Sacred Harp Minutes 2015
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Playing the Sacred Harp: Mennonite Literature As Confession (The
Playing the Sacred Harp: Mennonite Literature as Confession Ann Hostetler Borrowed hymnal in hand, I walk into the one-room white clapboard church that vibrates with loud singing, past dozens of onlookers and would-be participants hovering at the doors like honeybees. My daughter and her partner and their two-week-old baby, and a friend of theirs, follow me as we squeeze into the standing room at the back of the sanctuary next to a row of Old Order Mennonites. Sacred Harp music is sung a cappella and needs a body of singers to come to life in a corporeal act of worship, creating what an alternative healer might call a highly-charged energy fi eld. One of my more worldly friends who is a Sacred Harp devotee describes it as a form of yoga, centered on breathing. Surrounded by the fi erce organ of many voices, I have visions of seraphim and cherubim vibrating with the music of the spheres. Someone less inclined to ecstatic merger might recall Huck Finn’s opinions of Aunt Polly’s heaven – that if the saints were singing for eternity, he would rather spend his time elsewhere. We have chosen to stay for the day. Sacred Harp singers travel. They come from many places, denominations, even faiths to gather at conventions or at singings in many parts of the country. They hold local sings and long-distance sings. The only rule is respect for the music and each other. The content of the songs, sung fi rst by rural Southerners and then Midwestern pioneers during the nineteenth-century singing school movement, is profoundly religious, focusing on death and salvation. -
Tara Barker Carnes, B.M
3'79 NG f Ato.K7 HARTLEY WOOD DAY: INVENTOR OF NUMERAL NOTATION AND ADVERSARY OF LOWELL MASON THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Tara Barker Carnes, B.M. Denton, Texas December, 1991 Carnes, Tara Barker, Hartley Wood Day: Inventor of Numeral Notation and Adversar of Lowell Mason. Master of Arts (Music), December 1991, 128 p. 4 tables, bibli- ography, 47 titles. Ignorance of the basic principles of music reading was one of the primary obstacles to the improvement of congregational singing in nineteenth-century America. Six separate numeral notation systems arose to provide a simple way for the common man to learn the basic prin- ciples of music. Hartley Day developed his own numeral notation system and published six tune-books that enjoyed modest success in the New England area. This thesis exam- ines Day's numeral notation system as it appeared in the Boston Numeral Harmony (1845), and the One-Line Psalmist (1849). It also studies Day's periodical, The Musical Visitor, in which he continually attacked Lowell Mason, possibly leading to Mason's dismissal as Superintendent of Music of Boston's public schools. TABLE OF CONTENTS Page LIST OF TABLES . v .. ....... ..... vi LIST OF EXAMPLES . Chapter I. H.W. DAY . State of Research Census Records Overview II. NUMERAL NOTATION IN AMERICA. .. ... 5 State of Music in Eighteenth Century America Early Alternative Notational Systems Five Main Types of Numeral Notation Systems Decline of Alternative Notational Systems III. DAY'S NUMERAL NOTATION SYSTEM. -
Shape-Note Singing Lesson Addresses the Following Teachers Bring to Their Students the Educational Power of Standards: Museums and Other Community Resources
OCT 00 hape- ote inging esson GRADES 3-8 SUBJECTS I Music Publication of this issue of Smithsonian in Your I History Classroom is made possible through the gener- ous support of the Pacific Life Foundation. ontents 3 Essay 10 Lesson Plan Keeping the Spirit Alive The purpose of Smithsonian in Your Classroom is to help A Shape-Note Singing Lesson addresses the following teachers bring to their students the educational power of standards: museums and other community resources. It draws on the National Standards for Arts Education (Music Content Smithsonian’s exhibitions and programs—from art to zool- Standards) ogy—to create classroom-ready materials for grades 3–8. I Singing alone and with others, a varied repertoire of music Each of the four annual issues takes an interdisciplinary Reading and notating music approach to a single topic. The Smithsonian invites teach- Understanding relationships between music, the ers to duplicate the materials for educational purposes. other arts, and disciplines outside the arts Understanding music in relation to history and You may request an audiotape, large-print, culture braille, or disk version (Mac or PC) by writing to National Standard for History the address listed on the back cover or by faxing your I Regional folklore and culture contributions that name, school name, and address to 202-357-2116. Please helped to form our national heritage specify the issue you are requesting. Photo Credits: Cover: ©Miriam A. Kilmer Pages 4, 7, and 13: ©Miriam A. Kilmer Page 5: William L. Clements Library, University of Michigan Pages 6 and 8: ©Lauren Piperno/Kingston Page 9: Birthplace of Country Music Alliance Music in cover image used by kind permission of Hugh McGraw of the Sacred Harp Publishing Company. -
74TH SEASON of CONCERTS April 10, 2016 • National Gallery of Art PROGRAM
74TH SEASON OF CONCERTS april 10, 2016 • national gallery of art PROGRAM 3:30 • West Building, West Garden Court The Rose Ensemble Jordan Sramek, founder and artistic director, tenor Elizabeth Windnagel and Kim Sueoka, ‘ukulele, sopranos Alyssa Anderson and Natalie Nowytski, altos Andrew Kane, ‘ukulele, tenor Mark Dietrich, guitar, Native American flute, and Jake Endres, basses David Burk, guitar, mandolin, and gourd banjo Josh Schwalbach, bass Ginna Watson, fiddle Special guest Dan Chouinard, accordion Mark Dietrich (b. 1967) Traditional Irish dance tunes Improvisation in Honor of the First Inhabitants “Mile of Dublin,” “Boys of Malin,” and “Maids of Castlebar” Anonymous From The Southern Harmony (1854) Niel Gow (1727 – 1807) “Bozrah” “Niel Gow’s Lament on the Death of His Second Wife” Anonymous From Original Shaker Music (1893) Anonymous “Pure Love” and “Give Good Gifts” From Shaker Music (1875) “Morning Dawn” Traditional Appalachian “Christmas Eve” “Over the Waterfall” John Playford (1623 – 1686) Thomas Hastings Arr. The Rose Ensemble From A Selection of Spiritual Songs (1878) “Scotch Cap” “Still Water” “Juice of Barley” (tune: “Stingo” or “Oyle of Barly”) Traditional Acadian dance tunes “La Bastringu” and “A San Malo a Anonymous American Bord de Mer” Arr. C. Patton “New England’s Annoyances” (1630) Anonymous From Original Shaker Music (1893) Traditional American “Peace and Joy” Arr. The Rose Ensemble “Goin’ across the Sea” 2 • National Gallery of Art The Hutchinson Family Singers Walter Kittredge (1834 – 1905) Arr. Kachelmeier “Tenting on the Old Camp Ground” “Get Off the Track” (tune: “Old Dan Tucker”) William J. Kirkpatrick (1838 – 1921) “Help Just a Little” Hutchinson’s Republican Songster (1860) Arr. -
NHL MEDIA DIRECTORY 2012-13 TABLE of CONTENTS Page Page NHL DIRECTORY NHL MEDIA NHL Offices
NHL MEDIA DIRECTORY 2012-13 TABLE OF CONTENTS PAGE PAGE NHL DIRECTORY NHL MEDIA NHL Offices ...........................................3 NHL.com ...............................................9 NHL Executive .......................................4 NHL Network .......................................10 NHL Communications ............................4 NHL Studios ........................................11 NHL Green ............................................6 NHL MEDIA RESOURCES .................. 12 NHL MEMBER CLUBS Anaheim Ducks ...................................19 HOCKEY ORGANIZATIONS Boston Bruins ......................................25 Hockey Canada .................................248 Buffalo Sabres .....................................32 Hockey Hall of Fame .........................249 Calgary Flames ...................................39 NHL Alumni Association ........................7 Carolina Hurricanes .............................45 NHL Broadcasters’ Association .........252 Chicago Blackhawks ...........................51 NHL Players’ Association ....................16 Colorado Avalanche ............................56 Professional Hockey Writers’ Columbus Blue Jackets .......................64 Association ...................................251 Dallas Stars .........................................70 U.S. Hockey Hall of Fame Museum ..249 Detroit Red Wings ...............................76 USA Hockey Inc. ...............................250 Edmonton Oilers ..................................83 NHL STATISTICAL CONSULTANT Florida -
Square Notes and Shapes St. Augustine Schola Cantorae With
Square Notes and Shapes St. Augustine Schola Cantorae With Organist Shannon McKay August 7, 2009, 6 p.m. Cathedral-Basilica of St. Augustine, St. Augustine, Florida The audience is kindly requested to turn off cell phones, and to refrain from applause until the end of the program. Thank you! Part One From the Vespers of the Blessed Virgin Mary Lucernarium - O Gladsome Light , Phos Hilaron, 4 th c. ( Igor Dvoretsky/arr. M. J. Ballou) This hymn was traditionally sung at the lighting of lamps as vespers began in the Eastern Churches as well as the Ambrosian Rite of Milan. Found in the Apostolic Constitutions, “Phos Hilaron” praises Christ as the “light of the holy glory of the Immortal Father.” It is the earliest known Christian hymn outside the Bible that is still in use today. Some believed it was composed by St. Athenogenes on the way to his martyrdom, his executioner’s arm miraculously unable to move until the song was completed. In the 4 th century, St. Basil the Great referred to it as an ancient hymn. This setting by Dvoretsky is one of the most popular in the Russian Church. Hymn – Ave maris stella, Gregorian Chant with organ versets by Jehan Titelouze This 8th century hymn is always sung at Vespers of the Blessed Virgin Mary. Both the author and composer are unknown. Hailing Mary as “the star of the sea” and “happy gate of heaven,” this was one of the most popular hymns in medieval Europe as devotion to the Virgin blossomed. Its supple melody and metrical text have been the inspiration of composers as varied as Josquin, Palestrina, Byrd, Victoria, Grieg, Liszt, and 20th century composers Chan Ka Nin and Peter Maxwell Davies. -
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HAY]I>R¥ Colliectiorv of Church Music" class="text-overflow-clamp2"> Mason's Sacred Harp" May Be Justly Entitled " the Beauties of Vntsic.'''' Hal^'Del, Ai\I> HAY]I>R¥ Colliectiorv of Church Music
4^,^ Ai-M y//// , 4^^^' MAS6"]^S' SACREIV'HAJ^P: OR ECLECTIC HARMONY ^ COLLECTION OF CHURCH MUSJC. *'" IN ^T -; NT NOTES. Arran^eti nud Composed bjf i'iO\reIl Mason and T. II. "luson, PROFESSORS OF MUS^C AN E^OilGANIS tS. EW EDITIO-^. <:nNClNNATI: r- FU$IJSIiED .,BY TIUJMAN A?^D SMITH. 1835. J 1 i ^ y<5 6^^^ * jc*/-^ zz^^ j^ ^^/i.S^^-i/K-Ai- THE BENSON LIBRARY OP HYMNOLOGY Endowed by the Reverend Louis Fitzgerald Benson, d.d. ^-.^. /y~ ^^X ^ ^'/'- ^-T- i-/- k^HJaULU LIBRARY OF THE THEOLOGICAL SEMINARY PRINCETON, NEW JERSEY V ^Wliaei ^4 f^», • /^^_ : ; MARTVIVJ *fs.(J>o^b\c) different dej/.Ma-rJ, 'to th^y^iioi^rstomt-, HiS-tci a.!" tlie cirlg Aiwaj J^pVct sktl-roiioVitT V ..co-tiet W.famt BlJ WvaLorJL ike.l<)\l Zcl Ka.cL crone- I ; » Anthems, 3 -^ . 5 , -ra ju..t7#H g^tfffff^J>fi7pj | jjffr|ffffl4j.irjPf[' ^^s " I.I— l.t_il,I, _. ,_ . ^1 cithlimfi an ., 1—.^ ^ . ^^^^ -.<=^ We have^ ^1 rl J tTfffrTi(7'ifrf-f f44J4^,HeiTi-J p-r ^ scst harmony of 1 Fori-wLU jhe li,lo--'rin^^rooA, degi'ee, tint FUl'cUvi+k 6orrow^6url,rist;T-envlrUM-^k.t*<vJ.ryjt«.l flood., T.^i^eA-fronxlTr^' \tte/v.rvo ev-i -^ -^ tt I devotional /"> '.-V •p'. '^ - I p :l j^ pre- 1'.* i> - tunes of \ I I I I ^ 6 (» p » l I I J I P-P ^1 P » P i> I I =F= \ OP ^\ P0Q I - > * P -T=^1 I o-<?^l » volume. -
First Time at a Sacred Harp Singing?
First time at a Sacred Harp singing? The Sacred Harp is the name of the tunebook we use, originally published 165 years ago in a tradition older still. The “sacred harp” refers to the human voice! This music is also called shape-note music — check out the expla- nation below, and be sure to look at the songs in the book to see what we mean. The first thing you might notice if you’re just listening is that we are not professional singers (although a few trained voices occasionally find their way to us). Sacred Harp recalls the days when church music was intended to be sung by the congregation rather than the choir. We sing for the joy of it. And while listeners are always wel- come, we singers don’t think of this event as a performance. Everyone is welcome to join in. Voice parts Where should I sit? in Ida Noyes Hall Sacred Harp music is divided into four parts: treble, alto, tenor (melody, or lead), and bass. STAGE Singers sit in a “hollow square” with each voice part taking one of the four sides and facing the center. (As you walk into the room, spot the all-male bass section to get oriented.) Alto 2nd line in music Depending on inclinations of temperament, timbre, or necessity, women and men double on both the treble and tenor parts, with women usually (but not always) singing an octave WS above the men. Any type, quality, and range of voice should find a comfortable and impor- eble DO tant place within its harmonies. -
Reshaping American Music: the Quotation of Shape-Note Hymns by Twentieth-Century Composers
RESHAPING AMERICAN MUSIC: THE QUOTATION OF SHAPE-NOTE HYMNS BY TWENTIETH-CENTURY COMPOSERS by Joanna Ruth Smolko B.A. Music, Covenant College, 2000 M.M. Music Theory & Composition, University of Georgia, 2002 Submitted to the Graduate Faculty of The Faculty of Arts and Science in partial fulfillment of the requirements for the degree of Ph.D. in Historical Musicology University of Pittsburgh 2009 UNIVERSITY OF PITTSBURGH ARTS AND SCIENCES This dissertation was presented by Joanna Ruth Smolko It was defended on March 27, 2009 and approved by James P. Cassaro, Adjunct Assistant Professor, Department of Music Mary S. Lewis, Professor, Department of Music Alan Shockley, Assistant Professor, Cole Conservatory of Music Philip E. Smith, Associate Professor, Department of English Dissertation Advisor: Deane L. Root, Professor, Department of Music ii Copyright © by Joanna Ruth Smolko 2009 iii RESHAPING AMERICAN MUSIC: THE QUOTATION OF SHAPE-NOTE HYMNS BY TWENTIETH-CENTURY COMPOSERS Joanna Ruth Smolko, PhD University of Pittsburgh, 2009 Throughout the twentieth century, American composers have quoted nineteenth-century shape- note hymns in their concert works, including instrumental and vocal works and film scores. When referenced in other works the hymns become lenses into the shifting web of American musical and national identity. This study reveals these complex interactions using cultural and musical analyses of six compositions from the 1930s to the present as case studies. The works presented are Virgil Thomson’s film score to The River (1937), Aaron Copland’s arrangement of “Zion’s Walls” (1952), Samuel Jones’s symphonic poem Let Us Now Praise Famous Men (1974), Alice Parker’s opera Singers Glen (1978), William Duckworth’s choral work Southern Harmony and Musical Companion (1980-81), and the score compiled by T Bone Burnett for the film Cold Mountain (2003). -
Voluntary on “Sacred Harp” Tunes
Organ paraclete press PPM01909M $7.50 Selected Organ Works Published by Paraclete Press Bratt, Griffith C. Meditation on “Down Ampney”——PPM01546 Chorale Voluntaries Based on Hymns—PPM01547 Fantasy on “Ein Feste Berg”—PPM01424 Seven Days of Easter—PPM01331 Voluntary on Guinaldo, Norberto Communion (Two Pieces for Organ)—PPM01432 Thanksgiving and Harvest (Four pieces for Organ)—PPM01431 “Sacred Harp” Tunes Hancock, Gerre Variations on “Coronation”—PPM00037 Complainer, Antioch, Expression Lafford, Lindsay Fughetta on a Soggetto Cavato—PPM01309 Lau, Robert Toccata on ‘Nun Danket Alle Gott’—PPM01437 COPY Nagy, Zvonimir Vocalise—PPM01422 Verset—PPM01423 Phillips, Craig Fantasy on Terra Beata—PPM00431 Powell, Robert Three Organ Preludes on Psalm Tunes—PPM01554 Five Plainsong Preludes for Organ—PPM01553 Rick L. Smith Shackelford, Rudy Charles Wesley Organbook—PPM01507 NOT Trumpet Voluntary—PPM01508 for Organ DO paraclete press P.O. Box 1568, Orleans, MA 02653 1-800-451-5006 www.paracletesheetmusic.com Rick L. Smith Rick is the Director of Music at St. Thomas Episcopal Church in St. Petersburg, Florida. For more than 35 years Rick has worked professionally as a church musician, conducting, composing and arranging in the Episcopal, Presbyterian, and United Methodist traditions. In addition to St. Petersburg, Rick has also served churches in North Carolina, Tennessee, the Atlanta Metro area and the San Francisco Bay area. His choirs have toured the U.S., England, Italy, Spain, and Scotland, leading worship in such places as St. Giles Cathedral, Westminster Abbey and St. Peter’s Basilica. He has also conducted community choruses and ensembles in Georgia, Florida and California. Rick is a native of the Appalachian Mountains of West Virginia. -
Iconicity and Sacred Harp Singing on Sand Mountain, Alabama Jonathon Murray Smith University of Tennessee - Knoxville
University of Tennessee, Knoxville Trace: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-2009 "We’ll All Shout Together in that Morning": Iconicity and Sacred Harp Singing on Sand Mountain, Alabama Jonathon Murray Smith University of Tennessee - Knoxville Recommended Citation Smith, Jonathon Murray, ""We’ll All Shout Together in that Morning": Iconicity and Sacred Harp Singing on Sand Mountain, Alabama. " Master's Thesis, University of Tennessee, 2009. https://trace.tennessee.edu/utk_gradthes/559 This Thesis is brought to you for free and open access by the Graduate School at Trace: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of Trace: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Jonathon Murray Smith entitled ""We’ll All Shout Together in that Morning": Iconicity and Sacred Harp Singing on Sand Mountain, Alabama." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Music, with a major in Music. Leslie Gay, Major Professor We have read this thesis and recommend its acceptance: Rachel Golden, Nasser Al-Taee Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official student records.) To the Graduate Council: I am submitting herewith a thesis written by Jonathon Smith entitled “We’ll All Shout Together in that Morning: Iconicity and Sacred Harp Singing on Sand Mountain, Alabama.” I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the requirements for the degree of Master of Music a major in Musicology. -
'Mohawk Nation Lives' Indian Tom Porter Tells Students About Tradition
da Vol. 16, No. 65 San Fernando Valley State College Tuesday, Match 7, 1972 'Mohawk nation lives' Indian Tom Porter tells students about tradition By Jane Piatt he explained believe everything STAFF WRITFR on earth follows an eternal cycle. "The Mohawk people still live," "Our heaven is on this land," an Indian spokesman, Tom Por he stated. ter, told a crowd gathered at Porter described the. strong the Open Forum Friday. winds, which muffled his voice Porter is a member of the at times, as a "purification of White Roots of Peace, a group life." He commented that Los of several Indian tribes which tra Angeles smog gave him head vels through the United States and aches. Canada to share their culture and He told the crowd, "When you offer their friendship to every have polluted the last river, chop one. ped down the last tree, then and "We're trying to present a cul only then will you realize you can'I tural experience of the Mohawk eat all the money in the bank." Nation," said Porter, whose In He said the White man has ev dian name was changed by go olved to the point where "his vernment officials when he was a Christmas trees look like New child. York City at night." Speaking to an anthropology Porter .said the White man has class earlier in the day, Porter broken every treaty ever made said "people don't understand with thelndians, while "mypeople what we are. and what we stand (the Mohawks) never broke,a for. treaty." "We want to stop the assi In .school.