DOCSLIB.ORG

For God and Country: Scriptural Exegesis, Editorial Intervention, and Revolutionary Politics in First New England School Anthems

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. The methodology includes an original data set of eighteenth-century anthem texts, including when they were first published, if and how the source texts were edited, the general topic of each anthem, and each scriptural citation. This study builds on recent scholarship on ministers’ use of scripture during the American Revolutionary War. This study examines the texts from First New England School anthems in a similar manner, showing the similarities and differences in the way that preachers and composers quoted, edited, and employed Biblical scripture and sacred poetry during a period of political turmoil and revolution. ii Copyright © 2017 by Molly K. Williams. All rights reserved. iii ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. bruce mcclung, for his guidance and encouragement as I completed this project. I always left our meetings with a renewed sense of purpose. His assistance and edits always helped crystalize my ideas. Dr. Jonathan Kregor and Dr. Stephanie Schlagel served on my committee and their questions helped clarify my thoughts. They both offered a welcome perspective to my work. As a program advisor, Dr. Mary Sue Morrow helped me navigate the program requirements throughout my time in Cincinnati and I am grateful for her guidance. I am grateful to Thomas Riis and the American Music Research Center staff at the University of Colorado at Boulder for the Visiting Scholar Fellowship and their help with my research during my time there. The AMRC has an extensive collection of tunebooks and researching in their collection helped put these works in historical context. Friends of CCM helped fund the fellowship, for which I am thankful. I would also like to thank the staff at the Barbour Library at the Pittsburgh Theological Seminary. Their Warrington Collection has several hymnals and wonderful resources on the eighteenth-century church in America that was most helpful to my research. I am most grateful to friends and family for their support as I worked toward this goal. I could not have completed this project without the help of family and friends who are like family who happily watched our son. Of course I am so thankful to my husband for his support throughout this long process. His loving encouragement helped me keep perspective and complete this dissertation. iv CONTENTS Copyright Permissions……………………………………………………………………………vi List of Examples...……………………………………………………………………………….vii List of Tables….………………………………………………………………………………... ..ix List of Figures……………………………………………………………………………….……xi Introduction………………………………………………………………………………… ..........1 Chapter 1 “Such an excellent body of divine poetry”: Sacred Poetry in the Anthem ……………………...17 Chapter 2 Bound Kings and Fettered Nobles: Revolutionary Politics in the Anthem……………………… ……….45 Chapter 3 Heterogenously Protestant: Denominational Tenets in the Early American Anthem ……... ...…70 Chapter 4 Boston and the Northern Territory: Geography and the Early American Anthem ………………89 Chapter 5 Other Topics in the Early American Anthem……………………………………………… …..113 Conclusion………………………………………………………………………………… …...138 Bibliography………………………………………………………………………………… …155 Appendix……………………………………………………………………………………… ..164 v Copyright Permissions Belcher, Supply. “Ordination Anthem.” The Collected Works, ed. Linda Davenport. Music of the New American Nation 5, ed. Karl Kroeger. Copyright © 1996 Routledge. All Rights Reserved. Used by permission. Billings, William. “Let Ev’ry Mortal Ear Attend.” The Complete Works of William Billings. Vol. 3 ed. Karl Kroeger. Copyright © 1990 American Musicological Society Inc. All rights reserved. Used by permission. Billings, William. “Blessed Is He that Considereth the Poor.” The Complete Works of William Billings. Vol. 3, ed. Karl Kroeger. Copyright © 1990 American Musicological Society Inc. All rights reserved. Used by permission. Cooper, William. “An Anthem for Thanksgiving.” Early American Anthems. Recent Researches in American Music 36, ed. Karl Kroeger. Copyright © 2000 A-R Editions. All Rights Reserved. Used by permission. Holyoke, Samuel. “Hear Our Prayer.” Early American Anthems. Recent Researches in American Music 36, ed. Karl Kroeger. Copyright © 2000 A-R Editions. All Rights Reserved. Used by permission. Morgan, Justin. “Judgment Anthem.” Two Vermont Composers: The Collected Works of Elisha West and Justin Morgan. Music of the New American Nation 7, ed. Karl Kroeger. Copyright © 1997 Taylor and Francis. All Rights Reserved. Used by permission. Read, Daniel. “A New Anthem for Fast Day.” Collected Works: Daniel Read, ed. Karl Kroeger Recent Researches in American Music 24 ed. John Graziano. Copyright © 1995 A-R Editions. All rights reserved. Used by permission. Swan, Timothy. “Anthem from the 150th Psalm,” Nym Cooke, Psalmody and Secular Songs: Timothy Swan. Recent Researches in American Music 26 ed. John Graziano. Copyright © 1997 A-R Editions. All rights reserved. Used by permission. vi List of Examples Example 1.1 Tate and Brady, Psalm 150…………………………………………… …………..24 Example 1.2 Timothy Swan, “Anthem from the 150th Psalm,” New England Harmony, 1801 ...24 Example 1.3 Timothy Swan, “Anthem from the 150th Psalm,” mm. 1–11, New England Harmony (1801)…………………………………………………………………… …….26 Example 1.4 William Billings, “Let Ev’ry Mortal Ear Attend,” The Psalm Singer’s Amusement (1781).……………………………………………………………………………… ……27 Example 1.5 William Billings, “Let Ev’ry Mortal Ear Attend,” mm. 38–46, Psalm Singer’s Amusement (1781)……………………………………………………………… ……….29 Example 1.6a Isaac Watts, Psalm 132, Elias Mann, “Anthem for Dedication,” Massachusetts Harmony (1803)………………………………………………………………..………... 30 Example 1.6b Isaac Watts, Psalm 132, Stanza 4, used by Elias Mann, “Anthem for Dedication,” Massachusetts Harmony (1803)………………………………………………………… 30 Example 1.6c Isaac Watts, Psalm 132, Stanza 3 as in Elias Mann, “Anthem for Dedication,” Massachusetts Harmony (1803)………………………………………………………… 31 Example 1.6d Isaac Watts, Psalm 132, Stanza 7, Psalms of David (1719)…………………….. 31 Example 1.7 Isaac Watts, Stanza 6, Psalm 65, Psalms of David (1719), used by William Cooper, “Anthem for Thanksgiving,” Independent Publication, (1792)………..………………... 32 Example 1.8 William Cooper, “Anthem for Thanksgiving,” mm 55 – 71, Independent Publication (1792).…………………………………………………………………….... 34 Example 1.9 Isaac Watts, Stanza 2 Psalm 150, Psalms of David (1719), used by William Cooper, “Anthem for Thanksgiving,” Independent Publication, (1792)………………... 35 Example 1.10 John Cennick, “Lo He Cometh,” A Collection of Sacred Hymns (1749)…..........39 Example 1.11 Justin Morgan, “Judgment Anthem,” mm. 1–6 and 19–23, The Federal Harmony (1790)…………………………………………………………………………. …………40 Example 2.1 William Billings, “Independence,” The Singing Master’s Assistant (1778)……………………………………………………………………………...…….. 53 Example 2.2 Deuteronomy 32:43, used by William Billings, “Peace, God is King,” Independent Publication (1783)…………………………………………………………………… …..54 vii Example 2.3a Psalm 149, Authorized Version…………………………………………… …….55 Example 2.3b Psalm 149, used by Hans Gram, “Bind Kings with Chains,” Worcester Collection (1794)……………………………..……………...……………………………………… 56 Example 2.4 Hans Gram, “Bind Kings with Chains,” Worchester Companion (1794)…….. ….58 Example 3.1 Samuel Holyoke, “Hear Our Prayer,” mm. 55–66, The Christian Harmonist (1804)………………………………………………………………………... …………..77 Example 3.2 Daniel Read, “A New Anthem for Fast Day,” mm. 59–72, The Columbian Harmonist (1794)…………………………………………………………………… …...78 Example 3.3 Text from Jeremiah 9 and Isaiah 3, from Oliver Holden “Anthem” Sacred Dirges…George Washington (1800)…………………………………………………… .81 Example 3.4 Oliver Holden, Funeral Anthem, The Union Harmony (1796)………………… ...81 Example 4.1 Elias West, “Deliverance Anthem,” The Musical
Load more

Recommended publications
  • The Land of Harmony a M E R I C a N C H O R a L G E M S
    invites you to The Land of Harmony A MERIC A N C HOR A L G EMS April 5 • Shaker Heights April 6 • Cleveland QClevelanduire Ross W. Duffin, Artistic Director The Land of Harmony American Choral Gems from the Bay Psalm Book to Amy Beach April 5, 2014 April 6, 2014 Christ Episcopal Church Historic St. Peter Church shaker heights cleveland 1 Star-spangled banner (1814) John Stafford Smith (1750–1836) arr. R. Duffin 2 Psalm 98 [SOLOISTS: 2, 3, 5] Thomas Ravenscroft (ca.1590–ca.1635) from the Bay Psalm Book, 1640 3 Psalm 23 [1, 4] John Playford (1623–1686) from the Bay Psalm Book, 9th ed. 1698 4 The Lord descended [1, 7] (psalm 18:9-10) (1761) James Lyon (1735–1794) 5 When Jesus wep’t the falling tear (1770) William Billings (1746–1800) 6 The dying Christian’s last farewell (1794) [4] William Billings 7 I am the rose of Sharon (1778) William Billings Solomon 2:1-8,10-11 8 Down steers the bass (1786) Daniel Read (1757–1836) 9 Modern Music (1781) William Billings 10 O look to Golgotha (1843) Lowell Mason (1792–1872) 11 Amazing Grace (1847) [2, 5] arr. William Walker (1809–1875) intermission 12 Flow gently, sweet Afton (1857) J. E. Spilman (1812–1896) arr. J. S. Warren 13 Come where my love lies dreaming (1855) Stephen Foster (1826–1864) 14 Hymn of Peace (1869) O. W. Holmes (1809–1894)/ Matthias Keller (1813–1875) 15 Minuet (1903) Patty Stair (1868–1926) 16 Through the house give glimmering light (1897) Amy Beach (1867–1944) 17 So sweet is she (1916) Patty Stair 18 The Witch (1898) Edward MacDowell (1860–1908) writing as Edgar Thorn 19 Don’t be weary, traveler (1920) [6] R.
    [Show full text]
  • Dissonance Treatment in Fuging Tunes by Daniel Read
    NA7c DISSONANCE TREATMENT IN FUGING TUNES BY DANIEL READ FROM THE AMERICAN SINGING BOOK AND THE COLUMBIAN HARMONIST THESIS Presented to the Graduate Council of the' North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Scott G. Sims, B.M. Denton, Texas May, 1987 4vv , f\ Sims, Scott G., Dissonance Treatment in Fuging Tunes by Daniel Read from The American Singing Book and The Columbian Harmonist. Master of Music (Music Theory), May, 1987, 101 pp., 2 tables, 8 figures, 44 musical examples, 83 titles. This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice. Copyright by Scott G. Sims 1987 iii PREFACE The author wishes to thank The Lorenz Publishing Company for use of the following article: Metcalf, Frank, "Daniel Read and His Tune," The Choir Herald, XVII (April, 1914) , 124, 146-147. Copyright 1914, Renewal Secured, Lorenz Publishing Co., Used by Permission.
    [Show full text]
  • {FREE} Justin Morgan Had a Horse Kindle
    JUSTIN MORGAN HAD A HORSE PDF, EPUB, EBOOK Marguerite Henry,Wesley Dennis | 176 pages | 02 Feb 2007 | SIMON & SCHUSTER | 9781416927853 | English | New York, NY, United States Justin Morgan Had a Horse - Wikipedia From Wikipedia, the free encyclopedia. Justin Morgan Had a Horse First edition. Naden, Libraries Unlimited, , p. American Library Association. Retrieved Children's literature portal Horses portal. Categories : American novels American children's novels Children's historical novels Newbery Honor-winning works Novels set in Vermont Novels set in the 18th century Novels by Marguerite Henry Children's novels about animals American novels adapted into films children's books s children's novel stubs. Hidden categories: All stub articles. Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. In addition to being a horse breeder and farmer, he was a teacher of singing; in that capacity he traveled considerably throughout the northeastern states. He died in Randolph, Vermont , where he also served as town clerk. Justin Morgan was the owner of a stallion named Figure , who became the sire of the Morgan horse breed. Morgan received Figure along with two other horses as payment of a debt. As Figure grew older, people began to recognise his skill in a variety of areas. Figure became a prolific breeding stallion; his descendants, still noted for their versatility and friendly personality, became the first American breed of horse to survive to the present. Figure's grave is marked by a stone in Tunbridge, Vermont. His burial site in the Randolph Center Cemetery is marked by a more recent stone.
    [Show full text]
  • Schon Mal Dran Gedacht,Linux Auszuprobieren? Von G. Schmidt
    Schon mal dran gedacht, Linux auszuprobieren? Eine Einführung in das Betriebssystem Linux und seine Distributionen von Günther Schmidt-Falck Das Magazin AUSWEGE wird nun schon seit 2010 mit Hilfe des Computer-Betriebs- system Linux erstellt: Texte layouten, Grafiken und Fotos bearbeiten, Webseiten ge- stalten, Audio schneiden - alles mit freier, unabhängiger Software einer weltweiten Entwicklergemeinde. Aufgrund der guten eigenen Erfahrungen möchte der folgende Aufsatz ins Betriebssystem Linux einführen - mit einem Schwerpunkt auf der Distri- bution LinuxMint. Was ist Linux? „... ein hochstabiles, besonders schnelles und vor allem funktionsfähiges Betriebssystem, das dem Unix-System ähnelt, … . Eine Gemeinschaft Tausender programmierte es und verteilt es nun unter der GNU General Public Li- cense. Somit ist es frei zugänglich für jeden und kos- tenlos! Mehrere Millionen Leute, viele Organisatio- nen und besonders Firmen nutzen es weltweit. Die meisten nutzen es aus folgenden Gründen: • besonders schnell, stabil und leistungs- stark • gratis Support aus vielen Internet- Newsgruppen Tux, der Pinguin, ist das Linux-Maskottchen • übersichtliche Mailing-Listen • massenweise www-Seiten • direkter Mailkontakt mit dem Programmierer sind möglich • Bildung von Gruppen • kommerzieller Support“1 Linux ist heute weit verbreitet im Serverbereich: „Im Oktober 2012 wurden mindes- tens 32% aller Webseiten auf einem Linux-Server gehostet. Da nicht alle Linux-Ser- ver sich auch als solche zu erkennen geben, könnte der tatsächliche Anteil um bis zu 24% höher liegen. Damit wäre ein tatsächlicher Marktanteil von bis zu 55% nicht 1 http://www.linuxnetworx.com/linux-richtig-nutzen magazin-auswege.de – 2.11.2015 Schon mal dran gedacht, Linux auszuprobieren? 1 auszuschliessen. (…) Linux gilt innerhalb von Netzwerken als ausgesprochen sicher und an die jeweiligen Gegebenheiten anpassbar.
    [Show full text]
  • The Evolution of American Choral Music: Roots, Trends, and Composers Before the 20Th Century James Mccray
    The Evolution of American Choral Music: Roots, Trends, and Composers before the 20th Century James McCray I hear America singing, the varied car- such as Chester, A Virgin Unspotted, ols I hear. David’s Lamentation, Kittery, I Am the —Walt Whitman Rose of Sharon, and The Lord Is Ris’n Leaves of Grass1 Indeed received numerous performanc- es in concerts by church, school, com- Prologue munity, and professional choirs. Billings Unlike political history, American cho- generally is acknowledged to be the most ral music did not immediately burst forth gifted of the “singing school” composers with signifi cant people and events. Choral of eighteenth-century America. His style, music certainly existed in America since somewhat typical of the period, employs the Colonial Period, but it was not until fuguing tunes, unorthodox voice lead- the twentieth century that its impact was ing, open-fi fth cadences, melodic writing signifi cant. The last half of the twentieth in each of the parts, and some surpris- century saw an explosion of interest in ing harmonies.11 By 1787 his music was choral music unprecedented in the his- widely known across America. tory of the country. American choral mu- Billings was an interesting personal- sic came of age on a truly national level, ity as well. Because out-of-tune singing and through the expansion of music edu- was a serious problem, he added a ’cello cation, technology, professional organiza- to double the lowest part.12 He had a tions, and available materials, the interest “church choir,” but that policy met re- in choral singing escalated dramatically.
    [Show full text]
  • MAINE MARITIME MUSEUM 465 Main St
    1983 23rd Annual Homecoming Friendship, Maine July 27, 28, 29, 30 YEARBOOK AND GUIDE President's Message There is a deep aura of nostalgia that binds us all together. LET'S BUILD A This nostalgia is difficult to define other than a gut feeling of deep respect for the people and their boats that have gone before us. FAST FRIENDSHIP This feeling permeates the Sloop Society and gives it direction. TOGETHER. Everything needs a reason for being and we should be proud to be a part of perpetuating the story of Friendship sloops. We are the fortunate ones who have experienced the feeling of tradition, excitement and respect for Friendship sloops and everything they stand for. Sail on into your own little chunk of history with a smooth sea and a fair breeze. Bill Hadlock, Heritage DICTATOR PEMAQUID 31'x10'8"x5' 25'x8'8"x4'3" At Jaruis Newman, Inc., we continue the tradition of Maine's Friendship Sloop in hand /aid-up fiberglass with two of the finest and fittest sloops available. Both the 31' DICTA TOR and 25' PEMAQUID are a sailors delight, providing all the beauty and ease of handling these time honored sloops, plus the low maintenance of fiberglass that leaves you more time for sailing, while others are scraping, sanding and painting. Please write to us for our brochures on these two fine sailboats. J^rvis P.O. Box 707, Southwest Harbor, ME 04679 207-244-3860 HERITAGE Boutilier Photo Friendship Sloop Society 23rd Annual Homecoming Friendship, Maine - July 28, 29, 30, 1983 aine WEDNESDAY, July 27-7 p.m.
    [Show full text]
  • Earl Mclain Owen, Jr.-The Life and Music of Supply Belcher (1751-1836), ((Handel of Maine" Volume L· Text, Xvii + 152 Pp
    Earl McLain Owen, Jr.-The Life and Music of Supply Belcher (1751-1836), ((Handel of Maine" Volume L· Text, xvii + 152 pp. Volume IL' Musical Supplement, vi + 204 pp. Ann Arbor: University Microfilms (UM order no. 69-4446, 1969. D.M.A., Musicology, Southern Baptist Theological Seminary diss.) Sterling E. Murray American studies is a comparatively little-researched region of historical musicology. As with any youthful area of study the often laborious and frustrating task oflaying a basic bibliographical and biographical foundation must be accomplished before more definitive studies can be achieved. Dr. Owen's dissertation contributes to this growing foundation and, thus, to a developing knowledge of our musical heritage. Dr. Owen organizes his study in a deductive manner, progressing from an investigation of the composer's life to his musical publications and culminat- ing in a stylistic study of the music. In the introductory remarks of Chapter I, Dr. Owen explains that "on October 22, 1886, an extensive fire in the central district of Farmington quite possibly destroyed certain priceless documents such as letters, diaries, singing society records, etc. Therefore, it has been necessary that this investigator base his historical research mainly on secondary sources-nine- teenth century histories, correspondence with historians and libraries, and recently published books" (p. 1). This is a supposition, which the author does not attempt to justify. It is also "quite possible" that there were no records of any importance relating to Supply Belcher destroyed in the Farmington fire. Lack of primary biographical source material is a handicap, but, in spite of this limitation, Dr.
    [Show full text]
  • This Student Activities Source Booeistoneof a Series of Four Developed by the Carroll County
    DOCUMENT RESUME 4 ED 106 191 008. 318- 11THOR Burger, Robert; And Others TITLE Bicentennial Source Book, Level III, Grades 6-8. INSTITUTION Carroll County, Public Schools, Westminster, MoT. elpUB DATE 74 NOTE 225p.; For,relatO documents,. see SO 008 316-319; Small portions of copyrighted materialhave bepn . removed .from this book AVAILABLE FROM Donald P. Vetter, SuperVisor of Social StUdies, ". Carroll County Boaq of Education,' Westminster, 'Maryland 21157'($15.00; Set of guides I-IV $50.00) 3 EDRS PRICE NP-$O.76 HC Not Available from EDRS. PLUS POSTAGE DESCRIPTORS *American Studies; Class ActiviffeifT*CoIonial History (united States); Cultural Activities; Elementary Secondary Education; Instructional Materials; *Learning Activities; MOsicjctivities; Resource Materials; RevolutionaryWar (United States);'Sci4nce Activities;.*Social Studies; Teacher Developed Materials;. *United States History IDENTIFIERS IcBicentennial ABSTRACT This student activities source booeiStoneof a series of four developed by the Carroll County. Public School System, Maryland, for celebration of the Bicentennial. It is specifically designed to.generateideas integrating the ,Bicentenfiial celebration into various disciplines, classroom activities, and school-wide ' events of the sixth through eighth grade levels. Fora description of, the gen,eralcontent and formatstructuresee document SO 008 316. This specific unit contains-88 activities under,the.disciplines of art, music, math,. science, and social studies. Sample activities include guilt making, diary writing, interpreting colonial folk songs, colonial medicine, and drawing political cartoons. Also included are activities for a week long, school-wide, festival week; historical chronology of the revolutionary period; and suggested local field trips. (Author/DE) 4 -BICENTENNIAL SOURCE. BOOK LEVEL III GRADES 6-8 S O . ,.CARROLL COUNTY BOARD OF EDUCATION WESTMINSTER, MARYLAND SUMMER 1-974 U S'OEPARTMENT OF HEALTH, Piuy s- ON Po kc pRODutF EDUCATION /WELFARE MA PEP A.
    [Show full text]
  • Distro Notes This Document Was Revised on March 9, 2011
    Distro Notes This document was revised on March 9, 2011. Older versions can be discarded. 1. Overview. This document discusses a Linux distro that's under construction. Comments are welcome. The distro is portable; most versions run directly from pocket-size media (thumbdrives, 3" Mini-DVDs, etc.). It's useful for multimedia tasks, software development, Internet file or site downloads, office work, and system maintenance. Some versions also provide a large collection of games (including lightweight that even people who "don't play games" may find diverting). Target: This distro is aimed at UNIX and MS-Windows CLI developers, system administrators, multimedia hobbyists, and people with an interest in chess (there's 11 chess engines) and lightweight games in general. Desktop: There's a lightweight desktop. The desktop doesn't include GNOME or KDE eye candy (dancing icons, 3D workspaces, etc.) but it gets the job done and does support a few special features, including remote access and single-instance support. Windows clones: This distro resembles old versions of MS-Windows visually, it includes some MS-Windows work-alike programs, and it runs MS-Windows programs. However, it's not aimed at MS-Windows people. Former MS-Windows users should try PCLinuxOS and Ubuntu instead (these are polished Windows-style distros). That said, this distro offers somes advantages over Windows-style distros: it's faster, in some cases; it requires less memory (*); it includes tools, collections, and databases that are generally unavailable or poorly maintained elsewhere; and you can run it from a Flash device that fits on a keychain.
    [Show full text]
  • MX-19.2 Users Manual
    MX-19.2 Users Manual v. 20200801 manual AT mxlinux DOT org Ctrl-F = Search this Manual Ctrl+Home = Return to top Table of Contents 1 Introduction...................................................................................................................................4 1.1 About MX Linux................................................................................................................4 1.2 About this Manual..............................................................................................................4 1.3 System requirements..........................................................................................................5 1.4 Support and EOL................................................................................................................6 1.5 Bugs, issues and requests...................................................................................................6 1.6 Migration............................................................................................................................7 1.7 Our positions......................................................................................................................8 1.8 Notes for Translators.............................................................................................................8 2 Installation...................................................................................................................................10 2.1 Introduction......................................................................................................................10
    [Show full text]
  • Pipenightdreams Osgcal-Doc Mumudvb Mpg123-Alsa Tbb
    pipenightdreams osgcal-doc mumudvb mpg123-alsa tbb-examples libgammu4-dbg gcc-4.1-doc snort-rules-default davical cutmp3 libevolution5.0-cil aspell-am python-gobject-doc openoffice.org-l10n-mn libc6-xen xserver-xorg trophy-data t38modem pioneers-console libnb-platform10-java libgtkglext1-ruby libboost-wave1.39-dev drgenius bfbtester libchromexvmcpro1 isdnutils-xtools ubuntuone-client openoffice.org2-math openoffice.org-l10n-lt lsb-cxx-ia32 kdeartwork-emoticons-kde4 wmpuzzle trafshow python-plplot lx-gdb link-monitor-applet libscm-dev liblog-agent-logger-perl libccrtp-doc libclass-throwable-perl kde-i18n-csb jack-jconv hamradio-menus coinor-libvol-doc msx-emulator bitbake nabi language-pack-gnome-zh libpaperg popularity-contest xracer-tools xfont-nexus opendrim-lmp-baseserver libvorbisfile-ruby liblinebreak-doc libgfcui-2.0-0c2a-dbg libblacs-mpi-dev dict-freedict-spa-eng blender-ogrexml aspell-da x11-apps openoffice.org-l10n-lv openoffice.org-l10n-nl pnmtopng libodbcinstq1 libhsqldb-java-doc libmono-addins-gui0.2-cil sg3-utils linux-backports-modules-alsa-2.6.31-19-generic yorick-yeti-gsl python-pymssql plasma-widget-cpuload mcpp gpsim-lcd cl-csv libhtml-clean-perl asterisk-dbg apt-dater-dbg libgnome-mag1-dev language-pack-gnome-yo python-crypto svn-autoreleasedeb sugar-terminal-activity mii-diag maria-doc libplexus-component-api-java-doc libhugs-hgl-bundled libchipcard-libgwenhywfar47-plugins libghc6-random-dev freefem3d ezmlm cakephp-scripts aspell-ar ara-byte not+sparc openoffice.org-l10n-nn linux-backports-modules-karmic-generic-pae
    [Show full text]
  • Musk in Manuscript a Massachusetts Tune-Book of 1782
    Musk in Manuscript A Massachusetts Tune-book of 1782 RICHARD CRAWFORD AND DAVID P. McKAY J.HE characteristic musical publication of pre-Federal America was the tune collection. Especially popular were sacred tune- books, containing anywhere from a dozen to 100 or more dif- ferent pieces. Some 100 different issues devoted to sacred music had appeared in this country by 1786, when Chauncey Langdon's The Select Songster, the first printed American collection of secular songs with music, was published in New Haven by Daniel Bowen.^ Music also circulated in manuscript; 'The information about sacred music publication is taken from a bibliography of American sacred music through 1810 by Allen Britton, Irving Lowens, and Richard Crawford, to be published by the Society. The information about secular music is taken from Oscar Sonneck, Bibliography of Early Secular American Music, revised & enlarged by William Treat Upton {Washington: Library of Congress, 194^; reprinted, New York: Da Capo Press, 1964). Langdon's TAeA'e/eci Songj/fr had been preceded by only a meager scattering of non-sa- cred items; threePennsylvaniapublicationsof the early 1760s, TÍie Military Glory of Great Britain (Philadelphia: William Bradford, 1762) and A Dialogue on Peace (Philadelphia: William Bradford, 1763}, both perhaps by the psalmodist James Lyon, and John Stanley's music to the dramatic pastorale, Arcadia (Philadelphia: Andrew Stuart, 1762), no longer extant; single songs in two periodicals of the 1770s, THE HILL TOPS {Royal American Magazine, Boston, April, 1774-)
    [Show full text]