll raise our voices 1 9 4 Mothers love Is flowing 1 95 1 love the lovely way of God 1 96 Come come be alive gather wisdoms 1 97 1 will pass on my way 1 98 Thou art welcome tribulation 1 99 Come let us all with one accord 1 100 0 union thou cementing bond 1 o A uthor Aloha Notation Rhuthmic Notation Comoooor 76 GAcccdc 8G6Ac4c8cd4ci 77 ggegecee 4.g4g8elgec4o8el 78 GGccdd ôGGiBccddl 79 cccee 4ccl6ce4el 80 GABcAGG 6G6AB4c|8AG4Gi 81 Gccddefed 4G|8ccdd|efedi 82 ccceglabcgeg 8c6cc8eg|6abBc6ge8g| 83 eeggaage 4e8e4g6gi4a8a4g6el 8 4 ccGGGFDDDD 8.c6cGG8GiF6DDD8.D| 85 ceggddddc 8ce8.g6g|8d6ddBdc| 86 ccdcdege 8ccdc|dege| 87 cdedcceg 8cd|4e8dc|4c8egi 88 cdedcc 4c8d|4e8d4c8ci 89 ccegegg 4c8cleae4g8gl 90 cceggfdc 4c6ce|4gg|8fd4c| 91 CEGGcAG 8CE4GI8GÔCA4GI 92 ceggageggeg 4.c8e4g8ga|4g8eg4g8egl 93 ceggggg 8ce|4g8gg|4ggi 9 4 998999 figgegBggi 95 CCCcc 6CI8C6C6c6cl 96 ggggcffdd 8gg6gg8c|6ffdd 97 GGcccccd 8GG|4c8cc|4c8cd| 98 cdedegged 8cde6de|8gged| 99 ccceg 8c|4c8c4e6g| 100 cdeeeedc 8.c6d|4ee|8eedcl MS iSono No. Pooo No. Tuoel P lace 101 UV20 101 521 E 102 UV20 102 538 L 103 UV20 103 53m E 104 UV20 104 531 E 105 UV20 105 548 L 106 UV20 106 541 E 107 UV20 107 558 E UV20 106 551-568 E UV20 109 561 E 110 UV20 110 578 E 111 UV20 111 57m E 112 UV20 112 571 E 113 UV20 113 568 E 114 UV20 114 58m E 115 UV20 115 581 L U. V. 116 UV20 116 598 E U. V. 117 UV20 117 591 E p. H. 118 UV20 118 608 E 119 UV20 119 60m E 120 UV20 120 601 E 121 UV20 121 618 L 122 UV20 122 61m E 123 UV20 123 611 E PH. 124 UV20 124 628 E UV20 125 62m E PH. LW A. tvj T itle F irs t Line S tan zas 101 Let the music now begin 1 102 We have the Heavenly race to run 1 103 Let us walk the pretty rode 1 104 0 don't you want a little sip 1 105 Come on let us march 1 106 Will you drink with me 1 107 Lo la band of holy Angels 1 108 0 praised be God let his praise 1 109 Hark hark the voice of a Mother 1 110 Roll on ye mighty power 1 111 1 will praise and glorify my God 1 112 Heark heark hear the sound 1 113 Come little children be alive 1 114 On flowing streams we'll sail 1 115 As we forward now advance 1 116 Now I feel the sweet emotions 1 117 I'll play on my fife 1 118 0 give me strength power and zeal 1 119 We'll wing our way to mansions fair 1 120 I'll arm myself with weapons bright 1 121 Come 0 come ye heavenly band t 122 1 see a glorious paradise 1 123 I'll leave this fleeting world below 124 I'm bound to gain complete salvation 1 125 1 behold bright angels marching 1 LW WA. A uthor Aloha Notation Rhuthmic Notation Comoooor 101 ccccddde 4c8c4c8c|4d6d4d8e| 102 cddeee 6ci4d6deeel 103 cdeeedge 4cdleei6edgel 104 cdcde 4.c|4dBc4d6ei 105 ccGEGcAGA 4ccl8GE4Gi8cAGA| 106 GGGABcdd 6GG|6G6A88c6dd| 107 cccegageg 8.c6c6ce|8g6aj6egl 108 Gclccccef 8Gc|c6cc8c6ef| 109 efgobaeag 8e6fg4ab|8aa6ag 110 ccGAGEG 8.c6c8G|A6G8E66i 111 efgaged 8ef|8.g6a8g6ed! 112 cceed 8.cc|8e6e8.di 113 GGccd 6G|6G6c8c6d| 114 cccegaage Sclcceglaagel 115 ceggaag 6c6e8g6gi6a6a6.g| 116 AAGGAcdd 4A8A4G8G|4A6c4d8d| 117 Gcccccc 8G|8c6cc8c6cc| 118 cdeeeddcA 8.c6d|8ee4e|8dd8.c6A| 119 Gcdedededd 8Gi4c8d4e8d|ede4d8d| 120 cdeeedc 4c8d|4e8eedcl 121 cegedceg 8ceg6ed|8ce4g 122 eegeddccc 8s|eg8.e6d|8dcccl 123 dddee 6d|8d6d8e6e| 124 Gccsed 8G|cc86edl 125 CEGGc 8CE|4G8Gc| MS Sona No. Pooo No. T u d o P iece Date 126 UV20 126 621-638 E u.v. 127 UV20 127 63m E s.u. 128 UV20 128 631 L P.M. 129 UV20 129 64s E PH. 130 UV20 130 641-658 E 131 UV20 131 65m E 132 UV20 132 651-668 E 133 UV20 133 668 E 134 UV20 134 661 E 135 UV20 135 678 E 136 UV20 136 67m E 137 UV20 137 671 E 138 UV20 138 68s E 139 UV20 139 68m L 140 UV2Û 140 681-698 H 141 UV20 141 69m E 142 UV20 142 691 L 143 UV20 143 70s E 144 UV20 144 70m E 145 UV20 145 701 L 146 UV20 146 71s E 147 UV20 147 71m E 148 UV20 148 711 E 149 UV20 149 72s E 150 UV2Û 150 721 E T itle F irs t Lina S tan zas 126 Mothers love Mothers love 1 127 1 am leaveing all thats earthly 1 128 While on the strength of life 1 129 My time and talents I'll devote 1 130 1 love my beautiful Mother 1 131 Awake my soul arise arise 1 132 Arise my soul arise thy holy zeal 1 133 Roll on roll on 0 heavenly power 1 134 While angels sing the heavens ring 1 135 Come come be filled 1 136 Here is a little wine 1 137 Come pretty children 1 138 To mansions far more glorious 1 139 See the faithful all advancing 1 140 Awake awake all ye that slumber 141 Comforting Promise 1 will be with my dear children 1 142 0 Mother 0 mother 0 heavenly mother 1 143 Press ye on my children dear 1 144 I will comfort the afflicted 1 145 Shout shout ye little children 1 146 Press ye on beloved children 1 147 Awake come 0 my soul 1 148 Vain world farewell farewell 1 149 Contentment 0 thou lovely treasure 1 150 Mother Ann's Prayer Almighty Jehovah remember thy children 1 A uthor Aloha Notation Rhuthmic Notation Comoooor 126 ecdecc 8ec4dl8ec4c| 127 cdedeg Bcdledegl 128 ccege BcIceB.gôel 129 egeee 4e|4g6e4e8e| 130 ceegag 8c|4eBegagi 131 ecccde 8e|4c6ccde| 132 cGGedee 8c|4GBG4c8d|4.ee| 133 cceggeag 4ccl8eg4g|4a8agl 134 GGGGGcccc 6Gi8G6G8g6giBc6c6c6ci 135 ggeefaaa 8gg6eeBf|8a6aa 136 ceggagg 4cl6egga8gg 137 cddeeaaag Bc6dd6ee|6a6ag 138 cdeede B.c6d|8eedel 139 cdeeAAGG 4c8d4e8ei4aBa4gBg| 140 Acccceedcc 6AiB.c6c6cc|eed6cc| 141 GABcBAdGE BGBABBcBIAdGEI 142 ceddag Bci4e8ddi4agi 143 cdegaee 8cdeg|ae4el 144 GAcAGA BGAlcAGAI agfeeec 4a8.g6f|8eeeci 146 eeefgeed 8e6e8e6f|8g6eBe6d| 147 Gccdddg 8G|4cc|8dddgi 148 GGAcceec 4GBGA|4cc|4e6eci 149 ABCBAA 8ABI4C8B4ABAI 150 GAAcAAGG 4GA2Ai8cAAG2G| OO MS Song No. Page No. T}|pe P lace Date 151 UV20 151 73s E 152 UV20 152 741 E 153 UV20 153 74 H 154 UV20 154 75s E 155 UV20 155 751 E 156 UV20 156 76s E 157 UV20 157 761 L 158 UV20 158 77s E 159 UV20 159 771 L 160 UV20 160 78s E 161 UV20 161 78m E 162 UV20 162 781 E 163UV20 163 79s E 164 UV20 164 79m E 165 UV20 165 791 L 166 UV20 166 80s E 167 UV20 167 801 L 168 UV20 168 81s E 169 UV20 169 81m E 170 UV20 170 811 E 171 UV2Ô 171 82s E 172 UV20 172 821 E 173 UV20 173 83s E 174 UV20 174 831 L 175 UV20 175 84s E w 4k oo Title First Line Stanzas 151 For Canaan I'm bound 1 152 Who shall praise the Lord 1 153 Holy holy 0 holy father 1 154 0 how the Angels do rejoice 1 155 1 love 1 love my children 1 156 0 hark ye and listen 1 157 1 will bow before my mother While living power flows so free Come let us be alive 1 160 Heavenly love Is freely flowing 1 161 Hoar's a blessing bear's a treasure 162 Come love come love thou heavenly treasure 1 163 Freedom Is a pretty sight 1 164 This Is the lovely way divine 0 1 will labour to come low 1 Be Joyful joyful 0 rejoice 1 1671 We'll leap and skip and play around 1 Move on move on 0 ye little Virgen band 1 Our work In this vain world 1 170 Away away on freedoms wings 1 171 0 mother give me vangance 1 172 Sweet and calmly moving on 1 173 0 come heavenly dove 1 174 We will march on our way 1 175 1 love this holy heavenly way 1 O A uthor Aloha Notation Rhuthmic Notation ComgBoser 151 CEGGGGGc 8CEi4G8GG|4G6Gc| 152 cdccgg 4.c8di4ccgg| 153 eggegg 8eg4g|8eg4g| 154 CCCCEccAc 8C6CC8CE|ccAci 155 egggage 8egl2g4g|8a4.g4e| 156 Gcddeece 4.Gic4d8d|4e8e4c8e| 157 cegfeced 4ce4.g8fl2e8ce4dl 158 cdddeddcd 6ci8d6d8d6e|8d6d8c6di 159 ggoagee 8g6gaageel 160 ccdeffed 8c6c8d6a|8f6f8e6d| 161 cdegoagg 8cdegiaaggi 162 GccGcd 4G8ci4c864c8d| 163 edccegg 6edcceg8gl 164 GGccScd 8G|4G8c4c8b|4c8d 165 ceggaga 4c8e|4g8gagal 166 egggee 8eg|4ggieel 167 ceggag 4c8e|4.g8gagl 168 ceggagegg 4c|8egg6agl8eg4gl 169 ggfedcd 4.g|8gf8dcdl 170 deeedcccc 8d|488e4e8d|4c8c4c8c| 171 edddddc 8e|6dddd6dci 172 GAccAGG 8G6A8c6c|8A6G8.G| 173 cAGGAcAc 8 cA|4G8GA|4 c8A cI 174 edccdceg 8ed|4c8cd|4c8egi 175 cdefgf 4c8di4e8f4g8f| oa o MS Song No. Page No. D u s P lace Data 176 UV20176 841-85s E 177 UV20 177 85m L 178 UV20 178 851 E 179 UV20 179 86s E UV20 160 86m E 181 UV20 101 861 E UV20 182 87s E UV20 183 87m E UV20 184 871 E UV20 185 88s E UV20 186 881 E 187 UV20 187 89s E 188 UV20 188 891 E 189 UV20 189 90s H 190 UV20 190 901 E 191 UV20 191 91s E 192 UV20 192 91m E 193 UV20 193 911-92 H 194 UV20 194 93s E 195 UV20 195 931 E 196 UV20 196 94s L 197 UV20 197 941 L 198 UV20 198 95s L 199 UV20 199 95m E 200IUV20 200 951 E T itle First Line Stnnzas 176 0 guardian angels hover around me 1 177 Let us march on our way 1 178 Time time Is swiftly rolling 1 179 While we enjoy a rich supply 1 Ye sacred powers possess my soul 181 Holy holy heavenly father 1 182 Farewell to earth thy pleasures 1 183 Comfort one another my beloved children 1 184 The treasures of the gospel 1 185 0 lord protect my feeble bark 1 186 Holy Father holy father hear 1 187 0 my God my heavenly Father 1 1 love I love I love them dear 1 To the Alter of truth 1 1 hate the flesh the nasty flesh 191 Here Is life here Is love 1 192 I've gathered me a little store 1 193 How pleasant and cheering 194 0 this glorious gospel day 1 The Lord will sustain all 1 Now 1 mean to be In motion 1 197 0 come shake yourselves 1 I'll bow In humility 1 Now here Is my resolution 1 0 repentance 0 repentance 1 w un ts j A uthor Aloha Notation Rhuthmic Notation Comoooor 176 cegogeg 8.c6ei8g6ag8egL 177 egggag 8 egl 4 gl 9 6agl 178 GAAcccAgg 4G|8AAcc|cAgg| 179 CEGGcd 4C8E|468G4c8d| 180 eefged 8e|efg4c8d| 181 cGcdecAG 4.c8G4.c8d|4ocAGi 182 GcdeedccA 4G8cdt4ee|8dccA| 183 cegaggg 8cega|4ggi 184 GAAcdeeed 6G|8A6ABc6diBe6e8e6d| 185 GGAccAG 2G4G8Ac|2c4.A8G| 186 cedegag 4.c8ede4gi4.a8gge4dl 187 EGAcBBcBA 4EGAc|BBc8BAl 188 eggeggag 8eg|2g8egl2g6agi 189 efgaggcc 8ef|4gBagi4gBccl 190 Gcdecfedc 6G|8c6d8e6c|8f6e8d6c| 191 eggeec 6eg8g6ee8cl 192 cegggaagg eclegggaaggl 193 cdeeeged 4c6d|8eeegedl 194 GGGGGcca 8GGG6GG|8 cc46| 195 cdeeeegg 4.c8d|4e8ee4e8ggl 196 cdedggge 8c6d8e6d|8g6g8g6e| 197 cdedccggg 8.c8.diBe6d8.c|8c6c8g6gi cdefedc 6c6de6fedci ggegggec 8g6g8e6g|8g6g8e6c| edcegd oo 2eBdc4e|2gdl on OJ MS Sons No. Pm b No. , P lace Dote 201 UV20 201 96s E UV20 202 961 E UV20 203 97s E 204IUV201 204 971 E UV20 205 98s L U.V. 1 St Order 1849 UV20 206 98m E U.V. 1 St. Order 1849 UV20 207 981 E 208 UV20 208 99s E 209 UV20 209 99m L 210 UV20 210 991-100s E 211 UV20 211 100m E 212 UV20 212 1001 E 213 UV20 213 101s E 2 1 4 UV20 214 101m E 215 UV20 215 1011 E 216 UV20 216 102s L 217 UV20 217 102m E 218 UV20 216 1021 E 219 UV20 219 103s E 220 UV20 220 103m L 221 UV20 221 1031 E UV20 222 104s L UV20 223 104m E UV20 224 1041 L |225 UV20 225 105s E CM VVI T itle F irs t Line S tan zas 201 0 Zion 0 Zion thy beautiful city 1 202 0 God of wisdom power and justice 1 203 Arise and be joyful 1 204 0 come come thy blessed children 1 205 Now 1 mean to shake shake 1 Little children 0 rejoice 1 207 I mean to be a volunteer 208 0 come all ye Seraphs 1 209 Come down lower lower lower 1 210 Pride and lust will have to go 1 211 Here In the living work of God 1 212 0 my spirit 0 my spirit 0 my spirit 1 213 Down down 1 want to come 1 21 4 Onward onward let's be going 1 215 Come come Mothers love 1 216 See the happy happy throng 1 217 I'll be a volunteer to rout 1 218 I'll press my way through trials 1 219 Here pretty love Is flowing 1 Tarry not tarry not 1 [2 2 1 1 have put on my armor 1 Nothing ee'r shall hinder me 1 Far far before me 1 224 Serve the Lord with gladness 1 Almighty angel In the midst 1 uo L /l L /l A uthor Aloha Notation Rhuthmic Notation Comoooor 201 Gcccdece 6Gci4c6cd4eBce| cegogee BcelgBagBael ECCCccc 8E|4C8CC|4cBcc| aggecccc 8ag|4g8galcccc| 205 CDEFGAcBAB 8CD6EF8G|Ac68A88i ABcAcde 8A6B6c6A|8c6d8.a| 207 egggsggaa 6e|8g6g6g6e|8g6gBa6a| 208 209 CGEFEDEFED 4cG|8EFED|EFED| 210 211 cdddegsdc 6ci8d6d8d6ei6g6e8d6c| 212 213 aedcAAG 8.e6e6d|8c6A8A6gi 2 1 4 egageedc BegB.aBglBeedcl 215 cGAcd 8.c6.G|6.A6c8.d| 216 eedcAdd 6e6e8d6c|BA6dB.d| 217 geeffdd BgBeelffddI 218 ceggag B.cBeiBggagI 219 ceecceg BcBaeiccegl 220 ccAGGE 6cc8A6GGBEl 221 aegeeccc 8eel4g8ee|4c8ccl 222 edccefg BadccefBgi 223 ecBAAG 8.e8c6B|8.A8A6G| 22 4 ccccdd BccccBddi 225 GGcccidd 6Gl8G6cBc6ci8d6d MS Sona No.l Paae Ho. Tuoel Place Date 226 UV20 226 1051 E 2 2 7 UV20 227 1068 E 228 UV20 228 1061 L UV2Û 229 107s E UV20 230 107m E 231 UV20 231 1071 L ÜV20 232 108s L 233 UV20 233 108m E UV20 234 1081 E 235 UV20 235 109s L UV20 236 109m E 237 UV20 237 1091 E UV20 238 110s E UV20 239 110m E UV20 240 1101 E 241 UV20 241 I l l s E 242 UV20 242 111m E 243 UV20 243 1111 E 2 4 4 UV20 244 112s E 245 UV20 245 112m L 246 UV20 246 1121 E 247 UV20 247 113s E |248|UV20 248 1131 E 249IUV20 249 1148 E w 1 250 114m E VI T itle F irs t Line S tnnzns 226 I'll serve the Lord with pleasure 1 227 0 come my dear children 1 Happy are they who from righteous 1 0 my peace my peace 1 0 who can think to sacrifice 1 231 Free and limber 1 will be 1 232 With the saints I will advance 1 233 0 hall 0 hall this glorious day 2 3 4 0 what peace and heavenly love 1 2 35 A wake a rise and shake your selves 1 236 I'll leav my crops 1 will be free 1 237 0 low the Holy Angels are marching 1 0 come holy holy fire 1 0 come come ye weary 1 0 bow low 0 bow low 1 2411 In his humiliation where peace 1 0 time 0 time how swift 1 0 come holy power 1 Raise your voice ye chosen few 1 Come Brethren and Sisters while the fire 1 Come come come come 0 come my children 1 247 With holy love we are filled 1 248 Here's a cup of Mothers wine 1 0 the blessings from above 1 1 oa Unto you I'll bring glad tidings KJi 00 Author AI oho Notation Rhuthmic Notation ComDooor 2 2 6 cceggee 6c|8 c6e8 g 6g | 8 .e8 e 227 ggogegg 2g4g8ag|4e8gg 228 ddeded 4d8de|4d8edl 229 cdccddeg 4.c6d4ccid8de2gi 230 ageegedde 2a|4geegleddel 231 gggcgee 8 g 6g 6g 6c|6g 608 .ei 232 ABcdeedd 8 A688 c6di 8 e6e8 d 6d| 233 ddeegaga 8 d 6d 8 e6e|6g 6a8 g 6a| Gcdeege 8G|4c8d4e8e|4g8e cdeeec 4c6d|4e8e4e8ci 237 cdegga 8 cd| 8 .e6g 8 ga| 238 ccAAccG 4c8c4A8A|4c8c4.G| 239 cegaged 8ce|4g8ag|8e.6d coAcce 4c8ei4A8c4c8e| 241 ceggag 4c6e|4g8g4a8gl 242 ceggggeed 8celgggg|4e6edl 243 eegeee 8 ee6geee| 244 gfecedefg 8g6f6ec|6edef4g| geogag 4g6ee8gl4agl eegaga 4e8.e6g|4a8.g6ai 247 Gcdefe 4G8cd|4e8fei GGccdcA 4G8G4c6c|4d8c4.A| ededsgaa 4e8de4d|4o8g4a8a| GGccced 8 GG|ccc6edi w un yO MS iSona No. Pooe No. Tuoe Place D ate 251 ÜV20 251 1141 E 2 5 2 UV20 252 1158 L 2 5 3 UV20 253 115m E UV20 254 1151 E 2 5 5 UV20 255 116s E 2 5 6 UV20 256 116m E UV20 257 1161-1178 E UV2Û 256 1171 E UV20 259 1168 E UV20 260 116m L 261 UV20 261 1161 E 2 6 2 UV20 262 1198 E 2 6 3 UV20 263 1191 E 2 6 4 UV20 264 1208 E 2 6 5 UV20 265 1201 E 2 6 6 UV20 266 1218 E 2 6 7 UV20 267 121m E 2 6 8 UV20 268 1211 E 2 6 9 UV20 269 1228 E 2 7 0 UV20 270 122m E 271 UV20 271 1221 E 2 7 2 UV20 272 1238 E 2 7 3 UV20 273 123m E PH. UV20 2 74 1231 E PH. UV20 2751248 LPH. Oo O' o T itl e F i r s t L ine S ta n z a s 251 I'm thankful 1 am call'd 1 2 5 2 As Mother's little children 1 2 5 3 Love love holy love 1 Come come here's heavenly love 1 2 5 5 Here's my Mothers pretty love 2 5 6 Now old self comes next in view 1 Come sweet repentance 1 0 Mother give me holy power 1 Come come here is Mothers love 1 2 6 0 1 want to be united 1 261 0 what a pretty sight 1 Where the storms of sorrow roll 1 I've started on my Journey 1 Who led me to the fountain 1 2 6 5 Persevere says holy Mother 1 266 I'm thankful for this pretty way 1 2 6 7 Sweet love is flowing 1 2 6 8 HsQvanly Comforts 0 don't you hear the drums 1 The Heavenly comforter has come 1 0 1o the happy day 1 271 0 let thy holy power 1 2 7 2 1 have come 1 have come 1 2 7 3 Come come do be free 1 Come on good souldiera don't delay 1 Drink drink drink with me 1 O' Author Aloha Notation Rhuthmic Notation C o m p o ser 251 Gcdeg 4G|6cdegl 2 5 2 AcAAGAAG 4AI6CAAG8A6AGI 253 cccdee 2cci8cd4e2el cBBcBAG 4.c4B8B|cBA4.G| 2 5 5 efedeao 8efed|eo4a| 2 5 6 cccAGECG 4cBc4c8A|4G8E4C8G| 2 5 7 GAAcd 8G|4A8A4c8d| ceded 4.c|4c8d4e8d| Gceedcd 4.G4.c4e8e|4d8c4.dl cAAcc 8c|4A8A4c8c| |261 cccccG 8 c6cccc8 G| 2 6 2 2 6 3 cdeece B.c6d| 8 eece| 2 6 4 cAAccAAG ScAAôccI 2 6 5 ccecdecA 8 cc8 .e6c|8 decA| 2 6 6 Gccdece 6G|8 c6c8 d 6e|8 c6e| 2 6 7 cABcdde 8 .c6A8 c|8 .d 8 d 6e| 2 6 8 GGGcdee 8 GiGG8 .c6d| 6ee 2 6 9 eddcAGA 4e8dd|cAGA| 2 7 0 ccccec 4c8.c6c|8ce4c| 271 EGGAccA 6E|8 G6G8 A6c|8 c 6A 2 7 2 Gcccdeae 8Gc|4c8cd|4e8ee| 2 7 3 cccAGABAG 8 cc6cA8 Gi6A8 AG 2 7 4 GcccBc 8 Gicc6cB8 c| 275 cceedcccce 8cc6ee8d|4c6ccce ÜU OS Nî _____ MS Song No. P a w No Type Place Date UV20 276 124m E PH. 277 UV20 277 1241 E P.H. UV20 278 125s E P.M. UV20 279 1251 E Enfield UV20 280 1268 E PH. 281 UV20 281 1261 HPH. UV20 282 127s E W.W. UV20 283 1271 E W.W. UV20 284 128s E UV20 285 1281 E UV20 286 129s E UV20 287 1291-130S E Eastern 288 1301 E Eastern 289 131s E Eastern 290 131m E Eastern 291 UV20 291 1311 E Eastern 292 UV20 292 132s E 293 UV20 293 1321 E 294 UV20 294 133s E 295 UV20 295 1331 E 296 UV20 296 134s E 297 UV20 297 1341 E 298 UV20 298 135s E 299 UV20 299 135m E 300 UV20 300 1351 E oa oaO'* T itle F i r s t L ine S ta n z a s 2 7 6 Roll on Mothers love roll on 1 2 7 7 in the pretty way of holy Mother 1 2 7 8 Come come holy Angels 2 7 9 Proise to the Two anointed Ones 1 will shout a song of victory 1 2 8 0 A Desire for power 0 Mother do not leave me 1 2 81 I’ve planted thee 0 Zion 1 2 8 2 Dear Companions Come come my dear companions 1 283 i hunger and thirst 1 2 8 4 Onward onward we'll be moving 1 2 8 5 Sw eet Wine Drink drink sweetest wine 1 2 8 6 Mother’s Kind love My spirit is feasting 2 8 7 Perfect Resignation To the 0 my Mother 1 288 Mother Ann’s Earnest Suplication Hear me 0 my God 289 Praise ye everlasting praise 1 0 my soul be awake 1 291 Bright as the morning sun 1 292 You shall have my love 1 2 9 3 Good Resolution I’ll spend my life i294|Refreshing Breezes Here 1 so ar on the wings 1 Swelling Tide Cast your bread upon the waters 1 i will lead my chosen people 1 Precious Way How sw eet and lovely 1 P retty Love Here is love pretty love 1 Mothers way an easy way 1 When the flood of tribulation 1 w o\ A u th o r Aloha Notation Rhuthmic Notation C o m o o ser 2 7 6 gecegg 4g8ec|eg4gi 2 7 7 AGAAcde 8.A6G8AA|6.c6d4e| 2 7 8 AccAAG 4Ac|8cAAG| 2 7 9 ABcdee 8ABcd4.eBei cdedee B.c6d| 8 edee| 281 GAGAge 2G4AG|Ag2e| 2 8 2 GccBABc 4G8c|4c8BABci 2 8 3 ccAGGGcde 4.c6cAG|4GBGcdei cdceggec B.c 6d 8 ce|ggecl 2 8 5 GcGFEDEF 6GC6GF8 EI6DE6F 2 8 6 cBAdecABA 4cBB|AdecA6BA| 2 8 7 GAcAAGE 2.GI4ACAIAGEI 2 8 8 AGGGAc 4.ABG2GI4GBACI 2 8 9 agagegr 4.a8giag4e6gfl GABccb 6G6AB|4c8cB| 291 eeddcd 4e6edidc4dl 2 9 2 GcccdcAG 8Gc|4cc|8dcAG| 2 9 3 cdeece 6.c6d| 8 ee8 .c6ei 2 9 4 Gcccdegge 8 Gcc6cd| 8 egge| 2 9 5 GABcBcdcG 4G8AB4cB|cdcG| 296 egaabbeb 8 eg 6.a6a|8 bbabl 2 9 7 deeefe 0d|4e8eefel 2 9 8 cceegg 6cc0e6eg 8 gi 2 9 9 GAccAGG 0G6A0c6c|8A6G0.GI 3 0 0 AcAGAcAGEE 0AcA6GA|8c6AG8EE| a» MS ISono No.l Pooe No. ITuool Place Dato 301 UV20 301 136s E 302 UV20 302 136m E 303 UV20 303 1361-137s E 304 UV20 3 04 137m E 305 UV20 305 1371 E UV20 306 138s E UV20 307 138m E Enfield UV20 308 1381-139s E Enfield 309 UV20 309 139m L Eastern 310 UV20 310 1391 E Enfield 311 UV20 311 140s E Enfield 312 UV20 312 1401 E Enfield 313 UV20 313 141s E Enfield 314 UV20 314 141m L Enfield, N.H. 315 UV20 315 1411 E Enfield, N.H. 316 UV20 316 142s HPH. 317 UV20 317 142m E P.H. UV20 318 1421-1438 E S.U. 319 UV20 319 143m L UV20 320 1431 E Eastern [321“UV20 321 144s L UV20 322 144m L UV20 323 1441 E W.B. UV20 324 145s E P.H. OJ UV20 324 145m E S.U. o\ OH T itle F i r s t L ine S ta n z a s 301 Come come be awake 1 What a home 1 have in Zion 1 3 0 3 Bonds of sw eet Union In bonds of sweet Union 1 I've inlisted in the war 1 Lord let thy power roll Arise arise and let us go on 1 3 0 7 Come brethren and sisters there is no need 1 Zion Is my home In Zion is my home 1 Heavenward March We'll be marching along on our journey 1 310 Heirs of Glory Fear not fear not 0 ye strong 1 311 Humble Petition 0 Heavenly Father kind and true 1 3 1 2 Real Joy Though angny billows beat beat 1 313 Clear Sight Lift up your eyes ye sons of light 1 3 1 4 Reconciliation How pleasant is the path i 315 Thanks for the Gospel 1 will sing aloud my thankfulness 1 3 1 6 Farewell 0 Earth Farewell to thy pleasures 1 3 1 7 0 come ye little lovely band 1 3 1 8 0 let us join that lovely band 1 319 With my own power 1 Consoling Thought A few days of trouble 1 321 With the armies of heaven 1 Come on ye brave and valient souldiers 1 Here flows the pure waters 1 0 pretty little lambs 1 1325 Flow in flow in heavenly love 1 ua •vj A u th o r Aloha Notation Rhuthmic Notation C o m p o ser 3 01 GGcccGAGF 8 GG6cc6c|6GAGF 3 0 2 egoagga 8eg|4aa6gg4al 3 0 3 cAcAGAGG 4c8AicAGAGG| 3 0 4 egggeefdd BeglggeoBfBddI 3 0 5 eeegsd BeBeegeBdi 3 0 6 CEGGGcccc BCiEGGGIccccI 3 0 7 cAAGGA 8CAI4ABGG4AI Gccdecd 8Gc|4.cBd4e6cd| GccGGGfe 8Gc|4cBGG|4G8fd| 3 1 0 CEGEGcAG BCEI4G8EGI4C8AGI 311 eeddea 4e|6ed4deal 3 1 2 ABcBAG 4.ABBI4CBAGI 3 1 3 GGcccdddd 4G|8Gccc|dddû| 3 1 4 cdeeedded 4c8d|4e8e4e8d|4.d4eBdl 3 1 5 cdeededcA 8cd|4e8ed4.eBdlcA 3 1 6 cdedccdede 4c8dedcicd6ed4.el 3 1 7 Acccccdeg 4A|8c6c8c6c|6cde6.g| 3 1 8 GAGGGAcc 4G|8AGGG|Ac4c| 3 1 9 egaaage 6egl4aaiaBgel GAGAGAc 8GA|4.G8AGA4c| ABccdedcd 6AB|4c8cd|edcdl ccGGFEG 8ci4c8G4GBF|4EBG cdeeddcad 8cd|4e8ed|dcedl AcdcAGcd 8 A|6cdcAGcBd| w CEAGGAc 4C8EIAG4GI8AC ON 00 MS Sona Ho. Poae No. THpe P lace Date 326 UV20 326 1451 E 327 UV20 327 1468 E W. W. V. 328 UV20 328 1461 E Pleosant Hill 329 UV20 329 147s E Eastern 330 UV20 330 1471 E 331 UV20 331 148s E Eastern 332 UV20 332 148m E U. V. 1850 l?l 333 UV20 333 14810 E Eastern 3 3 4 UV20 334 1481b E 335 UV20 335 149s L 336 UV20 336 149m L 337 UV20 337 1491 E 338 UV20 338 150s E Eastern 339 UV20 339 1501 E 340 UV20 340 151s E Eastern 341 UV20 341 151m E Eastern 342 UV20 342 1511 E 343 UV20 343 152s E Second family 3 4 4 UV20 344 152m E U. V. 1st Order 345 UV20 345 1521 L U. V. 1 St Order 346 UV20 346 153s E Eastern 347 UV20 347 1531 E Eastern 348 UV20 348 154s E 349 UV20 349 1541 E 350 UV20 350 155s E Cm O' vO 1 ______T i tl e . 1 F i r s t L ine S ta n z a s 3 2 6 I'm bound for heaven here 1 3 2 7 We will praise holy Mother 1 I've sacrificed my all 1 0 1 am delighted with the beautiful 1 Roll on roll on 0 holy power 3 31 My love says Mother 3 3 2 I'll crucify self will 1 3 3 3 Upon this holy mount 1 Let sweet music roll 1 3 3 5 Holy City As we march as we march to the city 1 Victorious Band March heavenward ye victorious band 1 3 3 7 1 will soar far away 1 0 come my dear children says Mother 1 Will you go with me to the fount above 1 Holy Fountain Come unto my holy fountain 1 3411 Gospel Work A joyful work's before me 1 342 Share mor 1 343 Glorious Warfare 0 1 will turn swift 1 3 4 4 0 blow thy sweet and gentle gale 1 3 4 5 Shake off every fetter 1 3 4 6 [Song of Praise My voice I'll raise In songs 1 3 4 7 Come on my young companions 1 I'm a sweet little harbinger 1 1 am a conforter 1 See the gifts of God descending 1 w o _____ I A uthor Aloha Notation Rhuthmic Notation Com ooser egagec 8 e|8 .g 6a8 g 6eci 1327 1cgaggecgg 8cgl4a8ggiecggi cdedcc 4.c8d|4e8d4c8c| Gcccccdee 8Gc|4c8cccdee| edcdeggd 8 e6dc 8 de| 8 g 6gd Warren [?1 331 GAGccd 4G|4AG|4c8cd| 332 cegfaf 8 c6e|8 g 6f 8 e6f| 333 ceggaagg 8 c6e|8 g 6g 8 a6a|8 g 6g AeedcAA 8 A6e8 e6d| 8 c6A8 .A| 13351 CEGGGGcA 8CEI4686GI4G8CAI 336 cegeced 8celge4c|8.e6d 3371 CEGAAGAc 8CEI4G8AAI468ACI ccdeegag 4c|8cdee4g8agl Gccccee 6Gc|8 ccc6ee| eegeeddc 8 e6e8 g 6e|8 e6d 8 e6c| 341 Gcccdaccc 4.G|4c8ccde|4.c4c8c| 342 eecdegage 8 e6ec8 de| 6gage GAccde 4G8A|4c8c4d8e| Ccdccc 8 Cc6dccc| cegged 6ce|8 ggedl 347 cdeeec 8 .c6d| 8 eeecl 348 1 ggcccedc 8gg|4c8ccl8ed4c| 349 1 cdeedcccd 4c8d|4e8e4d8ci4.c4c8dl 350 cdeeAAGE 8 c6d 8 e6e|8 A6A8 G6E| MS Sona No.l Pooe No. iTuoei Ploce Dote 351 UV20 351 1551 E U. V. 1st Order 1851 352 UV20 352 1568 E 353 UV20 353 156m L UV20 354 1561-1578 E 355 UV20 355 1571 E Enfield 356 UV20 356 1588 E Enfield UV20 357 1581 E Enfield 358 UV20 358 1598 E K. V. 359 UV20 359 1591 E South Union UV20 360 1608 E S. y. 361 UV20 361 1601 E K. V. UV20 362 1618 E 363 UV20 363 1611 E UV20 364 1628 E 3 65 UV20 365 1621-1638 E UV20 366 163m E W. W. UV20 367 1631 E U. V. 2nd Family 36 8 UV20 366 1648 E 369 UV20 369 164m E 370 UV20 370 1641 E U. V. S. 8. 1 Order 371 UV20 371 165 H 372 UV20 372 1668 E 373 UV20 373 1661 E 3 7 4 UV20 374 1678 E 375 UV2Û 375 1671 E LM tS j T ills First Line Stanzas 351 Lo we are sailing sailing 1 352 Winds of Heaven Blow blow ye winds 1 353 0 1 will bow 1 will bend 1 3 5 4 Heavenly Kingdom 0 1 will be marching 1 355 Father Jobs Prayer 0 my God remember thy flock 1 3 56 Here Is heavenly comfort 1 357 Behold the ransomed of Jehovah 1 How thankful 1 feel 1 3 5 9 0 hears a pretty cup of wine 1 360 Farewell Vain Pleasures Farewell to thy pleasures 1 361 0 how bright Is our day 1 Away away from the things of time 1 363 0 come lets all unite and gather 1 3 6 4 Press Through I'll press my way thro' sorrow 1 365 0 the sweet name of Mother 1 3 66 What pure love what sw eet love 1 367 1 have got a little ball 1 Tree of Liberty Around the tree of liberty 1 Old nature 1 do mean to kill 1 1 mean to bind nobody 1 371 Happy Crossbearers How happy are they who bear 3 372 0 may the Gospel Trumpet 1 373 Come come every one that wants to feel 1 Angel of Love 0 Harken to me salth the Angel of love 1 Pure Love Heres a treasure thats worth more 1 W•>4 Author Aloha Notation Rhuthmic Notation Comoooor 351 ceeccgaaa 4c6ee|4cc|6g6a8aa| 352 cedcccc 4c8.e6d|8cccc| 353 ccegag 8c6ce8gagl 354 gggedcc 8ggg6ed|4cc| 355 egaeagee eg|4.a8eagee| 356 GGccdefed 4G6Gi4c6e|def4e6dl 357 GGcdeddcBG 4G8Gicd6.e6d|8dc8G| AAGEDEc 4.A18AG4EDI2ECI 359 cGccdcAGG 8c|6GccdcAGGi aggfdffa 4a6gl4g6fdi4f6fai 361 ggfedcc 4g8g|fed4c8c| 362 cegagge 8.c6e|8.g6a8g6ge| 363 ecdeedd 8e6cdeedd| 364 cegggag 8celggg6agl 365 Gccccedcde 4.G8c|4.c4cc|8ed4c8de| 366 ABcdee 4A68|4c8d4e8ei 367 ccccagg ôccccagSgI 368 deeefgeee Sdiôeeefgeeel 369 decededde 4.d|4e8e4e8d|4e8d4d8e| 370 eecdggeee SeôecSdgIôgeee 371 GccGcGGAGE 4G8ccGc|4G8GAGE| 372 Gccccdeee 8Gc|6.c6c8cd|4e8ee| 373 ceggggeeed 3ce6gggg|eeed 374 cdeeggge 8cdl4e6eg|4g8gel GAAcdcIcAG SGAAcdcicAG Va MS ISona «0 . Poae No. iTiipol P lace Date 376 UV20 376 168s E 377 UV20 377 166m L UV20 378 1661 E 3 79 UV20 379 169s E 3 8 0 UV2Û 360 169m E 381 UV20 361 1691 E UV20 362 170s E U. V. 1st Order 3 83 UV20 363 1701 E UV20 364 171s E U. V. 1st Order Room No. 9 385 UV20 365 1711 L UV20 366 172s L UV20 367 1721 E 366 173s L 369 1731 E 390 174s E 391 UV20 391 1741 L 3 92 UV20 392 1741 L 393 UV20 393 175s E 3 9 4 UV20 394 175m E 395 UV20 395 1751 L 3 96 UV20 396 176s E 397 UV20 397 1761 L 396 177s L 399 1771 E P. H. 400 178s E P. H. w ' s j L/l Title First Line Stanzas 376 Sound sound ye holy praises 1 377 Simple and free 1 mean to be 1 378 Let us all unite together 1 379 Lo the Angels are sounding their Trumpets 1 380 All ye that wants to feel my love 1 381 Little children we must be moving 1 382 1 am bound for Jerusalem 1 383 Come let us all unite and gather 1 384 0 what a pretty home 1 385 I am marching marching heavenward 1 386 Let us go forth and worship 1 387 My gospel kindred 0 how I'm pleased 1 388 Give thanks my people salth the Lord 1 389 To my heavenly fathers kingdom 1 390 0 will you come along with me 1 391 0 little children let's see how simple 1 392 Awake my soul and give a shake 1 393 In this gospel redemption 1 394 I've entered now the battlefield 1 395 Awake arrive spring Into life 1 396 Thy gates shall be blessed 1 397 Come let us march the heavenly road 1 398 I'll be a simple child 1 399 1 hear the golden trumpet 1 400 Ye livers and vailles and all created things 1 CM o\ A uthor Aloha Notation Rhuthmic Notation Com poser 376 cceggee 4c8.c6ei6ggeel 377 ccdeegeee Gccdeeigeee 378 GAcAGAcd 4G8A4c6A|4G6A4c8di 379 cegaggeg 4c8elgaggegi Acdeegeee 8A|4c8d4e8e|4g8e4e8e| 381 EFGGccc 4E6F4G8G|4c6c4.c| eecagge See4c|8.a6g8gel ggagece 8g6gagece| GGccdeeec 4G|B.G6c8cd|eeeci egededefg 8egl4ed|8ed6ef8gi 386 EGAAGAcd 8EG|4A8AG|4A8cd| gagfggeeee 8g6ag8f6gg|eeee aggaabbag 4a|8ggaaibb8.a6g| eedcdcccA 4e8e|4d8c4d8c|4.c4c8Ai dedefgg 8d|6edef8ggl Thayer, Moses W. 391 geedee 8.g8e6e|8.d8e6e| Thayer, Moses W. Acdeegged 5A|8c6dBe6e|8y6g8e6d| cAcedcdc 4cA4.c8e|4dcdcl cegggeedd ôclegggeeddl 395 cGAGAccc 8.c|66A8G6A|8c6c8.c 396 cdedecAAa 8cd|4e6de|cAAa| 397 Gcccdec 8G|cc8.c6d|8ec ggggggddde 886gggg8g|6ddde EGAGABcB 8.E6GI4.AB6ABCBI Gccccgeed 8Gc|4cBcc!geedl MS SonflHo. PajqjB No. Tupb Place Date 401 ÜV20 401 1781 E S. u. UV20 402 1798 E s. u. UV20 403 1791 E UV20 404 180s E 405 UV20 405 180m L 406 UV20 406 1801 L 407 UV20 407 181s E 408 UV20 408 181m E 409 UV20 409 1811 E U. V. 410 UV20 410 182s E U. V. 411 UV20 411 182m E U. V. 412 UV20 412 1821 E s. u. 413 UV20 413 183S0 L p. H. 414 UV20 414 183sb L 415 UV20 415 183m E U. V. 416 UV20 416 1831a E 417 UV20 417 1831b L UV20 418 184s L U. V, 419 UV20 419 184ma E K. V. 420 UV20 420 184mb E P. H. 421 UV20 421 1841-185sa E P. H. 422 UV20 422 185sb E 423 UV20 423 185m E 424 UV20 424 1851 L 425 UV20 425 186s E OO T itle First Line Stanzas 401 We ore marching marching on marching on 1 402 1 will be little little simple simple free free 1 403 In simplicity move along 1 404 Roll on heavenly love 1 405 Limber limber as the willow 1 406 0 come mighty power roll on roll on 1 407 1 rejoice 1 rejoice In the pretty way 408 We'll join hand In hand 1 409 We are moving on to gather 1 410 Now with joy we'll move along 1 411 1 want Mothers love Mothers love 1 412 0 holy Mother do help me 1 413 See the lovely band of angels 1 414 1 will march 1 will go 1 415 We'll move on In peace and love 1 416 G brethren and sisters come let us 1 417 Come pretty freedom fill my measure 1 418 In the shaking work advance 1 419 Come raise ye voice ye sons and daughters 1 Come to the fountain well supplied 1 421 The way of life Is free for all 2 422 With joy and rejoicing we'll move on 1 423 All these fleshly vile affections 1 424 To heaven 1 am bound to go 1 425 0 my children do be faithful 1 O Author Aloha Notation Rhuthmic Notation Composer 401 GABccBdc 8G6AB8cc|Bd4c| 402 cedcccG 8c6edcccG| 403 cdefecA 4cBd|ef94c8A| 404 GGGEEccd 4GG|8GE4E|4c8cd| 405 ceggagec ScegglagecI 406 ccdeeeaaa 8cc6de8eieaaa| 407 GGcegfdf 8GG|4c8eg|4f8df| 408 GGccceee 8GG|4c8cc|4e8ee| 409 GAccegge 4G8A4c8c|4e8g4g8e| 410 GcccBdc 8Gc|cc8d|4c 411 AAcdeeegage 6AA6cd6e|6ee8g6ag8e| 412 GAcccd 8.G8A6c|8.c6c6d| 413 cdcdeeeg 8.c6d8.c6d|8eeeg| 414 ccGFFECD 8CCI4G8FFI4E8.C6DI 415 efgfed 6ef|4.g8fedl 416 GAcdeed 8G|4A8cdi4e8ed| 417 edegdedcd 8e6de8gd|edcd| 418 cdeggee 8c6d8e6g|8g6eB.e| 419 egeefefed 8e|8.g6e8ef|efed| 420 efgggag 6ef|8ggg6agl 421 ABcdeddd 4o8b|4c8d4e8d|4d8d 422 Gccccece 8Gc!4c8cc|4e8ce| 1423 fffdegga 8f6f8f6d|8e6g8g6a| 424 efedba 4e|8fed6bai 425 EGAAAAIccc 8EG|8.A6A8AA|4c6cc| CM 00 o I MS SonQ No. Pooe No. mes Place Date UV20 426 186m L 427 UV20 427 1861 E U. V. 1 st Order UV20 428 187s E S. U. UV20 429 187m L U. V. 1st Order UV20 430 18780 U. V. 1st Order 43 i UV20 431 187s1 L UV20 432 186s L UV20 433 188m E UV20 434 1881 L 435 UV20 435 189s 436 UV20 436 189m L 437 UV20 437 189s L 438 UV20 438 190s 439 UV20 439 190m L 440 UV20 440 1901 L 441 UV20 441 191s L 442 UV20 442 191m E U. V. 1st Order 443 UV20 443 1911 E 444 UV20 444 192s E 445 UV20 445 1921 E 446 UV20 446 193s E 447 UV20 447 1931 E 448 194s L 449 194m E 450 1941 E w 00 1____ I Title First Line Wide awake we all must be 1 427 We'll move on we'll go on in praise 1 Though afflictions round me roll 1 429 I'm bound for a happier clime 1 430 Lo we are moving moving on 1 431 0 hasten on ye lovely few 1 Around and round and round I'll go 433 0 ye virgins of Zion arise and prepare 1 434 1 love to see the living souls 1 435 I'm a little cheerful dove 1 436 Why can't 1 bow Why can't 1 bend 1 437 Keep the fire a burning 1 1 know 1 love simplicity 1 1 am marching on my way the bright mansions 1 Blow 0 ye trumpeters bright 1 14411 As we march on our way on Instruments we'll play 1 Time Is passing swiftly flying 1 0 come holy love 0 holy power 1 Swiftly on my way 1 go 1 The angels now are soaring round On the wings of freedom now we move 1 14471 While I'm traveling this vale below 1 1 can bow 1 can bend 1 can be limber too 1 Delighted now with what 1 posec 1 Come Into freedom freedom freedom life 1 00 Author Aloha Notation Rhuthmic Notation Comoooor 426 cdedefga 8c6d8e6di6ef gS.aj 427 Gcccddc 8G|8.c6c6c|8.d6d6c| 428 ccccegog 8ccccieg8.a6gl 429 Gccccdd 8G|8c6cc8c6dd| 430 cdecegg 8.c6d8ec|eg4g| 431 AgeedBAA 8A|geed|8A4A| 432 BcdeaaabQ 68|8c6d8e6a|8a6a8^6a| 433 Gcccceec 8G|4c8cc|c88ci 434 AAAeeddbb 6A|8A6A8868|6d6d6b6b| 435 GGEGcda 4G8G4E6Gi4c8d4.8| 436 ggffeecc 8ggff|88cc| 437 ddedee 8d6d886d|8.88l Gccceeccc 8G|ccce|8CCci egaaabaag 88gl8.a6a8ab|4a8ag| gfedecc 8.g6f8.86d|88c4c| 441 Gccccccdefd 8Gci4c8cc|4cc|8d8f dj 442 eeedgeed 4888488d|4g884B8d| 443 ffeddedefgg 8ff68d8d|6ed8f8gg| cceecce 8 cc8 8 |8 c6 c8 .8 | cceggeage 8c|8c688g6g|886a8g68| Gcccded 8.G6c|8ccd68dl 14471 cdefeddcAG 8cd|8.86f88di8dcAG| T., M. W. cdcdega 6cd|8c6d88gaj gcccdeggg 6g|8c6c8c6d|886g8g6g| ddefdgfdddf 8d6d88fd|gf6dddf| w 00 MS Sona No.i Poae No. ITuoo P lace Date 451 UV2Û 451 1958 E UV20 452 195m E UV20 453 1951 E UV20 454 1968 E 455 UV20 455 1961 L

00 T itle First Line Stanzas 451 1 will move on my journey 1 452 Let God be praised and saints rejoice 1 More power 1 want to feel 1 0 i will freely sacrifice 1 455 Come come ye weary come 1

00 APPENDIX H

INVENTORY UV11

387 MS Sonq No. Page Ho. Tupe Place Date 1 UV11 1 1-48 A 2 UVI1 2 48-5 A 3 UV11 3 6-8 A 4 UV11 4 9-108 A 5 uvn 5 108-11 A 6 UVll 6 12-148 A 7 uvn 7 141-15 A 0 u v n 8 16-17 A 9 uvn 9 18-22 A 10 uvn to 23-248 A 11 uvn 11 241-26 A 12 uvn 12 27-28 A 13 uvn 13 29-31 A 14 uvn 14 32-34 A 15 uvn 15 35-388 A 16 uvn 16 381-41 A 17 uvn 17 42-44 A 18 uvn 18 45-47 A 19 uvn 19 48-508 A 20 uvn 20 501-53 A 21 uvn 21 54-58 A 22 uvn 22 59-60 A 23 uvn 23 61-63 A 24 uvn 24 64-65 A Ul 25 uvn 25 66 A 00 oo T i t l e F i r s t L ine S ta n z a s 1 Ho ho 0 rejo ice rejoice 1 2 Ho Ho salth your heavenly Father 1 3 The m llllnial Mom Arise arise cryeth the watchman 1 4 1 have come I have come to bring unto you 1 5 Mother weeps she weeps with sorrow 1 6 Leap leap for joy leap all ye mountains 1 7 Seal ye my servants 1 8 Mothers anointing My son the savior of man 1 9 Hearken 0 earth and hear ye heavens 1 10 I love the blessed gospel of my holy Mother 1 11 Rejoice rejoice 0 my children 1 12 in the low valley of union and love 1 13 Behold the trumpet sounding Angel 1 14 0 Zion even now doth thy God 1 15 Arise and shine 0 Zion for thy light 1 16 Stand stand ye fast salth your heavenly Father 1 17 0 what glory and beauty Is now displayed 1 18 0 1 see a re Ian a va 1 19 Arise go ye forth my holy se vas ta va na 1 2 0 Blessed are they salth the Lord 1 21 Behold at this time will 1 command 22 Heark heark salth your heavenly Father 1 2 3 Mother Anns passage over the sea Fear ye not fear ye not my Lovely Llaslllavan 1 2 4 Arise arise 0 eel a vender ree 1 2 5 Sounding praises holy praises 1 0 4 OOvO A u th o r Moho Nototlof Rhuthmic Nototlon Comoooor 1 ccGGEGGc 2cc|468GE4G6Gc| 2 gagBeedc 2g4a|4g6Be8d4cl 3 Gccefed 8Gc2c|efe2di 4 efgagegdde 4.e8f4g8ag|4.e8g4d8del 5 cdeAGGe 4cd4.e8AG|2G4e| 6 GcGEAccde 2G4c8GE|2A4c6cd8ei 7 ccdefgg 2c8cdef|2gg| C GAcedcA 8GA4.c8e4d8cA| 9 AcdBcd 4Ac8dB4.c8d| 10 EGABcBA 4.E8GI4ABC8BAI 11 cGeddecBGE 2cG|4ed2d4ecBGE| 12 CEGABcBd 8CE4G6AB8c8Bdi 13 GAcBcg 4GA4.c8B4cg 14 GGGGGcddc 2G4GGGG4c|8dd4c| 15 cdegadcdd 8cd4.e8g8ed4c2dd 16 cccdee 2c4cc|2d4eal 17 cgecoagcba 4.c8g4e8cc|4agc8ba| 18 ceddccdef 4.c8e4d8dc2c4d8ef 19 cegegafedcd 8ce|2g8egaf|4.e8d4cdl 2 0 CAGEEGDE 4C6AG8E4E8G6DEI 21 ceggag 8ce4g8ga|2g 2 2 ceddeged 2c4.e8d|4deg8edl 2 3 CDEFGcEGA 8CDEF2GI4.c8E4.G8A 2 4 Gccedegfedc 8Gc2cl8ed2el2g8fedci 2 5 CEGGIGABcAG 4.C8E4GGIG8AB4CBAGI o MS Song Ho. = ^ f lE J ! S s . THpe P lace Date 26 uvn 26 6 7 -69 A 27 uvn 27 70s E Pleasant Hill 28 uvn 28 701-719 H 29 uvn 29 711 E 30 uvn 30 72 H 31 UV11 31 73-74S H 32 uvn 32 741-778 A 33 uvn 33 771-79 A 3 4 uvn 34 8 0-82 A 35 uvn 35 8 3 -85 A 36 uvn 36 86-88S A 37 uvn 37 881-8 9 s A 38 uvn 38 891-928 A 39 uvn 39 921-94 A 40 uvn 40 95-968 H 41 uvn 41 961 E 42 uvn 42 97s E 43 uvn 43 971-988 H 4 4 uvn 44 98m E 45 uvn 45 981-998 E 46 uvn 46 99m E 47 uvn 47 991 L 48 uvn 48 100-1018 H - 49 uvn 49 1011-1028 A 50 uvn 50 1021 E OJ sO T ille First Line Stanzas 26 Shout aloud for joy 1 27 Lo I have come to comfort ye 2 28 Sweet Eternity 0 sweet eternity how oft 1 think 4 29 Away away all fleeting things 1 30 Perseverance Arise my soul leave all below 2 31 Honey Dew The lowly straight and narrow way 4 32 0 Sound sound ye holy trumpeters 1 33 Come brethren and sisters let us sing 1 34 1 am a trumpet sounding angel 1 35 Come hearken 0 ye nations 1 36 Praise praise the Lord 1 37 Heark heark the voice of a Mother 1 38 Behold the day of the Lord cometh 1 39 Blessed blessed are my chosen 1 40 Anxious Thoughts Oft In solemn meditation 5 41 To mansions far more glorious than Earth 1 42 0 How sim ple and how free 1 43 1 know there Is no way for me 2 44 This day Is free for every one 1 45 1 am leaving all thats Earthly 1 46 My time and tallents I'M devote 1 47 See the faithful all advancing 1 48 Let purity of mind Invest my needy soul 1 49 Let Zion learn to bow down low 1 50 Lovely Invitation Living souls for heaven bound 1 w N) Author Mg|ho Nototio: Rhuthmic Notation Comoooor 26 geddccaag 4.g6e4d8dc|2c4a6agl 27 cdecceefdd B.côdlBeccôaelSfdAdi 28 29 EGAABBccAB BEGAABBIccABi 30 CDEGAcAGG 4.C6D4E6G4A6CI4A8G4.GI 31 cdeeedc 4c8d4e8eedcl 32 cCGGGcd 2cC|4G8GG4cd| 33 cdeegdc 8cd4e8eg4d2c 34 Gccdeeff 8G6c4.c8deeff 35 cdegedc 8cd|4.e8g8ed4c| 36 cGGECcBGc 4c8G4G8E2C|4c8BG2c| 37 efgabaaag 8e6fg4a8b|aa6ag 38 ccdeeee 2c4c8d|4e8ee4el 39 GAceddcde 8GA|2c4e|2d8dcde| 40 cdcAGGAc 4c8dcAGGAc 41 cdeedegag 6cd8eede|4g8ag| 42 aaeeggd 4a8a4e8e|4g8g4.d| 43 GAAAGcd 4GA8A|4A8G4c8d 44 deddcA 4de8d4dBc4A 45 cdedegage 8cd|8edeg)4a8gel 46 egeeedcAA 4.e|4g8e4ee|dcA8A| 47 cdeeAAGG 4c8d4e8e4A8A4G8G| 48 49 AfgaabC 4A8fg|4aa4.b8c‘ 50 eeegggg 8ee8.e6g8gg4g| MS Sona No. Paoe No. Tuoe Ploce Dote 51 uvn 51 1038 E 52 UVll 52 103b-104 H 53 uvn 53 105-106 H 5 4 uvn 54 107-109 H 55 uvn 55 110-1138 A 56 uvn 56 1131-115 H 57 uvn 57 116-119 H 58 uvn 58 120-121 H 59 uvn 59 122-1248 H 60 uvn 60 1241-1268 H 61 uvn 61 1261-1308 A 62 uvn 62 1301 A 63 uvn 63 131-1338 A 6 4 uvn 64 1331-1358 A 65 uvn 65 1351-1368 H 66 uvn 66 137 E 67 uvn 67 138 E 68 uvn 68 139“1408 H 69 uvn 69 1401-141 H 70 uvn 70 142-143 H 71 uvn 71 144-1458 E 72 uvn 72 1451-1468 L 73 uvn 73 1461 L 7 4 uvn 74 1478 E 75 uvn 75 1471 E CM O T itl e F i r s t L ine S ta n z a s 51 Rejoice salth the Lord oil ye children of Zion 1 5 2 0 may 1 learn to watch and pray 3 5 3 0 come all ye pilgrims 3 54 Perfect Delight What beautiful regions of perfect delight 8 5 5 Prepare prepare 0 Zion for the days 1 5 6 How blessed Is It to be numbered among 4 5 7 0 heavenly wisdom now we hear 8 5 8 0 our holy heavenly Father Lo In reverence 6 5 9 Be silent all flesh for the Lord has appear'd 5 6 0 While sore pestilences raging 3 61 Awake arise 0 thou mighty Angel 1 6 2 How blessed are the faithful 1 6 3 i am a holy angel of God 1 6 4 Lo 1 am an Angel of Gods mighty power 1 6 5 The watchword of Zion 3 66 Ye sacred powers possess my soul 1 6 7 In pure love and union 0 let us unite 1 6 8 To the alter of truth 3 69 How pleasant the hours when saints meet 3 70 How pleasant and cheering the seasons 3 71 I'll cherish pure love and sweet heavenly union 4 72 Tarry not tarry not heavenward be moving 1 7 3 0 1 mean to Shake Shake off every bond 1 74 While pretty love Is flowing 1 7 5 Holy angels do befriend me 1 04 sO L /l A uthor hlDho N ototloi Rhuthmic Nototion Cornooser 51 GAcdesef 2G|4Acdiee8ef| 52 GAccAGAc 4G8A4c8c|4A8G4A8c| 53 5 4 agegaoacde 4a8gegaaacde 55 Gccgeec 8Gc2c8ge2e4c 56 cbaagggaba 4c8baaigggaba| 57 cdeeddegaag 4.c8d4eedd|ega8ag| 58 AAGAcccAG 4AAGA|cc4cA4G| 59 60 GAGGGEGccd 2G4AGG|GEG|ccd| 61 ABcdedcdc 8A8cd8.e6d4c8dc| 62 Gcccdeee 8G4c8cc|deeel 63 cccddeed 4c8cc|4.d8d4e8edl 6 4 cAGGECDEF 4.C6AG4.G8ECDEF 65 efedcda 4.e|8fedcdel 66 eefged 4e|8efg4e8d| 67 gfeeeddd Sgfeeeddd 68 efgaggcc 8ef|4g4.a8g|4g6cc| 69 cdeeegecd 8cd|4e8ee8.g6e8cd 70 cdeeeged 8.c6d6e6eei8ged 71 gcGcDED 4g6cGcDED 72 73 7 4 75 w >0 o MS S o uq No . ^Pagejlo. P lace Date 76 uvn 76 146 77 uvn 77 1498 78 uvn 1491-1508 79 uvn 79 150-1518 8 0 UVll 60 1511-152 81 UV11 153-154 82 UVll 155-156862 83 uvn 156m Church holy mt 8 4 uvn 64 1561 Chh holy m t 85 uvn 157 86 uvn 156 Church holy mt 87 uvn 67 1598 88 UVll 66 1591 89 UVll 69 1608 90 uvn 1601 91 uvn 1618 92 UVll 1611-1628 93 uvn 1621 9 4 UVll 16394 95 UVll 1648 Oct. 1650 96 UVll 1641 97 UV11 1658 98 uvn 96 1651 99 uvn 99 1668 1661100 «0 >4 T itle First Line Stanzas 76 Purify my soul from sin 1 77 The gospel is the power of God 2 78 Holy angels gather round me 2 79 0 ye bright and shining Angels 2 80 Awake my soul with life and zeal 1 81 0 Lord hear my prayer 2 82 0 what a rich treasure is come from above 2 83 Father James Song 0 the blessed gospel 0 the blessed gospel 1 84 Sing and dance and praise 1 85 Come love pretty love love is growing 2 86 1 will gather the faithful 1 87 When tribulation fills my way 1 88 I'm a soldier of Christ I've enlisted for life 1 89 Go way pride and stiff 1 90 What the afflictions round thee roll 1 91 Lean upon mine arm 1 92 Come on good soldiers don't delay 2 93 Drink drink drink with me 1 94 How great is your sorrow 1 95 The Trumpet of Peace The trumpet 1 hear is sounding most clear 2 96 97 0 Mother mother do control 1 98 A Marching Tune 99 0 ye bright shining cherubs 1 100 Behold how beautiful 1 ba «O 00 A u th o r üpha Hotatlof Rhuthmic Natation 1 Camaaaar 76cdeeeggg 4.c8d4888e4gBgg 77 edcAAcA 8ed4cBA|AcA 7 8 7 9 GAcddeeedc 8GA4c8ddee6ed8c 8 0 81 edcAAGGAc 486dcAA4GSGA4c 8 2 GAcccAGAB BGAcBcclAGABI 83 gfedcG 4.gBf4ed|2cG| 8 4 eggagagg 69l6.g6gagl8a6g8.gi 85 cedcdcGE 8.ce|8d6c8.d|8.c8G6E| 8 6 GAccGF 4G8Ac4c8GF| 8 7 cdedcged 4.c8d4ed|2cgledl 8 8 GGccdGeg 8GG4c8cd4G8eg 8 9 gageegg 4ga|8ge4elggl 9 0 gccdec 6Gc|4.c8d|4ec| 91 eddcad 4.98ddc4.e8d 9 2 9 3 cceedcccegg 8ec6ee8d|6ccce8gg| 9 4 cBAGAGFE 2CI48AGA2G8FE 9 5 geddlggeccg 2.g8ed6d|4.g4.gl8ecc4.g| 96 cdeeeedcc 8cdl4e8ee|edcel 97 Accccsggg BAlccccjegggj 9 8 gcdicecc 8Gi6cdececc| 99 edccAgBAA 8ed4c8cA4g88A4A| 1 00 ABcABA 6A84.C8A8AI 04 >o «o MS Sona No. Poae No. Tuooi P lace Dote 101 UVll 101 167s E South Union Oct. 1650 102 UVll 102 167m E 103 UVll 103 1671 E 104 UVll 104 168s H 105 UVll 105 1681 L 106 UVÎ1 106 169s E 107 UVll 107 1691 E UVll 106 170s E UVll 109 1701 E 110 UVll no I7ls E 111 UVll III 1711 E 112 UVll 112 172s E 113 UVll 113 1721 E 114 UVll 114 173s L 115 UVll 115 1731 E 116 UVll 116 174s E 117 UVll 117 1741 E 116 UVll 116 175 H 119 UVll 119 176s E UVll 120 1761-177s E Eastern 121 UVll 121 1771 E UVll 122 176 L 123 UVll 123 179 E 124 UVll 124 160 E UVll 125 161 E A. o o Title First Line Stanzas 101 Sound forth Praise Sound ye forth sweet praise 1 102 0 come power holy light 1 103 1 am soaring far away 1 104 There Is a world of joy and bliss 105 A March Cast your bread upon the waters 107 Rejoice ye lovely member In the power 1 O'er the swelling waves of time 1 Blight as the morning sun 1 110 i'll spend my life to serve the Lord 111 You shall have my love and blessing 1 112 0 my soul be awake and cry unto God 1 113 I've sacrificed my all to gain 1 114 115 0 1 will turn swift 1 116 0 come holy love flow from the fount 1 117 118 How baffling and vain are the treasures of earth 119 0 my home my pretty home 1 120 Come my dear companions we'll all go together 1 121 How sweet and lovely sweet and lovely 1 122 Maixh ye on w ith life 1 123 Sound sound ye holy praises 1 124 0 Mother do meet me In mercy 1 Rejoice In that which I create 1 o Author Alpha No tail Of Rhuthmic Notation Comoooor 101 cdeeeg 4.c8d4@@8.e6g| 102 ccAGccAG 8ccAG|6ccAG 103 AcccdcA 4A|8cccd|cA 104 GcccBcdddsf 8Gi4c8ccBc|4d8ddef| GccdedcAc 4Gi8c6cd8e6dc8Ac| BccBcdcG 8Bc4cBcdcG| 107 eggogfed 4e4.g4g8fi|4g8f4e8d| ageccA 8ggeccA

110 111 GAccdcAGG 8GA4cic8dciA64G| 112 113 cdedcci 4c8d|4e8dcc| 114 ccBAGABA 8c|4cB|8AGAB4A| 115 eecdegg 8e6ecBde6gg 116 AGABcddo 3A8G6AB8cd6de 117 cdesdccd 8c6dl8ee4dl8cc4dl 118 119 120 cdedcGGA 6cd{8e6dc8G6GAi 121 cdeeefg 8.c6d8ee6ef8g 122 GAGAccc 6GA8.G6A8c6c8c 123 cceggec 4c8ceiggecl 124 GAcdeAGA 4G8AcdeAGAi 125 Gcdefgag 4G4.c8d4ef2g6a8.g t o MS Sono Ho. Page No. Tuoe Place Date 126 UVll 126 182s E 127 uvn 127 1821 E 128 uvn 128 183s E 129 uvn 129 1831 E 130 uvn 130 184 E 131 uvn 131 185 E 132 uvn 132 186s E 133 uvn 133 1861 E 134 uvn 134 187s L 135 uvn 135 1871 E 136 uvn 136 188-189s H 137 uvn 137 1891 E 138 uvn 136 190-192s H 139 uvn 139 192m E 140 uvn 140 1921 L 141 uvn 141 193s L 142 uvn 142 1931 L 143 uvn 143 194 E 144 uvn 144 195 H 145 uvn 145 196 E 146 uvn 146 197s E 2d Family 147 uvn 147 1971 E Pleasant Hill 148 uvn 148 198s E 149 uvn 149 198m L 150 uvn 150 1981 E 2d Family .u (Mo T itle First Line Stanzas 126 1 am the heavenly comforter 1 127 0 had 1 wings like a dove 1 Slow blow ye winds of heaven 1 129 Roll on roll on 0 holy power 1 130 0 sing ye saints the Joys of heaven 1 131 Fear not fear not 0 ye strong In the Lord 1 132 0 who can think to sacrifice 1 133 1 will crucify self will 1 134 0 come pretty love and quicken my devotion 1 135 0 1 will walk low In the vale 1 136 In peace 1 will live with each one 1 137 in dark and trying hours 1 138 0 hear all ye kingdoms ye nations abroad 4 139 The honest and sincere unite with every gift 1 140 Quick Dance 141 With the armies of heaven 1 142 Skip skip and play In this pretty pretty way 1 143 0 may this gospel trumpet 1 144 Pure love and union Is my theme 3 145 0 come my dear children says Mother 1 146 1 have a pretty rose 1 147 1 have set out a volunteer 1 148 i_ 1 want more power 1 149 150 We'll move along In peace and love 1 o Author Moho Hotatlor Rhuthmic Notâtlom Cornooser 126 GcBcdecce 6G|4.c6B4c6d|4d8c4c8e| 127 GcceccG 4Gc8c4.e|4c8c4.G| 128 cedccce 4c8.e6d|8ccce| 129 edcdeggdeg 8e6dc8de|4g6gd8eg! 130 geeccfeedc 4.gi4e8e4c8ci4f8eedc| 131 CEGEGcAG 8CEI4G8EGICAGI 132 ogeegedde 2a|4geeg|eddel 133 csgfefg 8.c6e8gfef4g 134 gfefgfed 4gf8efgfed 135 AABcBAG 4.A8ABCBAG 136 AAEEcdeA 4.A|8AEEc6de8A| 137 cAGcdee 2c4.A8G4cd2e4e| CEGGGcccc 8C6E|8GGGc|4ccc| 139 GccceeddG 8GccceeddG 140 cdedefg 4c8d6edef4g 141 ABccdedcd 8ABi4c8cd|edcd| 142 cAccGFFED 4cA|8cc4G|8FFEDi 143 GBcBcdeee 8GB8.c6B8cd4e8ee| 144 cdeeeedcAA 8cdleeee|dcAA| 145 146 gcdefdd 8g6cdef8dd 147 eeegeeecA 6e|eegeeecAi cdeeefg 8cd|4ee8ef4g| 149 EGGGcAGAB 4E8GG6C6AG8AB 150 AceceAGA 4A|8cece6AG8A o L /l MS Sono No. Pooo Ho. Tuoo Place Dote 151 UVll 151 199 L 152 UVll 152 200 E 153 UVll 153 201 E 154 UVll 154 202 E 155 UVll 155 203-204 H 2d Order Aug. 3, 1851 156 UVll 156 205 E 157 UVll 157 206s E 158 UVll 158 206m L 159 UVll 159 2061 L 160 UVll 160 207s L 161 UVll 161 2071 L 162 UVll 162 208s E 163 UVll 163 2081-209S L 2 Order Song Dec. 1851 164 UVll 164 2091 E 165 UVll 165 210s E 166 UVll 166 2101 L Jan. 4, 1852 167 UVll 167 211-213S H Sept. 8, 1851 166 UVll 168 2131 L 169 UVll 169 214s L Jan A, 1852 170 UVll 170 2141 L 171 UVll 171 215-216 H 172 UVll 172 217-218S H 173 UVI 1 173 2181-219 E 174 UVll 174 220s L 175 UVll 175 2201-222S E o o T itle F irs t Line S tan zas 15f 0 see 0 see the virgin band 1 152 Come on my young companions 1 153 1 am bound for Jerusalem 1 154 I love the pretty way of God 1 155 1 have a home in Zion 6 156 i have come 1 have come with my weapons i 157 Now with Joy we'll move along 1

Circular March Come all who want 2 161 162 0 come we are going to heaven above i 163 The purifying fire is burning 1 164 Thro the heavens and earth resounding 1 165 Sweet is the love thats flowing 1 166 167 How beautiful are these that keep 6 168 169 170 We'll march to the heavens above 1 171 While 1 view my diar relation 3 172 0 love what a treasure sweet liberty brings 2 173 0 what is the m atter my soul can bow 1 174 1 am marching on my way 175 1 love my blessed Mother Her gospel I'll obey 2 o Author hipho Notât loi Rhuthmls Notation Comooser 151 ABccBBAAG 8ABCC6.B6B8A6A6 152 cdeeac 6.c6d4eeec 153 eecogged 4ee2c4.a8g4g8e4d 154 cdeege 4.c8d4ee4.gBa| 155 cGGABccA 4c8GGAB4c8cA 156 Gcccccccde 8.66c4c8cc4c8ccde 157 GcccBdcef 8Gccc8d4c8af cdefgeedccd 8cdafga|adc4c8dl cdefggdf 4cl8d6af4g8g6df| cdedcde Scdad6cd8ai 161 efgegagob 8a6fiSgaga8g6abl 162 cdeeeedc 8cd4a8ae4a8dc 163 ccddega Gccddaga 164 ddeeedd Gddaeadd 165 eeedcdcdc 8a6aa8dc|6dcdc w., s. 166 GcccecBeA 4G8cc4c4e8cBaA Rottan, L. 167 efgaecB 8af4gaa8cB ccdcBcd 4ccd4.c884cd Hoffman, Viola ccdefeds 4c8cdafad4a 170 deceggg 6d8.a8caggg 171 172 CC0GGEEG 4cc8GGGEEG 173 Gcdefdd 8Glcd4a8fd4di 174 175 rbw O 00 MS Song No. Page No. Type Place Data 176 UV11 176 222m E 177 UV1I 177 2221-223s E 178 UV1I 178 2231 L 179 UVll 179 224 L 180 UVlt 160 225-2268 H 181 UVll 181 2261 L 182 UVll 182 227 E 183 UVll 183 228 E 184 UVll 184 229 L 185 UVll 185 230 E 186 UVll 186 231-233s H 187 UVll 187 2331-235S H 188 UVll 188 2351-236S L 189 UVll 189 2361-237S E 190 UVll 190 237m L 191 UVll 191 2371-238S L 192 UVll 192 238m L 193 UVll 193 2381-239S E 194 UVll 194 2391 E 195 UVll 195 240s L 196 UVll 196 2401 L 197 UVll 197 241-2 4 3 s H 198 UVll 198 2431 E 199 UVll 199 244s E Pleasant H111 200 UVll 200 2441 E ovO Title First Line Stanzas 176 Let God be praised and His family rejoice 1 177 Sound the trump of gladness 1 170 Around and round round and round 1 179 No one can do It for me 1 Come break forth In gladness ye hills 3 181 182 With our lamps well tiim’d 1 183 On the wings of freedom now we move 1 184 Now while the heavenly showers descend 1 185 IThe Angels now are soaring round 1 186 0 Mother thy mercy 1 feel 187 My days on this earth are but few 1 will march 1 will go the pretty valley low 1 Hear us our holy Savior 1 Why can't 1 bow why can't 1 bend 1 191 Move on move on ye faithful vollunteer 1 192 Keep the fire burning keep the wheels a turning 1 193 0 ye children of Zion arise and be strong 1 194 0 come holy love 0 holy power 1 1 love to see a living soul 1 I'll bow I'll bend 1 can be limber too 1 197 Come let us chant the melody sweet 1 Thy gates shall be blessed 1 Swiftly on my way i'll go 1 |t have come from above 1 o Author Alpha Hotattof Rhuthmic Notation Composer 176 CCEGAB 4C8CEG6AB 177 178 479

181 cefgggab 8c6efl6ggg6abl 182 gedbGcc B.g6e8dbiGc4c| 183 GAccdde B.GôABccdôde cdefgg 4c6de8f8gg ccegge 4cc8e4g8g^ eeddbcd 8.e8eddbcd 187 cdedegog 4c8deddgag

191 192 193 194 ccBAABABc 4cc8BA4A8BABc

ccdegago 4cc8de4ga8ga 197 GcGedcBAG 8G4c8G4e8dcBA4G

cceecceg 4c8c4o8e4c8c4.e8g edcegged 83d4c8eg4g8ed MS Sono No. Paoo No. Tuoe Ploco Data 201 UVll 201 2508 E UVll 202 2501 E UVll 203 251 E UVll 204 2528 L 2nd Order May 2, [1852?] UVll 205 252m L UVll 206 2521 L UVll 207 253 L 2nd Order May 16, 52 UVll 206 2548 L UVll 209 2541-2558 E 210 UVll 210 2551 L 211 UVll 211 256-2578 E 212 UVll 212 2571 L June 6, 1852 213 UVll 213 2568 E 214 UVll 214 2561 1 L 215 UVll 215 259-2608 H UVll 216 2601 E 217 UVll 217 262 E 54 UVll 216 263 E P. H. UVll 219 2648 E South Union 54 UVll 220 2641 E 221 UVll 221 265-2668 H UVll 222 270 H Pleasant Hill UVll 223 2718 E Pleasant Hill UVll 224 2711 E Pleasant Hill 1225 UVll 225 272 E Pleasant Hill r>j Title First Line Stanzas 201 0 come freedom love and holy power 1 202 1 have a little love 1 want pure love 1 203 The changing wind of fleeting time 1 204 205 206 207 208 1 mean to be awake 1 209 I'm going down to the beautiful valley 1 210 In bowing my neck and bending my knee 1 211 1 love my good Mother 1 love her 1 know 1 212 213 0 come 0 come ye virgin band 1 214 In freedoms way I'll skip and play 1 215 How blessed Is that treasure 216 I'm on my way to Zion 1 217 0 may 1 ever keep the gift 1 218 We are now on the ocean 1 219 Love Is flowing freely 1 1 have brought you precious love 1 221 Fly sw ift ye bright Angels The Lord's Promise Be joyful 0 Jerusalem For 1 will lead you 2 Beautiful Scene 1 behold bright Angels Marching on In beauty 1 0 whats peace and consolation 1 Roll on roll on 0 heavenly power 1 Author Motia WotaUoi Rhuthmic Natation Com poser 201 edBAABAG BsdBAABAG eeedcceedc BeGeedcBceedc cdcAcGcd B.c6d4c6Ac4Gcd cdcdedd BcdcdeGdd cdeafgffd 4cBdBe6ef4g|8f6fd GABcdcG 6G6AB6.c6d6cG cdeefgffd 4c8de68f4g|8f6fd ccdeeeffa 8c6cdee4e|8f6fa deegggd 4deeg8gg4d 210 GAcAAGdc 6GAcA4AGdc 211 GAccccAGA 8GA|4c8cccAGAI 212 GABcBcdcBA 8GA84c884c8dc8A 213 GAcBcdcAG 6GA4c88cdc6AG 214 cdefdefge Scldefdefge 215 efggggedc 8e6f8ggggedc 216 Gcccccggec 8.G6c8c6c6cci4g6ge8ci 217 eeedcdd GeeedcddI GcccdcGAG 8Gc|4c6cd8ci4G8AGi Hunt, Eliza ceggaa&g Gcegglaaag ccegggc 8cce6g|8ggc| 221 222 GABAAcAAd 8GI8.A688AAlcA8.A6di 223 CEGGcAAG 8CEI4G3GCI4A8.A6GI 224 CEGEcBAG 4C6E4G8EI4C684A8GI 225 cceggaag 4cc|8eg4g|4a8agl I MS Song Wo. Pooe No. £ ttS S £ Place Date UVlt 226 273s E Pleasant Hill 227 UVll 227 2731 E Pleasant Hill UVll 228 274 H Pleasant Hill UVll 229 275s H Pleasant Hill UVll 230 2751 E Pleasant Hill 231 UVll 231 276S0 232 UVll 232 276sb L 233 UVll 233 276m L 234 UVll 234 2771a L 235 UVll 235 2771b L 236 UVll 236 277s L Pleasant Hill, First Order 237 UVll 237 277m P. H. First Order *48 UVll 238 2771 L 239 UVll 239 276 P P. Hill Aug. 48 240 UVll 240 279 241 UVll 241 288sa 242 UVll 242 280sb L 243 UVll 243 280m L 244 UVll 244 2801 L 245 UVll 245 281s L 246 UVll 246 281m L 247 UVll 247 2811 L UVll 248 282s L 2nd Order *51 249 UVll 249 2821 L 250 UVll 250 283 E Wfl _____ T itle F irs t Line S tan zas Mother's Prayer i love 1 love my children dear 1 227 Soldiers March I'm bound to gain complete salvation 1 228 Holy holy 0 holy Father Cloth me 4 2 29 Heavenly Home 1 have a home In heaven 2 See all Mothers children 1 231 232 233 Quick Dances 235 236 A Marching Tune 237

Wing wing your way happy Seraphs 1 Comforting Promise 1 will be with my dear 1 241 242 243

Step Song

00 T itle First Line Stanzas 251 252 253 254 255 The voice of holy wisdom Rejoice all ye living 1 256 The Valley of Peace Along the low valley where love does abide 4 257 Come love Mothers love and 0 come 1

o A u th o r UghoNotatioi Rhuthmic Notation C o m p o ser 251 CCDEGGAËCd 4C6CDE4G8G|4A8B4c6d| 2 5 2 cdeedcde 4c8d|4e8edc4dBe| Trotter, l[?l 2 5 3 GccdeAA 8G|4.c8cde4A8A T ro tter, 2 5 4 ccdedege 4c8cded4eBge EGAABCAAA BEG4A6AB8C4ABAA 2 5 6 257 cdecdggg 4.c8decdggg ecddeecc 4ec8ddeecc APPENDIX I

INVENTORY UV6

421 MS Sona No. Pooo No. TMP» Ploco Dote T itle 1 UV6 1 5-68 A 2 UV6 2 61-98 A 3 UV6 3 91-108 A 4 UV6 4 101-138 A 5 UV6 5 131-158 A 6 UV6 6 151-178 A 7 UV6 7 171-18 A 8 UV6 8 19-21 A 9 UV6 9 22-243 A 10 UV6 10 241-25 A 11 UV6 It 26-27 A 12 UV6 12 28-308 A 13 UV6 13 301-31 A 14 UV6 14 32-348 A 15 UV6 15 341-368 A 16 UV6 16 361-378 A 17 UV6 17 371-408 A 10 UV6 16 401-428 A 19 UV6 19 421-448 A 20 UV6 20 441-478 A 21 UV6 21 471-508 A 22 UV6 22 501-528 A 23 UV6 23 521-548 A 24 UV6 24 541-56 A 25 UV6 25 57-618 A tV) First Line Stanzas Author Aloha Notation 1 Mother weeps she weeps In sorrow 1 cdeAGGe 2 Ho ho 0 rejoice rejoice 1 ceGGEGGC 3 Ho ho soith your heavenly Father 1 GAGeedc 4 Arise arise cryeth the watchman 1 Gccefed 5 Leap leap for joy all ye mountains 1 GcGECccdd 6 My son the savior of man 1 GAcedcA 7 Lo 1 am an angel of Gods mighty power 1 CAGGECDEFG 8 Harken 0 Earth and hear Ye Heavens 1 ccdBcded 9 Arise and shine 0 Zion 1 cdegcdcdd 10 In the low valley of union and love 1 CEGABcBd 11 I am a holy angel of God 1 cccddeed 12 Blessed are they saith the Lord 1 cAGEGEDc 13 1 love the blessed gospel 1 EGABcBA 14 0 1 see a re Ian a va 1 ccddccdef 15 A rise go ye forth 1 cegegaf 16 Seal ye my servants 1 ccdefgg 17 Come 0 my loving children 1 gaaage 18 0 fear ye not my little flock 1 efggegca 19 Behold the trumpet sounding angel 1 GAcBcg 20 1 am the holy Angel of Love 1 cdeeddcAc 21 Thus saith the lord 1 22 Awake arise 0 Zion 1 Gccdee 23 Ho ho ho 1 am Ka re can ne vo 1 24 Behold the mighty Angel of Power 1 25 Prepare prepare 0 Zion 1 Gccgeec N) oa 424

(J € T3 u u 0 (X CO s o CD S < Iu CD m 9 CO s g 9 I ■o m £1 u s g COTP & CD s M1 € i ICD ICJ s I Io 8 I < a u < I ■o CD 3 g %» S Iu I I 1CD COI I CO CM1 P la c e D ate T i tl e 51 UV6 51 124-1268 A 5 2 UV6 52 1261-1208 A 5 3 UV6 53 1261-1318 A 5 4 UV6 54 1311-1348 A 5 5 UV6 55 1341-1378 A 5 6 UV6 56 1371-1398 A 5 7 UV6 57 1391-1428 A 5 8 UV6 58 1421-1458 A 5 9 UV6 59 1451-1518 A 6 0 UV6 60 1511-1548 A 61 UV6 61 1541-1568 A 6 2 UV6 62 1561-1568 A 6 3 UV6 63 1561-162 A 6 4 UV6 64 163-1648 A 6 5 UV6 65 1641-1678 A 66 UV6 66 1671-169 A 67 UV6 67 170-1728 A 6 8 UV6 66 1721-1748 A 6 9 UV6 69 1741-1768 A 7 0 UV6 70 1761-176 A 71 UV6 71 179-1618 A 7 2 UV6 72 1611-163 A 73 UV6 73 164-1668 A 7 4 UV6 74 1661-166 A 7 5 UV6 75 169-1918 A M 00 First Line Stanzas Author Aloha Notation 51 Sing sing 0 daughter of Zion 1 52 All hall 0 v1 0 vio 1 53 Behold 1 am 1 van sel 1 54 1 am calling 1 am calling saith the Lord 1 55 0 blow 0 blow ye the trumpets 1 56 Hark hark saith your heavenly father 1 57 Awake arise 0 thou mighty Angel 1 58 All hall thy bright mlllenlal mom 1 59 Sing 0 ye sons of God 1 60 Stand up 0 ye shepherds 1 61 Go ye forth go ye forth my holy 1 62 0 sy a viv a vum 1 63 1 will sing unto the Lord a new song 64 0 holy Seraphs wing your way 1 65 Give glory unto God 1 66 Cry aloud forjoy 1 67 Behold saith the Lord 1 68 0 draw nigh draw nigh unto me 1 69 Put off 0 Jerusalem 1 70 Rejoice rejoice 0 Zion rejoice 1 71 Awake arise 0 my se le an 1 72 0 ho ho van sel Hlly 1 73 Sound sound on your musical trumpets 1 74 Arise arise 0 Zion clothe thyself 1 |7 5 Come 0 my children 1 fO o Rhuthmic Notation Com ooser 51 52 53 5 4 55 56 57 58 59 60 61 62 63 6 4 65 66 67 66 69 70 71 72 73 7 4 75 Oa MS Isona No.I Paoo No. ItudoI P lace D ata T itle 76 UV6 76 1911-194S A 77 UV6 77 1941-1968 A 78 UV6 76 1961-199 A 79 UV6 79 200-2028 A 80 UV6 60 2021-2048 A 81 UV6 61 2041-2078 A 82 UV6 62 2071-209 A 83 UV6 63 210-2128 A 8 4 UV6 64 2121-2148 A 85 UV6 65 2141-2168 A 86 UV6 66 2161-217 A 87 UV6 67 216-219 A 1 88 UV6 66 220-2228 A 89 UV6 69 2221-2268 A 90 UV6 90 2261-2298^ A 91 UV6 91 2291-2328 A 92 UV6 92 2321-233 A 93 UV6 93 234-235 A 9 4 UV6 94 236-2368 A 95 UV6 95 2361-2408 A 96 UV6 96 2401-2438 A 97 UV6 97 2431-2458 A 98 UV6 96 2451-2468 A 99 UV6 99 2461-2478 A 100 2471-2498 A F irs t U n s Stanzas Author Aloha Notation 76 Behold the day of the Lord cometh 1 77 1 am a trumpet sounding Angel 1 78 Come near all my people 1 79 Behold salth the angel of Love 80 0 come come my lovely 81 Bow ye low bow ye low all all Ye children 1 82 0 ho ho salth the Angel 1 83 1 am calling 1 am calling salth the Lord 1 3 4 Behold salth the Lord 1 85 Arise 0 Ye holy Seraphs and angels 1 86 Hark hear the holy trumpet 1 87 Blessed blessed are my chosen 1 88 Holg holy Is the God 1 89 Behold In the last days 1 90 Behold at this time 1 91 Arise arise holy cin der ree 92 0 ho ho rejoice Ye holy saints 93 0 sound sound ye holy trumpets 1 9 4 Behold salth the Angel of light 1 95 Lo 1 have come with the Angels 1 96 0 sing sing aloud all ye hosts 1 97 0 1 E alln a ves ta va 1 98 Harken 0 my re E sin e va 1 99 What of the night 1 |100|0 Jerusalem Jerusalem how beautiful 1 LM N) Rhuthmic Notation Com ooser 76 77 78 79 80 81 82 83 8 4 85 86 87 88 89 90 91 92 93 9 4 95 96 97 98 99 A. OJ Os) 1 1MS Sono No. Pooe No. iTuoe Ploco Date T itle 101IUV6I 101 2491-252 A First Line Stanzas Author Aloha Notation 101 0 Zion my beloved 1

A. CM un 436 APPENDIX J

INVENTORY UV14

437 MS S ona No. Pooe No. TjHpe Ploco Date 1 UV14 1 1-3 H U.V. 1st Order North House 1844 2 UV14 2 4-5 H Union Village West Brick Nov 25th 1847 3 UV14 3 6 H Union Village First Order Nov 22d 1647 4 UV14 4 7 -9 s H Union Village C.h.h. 1st Order Room No. 8th Oct 3th 1847 5 UV14 5 91 E 6 UV14 6 10 E Union Village C h.h. 1st Order Room No. 8th Oct 7th 1847 7 UV14 7 11-12 H U.VIllage 1st Order Nov 27th 1847 8 UV14 8 13-14S L Union Village Nov 4 1 8 4 7 9 UV14 9 141 E Nov 27 1847 10 UV14 10 15 L Union Village 11 UV14 11 15-17 H Union Vlllag C.h.h. Nov 28th 1847 12 UV14 12 18-20 H Union Village 1st Order Nov. 13th 1847 13 UV14 13 21-2 2 s H Union Village C.h.h. 1st Order 14 UV14 14 221 E 15 UV14 15 23-24S H Union Vlllag 1st Order 16 UV14 16 241 E 17 UV14 17 25-27 A 18 UV14 18 28 E Aug-Nov 29' 1847 19 UV14 19 29 E Union Village 1st Order Dec 2d 1847 20 UV14 20 30 E November 29' 1847 21 UV14 21 31-32 H Union Village Nov 29' 1847 22 UV14 22 33 E White Water 1847 23 UV14 23 34 E 2 4 UV14 24 35 E 25 UV14 25 36 E Union Village Nov. 29' 1847 LM OQ T itle F i r s t L ine 1 Sublime effusions 0 feed me my Mother From thy flowing fount 2 Zion's Children While Zion's Sons and Daughters sing 3 The Waters are Troubled Lord trouble now the waters that we may enter In 4 Earnest Petition 0 merciful father In thee 1 do trust 5 Pretty Way 1 am thankful for this pretty way 6 Heavenly Music 1 will go my way While the music sweetly plays 7 Throne of Light While the protecting hand of God 8 A Song of Merriment Why 1 wonder you don't laugh a little laugh a little 9 Little Busy Bee Like the little busy be We'll fly around and be so free 10 Simple Freedom Who will bow and bend like the willow? 11 Meditation's Silent Vale In meditations silent vale 1 love to often walk 12 Hymn from Isaiah Chap 35 The Lord hath promis'd good To Israel land of Peace 13 Serious Thoughts The world and all that Is therein 14 Mothers Love Come In my little Dove Bring me Mother's love 15 Desire for Repentance The beautiful gift of repentance I want 16 God's Chosen Band 1 have a little chosen band Which dally round 1 hover 17 Celestial Beauty of Zion Come Brethren and Sisters let us sing of the excellency of Zion 18 Heavenly Flight On the wings of love I'll soar away 19 Heavenly Rest Lo 1 fly lo 1 fly to the heavens of heavens on high 20 Army of God Remember 0 my Children 1 dally walk with you 21 Heavenly Consolation 0 ever blessed Mother Thy holy way I'll keep 22 Earnest Solltatlon 0 heavenly power from above Come fill my soul with pretty love 2 3 S w eetest of Love Sweet sweet the sweetest of love We'r gather from our little Dove 2 4 Happy Band We'll soar away on wings of Love to the heavenly worlds above 25 Desire for Freedom 1 hate bondage 1 love freedom Come pretty love and dwell with me oa«O S ta n z a s A u th o r Aloha Notation Rhuthmic Notation C o m p o ser 1 4 GccccAcdd 4Gc|c6ccAcdd| R., L. 2 2 ccesdcAc 4.c8c|4ee6dcAc| 3 2 cdeageec 4.c8d4ee|gee4.8c| 4 3 cdeedccAGA 4.c8d|8ee6dc8cA6GA| 5 1 GccdeccdG 8G|6ccdeccdG| 6 1 GGcccggg 8GG|4c8cc|4g8gg| 7 3 GccdggcBAGc 8.G6c|4cdgg|8cBAG4c| 8 1 ccGGGFDDDD 8.c6c6GG8G|8F6DD6D8.Di Sharp, Eliza 9 1 10 1 ceggddddc 8ce6.g6g|8d6dd8dc| Sharp, Eliza 11 5 edcccGAAAc 8.e6d|8cccG|AAAc| 12 7 cdedcAc 8cd|4.e8d4c8Aci 13 3 efgegfed 4e8f 4g8s|4g8f 4e8d| 14 1 geedcAcdede 8geedcA4c8ded4e 15 3 gasagggaaacd 4g|a8aa4g8ggl4a8aa4.c6dl 16 1 Gccddefed 4G|8ccddefed| 17 1 cdeegdceg 4.c8d|4e8eg4d|2c8eg| 18 1 GGccddefggg 6GG|8ccdd|efg6ggi 19 1 GAcccdc 8G6Ac4c8cd4c| 2 0 1 1 GAcdcAGGA 8GA|4.c8di4c8AGGA| 21 4 1 GccdefdcG 8.G6c4cde8fd4cG 2 2 1 GAcAGAc 8GAcA4G8Ac| 23 1 ggegecee 4.g4g8elgec4e8el 2 4 1 ceggggagag 4c8ei4g8g4g6g|aga4.g| 2 5 1 ccdcdege 8ccdc|degel o MS Sona No. Pooe No. Tfipe P lace Date 26 UV14 26 37-39 H Union Village 1st Order Jan 2d 1848 27 UV14 27 40-43S A Union Village 1st Order Nov. 28 1847 28 UV14 28 431-46 H 29 UV14 29 47-50 A 30 UV14 30 51-53 A 31 UV14 31 54 E 32 UV14 32 55 E 33 UV14 33 56 E 3 4 UV14 34 57 E Union Village Second Family Nov 29 35 UV14 35 58s E Peasant Hill Dec 4th 1847 36 UV14 36 581 E Dec 1847 37 UV14 37 59 E Dec 4th 47 38 UV14 38 60 E Union Village 1 Order Room No 8th 1847 39 UV14 39 61s E Dec 1847 40 UV14 40 611 E An Eastern Song December 4 1847 41 UV14 41 62 E 42 UV14 42 63 E Pleasant Hill 43 UV14 43 64 E 4 4 UV14 44 65-68 A August 31th 1849 45 UV14 45 69-70 A 46 UV14 46 71-73 A 47 UV14 47 74-76 A Union Village 1st Order August 31th 1849 48 UV14 46 77 E Union Village 1st Order Feb 24 1847 49 UV14 49 78-81 A August 31th 1849 50 UV14 50 82s L .u T itl e F i r s t L ine 2 6 The Holy Jerusalem That holy jemsalern which wise men of old 27 Trumpet Sounding Angel 1 am a trumpet sounding Angel of the Lord 28 Mansion of Love The truly devoted their thoughts will confine 29 A Beautiful Anthem Hark heark hear the celestial music rolling rolling 3 0 Paradise of Edon Come, hearken 0 ye Nations of the Earth and bow before the Lord 31 Fruits of Heaven Beautiful upon the mountain Where the fruits of heaven grow 3 2 A Heavenly March Stand ye fast 0 my soul Fight for the victory 33 A March Comfort Holy spirits bright and lov'ly Spread their cheering wings around 34 Willow Tree Limber limber 1 will be like a bending willow tree 3 5 Holy Mothers Love 1 have a little store Of holy Mothers love love 36 Pretty Freedom Come prettg freedom Shake of bondage 37 Glorious Scene On flowing streams we'll sail to gather 3 8 Robe Of Purity 0 what a pure and dear relation We are call'd to travel In 3 9 Freedoms Way In freedoms way 1 love to pray And gathers Mothers blessing 40 Comforting Promis I'll walk with you each faithful soul 41 Trumpet Of Freedom Over you my beloved with my wings 1 will hover 42 Heavenly Invitation We are We are traveling home to God 43 Free Gift My love says Mother do receive 44 Angel of Holiness 0 ho ho salth the Angel whose name Is holiness 45 An inspir'd Anthem Hark hark salth your heavenly Father 4 6 Rejoceing Of Saints 0 rejoice rejoice 0 Jerusalem and come low yea verrey[s1c] love 4 7 The Day of Mighty Shaking 0 rejoice and sound the se lac na praises of your heavenly father 48 A Prayerful Spirit 0 Lord a prayerful spirit Let me feel each coming day 4 9 Mother Anns Passage Fear ye not Fear ye not my lovely LlasllHvan 50 A Quick Song 0 Come don't be bound Here Is love flowing round N) Stanzas Author Aloha Notation Rhuthmic Notation Com ooser 26 3 GAccedcce 8GA|4c8cedcca| 27 1 Gccdaeff 8.G6c4.c8daaff 28 4 EAABcBA 4EIA6AB4C8BAI 29 1 GcEGGAG 2GCI4.E8G4G8AGI 30 1 cdegedc 8cd|4.a8gad4ci 31 1 aeggaage 4e8e4g8gi4a8a4g8e| 32 1 dafggfaad 8d6af4g|6gf8a6a8.di 33 1 gaaadaAG 8gaaa|daAGl 3 4 1 gggaeeceadcAAcc 6gggeaa8c!6aadcAAccl 35 1 GFGBccAGFGA 8GFGB|ccA|4GFGA| 36 1 gadaedcdagadaa 8g6ad8ea|dcdag6ad8aa| 37 1 cccagaage 4ci8cc4eg8aage| 38 1 GABccBABC 4.GI4A8B4.CI4C8BABCI 39 1 GccccdcBcdcdeff 4G|6ccccdcBc|dcda8f f 40 1 cdaaddccdafg 8cd4a|8ed|2d4c|4.c8daf|2g 41 1 cdaddcccdadafgg 4.c8d|4a8dd|cccd|adaf|4gg 42 1 ccacagac 8cc8aca|8ga4ci 43 1 GcccacAG 8G!ccca|cA4g| 4 4 1 gacdecGG 4.g8a4c8da4c8GG| Hampton, Ollvar C. 45 1 ceddagad 2c4.a8d|4dag8ad| 46 1 GGEGGccdaad 4G8GE|2G8Gc|4c8da4a| 47 1 cGECGcAGA 2c8GE2C4Gc8AG2A 48 1 GABccBcddcd 8GABi4c8c4B8c|4d8d4c8di 49 1 jcDEFGcAGA 8C0EF2GI4.c8A4.G8Al Mcnamar, Jamas 50 1 gageeaoboa 8ga6ga8a|8aab6aa| o o MS S ona No. Pooe No. T||Pe P lace D ate 51 UV14 51 821 L Aug 24 1847 5 2 UV14 52 83-86 A Union Village 1st Order Aug 30th 1846 5 3 UV14 53 87-89 A Aug 30th 1846 5 4 UV14 54 90 E 5 5 UV14 55 91-92 H Pleasant Hill Oct 5 1847 5 6 UV14 56 93-95 H Union Vilage 1st Order May 3d 1847 5 7 UV14 57 96 L South Union 5 8 UV14 58 97 H Jan 6th 59UV14 59 98 E 6 0 UV14 60 9 9 -1 00s E North Union 61 UV14 61 1001 E 6 2 UV14 62 101 E South Union Jan 9 /4 8 6 3 UV14 63 102 E Union Village West Brick Sept 4 1847 64 UV14 64 103-104 A Aug 30th 1849 6 5 UV14 65 105-107 A Union Village 1 Order Pentecost 1845 6 6 UV14 66 108 E South Union Jan 8th 1847 67UV14 67 109 E Union Village Is Order Jan 8th 1848 6 8 UV14 68 110 E Jan 8th 1848 69UV14 69 111 E Jan 8th 1848 7 0 UV14 70 112-114 A 71 UV14 71 115-117 A T itl e F irs t Lime 51 Quick Song 52 Firm Foundation Stand Stand ye fast saith 53 Daughter of Zion Be awake 0 Virgin Daughter of Zion 5 4 The Light of the Earth The true heirs of heaven are all interwoven 55 Encouragement We'll join with our Mother On harps of pure Love 56 Cheering Reflections How pleasant and cheering and sweet the reflection 57 Song of the Morning Lo the morning has come The day star has risen 58 Vale of Love Seek me in the valley of love here 1 am soaring Like a dove 59 Mothers Love 0 how sweet and how cheering is our blessed Mothers Love 60 Glorious Warfare 1 will persevere 1 will never look back 61 Love Love holy Love come come from above 62 Sim plicity 1 can tell you what makes me so happy and free 63 Call for Volunteers 0 come my Dear children the call is now for volunteers 6 4 Angels Commission'd Seal ye my servant 0 ye my most holy angel 65 The Trumpet of God Blow ye the trumpet of the Lord 0 ye holy saints in heaven 66 The word of God The word of God fulfilling The time is near at hand 67 Gospel Truth Hail glorious Light of gospel truth 68 Showers of Love Holy Mothers Love is flowing flowing Like a shower 69 Praise to Mother Wer e going home to heaven where holy Mothers children dwell 70 Holy Se vas ta va na Arise go ye forth my Holy se vas ta va na 71 The Holy Temple Arise arise 0 selavander ree clothe thy self

INVENTORY UV24

447 MS ISona No.l P aae No. iTuDol P lace Date 1 UV24 1 1-48 A 2 UV24 2 41-7 A 3 UV24 3 6-98 A 4 UV24 4 91-10 A North Union Sept. 1848 5 UV24 5 11 A North Union 1848 6 UV24 6 12-138 A C. H. H. I8 t Order 1848 7 UV24 7 131-17 A 8 UV24 8 18-218 A g UV24 9 211-258 A 10 UV24 to 251-29 A 11 UV24 11 30-338 A 12 UV24 12 331-358 H 13 UV24 13 351-378 H White Water 1849 14 UV24 14 371-38 H 15 UV24 15 39-428 A 16 UV24 16 421-448 H 17 UV24 17 441-458 A 18 UV24 18 451-478 H Union Village, F. 0. July 31, 1849 19 UV24 19 471-498 H 20 UV24 20 491-51 A 21 UV24 21 5 2 -5 4 H 22 UV24 22 55-56 A 23 UV24 23 59-60 H 2 4 UV24 24 61-628 H 25 UV24 25 621-67 H o a T itle F irs t Line 1 1 am Gods holy Angel of Love 2 The Sound Ind Trumpeters 0 sound sound ye holy trumpeters 3 Let Zion learn to bow down low 4 Sing praises and give thanks 5 0 Zion 0 Zion arise arise for thou art arrayed 6 I have come to view thy courts 0 Zion 7 Awake arise 0 thou mighty Angel 8 Behold the day of the Lord cometh 9 Prepare prepare 0 Zion for the days 10 Hear ye my word salth the spirit 11 Rejoice rejoice 0 Zion rejoice salth the Lord 12 Beauty of Zion Behold what celestial beauty 13 A low still voice was heard to say 14 • Come peace of mind thou lovely guest 15 Awake arise 0 Zion! clothe thyself 1 16 A band of souls united to gain 17 For who Is he that feareth the Lord 18 The Lords my refuge and my strength 19 0 Our holy heavenly Father 20 Hark to the voice from the tomb 21 Be silent all flesh for the Lord has appeard 22 Those who have left all their sins behind 23 The Hour of Prayer How blest Is the season when calm and retired 24 0 Father Jesus and Mother Ann 25 0 heavenly wisdom now we hear 6 Stanzas Author Aloha Notation Rhuthmic Notation Composer 1 1 cdeeddcAc 4c8d4e|4.e6ddcAc| 2 1 cCGGGcd 2cC|4G8GG4.c6d| 3 1 EFGAABc 6E6FGI4AABCI 4 1 EGAABdsdc 6EG|4AA8Bd|2e6dc| 5 1 CEEGAcA 4CIE2E8GAI4CA 6 1 edcGecde 8ed|4c2G8ecde| 7 1 ABcdedcdc 6A8|cd8.e6d4c8dc| 8 1 ccdeeec 2c4.c8d4e8ee4c 9 1 Gccgeec 86c2c8gs4ec 10 1 cdefgddic 8cdef|2g|4dd8dcl 11 1 cdecegc 8cd|2e8ce|4gc 12 3 cGEFGccd 4.c8GEFGc6cd 13 3 14 2 GAcAGAcdcdl 4G8A4c6A|GAcdcd| 15 1 egggecc 8eg|4.g6ge4ccl 16 4 ccdedegeg 2c|4cde8de|2g4egi 17 1 cdeeedc 4.c8d4eee8dc 18 4 19 6 AAGAcccAG 4A8A4G8A4c8ccAG 20 1 21 5 22 1 eecAAAcdecd 4e6ec|4AAA|8cdec2d| 23 6 Gcccgee 8G|4c8cc4g8ee| 24 3 25 8 cdeeddeg 4.c8d4eeddeg MS iSona No. Pooe No. ITuoel PI 000 Doto 26 UV24 26 68-698 H 27 UV24 27 691-718 H 28 UV24 28 711-73 H Union V111 F. 0. Aug. 2, 49 29 UV24 29 74-76 H U. V. F. 0. Aug. 28, 1849 30 UV24 30 77-788 H 31 UV24 31 781-798 H 32 UV24 32 791-808 H U. V. F. 0. 33 UV24 33 801-828 H 34 UV24 34 821-83 H Eastern 35 UV24 35 84-858 H 36 UV24 36 851-888 A 37 UV24 37 881-92 H 38 UV24 38 93-94 H 39 UV24 39 95 H 40 UV24 40 96-978 H 41 UV24 41 971-1008 H 42 UV24 42 1001-1028 H Nov. 4, 1849 43 UV24 43 1021-103 A 44 UV24 44 104-1068 H 45 UV24 45 1061-108 H December 9,1849 46 UV24 46 109-110 H 47 UV24 47 111-1128 H Union Village, Chh. 1st Order 1849 48 UV24 48 1121-1138 H 49 UV24 49 1131-1148 H U. V. F. 0. Dec. 25, 1849 50 UV24I 50 1141 H U. V. F. 0. Dec. 1849 WlA. T itle F ir st Line 26 The watchword In Zion how solemn It sounds 27 The Horror of this World 0 painful tis to me the horrors of this world 2 8 The Spirit of Supplication While sore pestilence is raging 2 9 Fleetness of Time How swift the passing moments fly 3 0 0 let us bow In grateful thanks 31 This world ah! tis gloomy 3 2 Come brethren and sisters 0 let us prepare 3 3 How pleasant the hour when saints meet to slng^ 3 4 A Sweet Invitation Come unto me all ye heavy ladend 3 5 Zion Zion bow down lowly 3 6 Hoi ho ho 1 am 1 ka re an na vo 3 7 How pleasant the hour when saints meet to sing 38 How pleasant and cheering the seasons 3 9 A Prayer Holy holy heavenly Father 40 Let us now pray with fervent zeal 41 Happy State of the Gospel Pioneer When first I heard the gospel sound 4 2 Prayer and Supplication Almighty God thy power we own 4 3 Come come 0 my little children 4 4 How blessed It Is to be numbered among 4 5 Salem Call A solemn voice from heaven 4 6 Love Is a gem Love Is a precious jem of heaven 4 7 Far beyond this vale of time 4 8 The angels of God now cryeth in mercy 49 Contested Pleasures Not all the pomp or splendor 5 0 Onward onward lets be going un Stanzms Author Aloha Notation Rhuthmic Notation Comooser 26 4 efedcde 4.e|fedcdel 27 7 GAcddeg 8GA4.c8dde4g Hampton, 0. C. 28 3 eeddccAGEG 4eeddcc6AGEG 29 5 30 2 31 1 cdeeeeec 4.c8d|ee@leec| 32 1 cddcceg 2c|4d8dc4c8eg 33 3 cdeeege 4.c8d|4e8ee8.g6e 34 1 cccceedd 4c8cc4c8ee4dd 35 2 eeAAED 4eeAA8ED 36 1 37 3 38 3 cdeeegadcde Scdeeelgedcdei 39 1 cGcdecAG 4.c6G4.c8d|4ecAGi 40 2 cdeeegee 4c8d4e8e|4e8g4e8e| 41 4 ABcdBeAB 4.A884cd|4.88e4A8| 42 6 cGEDCEGG 2C4GEDCEG2G 43 1 degabag 2d8egla|bagl 44 4 cBAAGFG 4C88AAGFG 45 5 46 3 GAccddef 8.G6A8cc4d8def! 47 2 ggagecdec 4g8gageicde4.ci 48 1 Gccccefg 8G|4c8cc4c8ef4g 49 2 edcccde 8.e6d8cccd4e 50 1 egageedc 8eg4.a8geedc MS SongJIo. Paaa No. Tuoe Place Date 51 UV24 51 1158 H U. V. F. 0. Dec. 30, 1849 5 2 UV24 52 1151 H 5 3 UV24 53 116-1178 H 5 4 UV24 54 1171 H 55 UV24 55 118 H U. V. Feb. 3, 1850 5 6 UV24 56 119-120 H Feb. 3, 1850 5 7 UV24 57 121-1228 H 5 8 UV24 56 1221-123 H 5 9 UV24 59 124-1258 H 60 UV24 60 1251-1268 H Feb, March 12, 1850 61 UV24 61 1261 H March 12, 1850 6 2 UV24 62 127-1298 H Chh. I8t Order May 4, 1850 63 UV24 63 1291-1318 H 6 4 UV24 64 1311-133 H 65 UV24 65 134-135 H 66 UV24 66 136-1378 H 6 7 UV24 67 1371-1398 H 68 UV24 68 1391-1418 A 6 9 UV24 69 1411-1438 H 7 0 UV24 70 1431-1448 H 71 UV24 71 1441-147 H June 17, Aug. 25, 1850 72 UV24 72 148-1498 H 7 3 UV24 73 1491-1528 H Sept. 8, 1850 7 4 UV24 74 1521-1548 H 75 UV24 75 1541-1558 H South Union Dec. 1, 1850 T itle F irst L ise 51 I'm a free volunteer And I've unsheathed my sword 5 2 Tarry not tarry not Heavenward be moving 5 3 0 God protect my feeble bark 5 4 Kind guardian angels lend thy all 5 5 My brethren and my sisters dear 5 6 From the Bible It Is a good thing to give thanks and to sing 5 7 0 Lord hear my prayer and befriend with thy care 5 8 The Better Lend This world Is a desolate land 5 9 0 the beautiful way of God 6 0 Praises to God Praise the Lord Jerusalem 61 Profitable Reflections 0 who can think to sacrifice their precious home 6 2 We thank thee 0 God for thy kind loving mercy 6 3 0 1 will walk low In the vale 6 4 • In justification what true consolation 6 5 How blest Is the season 6 6 Love to God 1 love that God who reigns above 6 7 Holy Praise Awake awake ye holy saints 6 8 The estate of the faithful Thus salth thus salth the holy angel of light 6 9 Boast not Boast not thyself vain man boast not 7 0 Spiritual Reflections While 1 view my dear relations 71 Glean with Care Glean your orchards glean your gardens 7 2 Blessed Estate of the Faithful How pleasant And cheering 0 Sweet the reflection 7 3 A Great Privilege The gospel call has made me free 7 4 Holy Faith 1 have received that holjj faith 7 5 Heavenly Light 0 hoi descend the radiant light V/l Stanzas Author Aloha Notation Rhuthmic Notation Comooser 51 1 cageecgga 6ce4gi8ee4c|8gg4o 5 2 1 ccAGGEcc 4c8c4.A4G8G4.E4c8c 5 3 4 5 4 1 geccccdeds 8geccc4c8dede 5 5 2 5 6 3 5 7 2 SdcAAGGA 4e8dcAA4G6GA 5 8 4 5 9 3 60 3 cegfedccd 4ce4.g8f|4ed|2c8cd| 61 1 6 2 4 GcGedcefg 86cl4G8ed4c8ef4g 6 3 3 AABcBAG 4.AIBABCBAGI 6 4 3 GGcccdegfe 4.G|8Gcccde|gfe 6 5 6 Gcccgee 8G|4c8cc4g8ee| 66 4 cAGAcde 4c4.A8G4A8cd4e 6 7 6 68 1 eedcAccd 4ee8d4.cAc8cd 6 9 3 7 0 3 71 5 ccggeeed 4ccggee8ed 7 2 3 dccdeGAc 4dBccdeGAc 7 3 6 7 4 4 GEGGABcGGc 4G|EGG6ABi4c6Gc| 7 5 3 ccBcdefe 4ccBcde8fe urn Ok MS Sona No. Paoe No. tTuoe P lace Data 76 UV24 76 1551-1568 H 77 UV24 77 1561-1578 H 78 UV24 78 1571-158 H 79 UV24 79 159-162 H 80 UV24 80 163 H U. V. 1850 81 UV24 81 164-165 H 82 UV24 82 166-167 H 83 UV24 83 168-1698 H 8 4 UV24 84 1691-1718 H 85 UV24 85 1711-173 H May 25, 1851 86 UV24 86 174-175 H 87 UV24 87 176-177 H 88 UV24 88 1798 E Chh. 1st Or. 1848 89 UV24 89 1791-1808 E 90 UV24 90 1801 E 91 UV24 91 181s E 92 UV24 92 1811 E 93 UV24 93 1828 E 9 4 UV24 94 1821-183 H 95 UV24 95 184 E 96 UV24 96 185 L 97 UV24 97 1868 E 98 UV24 98 1861 E 99 UV24 99 1878 L 100 UV24 100 1871 E T itle F irs t Line 76 Adorât ;n to God 1 love the Lord for he hath been heard 77 The work of God Increasing still 76 No charms which this earth can produce 79 The vanity and empty of earthly things Farewell to thy pleasures 0 Earth 80 An earnest Prayer 0 my ever blessed Mother 81 Purifying Crosses My Mother knows best what Is good 82 Sea of Life While oer the sea of life I sail 83 Sea of Life While oer the sea of life 1 sail 8 4 Home Sw eet Home While thro llfes dark vale 1 journey 85 Serious Impressions 0 Lord whose voice from far and near 86 A fervent Prayer 0 Lord beneath thy hallowed hand 87 Happy Antlslpatlon I'm working I'm working For heaven my home 88 Music of Angels While Angels sing the heavens ring 89 The B lest How blest are the faithful soul 90 Wing wing your way happy seraphs 91 1 will be with my dear children 92 Come pretty children rise Into life and zeal 93 0 how the Angels do rejoice 9 4 Holy holy 0 holy Father clothe me 95 Rejoice salth the Lord all ye children of Zion 96 Adoration to Mother 1 will bow before my Mother In grateful adoration 97 Contentment 0 thou lovely treasure 98 Press ye on belove children 99 0 Mother 0 Mother 0 heavenly mother Awake my soul with all thou effort en 00 S tan zas A uthor Aloha Notation Rhuthmic Notation Comoosor 76 2 cAcccde 8cA4cc6cd4e 77 4 78 2 ABAABdfe 4.A6BAABdf4.e 79 6 cdedccdee Bcdedccd84.e 80 2 edcAAc 4.e8d6cAAc| 81 3 ABccGAGA 8.A6B4ccGAGA 82 3 BdefeeB 4B8d4e8f4e8e48 83 3 BdefeeB 4B8d4e8f4e8e4B 8 4 5 ccdegaoagg 4c8cd4egiaa8ag4g| 85 5 86 3 87 3 EFGEcBAG eEF4G4E6cB4AG 88 1 EGGGGcccc 6Ei8G6G6G6G8c6c8c6c 89 1 Gcccdeee 4Gc8ccdeae 90 1 AGABcec 4.A8G4ABl2c8ec| 91 1 GABcBAcGE 8G6AB8CBACGE 92 1 cddeeaaa 0c6dd8ee8a6aa 93 1 9 4 4 eggeggaag 8eg4g8eg4g4a8ag 95 2 GAcdeeef 2G4AcdeeB8f 96 1 cegfeced 4c84.g8f|288c84d| 97 1 ABcBAAGG 8ABI4C8B4A8AI4G8G 98 1 eeefgeed 8868686f8g68886d 99 1 ceddaga 4c|88dd4agla 100 1 cc^deegg 8ci4d8d48684gBg MS Sona No. Paoe No. Tuoel P lace D ate 101 UV24 101 188e E 102 UV24 102 1881-1896 E 103UV24 103 1891-1906 E 1 0 4 UV24 104 190m E UV24 105 1901-1918 E UV24 106 1911 E 1 0 7 UV24 107 1928 L 10 8 UV24 108 1921 L UV24 109 19388 L 110 UV24 110 1938b L 111 UV24 111 193m L 112 UV24 112 1931 L 113 UV24 113 194s E 1 1 4 UV24 114 1941 E White Water 1849 115 UV24 115 1958 E W. W ater Aug. 20, 1849 116 UV24 116 1951 E W. W ater Aug. 20, 1849 117 UV24 117 196s L 118UV24 118 1961-1978 E 1 1 9 UV24 119 1971 L U. V. F. 0. Sep. 2, 1849 120 UV24 120 198s E 121 UV24 121 1981-1998 H 122 UV24 122 1991-2008 L 123UV24 123 2001 E 124 UV24 124 201 E UV24 125 202s E OS Title First Line 101 0 heark ye and listen 102 Know ye 0 my beloved 103 Heavenly love Is freely flowing 104 This Is the lovely way divine 105 Come love come love thou heavenly treasure 106 Be joyful Joyful 0 rejoice 107 We'll leap and skip and play around 0 1 will labour to come low

110 Move on your way without delay 111 112 * 113 1 love freedom 1 want to gather 114 • Holy Mother b less 0 bless me 115 Holy pow er love divine 116 0 purifying fire bum within 117 See the happy happy throng l i a Blessed parents we Implore thee 119 Fervent Supplication Let us march on our way 120 While we enjoy a rich suply 121 Altar of Truth To the Altar of Truth holy offrings I'll bring 122 123 The Saviors Comfort Comfort one another my beloved children 124 Cheering Angels 0 my God my heavenly Father 125 0 Lord protect my feeble bark Stanzas Author Aloha Notation Rhuthmic Notation Composer 101 1 Gcddeccegg BGcôddeccagg 102 1 cdedddc 4.c6d4e8dd|4e2ci 103 2 ccdeffed 4c8c4d8e|4f8f4e8d| 104 1 105 1 GcGcdefe 86|c6G8c6defe 106 1 egggeeege 8egl4gg|ee|8eg4e 107 Î ceggogagga 4ce|4.g8gaglag4g8al 108 1 ceggagageeg 4c8e|4g8gaga|4g8e4e8gl 109 egeedcd 8egl8e6ei8dc4dl 110 1 ceggccdbdc 4c8e4g8g4c8cidbd4.c| 111 CCEGGccdcBG 8CC6EG8Gicc6dcBG| 112 CDEFGABcE ÔCDEF8G6AB8CE 113 1 CEGGccdcG 8CEGG|c6cdc6G| 114 1 ABcAcdeA 4A884c8A|4c8d4e8A| 115 1 eeccffe 4e8e4c8c|4f8f4.ei 116 1 gdddeccGc 2g8ddde|4ccGc| 117 1 aagfegg 8a6a8g6f|8e6g4.g| 118 1 ccAcAAGE 4ccAcAA8GE 119 1 EGGAGGAc 8EGI4G8AGI4G8ACI 120 1 EGGcdcAG 8E|4G8G4c8d|cAG 121 3 efgaggcc 8ef|4g8ag|4g8cci 122 ccdeeffgaa 8c6cd8ee|8f6fg8aa| 123 1 cegaggga 8cega|4ggl8ga 124 1 EGAcBBcBA 4EGAciBBc88A| 125 1 GGAccAG 2G4G8Ac|2c4.A8G| ts> MS Sono No. Paoe No. tTuoel Place Data 126 UV24 126 2021-2038 E 127 UV24 127 2031 E UV24 126 204 E 129 UV24 129 2058 E 130 UV24 130 2051-2068 L 131 UV24 131 2061 L 132 UV24 132 2u7s E 133 UV24 133 2071-2088 E 134 UV24 134 2081 E 135 UV24 135 209s E 136 UV24 136 2091 E 137 UV24 137 2108 E UV24 138 2101 E 139 UV24 139 211s E 140 UV24 140 2111 E 141 UV24 141 212s E 142 UV24 142 2121-213s E 143 UV24 143 213m E 144 UV24 144 2131-214S E 145 UV24 145 214m E 146 UV24 146 21410 E 147 UV24 147 2141b-215s E UV24 148 2151 E UV24 149 216s E UV24 150 2161 E T itle F ir s t Line 126 Firm Promise Farewell to earth thy pleasures 1 disdain 127 Rolling Love Love love let It roll tie a mighty power Divine Power The Lord will sustain all who tru st In his name 12 g A Volunteer 1 mean to be a volunteer And In the week be moving Now 1 mean to be In motion 131 Now 1 mean to shake shake off every band 132 1 will be a volunteer To rout the old deceiver 133 0 God of wisdom power and justice 134 Arise and be Joyful and onward be progressing 135 Lovely Mansion Far far before me 136 Here pretty love Is flowing 137 0 Mothers wine Is sweet Mothers wine is cheering 138 0 simplicity sweet simplicity flowing all around us 139 0 don't you hear the drums a beating 140 0 can't you hear our holy Mothers love love 141 0 come my dear children partake of my love 142 i'll serve the Lord with pleasure 143 i'll press my way thro trials deep 144 Happy are they who from unrighteous works are free 145 Sweet love Is flowing and thro the heavens rolling 146 The heavenly comforter has come to comfort 147 Come learn of me and holy be 148 Away from things of time 149 My Mothers love Is holy my Mothers love Is pure 150 J Come holy power fill my soul Stanzas Author Aloha Notation Rhythmic Notation Comoosor 126 1 GcdeedccA 4G8cd|48eBdccA| 127 1 ccedccdef 4.cci4e8d4.c|4c8d4eBf| 1 cdeeegggddd 4.c8d4e8ee|4g8gg4d8dd| 129 1 egggeggca 8e|4g8g4g8e|4g8g4a8a| 130 1 cdedggge 4c8d4e8d|4g8g4g8e| 131 1 CDEFGAcBAB 8CD6EF8GAC68A88 132 1 GGEEFFDDccBB SGGEEFFDDccBB 133 1 cegogeecd Gceg6ag8eecd 134 1 ECCCcccdccc 8EiC6CC|4c8cc|dCCC| 135 1 ffeddc 4.f4f8e4.d4d6c 136 1 ceecceg 4.c4e8e|4c8c4e6g| 137 1 ccdccAGG 6c6cdcc8A6GG 138 1 cegcccegga 4c8egcc|4c6eggai 139 1 GGAcdeeec 6G|8.G6A8.c6d|8eee6c| 140 1 ceggffeeedc 4c8e4g8g4f6f4e8e4e8d4.c 141 1 GGAGEGGcde 2G4G8AG4E8GG4c8de 142 1 ccgggeeg 6c4c8g4g8g4.e4e8g 143 ceggagee 6.c6e|8ggag|ee 144 1 ddedcdegga 4d8de|4d8cd|eggal 145 1 cABcddedc 4.c8A8c|4.d4dSe4d8c 146 1 eddcAGA 4@8dd|cAGA| 147 1 cdeegedce 8.c6di8eege|dc4al 1 egedcee 8e8g668d6c8.ee 1 eedcAcccdc 2e4ed|cA2c|4ccdci 1 geeddccG 4.g4e8e4d8d4c8c4G VI MS Sona No. POQO No. mes Place Date 151 UV24 151 217 E 152 UV24 152 218s L 153 UV24 153 2181 E 154 UV24 154 219 E 155 UV24 155 220 L 156 UV24 156 221 E 157 UV24 157 222 E 158 UV24 158 2238 E 159 UV24 159 2231-2248 E 160 UV24 160 2241-2258 H 161 UV24 161 2251-2268 E 162 UV24 162 2261-227 E Eastern July 28, 1850 163 UV24 163 228 E Eastern Aug. 18, 1850 164 UV24 164 2298 E 165 UV24 165 2291-2308 E 166 UV24 166 2301 E 167 UV24 167 2318 E 168 UV24 168 2311-232 H 169 UV24 169 233 E 170 UV24 170 2348 E Dec. 14, 1850 171 UV24 171 2341-2358 L 172 UV24 172 235m E 173 UV24 173 2351 L 174 UV24 174 2368 E U. V. 1851 175 UV24 175 2361 L <3\ 9^- T itle First Lins 151 Come let us go to the mansions of peace 152 0 happy happy 1 do feel i love the way of God 153 In dark and trying hours I'll be your constant friend I've promised to walk with the lowly in spirit 155 See the saints they're all In order 156 1 am bound for the kingdom of heaven 157 When tribulation fills my way 158 Sweet Heavenly Power Holy angels around us hover 159 Gospel Trumpet Hark the gospel trumpet sounding 160 A Song of Victory This little band of soldiers brave 161 Christian Soldier I'm a soldier of Christ I've enlisted for life 162 Angels Call The Angels are calling to come come to Zion 163 A Humble Request 0 Mother dear Mother do guide and direct me Fleeting Times Roll on roll on fleeting time with all thy care Cheering Promise What the afflictions round the roll and heavy Dependence Lean upon my arm when suffering you betide 167 Awake wake awake my harp Here on this golden waiter is placed the bread of life Bonds of Sweet Union In bonds of sweet union 170 Sweet Home 1 would not exchange my home sweet home 171 Valour Come on ye brave and valient soldiers 172 In this love we will bound 173 Arise my soul and be awake 174 Roll on roll on 0 holy power 175 As we march as we march to the city 5 S tan zas Author Aloha Notation Rhuthmic Notation ^^^Comgose^ 151 1 cccccdedd Bc6cc8c6cd|Be6dd 152 1 cAGAGED 6.c8A6Gi8A6G0E6D| 153 1 cAGcdee 2c4.A8G|4cd|2e4e| 154 1 GGAGccd 2G|4G8AG|4c8cd| 155 1 EGABccAAG 8EG8.A6B8c6cA8AG 156 1 cdegagedc 4.c8d4e8g@|gedc| 157 cdedcged 4.c8d4ed|2c4g|edi 158 GGccccGFG 8GGc6cc|8cGFGi 159 1 ccccegge 8.c6c8ccegge 160 1 ccccdecc 8c|cc8.c6d8ecc 161 1 ggcddgeg 8gg4cBdd4g8eg 162 1 163 1 EFGECGFD 4E8F6ECGFD 164 1 sdBAABAB 4.ed|BA4A8B4A8B 165 1 Gccdecd 8Gc4c8d4ecd 166 1 cddcedec 4.c8ddc4.e8dec 167 1 4 cAcAGAGG 4.C6ACAGAGG 170 cGEGFDF 4CGBEG4F8DF 171 1 ccGGFEG 8c|4c8G4G8F|4E8G 172 1 efgefgefg 6ef6g6ef8g6ef8g 173 1 174 1 edcdeggdeg 8e6dc8deg6gd8eg 175 1 CEGGGGcA 8CE4G86G4G8.CA oe MS Sona No. Pooo No. tTuoel P iece Dote 176 UV24 176 237 E 177 UV24 177 238s E 170 UV24 178 238I-239S E 179 UV24 179 2391-2408 E UV24 160 2401 E U. V. 181 UV24 181 241 E U. V. March 23, 1851 UV24 182 2428 L U. V. UV24 183 2421-2438 E Eastern I UV24 184 2431 E UV24 185 244 E 106 UV24 186 2458 E 107 UV24 187 2451 E 100 UV24 188 246 E May 25,1851 109 UV24 189 2478 E UV24 190 2471 E U. Village June 15,51 191 UV24 191 2488 E 192 UV24 192 2481-251 H 193 UV24 193 2528 L U. V. F. 0. July 15, 1851 194 UV24 194 2521-253 E 195 UV24 195 254-2578 H Eastern Hymn 196 UV24 196 257m E 197 UV24 197 2571-2598 H UV24 198 2591-260 H July 27, 1851 UV24 199 2618 E IUV24I 200 2611-262 E Ov «o T itle First Line 176 The Shepherds Care 1 will lead my chosen people 177 Will you go with me to the fount above 178 0 come my dear children says Mother 179 Cast your bread upon the waters 180 Glorious Warfare 0 1 will turn swift while the fire Is burning 181 Gentle Gale 0 blow thou sw eet and gentle gale 182 Shake off every fetter 183 Come on my young companions dear 184 Resolution 1 have started on my Journey 185 Real Joy The angry billows beat beat 186 Lively Love In Mothers love now we sing 187 Wisdoms Promise With my wings 1 will hover 188 Mothers comforting words Come come 1 will lead you I'll clothe and feed you 189 Heavenly Music 0 hear the heavenly music roll 190 0 come be ye valient all ye who are willing 191 Heavenly Music Hark 0 hear the lovely sound 192 Solemn impressions How blessed are the pure In heart 193 1 am marching marching heavenward 194 A Prayer 0 1 pray 1 pray that good Angels from above 195 Judgement Work Search search frail mortals search 1 say 196 The Savior has come In Blest Mother Ann 197 The Heavenly Lord We re marching to that heavenly place 198 Way of Peace To live a good and righteous life 199 0 what a pretty home 1 have 200 A free Passage To my heavenly Fathers kingdom Stanzas Author Aloha Notation Rhuthmic Notation Com poser 176 1 egaabbob 8eg6.a6a6bbab 177 1 Gcccceedc 6Gc8ccc6ee6dc 170 1 ccdeegag 8c|cde@4g8ag 179 1 180 eecdegage 8e6ec8de6gage 1811 1 GAccdcAA 4G8A4c8c4d8c4A8A 182 1 CcdcccGGcc 8Cc6dcccGGcc 1831 1 cdeeecAAG 8.c6d4eeec8AAG 184 1 edeccege 8cdeccage 185 1 ABcBAGE 8.A6BI4CBAGI2EI 186 1 cccceeg 6c|cc8c6ee8g 187 1 GABcBcdedd 268ABcBcded2d 1 GGEGGEGcd 4.G4GEGGEG8cd 1 cegfeagg 8cegfea4gg 1 defeedd 8de6fe8e6dd 191 1 Gcccdec 4G8c4c8c4d8e4.C 192 5 ccGddcda 4.c4c6G4d8dcde 193 1 efgededefg 6ef8g48d8ed6efBg 194 1 195 1 AcEDEcde 2A4cEDEcde 196 1 197 2 cgcddeec 4.c4g8c4d8d4e6e4c 2 1 GGccdeeec 4G8Gccd4eeec 1 eedcdcccA 8eedcdc4c8cA MS Sono No. Pooo No. iTuoe Place Date 201 UV24 201 263-264 H UV24 202 265-2668 H UV24 203 2661-2698 H UV24 204 2691-2728 H UV24 205 2721-2748 H UV24 206 2741-275 H UV24 207 276-277 H UV24 208 278 H UV24 209 279 E UV24 210 280 L 211 UV24 211 281-2838 H 212 UV24 212 2831-284 H 213 UV24 213 285-2868 H 214 UV24 214 286m E 215 UV24 215 2861-287 H UV24 216 288 H 2 Ï7 UV24 217 289 H UV24 218 290 H UV24 219 291 E UV24 220 292s E 221 UV24 221 2921-2938 E 222 UV24 222 2931 L 223 UV24 223 2948 E 224 UV24 224 2941 E 225 UV24 225 295s E First Line 201 Come break forth in gladness 202 The saints Heaven sweetly sing 203 The Lord by His prophets declared of old 204 Praise How beautiful are those that keep Gods holy way 205 I'm thankful to God for the way of salvation 206 0 come pure wisdom guide my feet 207 1 have a home in Zion secure from vain delights 208 The gates shall be blessed 209 In this gospel of redemption 210 Awake arise spring into life 211 Behold a loyal company of soldiers 212 While on the wings of time 1 glide 213 Come brak forth in gladness ye hills 214 The tide of Time How swiftly rolls the tide of time 215 A proving conscience is the crown 216 A fervent Prayer 0 Lord beneath thy hallowed hand 217 A prayer 0 Mother protect me with thy holy care 218 In humiliation dear mother do lead me 219 0 my soul shout and sing praise 220 1 will be little little simple simple free free 221 |The Love or the Angelic host What pure love what sweet love Limber limber as a willow We are moving on to gather Freedom freedom 0 how 1 love it 225 Roll on heavenly love Roll like a mighty flood «sj w Stanzas Author Aloha Notation Rhuthmic Notation Composer 201 2 202 2 203 4 204 6 205 3 206 2 207 6 1 cdedecAAA 8cd4e8decAAA 1 cAcedcdc 4cA4.c8e|4dcdc| 1 211 2 GGccdeccege 4G|8Gccdeccege 212 2 GAAAcAG 4.G4A8A4ABc4A8G 213 2 214 1 [ 215 2 216 3 217 2 2 1 edccdeee 8ed4c8cd4e8ee 1 cedcccGeded 8c6edcccGeded 221 1 ABcdeeA 4A8B4c8d4e8e4.A 222 1 ceggagee Bceggagec 223 1 GAccegge 4G8A4c8c4e8g4g8e 224 1 225 1 GGGEEccd 40G8GE4Ec8cd MS Sona No. Pooo No. THpe Ploco Dote 226 UV24 226 2951 E 227 UV24 227 2968 E 228 UV24 228 2961-297 E 2 2 9 UV24 229 298s E 23 0 UV24 230 298m E 231 UV24 231 2981-299s L 232 UV24 232 299m L 2 3 3 UV24 233 2991 E 2 3 4 UV24 234 300s L 2 35 UV24 235 3001 E 236 UV24 236 301s E 2 37 UV24 237 3011 L 2 38 UV24 238 302-3038 E 239 UV24 239 3031 E 240UV24 240 304 H 241 UV24 241 305s L 242 UV24 242 3051-3068 E 243 UV24 243 306m E 244UV24 244 3061-307s E 245 UV24 245 3071 E 246UV24 246 308 E 247 UV24 247 309s E 2 48 UV24 248 3091 E 249 UV24 249 310 E 2 5 0 UV24 250 311s L Ci 1 1 T itle 1 First Line 0 Love thou heavenly treasure 227 Ye rivers and vailles and all created things The Golden Trumpet 1 hear the golden trumpet sounding Wake 0 my soul no time to slumber Roll on heavenly love roll like a mighty flood 12311 1In the shaking work advance 232 1 win march 1 will go the prety valley low 233 We'll move on In peace and love Come pretty freedom fill my measure 235 Now with joy we'll move along 236 We will Join hand In hand 237 Come pretty freedom fill my measure 238 The trump of gladness Sound the trump of gladness 239 All those fleshly vile affection 240 0 love what a treasure sweet liberty It brings 241 See the lovely band of Angels 242 1 want Mothers love Mothers love Mothers love |243|The sounding of the trumpet The trumpet Is sounding the day draweth near 0 come ye needy ye hungry ye poor Comforting Promise Like the dews of the evening 0 What Is the Matter 0 what Is the matter 247 Cheerful Dove I'm a little cheerful dove 248 Humble Petition 0 heavenly Father kind and true 249 0 come come away to the valley that Is low 250 Christmas Gift 1 have e little union song 1 S tan zas A uthor Aloha Notation Rhuthmic Notation Com oosar 226 1 FGGGABcc 4.F4G8GGAB4.CC 2271 1 Gccccgeed 6Gc4c8ccgeed 1 EGAGABc'A 8EG8.A6G8A8CA 1 1 12311 1 cdeegeecded 6cdeege8ecded 1 ccGffecd 8cc4G8ff4e8.c6d 1 efgfedeg 6ef4.g6fed8eg 1 edegdedcd 6e6de6gdedcd 2 3 5 1 GcccBdc 6Gccc8d4c 2 36 I GGccceeec 8GG4c8cc4e8ee4c 2371 1 edegdedcd 8e6de8gdedcd 1 cegggaagg 8ce|8g6g8gaag4g 1 fffdeeeg 8f6f8f6d8e6e8e6g 2 ccGGGEEGG 4cc66GGE4E866 241 1 cdcdeeeg 6c6d8c6d8eeeg

1 Gcccceeed 8Gc4c8cc4e6ee4d 1 GcccecAG 8Gc4c8ce4c8AG 1 GcccccBcd 8Gc4c8ccc8cd 1 Gcdefdd 8Gcde4f8dd 247 1 GGEGcde 4G8G4E8G4c8d4.e 1 ceddeag 2c6ed4deag 1 ceggeccf 6ce6g4gec6cf 1 eccccdddde 6eccccdddd4e 5 MS Sona No. Pooo No. rTuoe Ploco Data 251 UV24 251 3111 L 252 UV24 252 312s L 253 UV24 253 3121 L UV24 254 313s 2 55 UV24 255 3131 L 256 UV24 256 314s UV24 257 3141 L U. V. 256UV24 256 315s L UV24 259 3151 L U. V. UV24 260 316-317S UV24 261 3171-3108 E UV24 262 318m L 263 UV24 263 3181-3198 E 2 6 4 UV24 264 3191-3208 E 265 UV24 265 3201-3218 E 266 UV24 266 3211 E Sec. Family 267 UV24 267 322s E 1268 UV24 268 3221 L

09 T itle F irs t Line 251 Purifying Fire The purifying fire is burning 252 Wide awake we all must be 2 53 Heaven Bound To heaven 1 am bound to go 0 what peace and consolation 255 1 love to see the living souls 0 hearken to me saith the Angel of Love I'm bound for a happier clime Beyond this mortal shore As we march on our way on instruments we'll play Lo we are moving moving on far beyond Gospel Relations My gospel relations 1 love them most dear 261 0 may the Gospel Trumpet Thro every land resound Simple and free 1 mean to be What tho grief and sorrow fill thy path • My work on earth is to prepare for heaven 265 0 ye children of Zion arise and be strong Holy Angels around us hover The lovely fount is open 1 Around and round and round 1*11 go Stanzas Author Aloha Notation Rhuthmic Notation Com poser 251 1 cdddegage 8c4dBd4d8e4g8a4g8e 252 1 cdedegA 4c8d4e8d4e8g4.A 253 1 efedBABd 4e8fe4dB6A88d 1 GGEGcdcG 4G8G4E8G|4c8d4c8G| 2 5 5 1 AAeeeddBB 6A8A6e8e6eGd6d8B6B 2 5 6 1 cdeeegged 8cd4e8e@4g8ge4d 12571 1 GccccddcA 8Gc6cc8c6dd8cA 2 58 1 Gccccccdefd 8Gci4c8cc|4cc|8defd| 2 5 9 1 cdeesggag 8.c6deeeg4g8.a6g 1 GAccGGGEG 8GAccGGGEG 261 1 Gccccdeee 8Gc8.c6c8cdeee 262 1 ccdeegeee 3cc6deegeee 263 1 ccccecd 4.c6c4cc4.e8c4d 2 6 4 î Bcdedcdc 6B4.c8d4.e8d4.c8d4c 2 65 1 ccAABcGGG 8cc4A6AB8c4G8GG 2 66 1 EFGAAccBA 8E6FG8AACCBA 267 1 ABcAGEFG 8.A6B8CAGEFG 268 1 BcdeoQO 8B4c8d4e8a4a8a

6 APPENDIX L

INVENTORY SONG TRANSCRIPTIONS

481 482

INVENTORY SONG TRANSCRIPTIONS

The transcriptions In this appendix represent one song for each of the song types found In the Union Village manuscripts. The seven types are: occasional song, extra song, gift song, anthem, song of the Gospel Parents, hymn and laboring song. Two types, ballads and solemn songs, were not found In the manuscripts. Each transcription remains faithful to the manuscript without additional editing such as the addition of meter signatures or bar lines. Shaker letteral notation indicates pitch and duration by various forms of the first seven letters of the alphabet.i The letter names of the pitches correspond to the pitches of standard notation; the note values are written differently, however. Capital letters signify that the pitches are whole notes: A B C 0 E F 6. The half note In letteral notation is a lower case letter with a vertical line either abreast of the letter or through the letter al lb c dl e If Ig. Quarter notes are plain lower case letters: a b c defy. The addition of small horizontal lines above or below the lower case letters Indicates those values that are faster than the quarter note. Eighth notes utilize one horizontal line: a b c 4 a I g, two lines signify sixteenth notes, and three lines Indicate thirty-second notes.

* *Youngs. Isaac N.. A Short Abridgment of the Rules of Music. With Lessoos For Exercise, and A few Observations: For new Beginners (New Lebanon IN.Y.]: 1643, reprint 1646). The summary of Shaker notation Is taken from this source. 483 Time signatures are written with two vertical lines. The specific time signature, with the exception of 4/4, is Indicated by the placing of a horizontal bar or the letter "c" on the vertical lines. A 4/4 signature Is notated by the two vertical lines: ||. The horizontal bar is placed at the midpoint of the lines to show a 2/4 signature: H The cross bar when placed three quarters of the way from the top of the time bar Indicates a meter of 3/4: W A 6/8 Signature Is notated by placing the letter "c" at the bottom of

the vertical bars: & for 3/8 meter, the "c" Is at the top. f t Tempo markings, or modes, as the Shakers referred to them, are Indicated by Arabic numerals (1,2,3,4) placed at the upper right of the time signature. The tempos and their respective numbers are: Adagio, II1; Largo, l|2; Allegro, ||3 ; and Presto, lit Unlike the conventional practice of Largo being slower than Adagio, the Shakers considered Adagio to be the slowest tempo.

Six of the seven transcriptions correspond to the following plates:

PLATE PAGE

III. UV13 Song 69 Tlany cheering pleasant visits" ...... 164 Occasional Song

V. UV16 Song 89 "Mothers love Is flowing" ...... 177 Extra Song

VII. UV20 Song 51 "What Is prettier than freedom freedom" 192 Gift Song

VIII. ÜV11 Song 83 Father Jame s Song ...... 199 Song of the Gospel Parents 484

X. UVMSong 12 Humn from Isaiah Chop. 35th ...... 221 Hymn

XI. UV24 Song 107 "We'll leap and skip" ...... 221 Laboring Song 485 UV13 SONG 69

Ma - ny cheer - mg pleas-ant vis - its

^ J i ^... T T W ÿ With o\nr friends weVe had but for one so

Un-ex-pect - ed We are tru - ly glad

f - L / I j

Per moun - tains high and riv - ers deep

To-gath -er here we see The child-ren j-=j=:irz L.4i— j:z-J

of our Moth - er meet From East and South they be

A Welcome Song to David Parker and Caleb Dyer together with the South Younion viseters

Occasional Song 486

UV 16 SONG 89

b a É -y— -f

Moth - ers love is flow-ing 0 how sweet it is

n n JO JTJh Come and let us geath-er let us gather it all up

fy , I 1 n iTTTTT^-

Extra Song 487 UV20 SONG 51 îU-; h n m I /'1-r'i I What is prêt - ti - er than free-dom free-dom

I n r ■ 7 - r ^ What is prêt - ti - er than free-dom and love h a

L Will you re-ceive me wi11 you re-ceive me For

V ..... i -(------r ~ ~i T — ^ j— ~ 1— .1J

lo I'm an An - gel of free-dom and love

The above was given by Mother Annes little Angel of love New Geloucester G ift Song 488

UV6 SONG 28

■V — .... < - t - T z â

With sup-pli - cat-ing feel - ings Lord we

- - 3 ...... f.. r - l p ------1- | I- - 6 - r • - ...... bow our souls to thee to sup-pli-cate thy mer-cy h r = V

and for - bear - ance to yet con - tin - ue

f CJ i ") to the lost c h ild - re n of men 0 in

/ ^ - 4 - — T--F F *-t= q .g. L j-'tj-p > 4 - — - Z S f = - - Z - 4 ------I f...... » mer - cy Lord f o r - bear Yet a lifc-tlelong

r „ .

er 0 ho - ly heav-en - ly Fa- a -$ — ™ ? & e : F r f f ther stay thy sweep - ing judg-

Anthem 489

UV6 SONG 28 (continued)

î t - f , f ^ ? ments for thine e - lect and chos - en R N ±=£= = t= —p—A— -( L| r .— ...... - : few who are scat-ter'd o - ver Yea all ...... ------

= t > 4 ...f ' m * a > —------• 0 - v er the land 0 Lord our

“4 — 1------1 — — ..------I M ...I:...... - 4 V f — I— W — J — heav-en - ly Fa - ther we pray that the

^ F — ^ ■ I ^

a m c h ild - r e n of men may hear and give I (■ i f

heed un - to thy ho-ly laws and 0 we

t f : - { - .. _j^=:

p ray th a t th e y may not s l i g h t t h e i r 490 UV6 SONG 28 (continued)

y ------T- t f r-(— 4 p i - f — 1------K------day of mer - cy while to them its 3engh-en'd

t — t T — f ...I

out lo lo hac na se lac na 491

UVll SONG 83 Father Jame's Song

>------:------1 ) ....j r - ~ r • 1 — i - ---- 1------_ ^ ---- ;— j/— ' - J - , J - f . 0 the bless-ed gos - p e4 l 0 the bless-ed ------1------.1 i W - - h - : —1 0 ...... — r g ------i . J gos - pel it s h a' ll bef mine ■■■ —7 ) - r -~f>- -}- -, -, — p— i— J— r i . } f i ' J. '* ^ I w i l l l a - bor f i Ï I will la - bor ^ .....------1----i---- J---- —f-----r------' — i —— ......

Church ho ly mt

Song of the Gospel Parents 492 UV14 SONG 12 Hymn From Isaiah Chapter 35—

The Lord hath prom-is'd Togood ------

Is-roll, land of peace And to her

Child - ren An - gels food E - ter - nal

/ 4 ..... 1.....r f .. Jj— I— I---- !------U d— 4 ------tA „■ feast Her des-erts shall be glad And

blos-som as the rose Her ver-nal bloom shall W I p-irr nev-er fade For her I've cho-sen

Union Village 1st Order Written Nov. 13, 184? Hymn 493

UV24 SONG 107

I L I I i l (r f p I ' F - F m î^ ± d- M--U' / JM rn

* 7 hr 1 4 > • 7 T 1 X 1 We'11 leap and skip and play a-round with hands and

l : J

L feet we'll beat the sound The pret-ty way of

7 ....: P — 1------r - ^ -----/ ------I^srV------/— 4 -J. life we've found the way of free sal - va - tio n

Laboring Song APPENDIX M

TITLE INDEX

4 9 4 495

TITLE INDEX

1 TttIO MS Song No. A Balm of Love UV13 1 A Balm of Love UV23 5 A Beautiful Anthem UV14 29 A Beautiful Anthem UV18 36 A beautiful Anthem UV18 65 A Beautiful Prayer UV18 23 A Beggars Petition UV12 38 A Crown of Life UV16 134 A Desire for power UV20 280 A Faithful P UV16 142 A Farewell UV13 73 A fervent prayer UV23 26 A fervent Prayer UV24 86 A fervent Prayer UV24 216 A free Passage UV24 200 A Funeral Anthem UV23 38 A Funeral Hymn UV18 18 A Funeral Hymn . . . Andrew C. Houston UV13 79 A Funeral Hymn . . . Andrew C. Houston UV16 5 A Funeral Hymn . . . Andrew C. Houston UV16 13 A Funeral Hymn . . . Catty Rubart UV13 83 A Funeral Hymn . . . Daniel Boyd UV16 4 A Funeral Hymn . . . Daniel Redmon UV13 85 A Funeral hymn . . . Eliza Hunt UV23 66 A Funeral hymn . . . Jacob Holaway UV12 54 A Funeral Hymn. . . Andrew C. Houston UV22 1 A funeral hymn. Thankful Thomas UV12 30 A good Believer UV16 185 A Good March UV16 182 A Great Privilege UV24 73 A Heartfelt Prayer UV18 60 A Heavenly March UV14 32 A Humble Entreaty UV18 25 A Humble Petition UV18 21 A Humble Petlton UV18 56 A Humble Prayer UV18 48 496

TITLE INDEX

T itle MS sono No. A Humble Prayer UV23 32 A Humble Request UV24 163 A Lovers Funeral UV23 59 A March UVll 105 A March ÜV16 157 A March Comfort UVI4 33 A march of comfort ÜV20 63 A Marching Tune UVll 98 A Marching Tune UVll 236 A Penitent Prayer UV13 34 A Prayer UV18 54 A Prayer UV20 5 A prayer UV24 217 A Prayer UV24 39 A Prayer UV24 194 A Prayer In distress UV23 6 A Prayer In Tribulation UV13 10 A Prayerful Spirit UV14 48 A Quick Song UV14 50 A Sincere Prayer UVI3 12 A sincere Prayer UV16 113 A Song of Merriment UVI4 8 A Song of Victory UV24 160 A Song of Voctory UV23 37 A Sure Foundation UV13 23 A Sure Foundation UV23 23 A Sweet Invitation UV24 34 A tribute of respect UVI3 36 A Volunteer UV24 129 A Welcome Song UVI6 17 Abundant blessings UVI2 45 Adoratin to God UV24 76 Adoration to Mother UV24 96 Aletha Parkhurst Funeral Hymn UV23 60 Altar of Truth UV24 121 An Angels Petition UVI3 17 497

TITLE INDEX

T itle MS song No. An earnest Prayer UV24 80 An Humble Prayer UV13 25 An Inspir'd Anthem UV14 45 Angel of Holiness UV14 44 Angel of Love UV20 374 Angelic Band UV16 159 Angelic Band UV16 36 Angelic Band UV16 150 Angels Call UV24 162 Angels Commission UV1B 63 Angels Commission UV14 64 Another for the same occasion UVI3 Bt Another for the same occasion UVI3 86 Another on the some occasion UVI3 80 Anxious Thoughts UVll 40 Army of God UVI4 20 Awakened Soul UV16 167 Banner of Love UV16 156 Beauties of Zion UV13 29 Beautiful Eschortatlon UV13 20 Beautiful Rode UV16 123 Beautiful Scene UVll 223 Beauty of the Faithful UV16 57 Beauty of Zion UV24 12 Bending Willow UV18 41 Blessed are the Chosen of the Lord UVIB 85 Blessed Day UV18 27 Blessed Estate of the Faithful UV24 72 Blessing by Justification UVI6 144 Blessings of the faithful UV12 51 Blooming Bowers UV23 44 Boast not UV24 69 Bonds of sweet Union UV20 303 Bonds of Sweet Union UV24 169 Bowing Low UVÎ6 149 Call for Action UVIB 47 498

TITLE INDEX

T itle MS Sona No. Coll for Volunteers UV14 B3 Call to the Weary UV16 194 Call to Zion UV16 121 Car of Liberty UV16 42 Celestial Beauty UV16 183 Celestial Beauty of Zion UVI4 17 Cheerful Dove UV24 247 Cheering Angels UV24 124 Cheering Invitation UVIB 101 Cheering Praises UVIB no Cheering Promise UV24 IBS Cheering Reflections UVI4 SB Child's Petition UVIB IIS Christian Soldier UV24 IB1 Christmas Gift UV24 2S0 Circular March UVll 1B0 City of Light UVIB 100 City of the Lord UVIB IB3 Clear Sight UV20 313 Come he Mooving UVIB 14B Comfort In Obedience UVIB 7 Comforting Promis UVÎ4 40 Comforting Promise UVll 240 Comforting Promise UV20 141 Comforting Promise UV24 24S Commemoration of Mother Anns Birth UVI2 1 Consoling Thought UV20 320 Contested Pleasures UV24 49 Continued UVIB 49 Cup of Wine UVIB 32 Daughter of Zion UV14 S3 Dear Companions UV20 282 Deep Supllcatlon UVIB 24 Dependence UV24 IBB Dependent Feeling UVIB III Desire for Freedom UV14 2S 499

TITLE INDEX

T itle MS Sono No. Desire for Repentance UV14 15 Divine Power UV24 128 Drawn Sword UV16 188 E. J. John's Funeral hymn UV23 67 E. Sister Nancy He'S Funeral Hymn UV23 62 Earnest entreaty UV23 43 Earnest Petition UV14 4 Earnest Solltatlon UV14 22 Earthly things departing UV16 136 Ell Houston's Funeral Hymn UV23 64 Encouragement UV14 55 Encouragements UV16 80 Enrapturing Scenes UV23 41 Erthly Things departing UV16 143 Eternal Prals UV16 175 Eternal Praises UV12 42 Faithful Servent UV16 166 Farewell 0 Earth UV20 316 Farewell Vain Pleasures UV20 360 Father James Song UVll 83 Father Jobs Prayer UV20 355 Fervent Prayer UV16 39 Fervent Supplication UV24 119 Firm Foundation ÜV14 52 Firm Promise UV16 195 Firm Promise UV24 126 Fleeting Times UV24 164 Fleetness of Time UV24 29 For the ministry UV16 140 Fount of Love UV16 152 Fount of Love UV16 154 Free Gift ÜV14 43 Freedom UV12 43 Freedom ÜV16 38 Freedom from Bondage UV16 124 Freedoms Way UV14 ... 3? J 500

TITLE INDEX

T itle From the Angel of Love UVIB 9 From the Bible UV24 5B Fruits of Heaven ÜVI4 31 Funeral Hymn UVIB 17 Gentle Gale UV24 IBI Glean with Care UV24 71 Glorious Promises UV16 49 Glorious Scene UV14 37 Glorious Warfare UV14 BO Glorious Warfare UV20 343 Glorious Warfare UV24 IBO God's Chosen Band UV14 IB God's visetatlon UV23 2 Gods protection and Savior UV23 IB Gods Visitation UVI3 2 Golden Trumpets UVIB 45 Good Resolution UVIB 35 Good Resolution UV20 293 Good Resolutions UV13 15 Good Resolution UVIB 94 Gospel Purity UV13 37 Gospel Relation UV23 50 Gospel Relations UV24 2B0 Gospel Trumpet UVIB 1B9 Gospel Trumpet UV24 159 Gospel Truth UV14 B7 Gospel Work UV20 341 Guide Thro Tribulation UVIB B Happy Antlslpatlon UV24 B7 Happy Band UVI4 24 Happy Crossbearers UV20 371 Happy Home UV12 41 Happy Hour UVIB 35 Happy Mansion UVIB 6 Happy State of the Gospel Pioneer UV24 41 Heaven Bound UV24 253 501

TITLE INDEX

T itle MS Song No. Heovenly Admonition UV13 38 Heavenly Comforts UV20 268 Heavenly Consolation UV14 21 Heavenly Desire UV13 27 Heavenly Desire UV23 25 Heavenly Flight UV14 18 Heavenly Harpers UV16 193 Heavenly Home UVll 229 Heavenly Home UV16 173 Heavenly invitation UV13 11 Heavenly invitation UV14 42 Heavenly Invitation UV18 51 Heavenly Invitation ÜV23 7 Heavenly Kingdom UV20 354 Heavenly Light UV24 75 Heavenly Love UV18 31 Heavenly Music UV14 6 Heavenly Music UV18 61 Heavenly Music UV24 191 Heavenly Music ÜV24 189 Heavenly Race ÜV16 104 Heavenly Rest UVÎ4 19 Heavenly Treasure ÜVÎ8 30 Heavenward March UV20 309 Heights of Sine UV16 74 Heirs of Glory UV20 310 Holy Angel UV18 2 Holy City UVI8 52 Holy City UV20 335 Holy Faith UV24 74 Holy Fountain ÜV20 340 Holy Jubilee UV18 44 Holy Love UV16 34 Holy Love ÜV18 50 Holy Mothers Love UV14 35 Holy Mothers Love UV18 83 502

TITLE INDEX

T itle MS SO"* No Holy Praise ÜV24 67 Holy Se ves to va na UV14 70 Holy Seraphs UV18 55 Holy Spirit Supllcated UV16 30 Holy Spirits UV18 53 Home Sweet Home UV24 84 Honey Dew UVll 31 Honey Dew UV12 24 Humble Petition UV20 311 Humble Petition UV24 248 Hymn from Isah Chap 35 ÜV16 93 Hymn from Isaloh Chap 35 UV14 12 Hymn from Isaleh Chap. 25 t35)th UV12 19 Hymn to Repentance UV13 28 I Will Rejoice UV18 8 Imploring Protection UVI6 172 Joyful March UV16 200 Judgement Work ÜV24 195 La Vender ree UV16 114 Little 8usy 8ee ÜV14 9 Lively love UV12 37 Lively Love ÜV24 186 Love and Union UV16 95 Love Is a gem ÜV24 46 Love to God ÜV24 66 Lovely 8and UV16 153 Lovely Invitation UVll 50 Lovely Mansion UV24 135 Lovely Vale UV16 102 Lower yet UV16 145 Mansion of Love UV14 28 Maternal Protection UV18 43 Meditation's Silent Vale UV14 11 Mighty Angel of Light UV18 10 Morning Dawn of Joy in Zion UV16 Mother Ann’s Birth UV23 503

TITLE INDEX

T itle Mother Ann's Birth Day UV13 1 Mother Ann's Earnest Supllcatlon UV20 288 Mother Ann's Prayer UV20 150 Mother Anns Passage UV14 49 Mother Anns passage over the see UVll 23 Mothers Kind love UV20 28B Mothers Love ÜV20 B2 Mothers Prayer UVll 22B Mothers anointing UVll 8 Mothers Children UV16 19 Mothers comforting words UV24 188 Mothers Flock UV23 14 Mothers Love UV12 SB Mothers Love UV14 14 Mothers Love UV14 59 Mothers Love UVIB BO Mothers love UVIB 45 Mothers marvelous work UVI3 4 Mothers Marvelous Work UVIB IB Mothers marvelous work UV23 4 Mothers Western Flock UVI3 3 Mothers Western Flock UV23 3 Music of Angels UV24 88 My Home UV23 40 My Mother UVIB 2B New Jerusalem UVI2 44 0 VI lan als E ca ree voe UVIB 179 0 What Is the Matter UV24 24B Obedience UVIB 3 Overflowing Treasure UVIB 128 Paradise of Edon UVI4 30 Path of peace UV23 27 Peaceful Abode UVIB 181 Peasful Shore UVIB 126 Perfect Delight UVll 54 Perfect Peace UVI2 47 504

TITLE INDEX

T itle MS soim No. Perfect Resignation UV20 287 Perseverance UVll 30 Perseverance UV12 18 Plain Faith UV18 26 Power of God UV16 129 Praise UV24 204 Praise and Adoration UVI3 30 Praise to God UV16 13 Praise to Mother UV14 69 Praise to the Two anointed Ones UV20 279 Praises to God UV24 60 Prayer and Supplication UV24 42 Prayer of Resignation ÜV13 13 Prayer of Tribulation UV23 29 Precious Promise UV23 30 Precious Way UV20 297 Press Through UV20 364 Pretty Freedom UV14 36 Pretty Freedom UVIG 103 Pretty Gifts UVÎ2 40 Pretty Home UV16 40 Pretty Love UV16 168 Pretty Love UV20 298 Pretty Road UV16 139 Pretty Treasure UV16 133 Pretty Way UV14 5 Profitable Meditation UV18 12 Profitable Reflections UV24 61 Pure Love UV12 59 Pure Love UV20 375 Purifying Crosses UV24 81 Purifying Fire UVÎ6 37 Purifying Fire UV24 251 Purifying Fire of Zion UV16 164 Purifying Zion ÜV16 97 Purity Desired ÜVÎ6 132 505

TITLE INDEX

T itle MS Sono No. Quick Dance UVll 140 Quick Dances UVll 234 Quick Song UVI4 51 Real Joy UV20 312 Real Joy UV24 185 Reconciliation UV12 4B Reconciliation UV20 314 Refreshing Breezes UV20 294 Rejoceing Of Saints UV14 4B Rejoicing Saints UVIB 9B Repose UVIB 51 Resolution UV12 3B Resolution UV24 184 Rcbo Of Purity UVI4 38 Robe of Purity UVIB 88 Rolling Love UV24 127 Sabbath tiomg Hym UVIB 28 Sabbath Morning Hymn UV13 14 Sabbath Morning Hymn UVIB 15 Sabbath Morning Hymn UV23 13 Sacred Hymn UVIB 201 Sacred to . . . Brother Daniel Redmon UV13 88 Saints Repose UVIB 177 Salem Call UV24 45 Savior Comfort UVIB 197 Sea of Life UV24 83 Sea of Life UV24 82 Second Advent UVIB 147 Serious Impressions UV24 85 Serious Meditation UVIB 15 Serious Thoughts UV14 13 Showers of Love UVI4 B8 Simple Freedom UV14 10 Simplicity UVI4 B2 Sincere Feelings UVI3 IB Soldiers March UVllj 227 506

TITLE INDEX

T itle MS S am HO. Solemn and Affecting Prayer UVÎ6 77 Solemn impressions UV24 192 Solid Rock UV13 5 Song of Praise UV16 122 Song of Praise UV20 346 Song of the Ancient Shepherdes UVIB 37 Song of the Homing UV14 57 Souls Desire UV16 1B4 Sound forth Praise UVll 101 Sounding Praise ÜV16 130 Spiritual Reflections UV24 70 Steadfast Desire UV13 6 Steadfast Desire ÜV23 10 Steadfast Resolution UV16 99 Step Song UVll 245 Sublime effusions UV14 1 Supplication and Prayer UV23 9 Sweet Consolation UV16 105 Sweet Devotion UV13 32 Sweet Eternity UVll 28 Sweet Heavenly Power UV24 15B Sweet Home UV24 170 Sweet Love UVIB 20 Sweet Repentance UV23 B Sweet Wine UV20 285 Sweetest of Love UV14 23 Swelling Tide UV20 295 Thankful Thomases Farewell UVI2 31 Thanks for the Gospel UV20 315 The Angels Call UVIB 1 The Angels Petition UV23 11 The Beggar UV16 120 The Better Land UV24 58 The blessed UV23 52 The Blest UV24 89 The Comforter UV13 33 507

TITLE INDEX

T itle The Day of Mighty Shaking UV14 47 The day of the Lord UV16 176 The estate of the faithful UV24 68 The Fear of the Lord UV16 41 The glory of Zion UV18 64 The Golden Trumpet ÜV24 228 The Happy Land UV16 155 The Heavenly Fathers promise UV1B 62 The Heavenly Lord UV24 197 The Holy Jerusalem UV14 26 The Holy Temple UV14 71 The Home of My Parents UV23 35 The Horror of this World UV24 27 The Hour of Prayer UV24 23 The Judgment UV12 49 The Light of the Earth ÜV14 54 The Lord’s Promise UV11 222 The Love or the Angelic host UV24 221 The Mlllenlal Mom ÜV18 58 The minimal Mom UVll 3 The moming lark ÜV16 131 The Peacemakers UV18 46 The Pie 0 cene UV16 81 The Pretty Way UV13 31 The Saviors Prayer UV16 31 The Saviors Blessing UV20 11 The Saviors Call UV16 137 The Saviors Comfort UV24 123 The Saviors Universal Prayer UV16 25 The sea of time UV12 60 The Shepherds Care UV24 176 The Sound Ind Trumpeters UV24 2 The sounding of the trumpet UV24 243 The Sounding Trumpeters UV16 165 The Spirit of Supplication UV24 28 The tide of Time UV24 214 308

TITLE INDEX

T itle MS SonoNo. The trump of gladness UV24 236 The Trumpet of God ÜV14 65 The Trumpet of Peace UVll 95 The Trumpet of the Lord UV18 38 The Trumpet Sounding Angel UVI8 11 The Valley of Peace UVll 256 The vanity and empty of earthly things UV24 79 The voice of holy wisdom UVll 255 The Voice of wisdom UV13 26 The Voice of Wisdom UV23 24 The Wandering Allen UVIB 57 The Waters are Troubled UV14 3 The Way of God UV13 8 The Way of God UV13 9 The way of God UV23 12 The word of God UV14 66 Thomas Gee's Funeral hymn UV13 50 Throne of Light UVÎ4 7 Time Hastens UV13 19 Travel of Zlons Children UV13 18 Tree of Liberty UV20 368 True Encouragement UV23 22 True Joining UV16 187 Trumpet Of Freedom UV14 41 Trumpet of Power ÜV16 151 Trumpet Sounding Angel UV14 27 Tunes . . . Ashbel Hetabel UV23 63 United Prayer UV16 138 Vain and Empty Time UVI8 22 Vale of Love UV14 58 Valour UV24 171 Veiled Messengers ÜV16 71 Victorious Band UV20 336 Victory ÜV16 198 Volunteer Soldier UV12 48 Watchful Parent UV16 135 509

TITLE INDEX

T itle MS Sono No. Watchful Parent UV16 118 Way of Peace UV24 19B Wide Awake UV13 22 Willow Tree UV14 34 Winds of Heaven UV20 352 Wings of time UV23 47 Wisdoms Blessings UVI6 127 Wisdoms Path UVI2 50 Wisdoms Promise UV24 1B7 Wise virgins ÜV1Ô 125 Word of Eternal Power UV10 40 Word of Eternal Power UV20 4 Yearly Sacrifice UV13 21 Zion is my home UV20 308 Zion's Children UV14 2 Zlons Beauty ÜV20 3 APPENDIX N

FIRST LINE INDEX

5 1 0 511

FIRST LINE INDEX

First Lins MS A bond of souls united to gain UV24 *6 A few days of trouble UV20 320.i A joyful work's before me UV20 341 A low still voice was heard to say UV24 13 A proving conscience Is the crown UV24 215 A quick conscience Is a blessing UV18 98 A rest from all sorrow and pain UV1G 177 A solemn voice from heaven UV24 45 A sweet melodious sound 1 hear UV20 28 A wake a rise and shake your selves UV20 235 All envy and Jealousy we will forego UVll 250 All hall 0 VI0 vio UV6 52 All hall the great Millenium UV13 1 All Hall the great Millenium UV12 1 All hall the greet Millennium 1 All hall thy bright mlllenlal mom UV6 58 All Halil The bright celestial dawn UV13 29 All mighty Jehova remember thy children UV16 162 All my talents while 1 live ÜV20 71 All these fleshly vile affection UV20 423 All those fleshly vile affection ÜV24 239 All who will themselves deny UV23 54 All ye that wants to feel my love ÜV20 380 Almighty angel in the midst UV20 225 Almighty God thy power we own ÜV24 42 Almighty Jehovah remember thy children ÜV20 150 Along the low valley where love does abide UVll 256 An other week has passed away UV23 13 Another week has pass away UV18 28 Another week has pass'd away UV18 15 Another week has pass'd away UV13 14 Arise and be joyful UV20 203 Arise and be Joyful UV24 134 Arise and shine 0 Zion UV6 9 Arise and shine 0 Zion UV18 64 Arise and shine 0 Zion UVll 15 512

FIRST LINE INDEX

First Lime MS Semg Ho. Arise any soul leave old below UV12 18 Arise arise and let us go on UV20 306 Arise arise cryeth the watcbman of the night arise UVÔ 4 Arise arise cryeth the watchman of the night awake UV18 58 Arise arise cryeth the watchman of the night arise UVll 3 Arise arise holy cin dor ree UV6 91 Arise arise 0 Se la vander ree UVI6 114 Arise arise 0 se la vander ree UV6 43 Arise arise 0 selavander ree UVll 24 Arise arise 0 selavander ree UVI4 71 Arise arise 0 Zion clothe thyself UV6 74 Arise go ye forth my holy se vas UV16 71 Arise go ye forth my holy se vas UV6 15 Arise go ye forth my Holy so vas UV14 70 Arise go ye forth my holy se vas UVll 19 Arise go ye forth my holy so vas UV18 91 Arise my soul and be awake UV24 173 Arise my soul and move along UV16 62 Arise my soul arise thy holy zeal UV20 132 Arise my soul leave all below UVll 30 Arise my Soul with Courage new UV23 33 Arise 0 Ye holy Seraphs and angels UV6 85 Around and round and round I'll go UV24 268 Around and round and round I'll go UV20 432 Around and round round and round UVll 178 Around the tree of liberty UV20 368 As Mothers little children UV20 252 As Shadows deepen o'er the land UVI3 64 As we forward now advance UV20 115 As we march around the fountain UV20 43 As we march as we march to the city UV24 175 As we march as we march to the city UV20 335 As we march on our way on Instruments we'll play UV20 441 As we march on our way on Instruments we'll play UV24 258 Awake arise 0 my se le an UV6 71 Awake arise 0 thou mighty Angel UVll 61 513

FIRST LINE INDEX

First Urne MS SÜÜU& Awoke arise 0 thou mlflhty Angel UV24 Awake arise 0 thou mighty Angel UV6 57 Awake arise 0 Zion salth the Lord UV6 22 Awake arise 0 Zion clothe thy self UV6 42 Awake arise 0 Zion cryeth the Angel UV6 48 ..... Awake arise 0 Zion clothe thysel UV24 15 Awake arise spring into life UV24 210 Awake arrive spring Into life UV20 395 Awake awake all ye that slumber UV20 140 Awake awake 0 Zion awake UV6 46 Awake awake 0 Zion from thy slumbers UV6 40 Awake awake ye holy saints UV24 67 Awake come d my soul 147 Awake my soul and give a shake 392 Awake my soul arise arise UV20 131 Awake my soul press on thy way UV16 86 Awake my soul with all thou effort UV24 100 Awake my soul witii life and zeal UVll Awake wake awake my harp UV24 167 Away away all earthly things ÜV16 143 Away away all earthly things ÜV16 136 Away away all fleeting things UVll 29 Away away from the things of time UV20 362 Away away on freedoms wings UV20 170 Away away on wings of victory UV20 75 Away from things of time UV24 148 Be awake 0 Virgin Daughter of Zion UV14 53 3e Joyful Joyful 0 rejoice UV24 106 Be Joyful joyful 0 rejoice UV20 166 )e Joyful 0 Jerusalem For I will lead you UVll 222 Be 0 le vander vander vo UV18 34 Be silent all flesh UV16 190 Be silent all flesh UVll 59 Be silent all flesh UV24 21 Beautiful upon the mountain UV20 83 Beautiful upon the mountain UV14 31 514

FIRST LINE INDEX

First line Behold Q louai compang UV24 211 Behold 0 loyol companu ÜV12 48 Behold 0 piller firm and strong UV18 17 Behold 0 ptilor fiirn and strong UV13 84 Behold ot this time UV6 90 Behold ot this time UVll 21 Behold how beautiful UVll 100 Behold I am I van sol UV6 53 Behold In the last days UV6 89 Behold on Zion walls I stand UV13 11 Behold on Zlons walls I stand UV23 Behold salth the Angel of light UV6 94 Behold salth the angel of Love UV6 79 Behold salth the Lord I will lead UV6 67 Behold salth the Lord I will gather UV6 B4 Behold salth the mighty angel UVIB 40 Behold salth the mighty Angel UV20 Behold sags the mighty UVIB Behold says the mighty UV16 10 Behold the day of the Lord cometh UV16 163 Behold the day of the Lord cometh UV24 8 Behold the day of the Lord cometh UVll 38 Behold the day of the Lord cometh UV6 76 Behold the field is fully ripe UV16 166 Behold the mighty Angel of Power UV6 24 Behold the ransomed of Jehovah UV20 357 Behold the trumpet sounding Angel UVll 13 Behold the trumpet sounding angel UVIB 90 Behold the trumpet sounding angel UV6 19 Behold what celestial beauty UV16 163 Behold what celestial beauty UV24 12 Blessed are the mourners UV6 30 Blessed are they salth the Lord UV16 98 Blessed are they salth the Lord UVIB 85 Messed are they salth the Lord UV6 12 Blessed are they salth the Lord UVll 20 515

FIRST LINE INDEX

F irs t u n s MS Son# No. Blessed Messed ere my chosen UV6 87 Blessed blessed ere my chosen UVll 39 Blessed Is the dey thet I enjoy 27 Blessed Mother don't foryet me UVIB BO Blessed perents we Implore thee UV24 118 Blow blow ye winds 352 Blow blow ye winds UVll 128 Blow 0 ye trumpeters bright UV20 440 Blow ye the trumpet of the Lord UV20 9 Blow ye the trumpet of the Lord UVM B5 Blow ye trumpet of the Lord UVIB 38 Boost not thyself vein men boest not UV24 B9 Bound up Wound up don't you hete to feel UVIB 103 Bow ye low bow ye low ell ell Ye children UV6 81 Brethren will you now receive 50 Bright es the moming sun UV20 291 Bright OS the moming sun UVll 109 Cen we Shell we grieve no more UV13 71 Cost your breed upon the weters UV20 295 Cost your breed upon the weters UV24 179 Cest your breed upon the weters UVll lOB Cheer up end be encoureged ye lovely little band UV13 20 Cheer up end be encouraged ye lovely little few UV23 22 Come unto me All ye heevy leden UVIB 194 Come aged friends end gather near UV13 36 Come ell who went UVll 160 Come be edvencing move while the w etters move UVIB 112 Come brak forth in gladness ye hills 213 Come break forth in gladness ye hills ÜV24 201 Come break forth in gladness ye hills UVll 180 Come brethren end sisters let us sing UVll 33 Come Brethren end Sisters let us sing UV14 17 Come brethren end sisters 0 let us prepare 32 Come brethren end sisters there is no need UV20 307 Come Brethren end Sisters while the fire 245 Come Brethren and Sisters While the fire UVIB I 47 516

FIRST LINE INDEX

First Lime MS S £ S f t i § ^ Corne bright ongellc flre divine UV20 30 Come corne be ellve gether wisdoms UV16 83 Come come be olive gatner wisdoms UV20 96 Come come be ellve quick In every motion UV13 32 Come come be awake 301 Come come be rilled 135 Come come come and eat here Is the bread UV20 57 Come come come come 0 come my Children UV18 51 Come come come come 0 come mu children UV20 246 Come come do be free UV20 273 Come come every one that wants to feel UV20 373 Come come gather love Mothers love UV20 64 Come come here is Mothers love UV20 259 Come come here Mothers love UV18 69 Come come here s heavenly love UV20 254 Come come holy Angels 278 Come come holy love come come from above UV16 91 Come come holu power UV16 79 Come come I will lead you I'll clothe and feed you UV24 188 Come come Mothers love UV20 215 Come come mu dear companions 282 Come come 0 mu little children UV24 43 Come come on brave soldiers come UV16 43 Come come turn away from bondage UV16 124 Come come ye lovely band UV16 153 Come come ge weary come UV23 87 Come come ye weary come UV20 455 Come down lower lower lower UV20 209 Come down my dear children UV12 25 Come gather come gather around UV23 49 Come harken my lovely UV6 50 Come harken 0 Ye nations UV6 44 Come hearken 0 ye nations UVll 35 Come holu power fill mg soul ÜV24 150 Come home to Mothers mansion UV16 161 Come in my little Dove 8rlng me Mother's love 14 517

FIRST LINE INDEX

First Uns MS Sono NO. Corne Into freedom freedom freedom life UV20 450 Come ley aside your idols UVI2 22 Come learn of me and holy be UV24 147 Come let us all unite and gather 383 Come let us all with one accord 99 Come let us be alive UV20 159 Come let us chant the melody sweet UVll 197 Come let us go to the mansions of peace ÜV24 151 Come let us march the heavenly road 397 Come lift up your heads all crossbearing few UVi6 22 Come little children be alive UV20 113 Come little children be alive UVI2 21 Come little children be alive UV16 158 Come love come love come love UV16 65 Come love come love come love UV20 58 Come love come love 0 come humility ÜV16 176 Come love come love pure heavenly love UVi2 55 Come love come love thou heavenly treasure UV24 105 Come love come love thou heavenly treasure 162 Come love Mothers love and 0 come UVli 258 Come love pretty love love is growing u v ii 85 Come loving friends and gather near ÜV13 83 Come loving friends and gather near ÜV18 18 Come my dear companions we'll all go together UVll 120 Come my holy Saviors love UV20 49 Come my holy Saviors love UV16 50 Come near all my people UV6 78 Come 0 come here’s heavenly love UV16 47 Come 0 come my little flock UV23 21 Come 0 come my little ones UV20 20 Come 0 come ye heavenly band UV20 121 Come 0 come ye lovely band UVI6 146 Come 0 my children Holy holy UV6 75 Come 0 my children saith the Lord UV6 38 Come 0 my lovely children UVI8 79 Come 0 my loving children UV6 17 518

FIRST LINE INDEX

F irs t Line MS Sono MO, Come on good soldiers don't delay UVll 92 Come on good souldlers don't delay ÜV20 274 Come on let us march UV20 105 Come on my young companions UV20 347 Come on my young companions UVll 152 Come on my young companions 183 Come on ye brave and valient soldiers 171 Come on ye brave and valient souldlers 322 Come peace of mind thou lovely guest UV24 14 Come pretty children UV20 137 Come pretty children UV24 92 Come pretty freedom fill my measure UV23 76 Come pretty freedom fill my measure UV24 237 Come pretty freedom fill my measure UV20 417 Come pretty freedom fill my measure UV24 234 Come pretty freedom Shake of bondage UV14 36 Come purifying love and flow UV13 28 Come raise ye voice ye sons and daughters UV20 419 Come sweet repentance UV20 257 Come to the fountain well supplied UV20 420 Come unto me all ye heavy ladend UV24 34 Come unto my holy fountain UV20 340 Come, hearken 0 ye Motions UV14 30 Comfort one another my beloved children UV16 197 Comfort one another my beloved children UV20 183 Comfort one another my beloved children UV24 123 Contentment 0 thou lovely treasure UV24 97 Contentment 0 thou lovely treasure UV20 149 Cry aloud for Joy UV6 66 Dear Brethren and Sisters again UV13 56 Dear brethren and Sisters again UV12 34 Dear brethren and sisters farewell UV23 61 Dear friends In silence we assemble UV13 78 Dear friends the time has roll'd around UV13 70 Delighted now with what 1 posec 449 Down down I want to come UV2o| 213 519

FIRST LINE INDEX

F irs t U n s MS Sono No. Draw near Draw near my beloved children UVI6 7 Drink drink drink withm UV20 275 Drink drink drink with me UVll 93 Drink drink sweetest wine UV20 285 Elders can you forgive UVIB 49 Far beyond this vale of time UV24 47 Far far before me UV24 135 Far far before me UV20 223 Far far beyond this vale of time UV23 44 Far for beyond this vale of time UVI2 47 Farewell Beioved Brother UV22 3 Farewell beloved brother UVI3 81 Farewell my dearest companions UV13 82 Farewell My Dearest Companions UV22 4 Farewell to earth thy pleasures UV16 195 Farewell to earth thy pleasures UV20 182 Farewell to earth thy pleasures UV24 126 Farewell to thy pleasures 0 Earth UV20 316 Farewell to thy pleasures 0 vain Earth UV20 360 Farewell to thy pleasures 0 Earth UV24 79 Father 1 humbly pray UV20 14 Father 1 humbly pray UV23 32 Father I humbly pray UVIB 48 Fear not fear not 0 ye strong UV20 310 Fear not fear not 0 ye strong UVll 131 Fear ye nor neither be ye faint harted UVIB 6 Fear ye not fear ye not my lovely Llasyllavan UVG 32 Fear ye not Fear ye not my lovely Llasllllvan UVI4 49 Fear ye not ye little flock UV13 5 Fear ye not ye little flock UV23 14 Fear ye the Lord UV16 41 Flow In flow In heavenly love UV20 324 Fly swift ye bright Angels UVll 221 For Canaan I'm bound UV20 151 For heaven 1 am bound UV16 148 For who Is he that feareth the Lord UV24 17 1 520

FIRST LINE INDEX

F irs t Urn# MS Free end limber 1 will be UV20 231 Freedom freedom 0 how 1 love it UV24 224 Freedom freedom pretty way UV16 3B Freedom Is o pretty sight UV20 1B3 From the heights of fair Sina UV16 74 Geather out scatter out UVIB 204 Give glory unto God ÜV6 B5 Give thanks my people salth the Lord UV12 45 Give thanks my people salth the Lord ÜV20 388 Glean your orchards glean your gardens ÜV24 71 Go way pride and stiff UVll 89 Go ye forth go ye forth my holy UV6 B1 Go ye forth go ye forth thou mighty angel UVIB 10 Good Brother Daniel now has ceas'd UV13 88 Hall glorious Light of gospel truth UV14 B7 Hall glorious light of gospel truth UV20 88 Hall the day of jubilee UV20 40 Hallelula shout and sing praises UVIB 122 Happy are they who from righteous UV20 226 Happy are they who from unrighteous works are free UV24 144 Hark hark hear the celestial musick UVB 49 Hark hark salth the seventh angel UVB 47 Hark hark salth your heavenly father UVB 56 Hark hark salth your heavenly Father UV14 45 Hark hark the voice of a Mother UV20 109 Hark hear the bright angelic band UVIB 3B Hark hear the heavenly harpers UV20 31 Hark hear the heavenly harpers UV20 21 Hark hear the holy trumpet UVB SB Hark heark hear the celestial music UV14 29 Hark 0 Hark 0 Zion UVB 37 Hark 0 Hark to a voice of mourning UVB 3B Hark 0 hear the lovely sound UV24 191 Hark the gospel trumpet sounding UV24 159 Hark to the voice from the tomb UV24 20 iHark ye little flock the trumpet UVIB 67 521

FIRST LINE INDEX

F irs t U n s MS Song Ne. Hark ye little flock the trumpet UVÎ3 2 Hark ye little flock the trumpet UV23 2 Harken 0 Earth and hear Ye Heavens UV6 8 Harken 0 my re E sin e va UV6 98 Harps that once on willows hung UV16 201 He will labour night and day UV20 44 Hear me 0 my God UV20 288 Hear the heavenly harpers sounding UV16 193 Hear the knocking, 0 how steady UV23 63 Hear us our holy Savior UVll 189 Hoar's a blessing hoar's a treasure 161 Heark heark hear the sound 112 Heark heark salth your heavenly Father UVll 22 Heark Heark the trumpet sounding Angel UV18 11 Heark heark the voice of a Mother UVll 37 Heark 0 do hearken ye UV1G 66 Hearken 0 earth and hear ye heavens UVI8 71 Hearken 0 earth and hear ye heavens UVll 9 Heavenly blessings are free UVI3 57 Heavenly love is freely flowing UV24 103 Heavenly love is freely flowing UV20 160 Here flows the pure waters UV20 323 Here 1 fly through the earth UV20 46 Here I soar on the wings UV20 294 Here In the living work of God UV20 211 Here is a ball of holy heaven UV20 82 Here is a little wine UV20 136 Here Is heavenly comfort UV20 356 Here Is life here is love UV20 191 Here Is love pretty love UV20 298 Here on this golden w aiter Is placed the bread of life UV24 168 Here pretty love is flowing UV20 219 Here pretty love Is flowing UV24 136 Here we go here we go UV20 53 Hear ye my word salth the spirit UV24 10 Here's a cup of Mothers wine UV20| 248 1 522

FIRST LINE INDEX

First Line MS SORANe. Here's a place of repose UV16 51 Here's holy Angels here UV16 107 Here's my Mothers pretty love UV20 255 Here's my Mothers pretty love UV16 40 Heres a treasure thats worth more UV20 375 Ho ho ho 1 am UV16 1G9 Ho ho ho 1 am UVG 23 Ho ho 0 rejoice rejoice UVG 2 Ho ho 0 rejoice rejoice UVll 1 Ho ho salth your heavenly Father UVG 3 Ho ho salth your heavenly Father UVIG 49 Ho ho salth your heavenly Father UV18 G2 Ho Ho salth your heavenly Father UVll 2 Ho ho se len a pa twah UVIG 37 Hoi ho ho 1 am 1 ka re an no vo UV24 36 Hoi Hoi Hoi Lo my holy Sen E va UVG 31 Hoi Hoi 0 rejoice rejoice UVIG G1 Holy angels are descending UV20 33 Holy angels around us hover UV24 15G Holy Angels around us hover UV24 2GG Holy angels do befriend me UVll 75 Holy angels gather round me UVll 7G Holy angels round us hover UVIG 84 Holy Father crown my spirit UVIG 19 Holy Father crown my spirit UV13 16 Holy Father crown my spirit UVIG 9 Holy Father holy father hear UV20 1GG Holy holy heavenly father Grant thy love UV20 181 Holy holy heavenly Father Grant thy love UV24 39 Holy Holy Heavenly Father do protect UVIG 115 Holy holy Is the God UVG 88 Holy holy 0 holy father UVIG 175 Holy holy 0 holy father UV20 153 Holy holy 0 holy Father UVll 228 Holy holy 0 holy Father UV24 94 Holy holy we must be pure UV20 26 523

FIRST LINE INDEX

First Lliis 1 MS Isong Ne l Holy Mother bless 0 bless me UV24 114 Holy Mother bless 0 bless me UV16 184 Holy Mothers love is flowing UV16 59 Holy Mothers Love Is flowing UV14 68 Holy power love divine UV24 115 Holy spirits bright end lov'ly UV14 33 How baffling and vain are the treasures of earth UVll 118 How beautiful are these UVll 167 How beautiful are those UV12 51 How beautiful are those 204 How blest is the season UV24 23 How blessed and crowned above all others UV23 64 How blessed and glorious it is UV23 52 How blessed are the dead who die UV13 59 How blessed are the dead who die UV23 38 How blessed are the faithful UVll 62 How blessed are the pure in heart UV24 192 How blessed is It to be numbered among UVll 56 How blessed Is that treasure UVll 215 How blessed It is to be numbered among UV24 44 How blest are the faithful soul UV24 89 How blest is the season UV24 65 How blest Is the seasons UV23 36 How bright do the prospects arise UV12 41 How fleet and uncertain the days and the years UV23 62 How freely does heaven her blessings bestow UV16 21 How great is your sorrow UVll 94 How happy are they who bear UV20 371 How happy that immortal mind, who UV13 51 How happy that imortal mind UV13 80 How Happy the Immortal mind UV22 2 How pleasant and cheering the seasons UV20 193 How pleasant and cheering and sweet the reflection UV14 56 How pleasant And cheering 0 Sweet the reflection UV24 72 How pleasant and cheering the seasons UVll 70 How pleasant and cheering the seasons UV24 38 524

FIRST LINE INDEX

First Lins MS S

FIRST LINE INDEX

First Line MS sonaNo. 1 am marching marching heavenward UV24 193 1 am marching marching heavenward UV12 44 1 am marching on my way To bright mansions UVll 174 1 am marching on my way the bright mansions 439 1 am Moving on my way UVI6 173 1 am soaring far away UVll 103 1 am thankful for the gospel UV16 IG9 1 am thankful for the purifying fire UVIG IG4 1 am thankful for this pretty way UVM 5 1 am the heavenly comforter UVll I2G 1 am the holy Angel of Love UVG 20 1 am your Mother your Mother UVIG 4 1 behold bright angels marching on in beauty 125 1 behold bright Angels Marching on In beauty UVll 223 1 bid farewell to things of time UV12 31 1 bid farewell to things of time UV13 54 1 can bow 1 can bend 1 can be limber too UV20 448 1 can tell you what makes me UV20 92 1 can tell you what makes me UVM G2 1 did set out while In my youth and promised UVI2 15 1 feel Mothers love 1 love her children UV12 17 1 feel my Mother's love Increase UV20 29 1 feel my Mothers love Increase UVIG 37 1 go 1 go to my happy mansion UV20 Gl 1 hate bondage 1 love freedom UV20 8G 1 hate bondage 1 love freedom UVM 25 1 hate the flesh the nasty flesh UV20 190 1 have UV12 58 1 have a home in heaven UVll 229 I have a home In Zion UVll 155 1 have a home In Zion UV24 207 1 have a little chosen band UVIG GG 1 have a little chosen band UV20 81 1 have a little chosen band UVM IG 1 have a little crumb UVIG 82 I have a little love I want pure love UVll 202 526

FIRST UNE INDEX

F irst Lime MS Some Me. I have 0 little store Of holu Mothers love love lUVMl 35 I have a little union song UV24 250 I have a little union song UV23 74 I have a little union song UVll 248 I have a pretty rose UVll 146 I have brought you precious love UVll 220 I hfive come from aOovo UVll 200 I have come I have come and rve OroyaPt you 272 I have come I have come to bring unto you rnvTT I have come I have come with mu weapons UVll 156 I have come says holy wisdom to strengthen UVI6 127 I have come to view thy courts 0 Zion UV24 I have got a little ball 367 I have put on my armor 221 I have received that holy faith UV24 74 I have set out a volunteer UVll 147 I have started on my journey UV24 184 I hear the golden trumpet UV20 399 I hear the golden trumpet UV24 228 I hunger and thirst UV20 283 I know I love simplicity UV20 438 I know there Is no way for me UVll 43 11e voo I le voo nee nee UVI8 84 I love freedom I want to gather UV24 113 I love I love I love them dear UV20 188 I love I love my children UV20 155 I love I love my children UVll 226 I love I love the flower of God UVI3 47 I love my beautiful Mother I love UV20 130 I love mu beautiful Mother 0 holu Mother UVI8 love mu beautiful Mother 0 holy Mother UVI6 love my blessed Mother Her gospel I'll obey UVll 175 love my blessed mother Lo Lo UVI6 73 love mw good Mother I love her I know UVll 211 love my pretty Mother UVI8 33 love that God who reigns above UV24 66 527

FIRST LINE INDEX

F irst Lime 1 love the Messed gospel UVG 13 1 love the blessed gospel UVll 10 1 love the Lord for he hath been heard UV24 7G 1 love the lovely way of God UV20 95 1 love the precious way of God UV20 7 1 love the pretty way of God It Is so pure UV12 57 1 love the pretty way of God Yea In the cross UVll 154 1 love the rich pearl thats found UV12 27 1 love the strait and narrow way UVI3 24 1 love this holy heavenly way UV20 175 1 love to dwell in the lowly ground UV13 4G 1 love to dwell in the lowly ground UVIG 14 1 love to gather heavenly love UV18 31 I love to see a living soul UVll 195 1 love to see the living soul UV23 73 1 love to see the living souls UV24 255 1 love to see the living souls UV2C 434 1 mean to be a good believer UVIG 165 1 mean to be a volunteer UV20 207 1 mean to be a volunteer UV24 129 1 mean to be awake UVll 208 1 mean to bind nobody UV20 370 1 pray each word and thought UVIG 29 1 rejoice 1 rejoice In the pretty way UV20 407 1 see a glorious paradise 122 1 want more power UVll 148 1 want Mothers love Mothers love UV20 411 1 want Mothers love Mothers love UV24 242 1 want to be united to UV20 2G0 1 want to be united with UVIG Gl 1 want to feel more Love UVIG 52 1 will be a volunteer To rout the old deceiver UV24 132 1 will be little little simple simple free free UV20 402 I will be little little simple simple free free UV24 220 1 will be with my dear children UVll 240 1 will be with my dear children UV20 141 528

FIRST LINE INDEX

F IritL tiie MS SmhI No. 1 will be with mu dear children UV24 91 1 will bow before my mother In greotful UV20 157 1 win bow before my Mother In grateful UV24 9G 1 win comfort the afflicted UV20 144 1 win comfort you my people UVIG 7 1 win crucify self will UVll 133 1 will gather the faithful UVll GG 1 will go my way While the music sweetly plays UVI4 G 1 will go on my rejoicing UV16 179 1 win lead my chosen people UV24 I7G 1 win lead my chosen peorle UV20 29G 1 will march 1 will go UV23 G4 1 win march I will go UV20 414 I will march I will go UVll 1GG 1 will march I will go UV24 232 1 will move on my journey UV20 451 1 will pass on my way UV20 97 1 will persevere 1 will never look back UV14 GO 1 will praise and glorify my God UV16 I2G 1 win praise and glorify my God UV20 III 1 will shout a song of victory UV20 279 1 will sing aloud my thankfulness UV20 315 1 win sing unto the Lord a new song UV6 G3 1 will soar far away UV20 337 1 will walk In true obedience UVIG 142 1 would not exchange my home sweet home UV24 170 I'll arm myself with weapons bright UV20 120 I'll be a simple child UV20 39G I'll be a volunteer to rout UV20 217 I'll be alive and moving UVIG 33 1II bow I'll bend 1 can be limber too UVll 19G I'll bow In humility UV20 196 I'll bow In submission UVIG IG7 I'll bow my spirit low low low UVIG 149 I'll cherish pure love and sweet heavenly union UVll 71 I'll crucify self will UV20 332 529

FIRST LINE INDEX

F irst Urne 1 MS Sono No. I'll glide over the waters UVI6 42 I'll labor to gain the gifts of God 56 I'll leav my crops 1 will be free 236 I'll leave this fleeting world below 123 I'll play on my fife 117 I'll press my way thro trials deep 143 I'll press my way thro* sorrow 364 I'll press my way through trials 216 I'll serve the Lord with pleasure 226 I'll serve the Lord with pleasure 142 I'll spend my life to serve the Lord UV20 293 I'll spend my life to serve the Lord UVll 110 I'll walk with you each faithful soul UVM 40 I'll wave my banner of love UVI6 156 I'm a free volunteer And I've unsheathed my sword UV24 51 I'm a little cheerful dove UV24 247 I'm a little cheerful dove UV20 435 I'm a soldier of Christ I've enlisted for life UVll 88 I'm a soldier of Christ I've enlisted for life UV24 161 I'm a sweet little harbinger UV20 348 I'm bound for a happier clime UV23 85 I'm bound for a happier clime UV20 429 I'm bound for a happier clime UV24 257 I'm bound for heaven here UV20 326 I'm bound to gain complete salvation UVll 227 I'm bound to gain complete salvation UV20 124 I'm going down to the beautiful valley UVll 209 I'm marching on to my happy hour UVIG 35 I'm on my way to Zion UVll 216 I'm thankful for this burning day UVI2 13 I'm thankful for this pretty way UV20 266 I'm thankful 1 am call'd UV20 251 I'm thankful to God for the way of salvation UV24 205 I'm working I'm working For heaven my home UV24 87 I've entered now the battlefield UV20 394 I've gathered me a little store UV20 192 530

FIRST LINE INDEX

FSrst U m MS Soim Ne. rve got Mother’s love en overflowing treasure ÜV16 128 I’ve tnllsted in the war ÜV20 304 I've laid with the righteous UV13 87 I've planted thee 0 Zion ÜV20 281 I've prepared a holy fountain ÜV20 25 I've promised to walk with the lowly In spirit UV24 154 I've sacrificed my all to gain ÜV20 328 I've sacrificed my all to gain UVll 113 I've started on my journey UV12 36 I've started on my journey UV20 263 If I'll be patient meek and mild 85 Illustrious Sister thou art gone UV12 30 lllustrous sister thou art gon UV13 53 In bonds of sweet Union 303 In bonds of sweet union 169 In bowing my neck and bending my knee UVll 210 In dark and trying hours UVll 137 In dark and trying hours 153 In deep supplication I'll pray UV18 56 In freedoms way 1 love to pray UVM 39 In freedoms way I'll skip and play UVll 214 In gospel purity and love UV13 37 In gospel purity and love UV23 27 In his humiliation where peace UV20 241 in humble prayer to thee we bow UV20 17 In humiliation dear Mother do lead me UV23 46 In humiliation dear mother do lead me UV24 218 In justification what true consolation UV24 64 In lo humiliation UV16 202 In meditations silent vale I love to often walk UVM 11 In Mother's love now we'll sing UV12 37 In Mothers love now we sing UV24 186 In obedience let me go UV23 12 In obedience let me go UV18 3 In obedience let me go UV13 9 In obedience let me go UVÎ3 8 531

FIRST LINE INDEX

F irst Lime In peace 1 will live with each one luvTil Î36I In perfect resignation 28 In perfect resignation UVÎ3 39 In perfect resignation UViô 2 In pure love and union 0 lot us unite UVii Ô7 In simplicity move along 403 In thanksgiving we'll raise our voices UV20 93 In the lovely vale of sorrow UVi2 28 In the low valley of union and love UVI8 80 In the low valley of union and love UVÔ 10 In the low valley of union and love üVil 12 In the pretty way of holy Mother UV20 277 In the shaking work advance UV20 418 In the shaking work advance UV23 77 In the shaking work advance UV24 231 In the vale of peace and union ÜV23 20 In this gospel of redemption UV24 209 In this gospel redemption UV20 393 In this love we will bound ÜV24 172 In Zion is my home ÜV20 308 In Zlons pure mention of rest UVIÔ 70 It is a good thing to give thanks and to sing UV24 5Ô Keep away keep away let my spirit go free UV23 34 Keep the fire a burning ÜV20 437 Keep the fire burning UVII 192 Kind guardian angels lend thy all UV24 54 Kind loving friends of Mothers fold UVi3 Ô7 Kind southern friends UVi3 75 Know ye 0 my beloved UV24 102 Lean upon mine arm UVII 91 Lean upon my arm UV24 IÔÔ Leap leap for Joy all ye mountains UVÔ 5 Leap leap for joy leap all ye UViô 73 Leap leap for Joy leap all ye uvii Ô Let God be praised and His family rejoice uvii 17Ô Let God be praised and saints rejoice UV20 452 532

FIRST LINE INDEX

F irst LtiM 1 MS ISonaNoJ Let holy calmnees rule each mansion UV23 69 Let me go to that home ÜV23 35 l et purity of mind Invest my needy soul UV11 48 Let suff’ring saints rejoice ÜV12 11 Let sweet music roll 334 Let the music now begin UV16 116 Let the music now begin UV20 101 Let us all unite together 378 Let us go forth and worship 386 Let us go forth to worship UV12 43 Let us march on our way UV24 119 Let us march on our way UV20 177 Let us now pray with fervent zeal UV24 40 Let us walk the pretty road UV16 139 Let us walk the pretty road UV12 20 Let us walk the pretty rode 103 Let Zion learn to bow down low UV11 49 Let Zion learn to bow down low UV24 3 Lift up thy voice like a trumpet UV18 86 Lift up your eyes ye sons of light UV20 313 Like gentle streams that never rise UV12 8 Like the ^ews of the evening UV24 245 Like the little busy be We'll fly around and be so free UV14 9 Limber limber as a willow UV24 222 Limber limber as the willow UV20 405 Limber limber I will be like a bending willow tree UV14 34 Little children 0 rejoice UV20 206 Little children we must be moving UV20 381 Living souls for heaven bound UV16 106 Living souls for heaven bound UV11 50 Living souls for heaven bound UV16 137 Lo be se be van UV16 64 Lo 1 am an Angel of Gods UV18 76 Lo 1 am an angel of Gods UV6 7 Lo 1 am an Angel of Gods UV11 64 Lo 1 fly 101 fly UV20 76 533

FIRST LINE INDEX

First lime MS Lo 1 fly 101 ny ÜV14 19 Lo 1 hove corne to comfort ye UV11 27 Lo 1 hove come with the Angels UV6 95 Lo lo bond of holy Angels UV20 107 Lo lo soys Mother 1 hove come UV16 151 Lo our Mother still Is colling UV23 59 Lo the Angels ore sounding their Trumpets ÜV20 379 Lo the Angels ore sounding UV16 45 Lo the bond of holy ongels UV16 159 Lo the morning hos come UV20 89 Lo the morning hos come IUV14I 57 1 Lo we one moving moving on UV20 430 Lo we ore moving moving on UV23 80 Lo we ore moving moving on UV24 259 Lo we ore soiling soiling UV20 351 Lo 1 om your heoven Pother UV23 51 Lord let thy power roll UV20 305 Lord trouble now the woters thot we moy enter in UV14 3 Lord we now oppeor before thee UV23 9 Love Is 0 precious Jem of heoven UV24 45 Love Is flowing freely UVll 219 Love Is flowing like on oceon UV13 41 Love love holy love come moke UV20 253 Love love holy love come come from obove UV20 79 Love love holy love come moke UV16 34 Love Love holy Love come come from obove UV14 61 Love love Is flowing UV16 171 Love love let It roll UV16 196 Love love let it roll UV24 127 Love pretty love 0 how I love to feel it UV16 168 Loving friends do help me UV12 38 Loving gospel kindred deor UV16 17 Low down In the volley UV20 19 Low the Bond of Holy Angels UV16 150 Mony cheering pleosont visits UV13 69 Morch heovenword ye victorious bond UV20 336 534

FIRST LINE INDEX

F iret LIM March on march on 0 wo well beloved few UVI6 157 March on 0 ye trumpeters ÜV20 34 March on to Canaans happy land UV16 155 March ye on with life UVll 122 Me want to shake shake shake ÜVI2 16 Mighty God 1 do Implore thee ÜVI2 29 More love more love Brethren and Sisters UV20 66 More power I want to feel ÜV20 453 More zeal more zeal more power ÜV20 72 Most hi God with Might and power ÜVI6 53 Fear ye not fear ye not my Lovely Llaslllavan UVll 23 Mother says my loving children UVI3 21 Mother weeps she weeps In sorrow UVI8 68 Mother weeps she weeps In sorrow UV6 1 Mother weeps she weeps with sorrow UVll 5 Mother's love Is flowing UVI6 89 Mothers love Is flowing UV20 94 Mothers love Mothers love 126 Mothers way an easy way UV20 299 Move on move on 0 ye little VIrgen band UV20 168 Move on move on ye faithful vollunteer UVll 191 Move on your way without delay UV24 no My brethren and my sisters dear UV24 55 My children sals Mother do keep very low UVI6 117 My children shall grow In the West UV23 3 My children shall grow In the west UVI2 4 My children shell grow In the Wests UVI3 3 My days on this earth are but few UVll 187 My gospel kindred 0 how I'm pleased UV20 387 My gospel relations 1 love them most dear UV24 260 My gospel relations 1 love them most dear UV23 50 My heavenly parents I'll adore UV13 30 My Home Is the gospel a treasure to me UV23 40 My love my love Is from heaven above UVI6 48 My love my love Is from heaven above UV20 62 My love says Mother shall cheer UV20 331 535

FIRST LINE INDEX

Ffrst U ns MS SOINIIiO. My love says Mother do receive UV14 43 My Mother has sent to me a cup UV16 32 My Mother knows best what is good UV24 81 My Mothers love is holy my Mothers love is pure 149 My son the savior of man UV6 6 My son the savior of man UVll 8 My son the savior of men ÜV16 65 My spirit Is feasting 286 My time and talents I'll devote UV20 129 My time and tallents I'll devote UVll 46 My voice i'll raise in songs UV20 346 My work on earth is to prepare for heaven UV24 264 No charms which this earth can produce UV24 78 No one can do It for me UVll 179 No pleasure in babies dark region 10 Not all the pomp or splendor UV24 49 Nothing ee'r shall hinder me UV20 222 Nothing on earth I prize above UVI8 30 Now as times approaching UV13 68 Now here Is my resolution UV20 199 Now 1 feel my mother's love UV16 69 Now 1 feel the sweet emotions UV20 116 Now 1 mean to be In motion UV20 196 Now 1 mean to be In motion UV24 130 Now 1 mean to shake shake off every band UV20 205 Now 1 mean to shake shake off every band UV24 131 Mow I'll seek my faith plain UV18 26 Now Mother says my children dear UVÎ3 33 Now old self comes next In view UV20 256 How swiftly rolls the tide of time UV24 214 Now while the heavenly showers descend UVll 184 Now with joy we ll move along UV24 235 Now with joy we'll move along UV20 410 Now with Joy we'll move along UVll 157 0 Angelic Spirits draw nigh UV22 1 0 Angelic spirits draw nigh UV16 5 536

FIRST LINE INDEX

First Lins MS Som# Ms. 0 Angelic spirits draw nigh UV13 79 0 blessed gospel happy sound UV18 75 0 Blessed Savior hear mu pray’r UV13 10 0 aiesssg savior hear my pmuT UV18 24 0 blessed Savior hear my prayer UV23 0 blow 0 blow ye the trumpets UV6 55 0 Mow thou sweet and gentle gale UV24 181 0 blow thg Sweet and gentle gale UV12 39 0 blow thy sweet and gentle gals UV20 344 0 bow low bow low and gather UV18 41 0 bow low 0 bow low UV20 240 0 brethren and sisters come let us UV20 416 0 brethren and sisters do let us be UV20 52 0 brethren and sisters I see a bright band UV20 35 0 brethren and sisters let us humble ourselves UV18 92 0 can’t you hear our holy Mothers love love UV24 140 0 come all un pilgrims UVll 53 0 come all ye Seraphs UV20 208 0 come all ye that seek salvation UV16 101 0 Come be alive come be moving on ÜV16 170 0 come be ye valient all ye who are willing UV24 190 0 come celestial breezes of heaven UV20 70 0 come come away to the valley that Is low ÜV24 249 0 come come holy love ÜV20 60 0 come come mu lovely UV6 80 0 come come thy blessed children UV20 204 0 come come ye weary UV20 239 0 Come don't be bound Here Is love flowing round ÜV14 50 0 come freedom love and holy power UVll 201 0 come gather gather UV20 55 0 come heavenly dove UV20 173 0 come heavenly love UV23 53 0 come holy holy fire UV20 238 0 come holy holy power UV20 27 0 come holy holy power UV20 39 0 come holy love help UV16 63 537

FIRST LINE INDEX

F irs t Lins MS Song We. 0 come holy love flow from the fount UVll 116 0 come holy love 0 holy power pure undeflled UV20 443 0 come holy love 0 holy power pure end UVll 194 0 come holy power ÜV20 243 0 come holy seraphs UV18 55 0 come lay aside ÜV16 203 0 come lay aside UV20 45 0 come lets all unite and gather ÜV20 363 0 corr^ mighty power roll on roll on UV20 406 0 come Mothers love UV18 45 0 come my children do UV16 76 0 come my dear children the call UVIG 72 0 come my dear children partake of my love ÜV20 227 0 come my dear children partake of my love UV24 141 0 come my dear children says Mother UV24 178 0 come my dear children says Mother UV20 338 0 come my dear children says Mother UVll 145 0 come my Dear children the call UV14 63 0 Come 0 come says blessed mother UV13 48 0 come 0 come ye virgin band UVll 213 0 come power holy light UVll 102 0 come pretty love and quicken my devotion UVll 134 0 come pure wisdom guide my feet UV24 206 0 come pure wisdom guide my feet UV23 43 0 come pure Wisdom guide my feet UV12 50 0 come shake yourselves UV20 197 0 come sweet love thou balm of heaven UV18 20 0 come Sweet love thou balm of heaven UV23 5 0 come sweet love thou balm of heaven UV13 7 0 come sweet peace UV18 67 0 come thou true virtue UV23 55 0 come we are going to heaven above UVll 162 0 come salth Mother in love UV16 145 0 come ye afflicted UV20 37 0 come ye bright seraphs UV20 8 0 come ye little lovely band UV20 317 538

FIRST LINE INDEX

F irs t Lime 0 corne ye needy ye hungry ye poor 244 0 do receive our love kind friends UVI3 73 0 don't you hear the drums UV20 268 0 don't you hear the drums UV24 139 0 don't you want a little sip UV20 104 0 don't you want Mothers love UVI2 56 0 draw nigh drew nigh unto me UV6 68 0 ever blessed Mother Thy holy way I'll keep UV14 21 0 Father Jesus and Mother Ann UV24 24 0 fear ye not my little flock UV6 18 0 fear ye not my little flock UV18 89 0 feed me my Mother From thy flowing fount UVI4 1 0 give me strength power and zeal UV20 118 0 give me three grains of com Mother UV23 57 0 God 1 love to feel thy power UV23 26 0 God 1 love to feel thy power UVI3 25 0 God of my salvation UV18 21 0 God of my salvation UV23 16 0 God of wisdom power and Justice UV20 202 0 God of wisdom power and Justice UV24 133 0 God protect my feeble bark UV24 53 0 God we bow before the UVI6 138 0 guardian angels hover around me UV20 176 0 had 1 wings like a dove UVll 127 0 hall 0 hall this glorious day UV20 233 0 hall! 0 hall! this glorious day UV18 59 0 happy happy I do feel I love the way of God ÜV24 152 0 hark ye and listen ÜV20 156 0 Harken to me salth the Angel of love UV20 374 0 hasten on ye lovely few UV20 431 0 hasten on ye lovely few UV23 86 0 hasten on ye lovely few UV23 89 0 hear all ye kingdoms ye nations abroad UVll 138 0 hear our Mother calling UVIG 55 0 hear the heavenly music roll UV24 189 0 heark ye and listen UV24 101 539

FIRST LINE INDEX

F fn tl Lime MS 0 hearken to me my little ones UVIG II 0 hearken to me salth the Angel of Love UV24 25G 0 hears a pretty cup of wine UV20 359 0 heaven 0 heaven the heaven of heavens UV23 4G 0 heavenly Father do hear me I pray UVIG 113 0 heavenly father hear me hear me UVI3 44 0 heavenly father hear me now UV13 12 0 heavenly Father hear me now UVIG 23 0 heavenly father hear my cry UVI3 40 0 heavenly father hear my cry UV23 29 0 Heavenly Father 1 cry UVIG 10 0 Heavenly Father 1 cry UVI3 13 0 heavenly Father kind and true UV24 24G 0 Heavenly Father kind and true UV20 311 0 heavenly parents hear my prayer UVI3 6 0 heavenly Parents hear my prayer UV23 10 0 heavenly parents hear my prayer UVIG 25 0 heavenly power from above UV14 22 0 heavenly wisdom now we hear UV24 25 0 heavenly wisdom now we hear UVll 57 0 here Is love love love pure love UV20 90 0 here we move all In a band UV20 60 0 ho ho rejoice Ye holy saints UV6 92 0 ho ho salth the Angel UV6 29 0 ho ho salth the Angel UV6 82 0 ho ho salth the Angel UV14 44 0 ho ho salth Your Heavenly Mother UV6 41 0 ho ho van sel lllly UV6 72 0 hoi descend the radiant light UV24 75 0 holy angels guard around me UVIG 132 0 holy Father holy Fath UVIG 31 0 holy Father holy Father UV20 IG 0 holy holy living power UVIG 46 0 holy holy living power UV20 59 0 holy holy Mother UV20 23 0 holy Mother do help me UV20 412 540

FIRST LINE INDEX

F irs t Lime MS Sow^pe. 0 Holy Mother place my feet UV12 42 0 holy Mother place my feet UV23 39 0 holy Seraphs wing your way UV6 G4 0 holy spirits pure and divine UVIG 53 0 holy spirits pure and divine UV20 12 0 holy Spirits pure and divine UV16 30 0 how beautiful are the faithful UV16 57 0 how blessed are the peace makers UVIG 4G 0 how blessed are they UV16 95 0 how bright Is our day UV20 3G1 0 how 1 love the little few 42 0 how 1 love to dance UVIG 141 0 How simple and how free UVll 42 0 how sweet and how cheering UV14 59 0 how sweet 0 how caring UV20 73 0 how sw ift the moments roll UVIG 1G7 0 how the Angels do rejoice UV24 93 0 how the Angels do rejoice UV20 154 01 am delighted with the beautiful UV20 329 0 1 E aim a ves ta va UVG 97 01 mean to Shake Shake off every bond UVll 73 0 1 pray 1 pray that good Angels from above UV24 194 01 see a re Ian a va UVll IG 01 see a re Ian a va UVG 14 01 see a re len a va UVIG 67 01 see on you UVIG 44 01 will be marching UV20 354 01 will bow 1 will bend UV20 353 01 will freely sacrifice UV20 454 01 will labour to come low UV24 10G 01 will labour to come low UV20 1G5 0 1 will rejoice yea 1 will rejoice UVIG G 01 will sing praises to the God of heaven UVIG 13 0 1 will turn swift UV20 343 01 will turn swift UVll 115 0 1 will turn swift UV24 160 541

FIRST LINE INDE*

First Line MS sona NO. 01 will walk low In the vale UVll 135 01 will walk low In the vole UV24 63 0 Jerusalem Jerusalem how beauti ful UV6 100 0 let the power flow UV16 97 0 let thy holy power UV20 271 0 let us bow In grateful thanks ÜV24 30 0 let us bow In greatful thanks UV16 192 0 let us join that lovely band UV20 318 0 life what art thou but a quick passing dream UV23 65 0 little children let's see how simple UV20 391 0 lo the happy day UV20 270 0 Lord a prayerful spirit Let me feel each coming daiL UV14 48 0 Lord beneath thy hallowed hand UV24 216 0 Lord beneath thy hallowed hand UV24 86 0 Lord do protect us UV16 174 0 Lord give me a humble UV18 12 0 Lord give me a living sense UV16 16 0 Lord hear my prayer UVll 81 0 Lord hear my prayer ÜV24 57 0 Lord let thy spirits draw nigh ÜV13 34 0 Lord protect my feeble bark UV16 199 0 Lord protect my feeble bark UV24 125 0 lord protect my feeble bark UV20 185 0 Lord whose voice from far and near UV24 85 1 love the blessed gospel UV18 77 0 Love thou heavenly treasure UV24 226 0 love what a treasure sweet llberi y UVll 172 0 love what a treasure sweet liberty UV24 240 0 low the holy Angels UV18 52 0 low the Holy Angels ere marching UV20 237 0 may 1 ever keep the gift UVll 217 0 may I learn to watch and pray UVll 52 0 May 1 walk the narrow road UV13 27 0 may 1 walk the narrow road UV23 25 0 may repentance wash my soul UV13 35 0 may the Gospel Trumpet UV20 372 542

FIRST LINE INDEX

F irs t Lins 1 MS. %nsNsJ 0 may the Gospel Trumpet UV24 2G1 0 may this gospel trumpet UVll 143 0 merciful father in thee 1 do trust UV14 4 0 Mother bless me with thy tender love UV12 52 0 Mother dear Mother do guide and direct me UV24 1G3 0 Mother do meet me In mercy UVll 124 0 Mother do not leave me UV20 280 0 Mother do protect me UV16 172 Our Mother doth love UV16 58 0 Mother give me holy power UV20 258 0 Mother give me holy power UV16 109 0 Mother give me life and zeal UV16 24 0 mother give me vangance UV20 171 0 Mother hear my fervent prayer UV16 8 0 Mother help me UV16 111 0 Mother 1 do love thee UVIG 2G 0 Mother mother do control UVll 97 0 Mother 0 Mother 0 heavenly mother UV24 99 0 Mother 0 mother 0 heavenly mother UV20 142 0 Mother protect me with thy holy care UV24 217 0 Mother thy mercy I feel UVll 18G 0 Mothers wine Is sweet Mothers wine Is cheering UV24 137 0 my children do be faithful UV20 425 0 my children says Mother I know every hart UVIG 118 0 my ever blessed Mother UV24 80 0 My Ever blessed Saviour UVIG 75 0 my God my heavenly Father UV20 187 0 my God my heavenly Father UV24 124 0 my God remember me UVIG 39 0 my God remember thy flock UV20 355 0 my heavenly parents UV16 54 0 my heavenly Parents UV20 5 0 my holy la vac ne voon UVIG 6 0 my holy lavae na noon UV18 9 0 my home my pretty home UVll 119 0 my Mother do protect mel UVIG 32 543

FIRST LINE INDEX

F irs t Line MS SOIMI NO. 0 my peace my peace with God UV20 229 0 my peace my peace with God UV18 29 0 my soul be awake fight UV20 47 0 my soul be awake and cry unto God UV20 290 0 my soul be awake be alive UV20 41 0 my soul be awoke and cry unto God UVll 112 0 my soul be gathering good UV13 38 0 my soul 0 my soul UV20 G5 0 my soul 0 my soul 0 hear ye UV20 G9 0 my soul shout and sing praise UV24 219 0 my soul be gathering good UV23 30 0 my spirit 0 my spirit 0 my spirit ÜV20 212 0 my ve 0 le ven les v1 ÜV20 11 0 now 1 mean to rise and fight UV20 G7 0 now 1 will arise and Shake Shake UV16 94 0 our holy heavenly Father UV16 191 0 Our holy heavenly Father UV24 19 0 our holy heavenly Father UVll 58 0 painful tis to me the horrors of this world UV24 27 0 praised be God let his praise UV20 108 0 pretty little lambs UV20 324 0 purifying fire bum within UV24 11G 0 rejoice and sound the se lac na praises UV14 47 0 rejoice rejoice 0 jerusalem UV16 9G 0 rejoice rejoice 0 Jerusalem UV14 4G 0 repentance 0 repentance UV20 200 0 see 0 see the virgin band UVll 151 0 See the virgins marching on UV16 125 0 Shout all ye living UVIG 147 0 si an si le len vool UVIG 1 0 simplicity sweet simplicity flowing all around us UV24 138 0 sing sing aloud all ye hosts UVG 9G 0 sing ye saints the joys of heaven UVll 130 0 Sing ye saints the joys of heaven UVI8 82 0 sound holy praise unto the Lord UV20 1 0 sound sound ye holy UV24 2 544

FIRST LINE INDEX

F irs t Lins MS some we. 0 Sound sound ye holy UVll 32 0 Sound Sound ye holy UV16 165 0 sound sound ye holy UV6 93 0 sound sound Ye vl vo viv o vum ÜV6 45 0 sweet eternity how oft 1 think of thee UVll 2G 0 sweet eternity How oft 1 think of thee UV12 10 0 sy a vIv a vum UV6 62 0 the beautiful way of God UV24 59 0 the beautiful way the Heavenly Rode UVIG 123 0 the blessed gospel 0 the blessed gospel UVll 03 0 the blessed power of God may 1 have UVIG 129 0 the blessings from above UV20 249 0 the pretty pretty way UV13 31 0 the sweet name of Mother UV20 365 0 this glorious gospel day UV20 194 0 time 0 time how sw ift UV20 242 0 union thou cementing bond UV20 100 0 welcome 0 welcome ye chosen and few UV13 76 0 what a pretty home I have UV20 3G4 0 what a pretty home 1 have UV24 199 0 what a pretty sight UV20 261 0 what a pure and dear relation UVIG GG 0 what a pure and dear relation UV14 30 0 what a rich blessing UVIG 39 0 what a rich treasure Is come from above UVll 02 0 what came UVI2 59 0 what glory and beauty Is now displayed UVll 17 0 what glory and beauty UVIG 96 0 what Is the matter UV24 246 0 what Is the matter UVll 173 0 what Joy awaits the faithful UVIG 106 0 what peace and consolation UV23 SO 0 what peace and consolation comes UV24 254 0 what peace and heavenly love UV20 234 0 whats peace and consolation UVll 224 0 who can think to sacrifice UVll 132 545

FIRST LINE INDEX

F irs t Line 0 who can think to sacrifice UV18 42 0 who can think to sacrifice UV20 230 0 who can think to sacrifice UV24 61 0 who Is thirsty come come UV16 206 0 will you come along with me UV20 390 0 ye bright and shining Angels UVll 79 0 ye bright shining cherubs UVll 99 0 ye children of mount Zion UVIG 198 0 ye children of Zion arise and be strong UVll 193 0 ye children of Zion arise and be strong UV24 265 0 ye Shining hosts of heaven UV12 2 0 ye virgins of Zion arise and prepare 433 0 ye virgins rejoice rejoice UVIG 108 0 ye virgins rejoice rejoice UV20 87 0 Zion 0 Zion rejoice rejoice UV18 70 0 Zion arise in beauty and gladness UVIG 100 0 Zion even now doth thy God UVll 14 0 Zion even now doth thy God UVIG 81 0 Zion even now doth thy God UV18 95 0 Zion even now doth thy God UVG 39 0 Zion my ^ Gloved UVG 101 0 Zion 0 Zion arise and press forward UV20 13 0 Zion 0 Zion arise and press forward UV20 32 0 Zion 0 Zion arise arise for thou art arrayed UV24 5 0 Zion 0 Zion thy beautiful city UV20 201 O'er the swelling waves of time UVll 108 Of all the sad changes this earth does present UV?3 61 Oft In solemn meditation UV12 26 Oft In solemn meditation UVll 40 Old nature I do mean to kill UV20 369 On flowing streams we'll sail UV20 114 On flowing streams we'll sail UV14 37 On flowing streams we'll sail UV12 23 On flowing stream's we'l sail UVIG 87 On my way I'll progress UVG 27 On the banks of sweet freedom UV18 97 546

FIRST LINE INDEX

F irs t Lime 1 MS Is o m Mo l On the wings of freedom now we move UVll 183 On the wings of freedom now we move UV20 44G On the wings of love UV20 78 On the wings of love UV14 18 Once more In the circle of times fleeting yeers UV23 GG Onley look and see pretty treasures UVIG 133 Onward onward let's be going UV20 214 Onward onward lets be going UV24 50 Onward onward we'll be moving UV20 284 Our aged Brother and our friend UV13 85 Our aged friend has yen UV13 G3 Our aged friend has gone UV12 54 Our days on earth at most are few UV23 70 Our father who art in heaven UV16 25 Our good brother Daniel is gon UV13 8G Our Mother now is calling UV20 18 Our mothers cup Is full of love UV16 GO Our work in this vain world UV20 1G9 Over you my beloved with my wings I will hover UVI4 41 Persevere says holy Mother UV20 2G5 Praise all praise to God UVG 34 Praise praise the Lord UVll 3G Praise the Lord Jerusalem UV24 GO Praise ye everlasting praise UV20 289 Prepare prepare 0 Zion for the days (. . land UVG 25 Prepare prepare 0 Zion for the days I. . .1 are UVll 55 Prepare prepare 0 Zion for the days [. . .1 are UV24 9 Press ye on belove children UV24 98 Press ye on beloved children UV20 14G Press ye on my children dear UV20 143 Pride and lust will have to go UV20 210 Protect me 0 merciful father UVIG 23 Pure love and union is my theme UVll 144 Purify my soul from sin UVll 7G Put off 0 Jerusalem UVG 69 Raise your voice you chosen few UV18 44 547

FIRST LINE INDEX

F irs t Lina J t S _ Raise your voice ye chosen few UV2? 244 Rejoice oil ye living UVll 255 Rejoice and be comforted my children UVI8 GG Rejoice In my goodness UV23 15 Rejoice In that which 1 create UVll 125 Rejoice 0 my beloved UV20 63 Rejoice rejoice 0 my children UVll 11 Rejoice rejoice 0 my children UVIG 72 Rejoice rejoice 0 Zion rejoice for great UV20 3 Rejoice rejoice 0 Zion rejoice salth the Lord UVG 70 Rejoice rejoice 0 Zion rejoice for In the mdst UVIG 3G Rejoice rejoice 0 Zion rejoice salth the Lord UV24 11 Rejoice salth the Lord all ye children of Zion UV24 95 Rejoice salth the Lord all ye children of Zion UVll 51 Rejoice ye lovely member In the power UVll 107 Remember 0 my children UVIG 110 Remember 0 my Children UVI4 20 Rise my soul for Inspiration UVIG 135 Roll on heavenly love roll like a mighty flood UV20 404 Roll on heavenly love roll like a mighty flood UV24 230 Roll on heavenly love Roll like a mighty flood UV24 225 Roll on Mothers love roll on UV20 27G Roll on roll on fleeting time with all thy care UV24 1G4 Roll on roll on 0 heavenly power UV20 133 Roll on roll on 0 heavenly power UVll 225 Roll on roll on 0 holy power UV20 330 Roll on roll on 0 holy power UV24 174 Roll on roll on 0 holy power UVll 129 Roll on ye mighty power UV20 110 Seal ye my servant 0 ye my most holy angel UVIG 63 Seal ye my servant 0 ye my most holy angel UV14 64 Seal ye my servants 0 ye my most holy angel UVll 7 Seal ye my servants 0 ye my most holy angel UVG 16 Search search frail mortals search 1 say UV24 195 Search search vain mortals search I say UV12 49 See all Mothers children UVll 230 548

FIRST LINE INDEX

F irs t Line m Soiw M#. See the folthful all advancing UV20 139 See the faithful all advancing UVll 47 See the gifts ÜVI2 40 See the gifts of God descending UV20 350 See the happy happy throng ÜV24 117 See the happy happy throng UV20 216 See the lovely band of Angels ÜV24 241 See the lovely band of Angels ÜV23 82 See the lovely band of angels ÜV20 413 See the saints they're all In order UV24 155 See Zlons children moving on ÜV16 20 Seek me In the valley of love here I am soaring Like a ( UVI4 58 Send forth thy blessing UV20 42 Serve the Lord with gladness UV20 224 Shake off every fetter UV20 345 Shake off every fetter ÜV24 182 Share mor ÜV20 342 Shout aloud for joy UVll 26 Shout shout ye little children UV20 145 Simple and free 1 mean to be UV24 262 Simple and free 1 mean to be UV20 377 Simple and free I mean to be UV23 78 Sing and dance and praise UVll 84 Sing 0 ye sons of God UV6 59 Sing praises and give thanks UV24 4 Sing praises and give thanks UVI6 181 sing sing 0 daughter of Zion UV6 51 Skip skip and play In this pretty pretty way UVll 142 Skip skip like fauns UV20 54 Sound 0 Sound the love of your God UVI6 130 Sound sound on your musical trumpets UV6 73 Sound sound sound aloud UVI8 19 Sound sound ye holy praises UVll 123 Sound sound ye holy praises UV20 376 Sound sound your trumpets loud all ye hosts UV6 1 33 Sound sound your trumpets loud 0 ye chosen UV20I 38 549

FIRST LINE INDEX

F irs t Line MS Iseng No. Sound the trump of gladness UVll 177 Sound the trump of gladness UV24 238 Sound ye forth sweet praise UVll 101 Sounding praises holy praises UVll 25 Stand stand ye fast salth UV6 26 Stand stand ye fast salth UVll 16 Stand stand ye fast stand ye firm UVI6 27 Stand Stand ye fast salth UVI4 52 Stand up 0 ye shepherds UV6 60 Stand ye fast 0 my soul UV16 188 Stand ye fast 0 my soul UVI4 32 Stand ye stand ye fast UV18 94 Sweet and calmley moving on UVI6 180 Sweet and calmly moving on UV20 172 Sweet consolation fills my soul UV16 105 Sweet Is the love thats flowing UVll 165 Sweet love Is flowing UV20 267 Sweet love Is flowing UV24 145 Sweet sweet the sweetest of love UV20 77 Sweet sweet the sweetest of love UV14 23 Swiftly files the weavers shuttle UVI2 32 Swiftly on my way I go UV20 444 Swiftly on my way I II go UVll 199 Tarry not tarry not UV20 220 Tarry not tarry not UV24 52 Tarry not tarry not UVll 72 That holy Jerusalem which wise men of old UVÎ2 3 That holy Jerusalem which wise men of old UV12 9 That holy Jerusalem which wise men of old UV14 26 The Angel of light has descended to earth UV12 7 The Angels are calling to come come to Zion UV24 162 The angels are descending UV20 48 The Angels are sounding on their golden trumpet UVI3 43 The angels are sounding on their golden trumpet UV23 31 The angels are sounding on the golden trumpets UVI6 54 The angels are sounging through their beautiful UV20 24 550

FIRST LINE INDEX

F irs t Lime MS S o n o M . The Angels now are scaring round UVll 185 The angels now are soaring round UV20 445 The angels of God now cryeth in mercy UV24 48 The angry billows beat beat ÜV24 185 The beautiful gift of repentance UV14 15 The beautiful gift of repentance UV16 90 The called and chosen of this burning day UV12 12 The changing wind of fleeting time UVll 203 The day of the Lord UV16 178 The days are numbered now of one UV23 60 The days of man are few UV13 60 The devil is offended UV18 81 The gates shall be blessed UV24 208 The gospel call has made me free UV24 73 The gospel is the power of God UVll 77 The Heavenly comforter has come UV20 269 The heavenly comforter has come UV24 146 The honest and sincere unite with every gift UVll 139 The laws Mountzlon UV13 23 The laws of Mount Zion UV23 23 The Lord by His prophets declared ui old UV24 203 The Lord hath promis'd good UV14 12 The Lord hath promised good UVÎ2 14 The Lord hath promised good UV12 19 The Lord hath promised good UV16 93 The Lord will sustain all UV20 195 The Lord will sustain all UV24 128 The Lords my refuge and my strength UV24 18 The lovely fount Is open UV24 267 The lowly straight and narrow way UVll 31 The lowly strait and n arro r way UV12 24 The prophets saw In vision UV18 74 The purifying fire is burning UVll 163 The purifying fire is burning UV23 81 The purifying fire Is burning UV24 251 The saints Heaven sweetly sing UV24 202 551

FIRST LINE INDEX

F irs t Lins MS Sona No. The Savior has come In Blest Mother Ann UV24 196 Tho sorrow may roll with you UVI6 99 The streams of life uncertain roll UV13 77 The sweet vernal breezes UV23 58 The sweetest employment that mortal UV16 160 The treasures of the gospel UV20 184 The true heirs of Heaven UV16 92 The true heirs of heaven UV14 54 The truly devoted their thoughts UV12 6 The truly devoted their thoughts UV14 28 The trumpet I hear is sounding most clear UVll 95 The trumpet Is sounding the day draweth near UV24 243 The vernal scene is now returning ÜV13 55 The voice of pure wisdom is calling aloud ÜV23 24 The voice of pure wisdom Is calling aloud UV13 26 The watchword In Zion ÜV24 26 The watchword of Zion UVll 65 The way of life is free for all ÜV20 421 The way of life it Is so free ÜV16 28 The word of God fulfilling The time is near at hand ÜV14 66 The work of God increasing still UV24 77 The world and all that Is therein UVI4 13 There Is a world of Joy and bliss UVll 104 Think 0 think of what is right UV23 71 This day Is free for every one UVll 44 This Is the lovely way divine UV24 104 This Is the lovely way divine UV20 164 This little band of soldiers brave UV24 160 This little band of soldiers brave UV23 37 This lovely vale 1 mean to tread UV16 102 This marvelous work of my Mother UV18 16 This marvelous work of my Mother UV12 5 This marvelous work of my Mother UV13 4 This marvelous work of my Mother UV23 4 This mortal life Is well compard UVI3 52 This mortal life Is well compar'd UV18 13 552

FIRST LINE INDEX

F irs t Line MS sonii NO. This mortal life Is wall compared UVI2 60 This world ahi tis gloomy UV24 31 This world Is a desolate land UV24 58 Those who have left all their sins behind UV24 22 Thou art welcome tribulation UV20 98 Though afflictions round me roll UV20 428 Though aifigry billows beat beat UV20 312 Thro the heavens and earth resounding UVll 164 Thus salth the lord ÜV6 21 Thus salth thus salth the holy angel of light UV24 68 Thus salth your Heavenly Father ÜV20 2 Thy gates shall be blessed UVll 198 Thy gates shall be blessed UV12 53 Thy gates shall be blessed UV20 396 Time hasten on without delay UV23 8 Time hastens on without delay UV13 19 Time hastens on without delay UVI8 35 Time Is passing swiftly flying UV20 442 Time like an ever flowing river UV23 67 Time 0 Time how swiftly flying UV16 4 Time time Is swiftly rolling UV20 178 Time time like fleeting flowers UV16 56 To every good believer UVll 249 To heaven 1 am bound to go UV23 79 To heaven 1 am bound to go UV24 253 To heaven I am bound to go UV20 424 To live a good and righteous life UV24 198 To mansions far more glorious UV20 138 To mansions far more glorious UVll 41 To my heavenly Fathers kingdom UV24 200 To my heavenly fathers kingdom UV20 389 To the alter of truth UVll 68 To the Altar of Truth UV24 121 To the Alter of truth UV20 189 To the 0 my Mother UV20 287 True comfort now begins to flow UV23 17 553

FIRST LINE INDEX

F irs t lim e MS som fljo, True comfort now begins to flow UV13 18 Unto you I'll bring glad tidings UV2A 250 Upon this holy mount UV20 333 Vein end empty time move on UVI8 22 Vein time vein time how fleeting UVI6 15 Vein world ferewell ferewell UV20 148 Vein world with ell thy fleeting cherms UV23 41 Weke 0 mu soul no time to slumber UV24 229 We ere merchlng merchlnq on merching on ÜV20 401 We ere moving on to getner UV24 223 We ere moving on to gether UV20 409 We ere now on the oceen UVll 218 We ere We ere trevellng home to God UVI4 42 We heve bro’t Mothers love UV20 80 We heve found the nerrow wey UVI6 200 We heve the heevenly nice to run UVI6 104 We heve the Heevenly rece to run UV20 102 We now heve come to the close of the week UV20 15 We thenk thee 0 God for thy kind loving mercy UV24 62 We will bow end bend like e willow UVI6 78 We will cry for the rocks to open UVI3 45 We will join hend In hend UV24 236 We will lebour night end dey UV20 36 We will merch on our wey UV20 174 We will merch our on wey UVI6 182 We will prelse holy Mother UV20 327 We'll be merchlng elong on our Journey UV20 309 We'll join hend In hend UV20 408 We'll join with our Mother UVI6 80 We'll Join with our Mother UVI4 55 We'll leep end skip end pley eround UV20 167 We'll leep end skip end pley eround UV24 107 We'll merch to the heevens ebove UVll 170 We'll move elong In peece end love UVll 150 We'll move on In peece end love UV24 233 We'll move on In peece end love JV20 415 554

FIRST LINE INDEX

Ftrst Line MS Sonf No. We'll move on we'll go on In praise UV20 427 We'll soar away on wings of love UV20 74 We'll soar away on wings of Love UV14 24 We'll wing our way to mansions fair UV20 119 We re going home to heaven UV20 91 We re marching to that heavenly place UV24 197 Welcome lovely ministry UV13 74 Were going home to heaven UV14 G9 What a home 1 have in Zion UV20 302 What beautiful regions of perfect delight uvii 54 What beautiful regions of perfect delight UV12 33 What is prettier than freedom freedom UV20 51 What means this calm UV23 GG What of the night UV6 99 What pleasant sensation where gospel relation UV13 GG What pure love what sweet love UV20 3GG What pure love what sweet love UV24 221 What the afflictions round the rol UV24 1G5 What the afflictions round thee roll UVii 90 What tho grief and sorrow fill my path UV23 45 What tho grief and sorrow fill thy path UV24 2G3 Whatever composes sweet union UV13 15 Whatever composes sweet union UV23 IG When first I heard the gospel sound UV24 41 When gentle spring 1 had clod UV18 57 When Jephta led forth UV23 5G When Joseph his brethren beheld UVIG 99 When Judgments like a might flood UV13 17 When Judgments like a mighty flood UV23 11 When sorrows fill thy heart UVIG 43 When the flood of tribulation UV20 300 When the storms of sorrow roll UVI6 77 When tribulation fills my way UV24 157 When tribulation fills my way UVll G7 When tribulation round you rolls UVIG 119 When tribulation round you rolls UVIG 134 555

FIRST LINE INDEX

F irs t Lins 1 MSjSommMo.1 When you hove your Justtftcatlon UV16 144 Where the storms of sorrow roll UV20 262 While Angels sing the heavens ring UV24 88 While angels sing the heavens ring UV20 134 While 1 view my dear relations UV24 70 While 1 view my dlar relation UVll 171 While I'm traveling this vole below ÜV20 447 While living power flows so free ÜV20 158 While oer the sea of life 1 sail ÜV24 83 While oer the sea of life I sail ÜV24 82 While on the strength of life UV20 128 While on the wings of time I glide UV24 212 While on the wings of time I glide UV23 47 While pretty love Is flowing UVll 74 While sore pestilence is raging UV24 26 While sore pestilences raging UVll 60 While the protecting hand of God UV14 7 While thro llfes dark vale I journey UV24 84 While we enjoy a rich suply UV24 120 While we enjoy a rich supply UV20 179 While we're going on our way UV20 22 While Zion's Sons and Daughters sing UV14 2 Who led me to the faithful UVÎ6 58 Who led me to the fountain UV20 264 Who shall praise the Lord UV20 152 Who will bow and bend like the willow? UV14 10 Who will bow and bend like the willow? UV20 85 Who shall praise the Lord UV16 121 Why can't 1 bow why can't I bend UVll 190 Why can't I bow Why can't I bend UV20 436 Why 1 wander you don't laugh UV20 84 Why 1 wonder you don't laugh UV14 8 Wide awake arise and shake UV13 22 Wide awake we all must be UV23 72 Wide awake we all must be UV24 252 Wide awake we all must be UV20 426 556

FIRST LINE INDEX

First Line 1 MS Isona Me l Will you drink with me from the love of UVI6 154 Will you drink with me from the fount of love UV20 106 Will you yo with me to the fount ebove UV24 177 Will you go with me to the fount ebove UV20 339 Will you welk with me to the fount of love UVI6 152 Wing wing your wey heppy Serephs UVII 239 Wing wing your wey heppy serephs UV24 90 With engels bright end holy serephs UV6 35 With engels bright end holy spirits UV18 93 With cere I will gether UVÎ6 120 With holy love we ere fill'd ÜV18 50 With holy love we ere filled UV20 247 With joy end rejoicing we'll move on UV20 422 With my own power UV20 319 With my wings I will hover UV24 187 With our lemps well trim'd UVll 182 With out little becks secure UVI3 42 With suppllceting feelings UV6 28 With the ermles of heeven UVll 141 With the ermles of heeven UV20 321 With the selnts 1 will edvonce UV20 232 With the Selnts we will edvence UV18 14 Words lightly spoken peece UVI8 83 Ye children of Mother Who love one enother UV13 65 Ye rivers end veilles end ell creeted things UV24 227 Ye rivers end veilles end ell creeted things UV20 400 Ye secred powers possess my soul UV20 180 Ye secred powers possess my soul UVll 66 Ye shell be clothed UV16 205 Ye winds of the morning UV13 72 Yet nought shell mer my constency UVÎ2 61 You shell heve my love UV20 292 You shell heve my love UVII 111 Zion Zion bow down lowly UV24 35 APPENDIX 0

AUTHOR INDEX

557 558 AUTHOR INDEX

Author MS Sona No. B., A UV13 15 Balllt, Alratha UVIB 79 Beedely, Abner ÜV18 21 Blake, Hannah ÜV16 194 Buchanan, Melinda ÜV18 78 Collins, Harriet ÜV13 42 Crosby, Louisa UV18 4 Crosby, Louisa ÜV18 8 D., E. ÜV16 172 Ditta, Jane ÜV16 85 Duncan, Rachel ÜV18 90 Faith, Lucy ÜV18 96 Graham, Marta UVI8 89 H„ A. UV13 24 H., A. UV13 31 H., C. UV13 25 H., E. UV16 171 H., E. UV16 79 Hampton, Charles ÜV18 72 Hampton, Oliver C. UV18 23 Hampton, Oliver C. UV18 3 Hamton, Eliza ÜVÎ6 97 Hamton, Eliza ÜV16 84 Heabast, John UV16 60 Houston, Andrew C. UV13 82 Houston, Andrew C. ÜV18 26 Houston, Andrew C. UV18 24 Houston, Denica UV18 86 Houston, EH UV18 65 Hunt, Eliza UV18 71 J., M. ÜV16 190 Johnson Prudence ÜVI8 77 Legler, Naomi UV18 73 LI gier, Jesse ÜV18 94 Lockwood, Melinda ÜV18 Ô Martin, John ÜV18 61 559 AUTHOR INDEX

A uthor MS Isono No. McNeely, Rebecca UV18 60 Miller Moses ÜV18 95 Miller, Lucy UV18 91 Paterson, Clarisa ÜV18 64 Patterson, Elcey UV18 85 Patterson, Emily UV18 43 Patterson, Eunice UVI8 25 Patterson, Eunice ÜV18 22 R., L ÜV16 113 R., L UV18 56 R., L UV18 12 R., I. UV18 49 R., M. ÜV16 164 Redmon, Daniel ÜV13 87 Reynold, William UV18 63 Risiey, Lucina UV18 31 Risley, Lucina ÜV18 32 Risley, Lucina UV18 87 Risley, Lucina UV18 33 Risley, Lucina UVÎ8 7 Risley, Lucina UV18 30 Rollins, Lovina UV16 51 Rollins, Lovina ÜV16 83 S., S. UV16 170 Sally, Eldress ÜV16 6 Sally, Eldress ÜV18 9 Sen, Polly Clark ÜV18 62 Sharp, Sally UV18 58 Spinning, Lois ÜV18 2 Spinning, Stephen UVI8 68 Voluntine, Lewis ÜV18 76 Voluntine, Lewis UV18 93 W„ J. UV16 69 APPENDIX P

ALPHABETICAL NOTATION INDEX

5 6 0 561 ALPHABETICAL NOTATION INDEX

AlDlM Mitatlon MS SOM MO. AAAeeddbb UV20 434 AAAGABCAGE UV14 53 AABCBA6 UV11 135 AABCBAG UV24 63 AABdDcd UV13 64 AABdg UVI3 62 AAcdeeegags UV20 411 AAEEcdeA UV11 136 AAaeeddBB UV24 255 aaeeggd UV11 42 AAGACCCAG u v n 58 AAGACCCAG UV24 19 AAGEDEC UV20 358 aagftgg UV24 117 AAGGAsdd UV20 116 ABAABdfe UV24 78 ABCABA u v n 100 abcaoag ÜVÎ3 63 ABcAcde ÜV20 206 ABcAcdeA ÜV24 114 ABCAGEFG UV24 267 ABCBAA UV20 149 ABCBAA ÜV24 97 ADCBAG ÜV20 312 ABCBAGE ÜV24 185 ABCCBBAAG ÜV11 151 ABCCBC ÜV13 52 ABCCCBA ÜV23 70 ABccdedcd u v n 141 ABccdedcd UV20 321 ABccGAGA UV24 81 ABcdBeAB UV24 41 ABcdedcdc u v n 61 ABcdedcdc UV24 7 ABcdeddd UV20 421 ABcdee UV20 366 562 ALPHABETICAL NOTATION INDEX

AIMm NOUtlOR MS ABcdeeA UV24 221 ABctfeedd UV20 232 ABcdeeed UV20 279 ABcdeeg UV23 21 AcAAGAAG UV20 252 ACAGACAGEE UV20 300 ACCAAG UV20 278 Acccccdeg UV20 317 Acccceedcc UV20 140 Acccceggg u v n 97 AcccdcA u v n 103 AcdBcd u v n 9 AcdcAGcd UV20 324 Acdeegese UV20 380 Acdeegged UV20 392 AceceAGA u v n 150 AcEDEcde UV24 195 AddddAB UVI2 57 AeedcAA UV20 334 Afgaabc* u v n 49 AGAAcde UV20 277 AGABcdde u v n 116 AGABcec u v n 239 AGABcec UV24 90 agagegf UV20 289 agedddeA UV14 54 ageea UV20 12 AgeedBAA UV20 431 ageagabba UV23 17 ageegedde u v n 132 ageegedde UV20 230 agegaaacde u v n 54 agfaaoc UV20 145 aggaabbag UV20 388 aggecccc UV20 204 aggfdffa UV20 360 563 ALPHABETICAL NOTATION INDEX

Aimw Natation MS AGGGAC UV20 288 BccBcdcG UV11 106 Bcdeeoa UV20 432 Gcdeooo ÜV24 268 Bcdedcdc UV24 264 BdefeeB UV24 82 BdefeeB UV24 83 CAAABAGEE UV14 55 cAAccAAG UV20 264 CAACC 260 CAAGA 71 CAAGGA 307 cAAgggoc UV23 26 cABcdde 267 cABcdde UV24 145 CACAGAGG 303 CACAGAGG UV24 169 cAcccde UV24 76 CACCGFFED uvn 142 cAcedcdc ÜV20 393 cAcedcdc ÜV24 209 cAGAcde UV24 66 cAGAce UV23 58 CAGAGED UV24 152 cAGcdee ÜV11 137 cAGcdee UV24 153 CAGEEGDE uvn 20 cAGEGACCd UV12 25 CAGEGEDC UV6 12 CAGGAAG UV12 8 CAGGACAC 173 cAGGAcde UV23 24 cAGGCCCEEEG UV14 63 CAGGECDEF uvn 64 CAGGECDEF UV6 7 cAGGEDCD UV23 60 564 ALPHABETICAL NOTATION INDEX

AlDlit ftotatlon MS Sona No. cBAAcded u v ti 229 CBAAGFG UV24 44 cbaogggaba u v ti 56 cBAdecABA UV20 286 CBAGAGFE u v ti 94 CBBCBAG UV20 254 cBcdf UV13 75 CCA^kBcGGG UV24 265 CCAACCG UV20 238 CCACAAGE ÜV24 118 ccAcGGcde UV13 69 ccAGAcc UV20 44 ccAGAcc ÜV20 36 CCAGCCAG UV11 102 CCAGGE UV20 220 ccAGGE ÜV24 52 ccAGGGcde ÜV20 283 ccBAABABc ÜV11 194 ccBAGABA u v ti 114 ccBcdefe 75 cccAGABAG UV20 273 cccAGECG ÜV20 256 ccccagg UV20 367 CCCcc 95 cccccdedd ÜV24 151 cccccG ÜV20 261 ccccdd ÜV20 224 ccccddddeaedcd u v ti 248 ccccddde ÜV20 101 ccccdecc ÜV24 160 ccccec ÜV20 270 CCCCEccAc UV20 154 ccccecd UV24 263 cccceedd UV24 34 cccceeg ÜV12 37 cccceeg UV24 186 565 ALPHABETICAL NOTATION INDEX

Alima Notation MS 5aiM|__g. ccccegog UV20 428 ccccsgge UV24 159 ccccegggfffgag ÜV14 68 ccccGGG 50 cccddeed UV11 63 cccddeod UV6 11 cccdee UV20 253 cccdoec UV23 39 cccdeecddcc UV11 16 cccdaeddcc UV14 52 cccdeeddcc UVG 26 cccecccegeg ÜV14 61 cccee UV20 79 ccceg 99 cccegaage UV12 23 cccegaage UV14 37 cccegaage 114 cccegageg 107 ccceglobcgeg 82 cccgag UV20 38 ccdBcded UV6 8 ccdcBcd UV11 168 ccdccAGG UV24 137 Ccdccc UV20 345 Ccdccc UV24 182 ccdcdege UV14 25 ccdcdege UV20 86 ccddccdef UV6 14 ccdde UV20 30 ccddego UV11 163 ccdeccde UV23 20 ceded 258 ccdedege UVll 254 ccdedegeg UV24 16 ccdeeemo UV20 406 ccdeeec UV24 8 566 ALPHABETICAL NOTATION INDEX

AlBM Mmtatlam Sona No. ccdeeee UVll 38 ccdaeeffa UVll 208 ccdeeffgaa UV24 122 ccdeegag 338 ccdeegag 178 ccdeegeee 377 ccdeegeee UV23 78 ccdeegeee UV24 262 ccdefede UVll 169 ccdeffed 160 ccdeffed UV24 103 CCDEFGABc UVll 237 ccdefgg UVll 7 ccdefgg UV6 16 ccdefgggaga UVI4 64 ccdegee UVI2 22 ccdegaeogg 84 ccdegob UV20 35 ccdegego UVll 196 ccdegg UV20 53 CCDEGGABcd UVll 251 ccecdecA UV20 265 ccecefe UV20 73 ccecegec UVI4 42 ccecegeeg UVI4 59 ccecegeg UVI3 58 ccedccder UV24 127 ccedega UV20 22 cceecce UVll 199 cceecce UV20 444 cceed 112 cceedcAc UVI4 2 cceedcccce 275 cceedcccegg UVll 93 cceegg ÜV20 298 CCEGAB UVll 176 567 ALPHABETICAL NOTATION INDEX

AIM Ntttllen MS ccsgsfl UV20 353 ccege UV20 128 ccegegg m \ 4 57 ccegegg 89 icceggmg {UVft| 225 | cceggaag UV20 133 CCEGOccdcBB UV24 111 ccegge UVll 185 ccegge 445 cceggec u v n 123 cceggee 226 cceggee 376 cceggftfc 90 ccegggc u v n 220 CC6A6E6 UV20 110 ccGddcde UV24 192 ccGedcc UV16 1 CCGEGCAGA 105 CCGFFECD 414 ccGffecd UV24 232 ccGGAccd UV20 55 ccggaeed UV24 71 ccGGEGGc u v n 1 CCGGFEG UV20 322 ccGGFEG UV24 171 ccGGffd UV13 74 cCGGGcd u v n 32 cCGGGcd UV24 2 ccGGGEEG u v n 172 ccgggeeg UV24 142 ccGGGEEGG UV24 240 CCGGGFDDOD UV14 8 ccGGGFDDDD UV20 84 cdBcdg u v n 250 cdcAcAA 26 cdcAcGcd u v n | 203 568 ALPHABETICAL NOTATION INDEX

AHriM MeteWom MS SSILffiSi cdcAGGAc uvn 40 Gdccddeg ÜV20 229 cdccgg UV20 152 cdcde UV20 104 cdcdedd uvn 204 cdcdeeeg 413 cdcdeoeg UV23 82 cdcdeeeg 241 cdcdega 446 cdceggec 284 cdcGAAcd UV20 27 cdcGAAcd UV20 39 cdcGAGdd 10 CDDccAG 54 cddcceg UV24 32 cddcedec UV24 166 cdddeddcd UV20 158 Gdddegege UV23 81 cdddegege UV24 251 cdddegedc UV20 211 cdddgg UV20 56 cddeeaoa UV24 92 cddeeaaag UV20 137 cddeee UV20 102 cddeegg UV24 100 cdeAGGe uvn 5 cdeAGGe UVG 1 cdecAAB UV14 51 cdecceefdd uvn 27 cdeccege UV24 184 cdecdggg uvn 257 cdece UV20 46 cdecedcc UV14 GO cdecegc | UV24 11 cdecegecG jUV6 35 cdecegg |UV20 430 569 ALPHABETICAL NOTATION INDEX

AlBha Nttatfmi MS SCWMIIG. cdecggageag UV23 80 cdedcAc UV12 14 cdsdcAc UVI4 12 cdedcc uvn 113 cdedcc UV13 49 cdedcc UV20 328 cdedccdede ÜV20 316 cdedccdee UV24 79 cdedccdef UV13 67 cdedccedega UV14 67 cdedccedega ÜV20 86 cdedcceg ÜV20 87 cdedccggg UV20 197 cdedcde uvn 160 cdedcdefg UV23 54 cdedcGcc UV12 12 cdedcged uvn 87 cdedcgad UV24 157 cdedcGGA uvn 120 cdeddcccdedefgg UV14 41 cdeddd UV20 16 cdeddec UV24 102 cdedecAAe UV20 396 cdedecAAA UV24 208 cdedee UV20 280 cdedef UV20 23 cdedefg UVll 140 cdedefge UV20 426 cdedefgab UV20 455 cdedefgab UV23 87 cdedeg UV20 47 cdedega UV23 72 cdedege UV24 252 cdedegaa UV23 34 cdedegag uvn 187 cdedegage uvn 45 570 ALPHABETICAL NOTATION INDEX

AlBlM MtQllOn MS SfiM lla Cdedegage UV20 127 cdedegc UV20 41 cdedegged UV20 98 cdedggge UV20 196 cdedggge UV24 130 cdeeAAGE UV20 350 cdeeAAGG uvn 47 cdeeAAOG 139 cdeecege 263 pwecegg 293 cdeedccAGA UV14 4 cdeedcccd 349 cdeedccd uvn 117 cdeedccddgg UVI3 32 cdeedcd 63 cdeedcdc UV12 13 cdeedcde uvn 252 cdeeddcAc 1 cdeeddcAc UVG 20 cdeeddccdefg UVI4 40 cdeeddced 323 cdeeddeg uvn 57 cdeeddeg UV24 25 cdeededcA 315 cdeedegag uvn 41 cdeedegeg 138 cdeeec UV20 68 cdeeecAAO uvn 152 cdeeecAAG ÜV20 347 cdeeecAAG UV24 183 cdeeecd UV23 22 cdeeecdc UV20 236 cdeeedc uvn 31 cdeeedc UV12 24 cdeeedcc UV20 120 cdeeedcd UV24 17 571 ALPHABETICAL NOTATION INDEX

1 AlBiM NBtatlM SoM We. cdeeeddcA n a cdeeedded 314 cdeeedge 20 cdneedge 103 cdeeeedc 162 cdeeeedcAA u v n 144 cdeeeedcc u v n 96 cdeeeedcd UV20 100 cdeeeedcd UV2C 451 cdeeeeec UV24 31 cdeeeegg 195 cdeeefg u v n 148 cdeeefgd u v n 121 cdeeeg u v n 101 cdeeege u v n 69 cdeeege 33 cdeeeged u v n 70 cdeeeged UV20 193 cdeeeged UV24 38 cdeeegee 40 cdeeegeed UVI4 66 cdeeeggog UV24 259 cdeeegged UV24 256 cdeeeggg u v n 76 cdeeegggddd UV24 128 cdeefgffd u v n 205 cdeefgffd u v n 207 cdeegdc u v n 33 cdeegdc UV14 17 cdeege u v n 154 cdeegedce UV24 147 cdeegeec UV14 3 cdeegeecded UV23 77 cdeegeecded UV24 231 cdeeggge UV20 374 cdefcege UV12 36 572 ALPHABETICAL NOTATION INDEX

AlDlM Netmtlom MS cdefdefge uvn 214 cdefecA UV20 403 cdefedc UV20 198 cdefedcdde uvn 242 cdt/eddcAG 447 CDEFGABcE 112 CDEFGACBAB 205 COEFGAcBAB UV24 131 CDEFGcAGA UVÎ4 49 CDEFGCBA UV6 32 CDEFGCEGA uvn 23 cdefgdddc UV24 10 cdefgeedccd uvn 15B cdefgf 175 cdefgg uvn 104 cdefggdf uvn 159 cdegMgg 161 cdegac UVI2 18 CDEGAcAGG uvn 30 cdegaeo UV20 143 cdegagedc UV24 156 cdsgcdcdd UV6 9 cdegedc uvn 35 cdegedc UV14 30 cdegedc UVG 44 cdegedcdd uvn 15 CDEGEFGCd UV14 65 cdegegcd UV20 9 cdegge UV20 237 CDEGGAACA UVI4 56 cdeggeg 70 cdeggage 29 cdeggee 418 ceAcce 240 CEAGGAc UV20 324 cedcccc uvn 128 573 ALPHABETICAL NOTATION INDEX

AHUM R sta ttM I MS SaiMlNi. cedcccc 352 cedccccAG 2 cedcccG 402 cedcccG 220 cedcdcGE UVÏ1 85 cedcefl 24 ceddag 142 ceddeg 99 ceddccdef uvn 18 ceddeeg 248 ceddeged uvn 22 ceddeged UV14 45 cedegag 186 ceecceg 219 ceecceg UV24I 136 1 ceeccgaaa UV20 351 CEEGAcA UV24 5 ceegag UV20 130 ceegeee UV20 67 cefgfededd uvn 241 cefgggab uvn 181 CEGAAGAC UV20 337 CEGABcBd uvn *2 CEGABcBd UV6 10 cegaged UV20 239 cegagee UV20 202 cegagee UV24 133 cegageg UV20 176 cegagge UV20 362 cegaggag UV20 379 cegaggg UV20 183 cegaggg UV24 123 cegcccegga UV24 138 CEGEcBAG uvn 224 cegeced UV20 336 cegedc UV2D 2 574 ALPHABETICAL NOTATION INDEX

A ieüs MS cegedccc UV12 56 cegedceg UV20 121 cegedeg ÜV12 10 cegescgga 51 cegeeed UVI2 58 cegegaf UVll 19 cegegaf ÜV6 15 CEGEGcAG UVll 131 CEGEGcAG 310 CEGEGcdGAG UVll 243 cegfddeg UV23 90 cegfeagg 189 cegfeced 157 cegfeced 96 cegfedccd 60 cegfef UVll 133 cegfer 332 ceGFFECO UV23 84 ceggaeag UVll 219 ceggaog UV20 115 C899W99 UV20 333 ceggag UVll 21 ceggaga UV20 165 ceggaga UV24 108 ceggagagga UV24 107 ceggaga UV20 241 ceggagec UV20 405 ceggagec UV24 222 ceggagee 218 ceggagee 143 ceggageg 34 ceggagegf 1 ceggagegg 168 ceggageggeg UV14 62 ceggageggeg UV20 92 UV20 136 MQogg . 575 ALPHABETICAL NOTATION INDEX

AID*# N #t«tlon MSS#nfl Me. ceggfffl UV20 167 cegsmee UV20 37 CEGGcAAG uvn 223 CEGGcAAG 125 CEGGCAB ÜVI4 69 CEGGCAG ÜV20 91 ceggccclbdc ÜV24 110 CEGGccdcG UV24 113 CEGGcd UV20 179 csggdddflc UVI4 10 ceggddddc UV20 85 ceggeccf UV24 249 cogged ÜV20 59 coggw% UV20 346 coGGEGGC ÜV6 2 ceggfef 45 ceggffooodc 140 cogggaogg 238 cogggooggg 192 cogggeb 33 cegggeg 364 CEGGGCCCC uvn 138 CEGGGccccg ÜV20 306 cegggeedd 394 cegggogagf 7 cegggegagg uvn 245 ceggggogag UV14 24 ceggggagag 74 CEGGGGCA 335 CEGGGGCA UV24 175 ceggggeed 242 ceggggeeed 373 ceggggg UV20 93 CEGGGGGc UV20 151 cegggggcg UV23 71 ceggggggec UV20 75 576 ALPHABETICAL NOTATION INDEX

AlDiN if tia tiü i SSSBIâ ceogIgabcao 25 cGAcd UV20 215 CGAGACCC UV20 395 cgogoecgg UV20 327 CGccdCAGG UV20 359 cgcddeec UV24 197 cGcdecAG UV20 181 cGcdecAG UV24 39 cgeccagcba uvn 17 CGECGCAGA ÜV14 47 CGEDCEGG ÜV24 42 cGeddecBGE u vn 11 cgeec UV20 64 CGEFEDEFED UV20 209 CGEFGAGE UV23 29 cGEFGCCd 12 CGEGAcc UVI3 79 cGEGAcc UV22 1 cGEGFDF UV24 170 cGEGGAcc UV13 50 cggaage 3Ï cggoagg 21 cGGABccA uvn 155 CGGAGE UV20 51 cGGcde UV13 51 cGGECcBGc uvn 36 cGGada# UV20 132 dccdeGAc UV24 72 dddee UV20 123 ddedcdeggo UV24 144 ddeded 228 ddedae 437 ddeeedd uvn 164 ddeegoga 234 ddefdgfdddf UV20 450 decededde UV20 369 577 ALPHABETICAL NOTATION INDEX

AlBlW M H atlM MS deceggg UVll 170 (WdcA UVll 44 dedsfgg UV20 390 deeedcccc UV20 170 daeefe UV20 297 deeefgees UV20 368 deogggd UVll 209 defeedd UV24 190 defggfead UV14 32 degatag 43 EAADCBA UV14 28 ecBAAB 223 ECCCccc 203 ECCCccc UV24 134 eccccdddde 74 eccccdddda UV24 250 acccda 131 accdccG UV12 11 ecddaacc UVll 258 acdacc 126 acdaadd UV20 363 adBAABAB UV24 164 adBAABAG UVll 201 adcAAc UV24 80 adcAAcA UVll 77 adcAAGGA UVll 81 adcAAGGA UV24 57 adcAcd UV23 69 adcAada UV13 59 adcAGGAca UV12 1 edccAGAAcdaa UVll 230 adccAgOAA UVll 99 adcccda UV24 49 edcccGAAAc UV14 11 adccdcag UV20 174 adccdaaa UV24 219 578 ALPHABETICAL NOTATION INDEX

AlmNê N Bltlleii MS Se##Ne sdccefg UV20 222 edccegg UV20 163 odccOA UV16 2 edccGA UV23 28 edcdee UŸ20 ^2 edcdeggdeg uvn 129 edcdeggdeg ÜV20 330 edcdeggdeg 174 edcegd 200 edceggad uvn 200 edcGecde UV24 6 eddcAOA UV20 269 eddcAOA UV24 146 eddced uvn 91 odddddc 171 edeAcd 6 ededegoa 249 edegaac'ag 25 edegdedcd UV20 417 edegdedcd UV23 76 edegdedcd UV24 234 edegdedcd UV24 237 eeAAED 35 EEcAAA 43 eecAAAcdecd UV24 22 eecAAcA UV23 19 uvn 153 eecegge 382 eeccffe 115 eecdegege 343 eecdegege 180 eecdegg uvn 115 eecdggeee 370 eedbbd 17 eedcAAG 213 eedcAcccdc 149 1 579 ALPHABETICAL NOTATION INDEX

AIMNi H0t e t t m Su m H*. eedcAccd 68 eedcAdd 216 eedcdcccA 389 eedcdcccA mm 200 eeddbcd uvn 186 eeddccAGEG 28 eeddcd 291 eedde 52 eeddea 311 seedicceedc uvn 202 eeedcdcdc UVll 165 eeedcdd uvn 217 eeedgeed 442 eeefgeed 146 eeefgeed 98 eeeged 305 eeegeeecA uvn 147 eeegggg uvn 50 eefged uvn 66 eefged UV20 180 eegago UV20 246 eegeddccc UV20 122 eegeeccc 221 eegeedec UV20 340 eegeee 243 eegegafedcd UV14 70 eeggaage UV14 31 eaggaage UV20 83 efafeed UVI3 73 efedtM UV20 424 efedBABd UV23 79 efadBABd UV24 253 efedcde uvn 65 efedcde UV24 26 afedeao UV20 255 EFGAABC UV24 3 580 ALPHABETICAL NOTATION INDEX

AIdIMI N ttatlM I MS Sam# Me EFGAACCBA UV24 266 efgabaaag UVll 37 efgabaaag 109 efgaecB UVll 167 efgag UV20 62 efgaged UV20 III efgagegdda UVll 4 efgagfed UVI4 13 efgaggcc UVll 68 efgaggcc 189 efgaggcc UV24 121 EFGECBAG UV24 87 EFGEC6FD UV24 163 efgededefg UV24 193 efgefddd u v n 246 efgefgefg UV24 172 efgagagab UVll 161 efgfecef UVIB 5 efgfed UV20 415 efgfed UV24 233 EFGGccc UV20 381 efggegca UV6 18 efgggab 452 efgggag 420 efgggagfffgf UVll 231 efggggedc UVll 215 EGAAAAlCCC UV20 425 egaaabaag UV20 439 egaaage UV20 319 egaabbab UV20 2f5 egaabbab UV24 176 EGAABBCCAB UVll 29 egaabc' UVI3 78 EGAABcAAA UVll 255 EGAABdedc 4 egaabge 20 581 ALPHABETICAL NOTATION INDEX

AtBlM NStNtfiim MS S M iN a . egoagab UV12 15 EGAAGAcd UV20 386 egaagga UV20 302 egabaga UV20 49 EGABCBA UVll 10 EGABCBA UVG 13 EGABccAAG UV24 155 EGAcBEIcBA 187 EGACBBCBA UV24 124 egaeagee UV20 355 EGAGABC'A UV24 228 EGAGABCB UV20 399 09fifl«89 UV23 57 egagec UV20 326 egagaedc UV20 214 08«0««te UV24 50 egedcee UV24 148 egadedefg UV20 385 egeedcd UV24 109 egeeedcAA UVll 46 egeeadcAA UV20 129 egeerefed UV20 419 egegedaa UV20 453 egeggaaa UV20 18 EGGAccA UV20 271 *9909090 UVll 84 eggagfed UVll 107 EGGAGGAc 119 lEGGCdcAG IUV24I 120 | eggeac UV20 191 eggeggaag UVll 228 *99*99009 153 eggeggaag UV24 94 *99*9909 188 EGGGAcce 15 *99909 177 582 ALPHABETICAL NOTATION INDEX

AIMC ItotfltlMI MS eoO W UV11 226 eg flS ^ UV20 155 egggageee UV20 454 EGGGCAGAB UV11 149 egggecc 15 legggee |UV20| 166 | iegggee UV241 «06 1 legggeefdd |UV20| 304 | egggeggoo 207 ogggeggoo ÜV24 129 EGGGGCCCC UV24 88 fedcbcde uvn 247 ffeddc UV24 135 ffeddedefgg UV20 443 rrrdeeeg UV24 239 fffdsgga UV20 423 FGGGABcc UV24 226 GAAABCAGE uvn 238 GAAAcAG UV24 212 GAAAGcd uvn 43 QdMge UV6 17 goodgggasacd UV14 15 GAAcAAGG 150 GAAcccAgg 178 GAAcd UV20 257 GAAcdcicAG UV20 375 GAAcdeeed 184 gfiogosd UV13 70 GABAAcAAd uvn 222 GABcAGG UV20 80 GABCBACGE UV24 91 GABcBAd uvn 240 GABcBAd UV20 141 GABcBcdcBA uvn 212 GABcBcdcG UV20 295 GABcBcdedd UV24 187 583 ALPHABETICAL NOTATION INDEX

M9ÊIÊ MS GABccb UV20 290 GABCCBABC UV14 38 GABccBcddcd UVI4 48 GABccBdC UV20 401 GABCCCABCEF UVH 233 GABctfcG UV11 206 GABcGFGGF UVI3 76 GACAAACC UV23 61 GAcAAGdC uv n 210 GACAAGE UV20 287 GAcAcAGGA UV12 7 GACAGACCC UV20 144 GAcAGAccce UVI4 22 GAcAGAcd ÜV20 378 GAcAGACdCd UV24 14 GACAGEE UV23 23 GAcBcdcAG uvn 213 GAcBcg uvn 13 GAcBcg UV6 19 GAccAcde UV13 68 GACCAGAC uvn 52 GAccAGGGA 299 GACCAGGGG 172 GAcccAGAB uvn 82 GACCCCAGA uvn 211 GAcccd UV20 412 GACCCdC UV14 19 GAcccdc UV20 76 GACCdcAA UV24 181 GACCdcAGG uvn 111 GAccdde uvn 183 GAccddef UV24 46 GAccdeA UV20 344 GAccddAG UV20 5 GAccdedc UV23 30 GAccedcce UV12I 3 1 584 ALPHABETICAL NOTATION INDEX

Alim itatcttMi MS ISmmIEJ GAccedcce UVf4| 26 1 GAccegge 409 GAcr^gge ÜV24 223 GAccGF uvn 66 GAccgged 10 GACCGGGEG 260 GAcdcAGGA UV14 20 GAcddeeedc u vn 79 GAcddeg 27 GAcdeAGA uvn 124 GAcdecA uvn 244 GAcdeec UV12 4 GAcdeed 416 GAcdeeef uvn 51 GAcdeeef UV24 95 GAcdeg 65 GAcdeg 69 GAcedcA uvn 8 GAcedcA UV6 6 GAcedced 40 GAceddce 27 GAceddcde uvn 39 GAcedegfedc UV14 71 GAGAccc uvn 122 GAGAcd UVI3 60 GAGAGAc UV20 320 GAGAge 281 gogBeedc uvn 2 GAGccd UV20 331 gagec UV20 4 gegeeeobee UV14 50 GAGeedc UV6 3 gageegg uvn 89 gagrgseeee 387 gsggegaage UV12 17 GAGGGACC UV20I 318 1 585 ALPHABETICAL NOTATION INDEX

AIdIM M IltlM i m 6A666E6ccd uvn 60 GAICCdeAc UV23 31 GBcBede@e uvn 143 GGBcdeccs uvn 126 GccBABc 282 Gccbceecd 52 GcccBc 274 GcccBcdddef uvn 104 OcccBdc uvn 157 GcccBdc 410 GcccBdc IUV24I 235 1 Gcccc 48 GccccAcdd UV14 1 GccccBcdedBcA uvn 232 GcccccBcd UV24 245 Gcccccc 117 Gcccccccde uvn 156 GccccccdQfd 441 Gccccccdefd UV24 256 GccccGdee UV20 329 Gcccccggec uvn 216 GccccdcBcdcdeff UV14 39 Gccccdd UV20 429 Gccccdd UV23 85 Gccccdd UV24 257 Gccccdeee UV20 372 Gccccdese UV24 261 Gccccece UV20 422 Gccccedcde UV20 365 Gccccee UV20 339 Gccccee UV24 177 Gcccceec UV20 433 Gcccceeed UV24 243 Gccccefg 48 Gccccgeed UV20 400 Gccccgeed UV24| 227 586 ALPHABETICAL NOTATION INDEX

AlDiM N tltllM 1 MS Sm m W# GcccdcAS 292 GcccdcGAO UV11 218 Gcccddc UV20 427 Gcccdec ÜV20 397 Gcccdeccc UV20 341 Occcdecde UV24 191 Gcccdece UV20 201 Gcccded UV20 446 Gcccdeddc u v n 235 GCGCdWC ÜV12 5 Gcccdeee u v n 62 Gcccdeee UV24 89 Gcccdeeef UV20 272 Gcccdegge UV20 294 flcccdeggg UV20 449 GcccecAG UV14 43 GcccecAGA UV24 244 GcccacBeA u vn 166 Gccceeccc UV20 436 GccceeddG u vn 139 Gccceggg UV12 16 Gcccgee 23 Gcccgeo UV24 Gccdddg 147 Gccddofed UV14 16 Gccddefed UV20 81 GccdeAA uvn 253 gccdec uvn 90 GccdeccdG UV14 5 Gccdecd 308 Gccdecdd 165 Gccdece 266 Gccdadc UVÎ3 48 GccdedcAc uvn 105 Gccdee UV6 22 Gccdeeff uvn 34 587 ALPHABETICAL NOTATION INDEX

A I lM M U t t M I MS SOfM Ns. Gccdeeff 27 GccdefdcG UV14 21 Gccdeg UV23 25 GccdggcBAGc UVI4 7 GcceccG uvn 127 Gccece ÜV20 61 Gccedeg UV6 43 Gccedegfedc uvn 24 Gccee 20 Gcceed uvn 227 Gcceed 124 GcceeGAc UV6 28 Gccefed uvn 3 Gccefed UV6 4 Gccega UV18 1 GccGcd UV20 162 GccGcGGAGE UV20 371 Gccgeec uvn 55 Gccgeec UV24 9 Gccgeec UV6 25 Gccgged 3 GccGGGffe 309 Gcdccde 72 gcdceg 58 GcdddBdGG UV14 58 Gcddeccegg UV24 101 Gcddeece UV20 156 gcdececc uvn 98 Gcdecfedc 190 Gcdedededd 119 Gcdedefg 68 GcdeedccA 182 GcdeedccA UV24 126 Gcdeege 235 gcdefdd uvn 146 Gcdefdd uvn 173 588 ALPHABETICAL NOTATION INDEX

AlBira ItotNltM MS SeM Ne Gcdefdd UV24 246 Gcdefe UV20 247 Gcdefgeg uvn 125 Gcdefgge 19 Gcdeg 251 Gceedcd 259 igcegedeed 11 I5CE66A6 ÜV14 29 Ijceggc 57 gcGcDED uv n 71 GcGcdefe 105 GcGEAccde uvn 6 GcGECccdd UV6 5 GcGedcBAG uvn 197 GcGedcefg 62 GcGEDG 11 GCGFEDEF 285 Gclccccef 108 gdddeccGc 116 geccccdede UV24 54 gecdecGG UV14 44 gecegg UV20 276 gedbGcc uvn 162 geddcceag uvn 26 geddlggeccg uvn 95 gedeedcdegedee UV14 36 geeccfeedc uv n 130 geedOAA UV23 89 geedcAcdede UV14 14 geeddccG UV24 150 geedee 391 geeedeAG UV14 33 geeffdd 217 geegeg 245 gefefg UV23 53 GEGGABcGGc UV24 74 589 ALPHABETICAL NOTATION INDEX

AIM Hatatten MS SüM-H GEGGAGABCG UV11 234 gfecMfg UV20 244 GEECEGCB UV23 62 gfedcO uvn 83 gf®(f@cc 440 gfeeeddd uvn 67 gîsîgfeù uvn 134 6F66CCA6FGA UVH 35 ggaagee 159 GGABccBdc uvn 236 66ACCAG UV20 165 GGACCAG UV24 125 GGAcceec UV20 148 GGAcdeeec UV24 139 GGAGccd UV24 154 ggagecce UV23 32 ggagecdac UV24 47 ggagece UV20 383 ggagegg UV20 227 GGAGEGGcda UV24 HI GGccBcd 164 GGcccccd 97 GGccccGFG UV24 158 GGcccdCd uvn 249 GGcccdd UV20 225 GGcccdddd UV20 313 GGcccdegfe UV24 64 GGccced UV20 250 ggcccedc UV20 348 GGccceee UV20 408 GGccceee UV24 236 GGccceaeccc UV23 83 GGcccGAGF UV20 301 GGcccggg UVH 6 GGccdcA 248 GGccdd u v h | 18 590 ALPHABETICAL NOTATION INDEX

1 A lB holtolatlM l MS iSemm WeJ GGccdd 78 GGccdecce UV12 48 GGccdecce 211 GGccdeeec 384 GGccdeeec 199 GGccdeeed UV12 21 GGccdeeed UV20 113 GGccdefed UV20 356 GGccdGeg UVH 88 ggcddges 161 GGcdeddcBG 357 GGcegfdf 407 GGdccdo ÜV13 65 GGdccde UV!3 66 ggeccA UVH 108 GgeeedBAA UV23 86 ggeefaao 135 GGEEFFDDCCBB 132 60 GGEGcdcG UV23 88 GGEGcdcG UV24 254 sgeflcde 13 GGEGcde 435 GGEGcde 75 GGEGcde 247 ggegecee UV14 23 ggegecee 77 ggegedec 32 GGEGGccdeed UV14 46 GGEGGEGcd UV24 188 m m UV16 89 996999 UV20 94 996999W UV20 199 ggfedcc UV20 361 ggfedcd UV20 169 ggffeacc UV20 436 591 ALPHABETICAL NOTATION INDEX

AlBiM N etetle# MS SMNINN. GGGABcdd UV20 106 GGGcdee UV20 268 gggcges UV20 231 gggedcc UV20 354 QQOedccde UV20 14 GGGEEccd UV20 404 GGGEEcsd UV24 225 gggemcNdcAAcc UV14 34 ggggcffdd UV20 96 ggggffded UV20 6f GG666CCCC UV20 IJH GGGGGCce UV20 194 GGGGGCddC u vn 14 GGGGGcddC UV6 39 m W d d e _ ...... UV20 398 APPENDIX Q

COMPOSER INDEX

592 593 COMPOSER INDEX

Cornooser MS s q m MO. Ann, Mother lIVll 239 Balles, Temperance UV14 71 Boyd, C. UVÎ3 76 Crosby, Louisa IJV16 6 Crosby, Louisa UV16 15 Crosby, Louisa and Susanna C. Ltddll UV16 8 Eades, H. L UV23 71 Eads, Harvey and Oliver C. Hampton UV16 5 Eads, Harvey L. UV16 10 Eads, Harvey L. UV16 14 Eads, Harvey L. UV18 1 Eads, Harvy L. UV16 4 H., A. C. UV16 3 H., Denlcel?) UV23 61 Hampton, 0. C. UV23 58 Hampton, 0. C. UV24 27 Hampton, Oliver UV16 18 Hampton, Oliver C. UVÎ4 44 Hampton, Oliver C. UV16 9 Hoffman, Viola uvn 168 Houston, Andrew C. ÜV18 5 Hunt, Eliza uvn 218 Issachar, Br. UV14 62 Legler, Jesse UV14 52 M., 1. UV12 14 McNemar, i. UV12 9 McNemar, James UV12 15 McNemar, Vincy UV12 6 Mcnemer, James UV14 49 Nicklas UV23 68 Nicklas UV23 69 Price, David UV14 53 R., L UV14 1 Reynols, William UV14 64 Rotten, L. uvn 166 Russell, Sanford uvia 11 594 COMPOSER INDEX

Cornooser MS Bono No. Sharp, Elizo UVI4 6 Sharp, Elfzr UV14 10 T., M. W. UV20 447 Thayer, Moses W. UV20 390 Thayer, Moses W. UV20 391 Trotter, 1. UV12 10 Trotter, l[?l uvn 252 Trotter, II?] uvn 253 W. W. V. UV20 327 W., S uvn 165 Warren [?] UV20 330 BIBLIOGRAPHY

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Morrow, Josiah. "Questions and Answers On the leading Facts in the History of Warren Count Continued. First Churches in the County— Presbyterians—Baptists—Quakers—A Most Remarkable Religious Revival—Origin of the Shaker Society." Lebanon, Ohio: Western Star. ln.d., c. 19201, no page number.

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"New Orphanage and Home: The United Brethren Church Acquires Valuable Real Estate Holdings in Ohio," by the Editor, The Religious Telescope LXXVIII/43 (October 23, 1912), 9-11. 599 Overby, Oscar R. "Music of the Lutheran Church," The Encyclopedia of the Lutheran Church. 3 vols., ed. Julius Bodensick. Minneapolis, Minn.; Augsburg Publishing House, 1965, 1675-1676.

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Patterson, Daniel W. "Shaker Music." Communal Societies II (Autumn, 1982), 53-64.

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Sydnor, James Rawlings. “Presbyterian Church, Music of, “ The New Grove Dictionary of American Music. 4 vols., ed. H. Wiley Hitchcock and Stanley Sadie. London: MacMillan, 1966, III, 621-23.

“Tunkers," The Oxford Dictionary of the Christian Church. 2nd ed., F. L. Cross and E. A. Livingston. Oxford: Oxford University Press, 1977; reprint, with corrections of 2nd edution of 1974, 1399.

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Books

Andrews, Edward Deming. The People Called Shakers. |n.p.| Oxford University Press, 1953; reprint, new and enlarged. New York: Dover Publications, 1963.

Ahlstrom, Sydney E. A Religious History of the American People. New Haven: Vale University Press, 1972.

Bett, Henry. The Hymns of Methodism, rev, ed. London: Epworth Press, 1945.

Brinton, Howard H. Guide to Quaker Practice. ln.p., n.d.l, Pendle Hill Pamphlet Number Twenty.

Burke, James L. and Donald E. Bensch. Mount Pleasant and the Early Quakers of Ohio. Columbus, Ohio: The Ohio Historical Society, 1975.

Christ-Janer, Albert, Charles W. Hughes, and Carleton Sprague Smith. American Hymns Old and New. 2 vols New York: Columbia University Press, 1980.

Christenson, Donald E. "A Transcription to Modem Notation of a Shaker Hymnal by Isaac Youngs Based Upon His Theory Book." Masters thesis, Indiana University of Pennsylvania, 1976.

Clark, Keith C. A Selective Bibliography for the Study of Humns 1980. The Papers of the Hymn Society of America. XKXIII, (1980).

A Compilation of the Messages and Papers of the Presidents. 20 vols. New York; Bureau of National Literature, 1897.

Cook, Harold E. Shaker Music: A Manifestation of American Folk Culture. Lewisburg, Pennsylvania, 1973.

Craigie, William A. A Dictionary of American English on Historical Principles. 4 vols. Chicago: University of Chicago Press, 1936-44.

Darden, Newton J. Standard Reference Calendar: Never Out of Date. Washington, D. C. Standard Calendar Association, 1935. 602 Davidson. James Robert. A Dictionary of Protestant Church Music. Meiuchen. New Jersey; Scarecrow Press. 1975.

Edgar, Matilda. Ten Years of Uooer Canada In Peace and War. 1605-1615. Toronto: William Briggs, 1890.

Ellinwood, Leonard. The History of American Church Music. New York: Morehouse-Gorhom, 1953.

Foote, Henry Wilder. Three Centuries of American Hymnody. ln.p.l: Harvard College, 1940; reprint, [n.p.J: Archon Books, 1968.

Gaustad, Edwin Scott. Historical Atlas of Religion in America, rev. ed. New York: Harper and Row, 1976.

Goodman, Félicitas D. Speaking In Tongues: A Cross-Cultural Study of Glossolalia. Chlcagos. University of Chicago Press, 1972.

Hall, Roger. The Haoog Joumeg: Thirty-five Shaker Spirituals Compiled bu Clara Endicott Sears. Harvard, Mass.: The Fruitlands Museums, 1982.

comp., ed.. A Western Shaker Music Sampler. Cleveland, Ohio: The Western Reserve Historical Society, 1976.

Helm, E. Eugene and Albert T. Luper. Words and Music, rev. ed. Totowa, New Jersey; European American Music Corporation, 1982.

The Holu Bible. King James Version, 1611. Nashville, Tennessee: Omega Publishing House, 1970.

Hudson, Wlnthrop S. Religion In America. New York: Charles Scribner's and Sons, 1965.

Jackson, George Pullen. White and Negro Spirituals: Their Life Soan and Kti!sliiB,.TrfldD.9.2.Qfi.yig.flrsM ,.y Moking oni!,.SiD.glDg among our Country Folk. With 116 Songs as Sung by Both Races. New York: J. J. Augustin, 1943.

Jones, Rufus M. The Faith and Practice of the Quakers. Richmond, Indiana: Friends United Press, n.d. 1198071. 603 KrummeL D. W. and Jean Gen, Doris J. Dyen, Deane L. Root. Resources of American Music Historu: A Dlrectom of Source Materials from Colonial Times to World War II. Urljona, Illinois: University of Illinois Press, 1981.

The Living Bible. Paraohrased. Wheaton, Illinois: Tyndale House Publishers, 1971.

Luther, Martin. "A Sincere Admonition by Martin Luther to All Christians to Guard Against Insurrection and Rebellion [1522]/ trans. W. A. Lambert, rev. by Walter I. Brandt, Luther's Works. 90 vols, to date, ed. Jaroslav Pell ken and Helmut T. Lehmann. Philadelphia: Muhlenberg Press, 1955-, XLV (1962): 57-74.

Werke: Kritische Gesammtausoebe. 90 vols, to date. Weimar: BOhlau, 1883-.

MacLean, J. P. A Blbllooraohu of Shaker Literature with An Introductory Study of the Writings and Publications Pertaining to Ohio Believers. Columbus, Ohio: Fred J.Heer, 1905.

MacLean, J. P. Shakers of Ohio: Fugitive Papers Concerning the Shakers of Ohio. With Unpublished Manuscrlots. Columbus, Ohio: Fred J. Heer, 1907.

Marrocco, W. Thomas, and Harold Gleason. Music In America: An Anthology from the Landing of the Pilgrims to the Close of the Civil War. 1620-1865. New York: W. W. Norton, 1964.

McNemar, Richard. The Kentucky Revival: or. A Short History of the Late Extraordlnaru Outoourina of the Spirit of God in the Western States Qj-Amerlca with a Biief Accmt of the,Entrance ond.Pmgrass flt-What the World Call Shakertem Among the Subjects of the Late Revival In Ohio and Kentucky. Cincinnati: Press of John W. Browne, 1807; reprint New York: Edward 0. Jenkins, 1846.

"Manuscript Division, Library of Congress: Shaker Collection," National Inventoru of Documentary Sources In the United States. Teaneck, New Jersey: Chadwyck Healey, 1983 [microfiche].

Melcher, Marguerite Fellows. The Shaker Adventure. Old Chatham, New York: The Shaker Museum, 1975. 604

Melton, J. Gordon. The Encuclooedia of American Religions. 2 vols. Wilmington, North Corolino: McGrath Publishing, 1978.

Millenial Praises. Containing a Collection of Gospel Humns. in Four Parts: Adapted to the Day of Christ's Second Aooeanng. Composed for the Use of His People. ÎSeth Youngs Wells], compiler. [Massachusetts]; Hancock, Josiah Tallcott, Jr., 1013.

Ministry of Alfred, Maine, to Ministry of Mt. Lebanon, New York. [Letter], October 6, 1889. Courtesy of THE SHAKER MUSEUM, Old Chatham, New York.

Morse, Flo. The Shakers and the World's People. New York: Dodd, Mead, 1980.

Patterson. Daniel W. The Shaker Spiritual. Princeton. New Jersey: Vale University Press, 1979.

Phillips, Hazel Spencer. Richard the Shaker. Lebanon, Ohio: Hazel Spencer Phillips, 1972.

Pike, Kermit J. A Guide to Shaker Manuscripts in The Library of the Western Efts.g£ÿg ulglisdcM - 5M gty..-Wl,tti bn.. inventPEU of... snaker Photographs. Cleveland, Ohio: The Western Reserve Historical Society, 1974.

Pratt, Waldo Selden. The Music of the French Psalter of 1562: A Historical Survey and Analysis with the Music in Modem Notation. New York: Columbia University Press, 1939.

Proctor-Smlth, Marjorie, Women in Shaker Community and Worship. A E£tnlnt§ t-Analy.sjs...Æf m e. uses of Rellgtoys Symtoilsm; S.tydl.es_ln Women and Religion, vol. 16. Lewiston, New York: The Edwin Mellen Press, 1985.

Reynolds, William Jensen. A Survey of Christian Hymnody. New York: Holt, Rinehart, and Winston, 1963.

Saloutos, Theodore. The Greeks in the United States. Cambridge, Massachusetts: Harvard University Press, 1964. 60S Schoolcraft, Henry R. Notes on the Iroouols. Albany, N. Y.: Erastus H. Pease Co., 1847.

Sessler, John Jacob. Communal Pietism Among Early Moravians. New York: Henry Holt, 1933.

The Shaker Collection of the Western Reserve Historical Society: A Reel List of the tianuscrlDts and a Short Title List of the Printed Materials Contained In the MlcroTorm Collection. Glen Rock, New Jersey: Microfilming Corporation of America, 1977.

Smith, Harold Vaughn. Oliver C. Hamoton and Other Shaker Teacher- Musicians of Ohio and Kentucku. Ph.D dissertation. Ball State University. Ann Arbor, Michigan: University Microfilms 82-01910.

Smith, James W. and Jamison, A. Lelond, eds. Religion in American Life. 4 vols. Princeton, N. J.: Princeton University Press, 1961.

Stevenson, Robert. Protestant Church Music In America: A Short Surveu of Men and Movements from 1564 to the Present. New York: W. W. Norton, 1966.

Warrington, James. Short Titles of Books Relating to or Illustrating the History and Practice of Psalmodg in the United States 1620-1820. Pittsburgh, Pennsylvania: Clifford E. Barbour, Library of the Pittsburgh Theological Seminary, 1970, reprint of 1898.

Wetzel, Richard D. Frontier Musicians on the Connoouenessing. Wabash, and Ohio: A History of the Music and Musicians of George Raoo's Harmony Society (1805-1906). Athens, Ohio: Ohio University Press, 1976.

While, Anna and Leila S. Taylor. Shakerism. Its Meaning and Message: Embracing an Historical Account. Statement of Belief and Spiritual Experience of the Church from Its Rise to the Present Dau. Columbus, Ohio: Press of Fred J. Heer, 1904; reprint. New York: AMS Press, 1971.

Youngs, Benjamin Seth. "An Expedition Against the Shakers," Ohio Archaelogical and Historical Publications. XXI (1912), 403-15. 606 lYoungs, Benjamin Seth]. The Testimonu of Christ's Second Appeorinq: Containing a General Statement of All Things Pertaining to the Faith and Practice of the Church of God in the Latter-Dau. Published by the order of the Ministry, in Union with the Church, Second Edition, Corrected, and Improved. Albany: Printed by E. and E. Hosford, 1810.

Youngs, Isaac. A Short Abridgment of the Rules QlJIusic. WJltLLes^SQnsJflC Exercise, and a Few Observations: for New Beginners. New Lebanon, [N Y.]: [privately printed?], 1843, reprint 1848.

Manuscripts

[The order of the following manuscript entries is by the library designations given in Daniel W. Patterson, The Shaker Spiritual, page 484, and pages 518-20, for the Union Village manuscripts. For further details, see dissertation. Chapter III. The abbreviations “f.l." and “f.t" indicate "first line" and "first title," respectively.)

Delaware, Winterthur, Henry Francis du Pont Winterthur Museum, Andrews Shaker Collection

SA 1102 [UV19Î. Anon, f.l., "Another week is gone." (1880s).

SA 1205IUV26]. Anon, f.t., “Voice of the Angel of Mercy." ( 1857).

Kentucky, Bowling Green, The Kentucky Library

289.8 Ellh 1855 [UV41. Eades, Harvey L. "H L Eades" Book. Commenced May 1852. And finished June 10th 1855. West Brick, Union Village Ohio." (1652-1855).

289.8 S527hy H [UV23]. Anon, f.t., "Hymn 1st: Mother Anns birth." (1844-1861). 607

Ohio, Cleveland, The Western Reserve Historical Society, Shaker Collection

SM36 [UV17]. Thayer, Moses W. "A choice selection of Hymns Anthems And Spiritual songs. Adapted to the Use of believers Writen by Moses W. Thayer of Union Village Ohio 1. Order Aprile, 3, 1852.“ (1852).

SMlOl lUVMl. Risley, Lucina. ”A Book of Anthems, & Spiritual Songs: Written by Lucina Risley. First Order, Union Village November 20th 1847 “ ( 1847-1848), OCWR, SMlOl.

SM214 [UV13J. Redmon, Susannah. “A Collection of Hymns by Susannah Redmon. First Order Union Village November 4, 1844“ (1844- 1858).

SM392 IUV71. Hampton, Oliver C. f t., “A Prayer.” (1875).

Ohio, Lebanon, The Warren County Historical Society

(No shelf mark] (UV21. Brady, Susannie M. T he Vocalist; By Sussanna M. Brady, of Union Village, Ohio. 0 1850 “ (1850-1851).

Pennsylvania, Lewisburg, Library of Professor Harold E. Cook

Private collection (UV15J. Rudy, Susanna, f.l., “0 the precious love of Mother." (1854-1858).

Washington, Library of Congress, Manuscript Division, Shaker Collection

183 [UVIO]. Liddll, Susan C. f t., “A Balm of Love." (ca, 1852-11366).

191. (UV16I Scott, Sylvia. “Sylvia Scott's Hymn Book; Containing a Selection of Hymns and Anthems; Adapted to the Worship of God, In Christ's Second Appearing. Union Village, June 1845 “ (ca. 1645).

200. (UV12Î. McNemar, Vincy. “A Selection of hymns Composed After the year ending 42 Written mostly By Vincy McNemar Sketches From 1642 till 1856." (1642-1856). 608 2 0 2 . [UV22]. Anon. "A Funeral Hymn, Sacred to th e memory of B ro th e r Andrew C. Houston—Oct. 0th 1844." (1644).

205. [UV181. Anon, f.l.. The Angels Call." (1845-?).

206. [UV111. McNemar, James. "James M'nemar's Book o f Anthems, D ecem ber 27, 1846." ( 1846-1854).

207. [UV20]. Anon. ". . . Containing A choice se le c tio n of Hyms Anthems & spiritual songs used by the children of Zion . . . January 11th 1646." (1846-?).

208. [UV3]. Burnham, Edwin. “Edwin Burnham's Book January 15th 1855." (1854-1862).

213. ÏUV241. Anon, f.l., "! am God's holy angel of Love." (1848-1651).

215. ÏUV8J. Holland, Mary Ann. "Mary Ann Holland's Book, of Spiritual Songs; Commenced October 5th 1852." (1852-1662).

216. ÏUV211. Anon, f.l., "Dear sister remember us when far away." (1856-1858?).

217. IUV9Î. Houston, Isaac N. "Hymn Book, The Property of Isaac N. Houston; Second Family, Union Village, Ohio, December 25th 1858." (1658- 1861).

220. [UVl]. Brady, Susannie M. "Millennial Praises Collected by S usannie M. Brady. 1868." (1868-1885).

221.IÜV251. Anon., f t., "Request." (ca. 1862-1674).

223. [UV51. Farr, Elizabeth. "Elizabeth Farr's Book March 9th 1678." (1878-1881).

360. (ÜV6Î. Hampton, Charles D. "Inspired Anthems. Given on Gold P la te s ; August 30th 1846. Union Village, Ohio." (ca. 1847).