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For God and Country: Scriptural Exegesis, Editorial Intervention, and Revolutionary Politics in First New England School Anthems
For God and Country: Scriptural Exegesis, Editorial Intervention, and Revolutionary Politics in First New England School Anthems A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Division of Composition, Musicology, and Theory of the College-Conservatory of Music by Molly K. Williams BA, Lipscomb University, 2005 MM, University of Cincinnati, 2010 Committee chair: bruce d. mcclung, PhD Abstract Since 1991 music of the First New England School has become readily accessible through critical editions. The compilers of these volumes edited the music, traced the compositional styles and methods of these composers, and documented their biographies. However, no one has explored how composers of this era edited scripture and sacred poetry for anthems and how these editorial acts might reflect the politics of the Colonial and Federal Periods. Anthems afforded composers more creative liberty than strophic genres such as plain tunes and fuging tunes. Because anthems are long, through-composed works, composers had wide latitude regarding the text they set; most drew from Biblical scripture, sacred poetry, or a combination of the two. This study traces the texts that First New England composers chose and how composers edited them for anthems. In some cases, composers employed straightforward, unedited sections of scripture, but in most cases, they or their collaborators edited scripture and drew on diverse literary sources. This study addresses such issues as musical setting, geographical locale, and politics. Included are where composers lived, what their personal religious practices may have been, and how involved they were in politics and civic activities. -
Newsletter Vol
The Newsletter Vol. 3, No. 2 Stories about singers and singings, our music and traditions, and Sacred Harp’s present-day growth. Nov 2014 Come Sound His Praise Abroad: Contents A Report on the First Germany Singing Reports Sacred Harp Convention Come Sound His Praise Abroad: 1 A Report on the First Germany Álvaro Witt Duarte | Peabody, Massachusetts Sacred Harp Convention Álvaro Witt Duarte Feature The Old World Seeks the 5 Old Paths: Observing Our Transnationally Expanding Singing Community Ellen Lueck Read the Old Paths American Tunes in West Gallery 9 Sources Chris Brown Elphrey Heritage: Northern 16 Contributor to the Nineteenth- century Sacred Harp Jesse P. Karlsberg and First Germany Convention chairman Harald Grundner welcomes the class on Christopher Sawula Saturday, May 31, 2014. Photograph by Ellen Lueck. The Chattahoochee Convention, 21 Editor’s Note: On the first Sunday in June he first German Sacred Harp August 1, 1880: Memorial for and the Saturday before, Germany joined Convention was an unforgettable Benjamin Franklin White the United Kingdom, Ireland, and Poland experience.T The number of countries Jesse P. Karlsberg as the fourth European country to hold an represented and the amount of energetic annual Sacred Harp convention. Sacred singing made the experience truly Number, Measure, Weight Harp singings have been held in Germany special. Held May 31 to June 1, 2014, There’s an App for That: 19 since late 2010, and were bolstered by a pair the convention drew together singers A Review of the “FaSoLa of all-day singing schools held in the fall of from the several regions of Germany Minutes” App 2011. -
I Info SAMUEL BABCOCK
SAMUEL BABCOCK (1760-1813), ARCHETYPAL PSALMODIST OF THE FIRST NEW ENGLAND SCHOOL OF COMPOSERS by Laurie J. Sampsel Bachelor of Music Education, Youngstown State University, 1986 Master of Flute Performance, Youngstown State University, 1988 Master of Library Science, Kent State University, 1989 Submitted to the Graduate Faculty of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2009 info i UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Laurie J. Sampsel It was defended on February 13, 2009 and approved by Don O. Franklin, Professor, Music Karl D. Kroeger, Professor Emeritus, University of Colorado at Boulder Mary S. Lewis, Professor, Music Dissertation Director: Deane L. Root, Professor, Music 2009 ii Copyright © by Laurie J. Sampsel 2009 iii SAMUEL BABCOCK (1760-1813), ARCHETYPAL PSALMODIST OF THE FIRST NEW ENGLAND SCHOOL OF COMPOSERS Laurie J. Sampsel, PhD University of Pittsburgh, 2009 The life, musical activities, compositions, and musical relationships of the Boston-area composer Samuel Babcock (1760-1813) make him an archetypal psalmodist active during the period from 1790 to 1810. Research on early American Protestant sacred music to date has focused on the major composers and compilers of the period such as William Billings and Andrew Law, and on indexing the repertory. This dissertation approaches the topic from a different historiographical perspective, measuring Babcock against the criteria suggested by musicologist Nym Cooke for a composer more typical of the First New England School. Part I of the dissertation establishes the facts of Babcock’s life, analyzes and describes his music, and documents the distribution of his works.