An Analysis of Shape Note Music in Terms of Information Entropy
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Christian Harmony, 2010 Edition 2016 Printing Page Location Title Text
Christian Harmony, 2010 Edition 2016 Printing Page Location Title Text Attribution Music Attribution 439 Lydia Village Hymns "C.L." in The Harmonist , 1837 407 Sweet Hope (Second) Christian Melodist A Selection of Psalm & Hymn Tunes , 1802 257 Jubilee Baltimore Collection , 1801 A Supplement to the Kentucky Harmony , 1820 508 Heavenly Rest Charles Wesley, 1744 A. Clark, 1867; Alto Wm. Walker 517 Rapture (Second) John Ogilvie, 1762 A. Reed, 1807 17 Call to Arms Courtney’s Christian Pocket Companion , 1805 A.A. Blocker, 1954 45b Lofty Sky Isaac Watts, 1719 A.D. Fillmore, 1865 37 Heaven’s My Home A.J. Showalter A.J. Showalter, 1889 189 One by One A.J. Showalter A.J. Showalter, 1889 54 My Trust Isaac Watts, 1709 A.M. Cagle, 1954 How Beautiful Heaven 77 Must Be Mrs. A. S. Bridgewater, 1920 A.P. Bland, 1920 Lady Touch Thy Harp 82t Again F.L. Stanton, 1881 A.R. Churchill, 1887 409t Little Marlborough Isaac Watts, 1707 Aaron Williams, 1763 519 Dalston Isaac Watts, 1719 Aaron Williams, 1763 398t St. Thomas Isaac Watts, 1719 Aaron Williams, c.1769 72t Jordan Samuel Stennett, 1787 Abner Jones, 1834 126 Ocean Isaac Watts, 1719 Adgate’s Philadelphia Harmony , 1789 72b Joyful News The American Baptist Sabbath-School Hymn-Book Aitken’s Compilation , 1787 432b Fish Pond Isaac Watts, 1707 Albert G. Holloway, Coosa County, Ala., 1873 390 Crown of Light Alexander Pope, 1712 Alexander Clark, 1853 480 Salineville Isaac Watts, 1707 Alexander Clark, 1853 287 Indian Convert T.D.C. in Youth's Magazine , 1814 Alexander Johnson, 1821; Alto, 1867 52 Newburg Isaac Watts, 1719 Amos Munson, 1798 58b Primrose Isaac Watts, 1707 Amzi Chapin, 1812 199 Vernon Charles Wesley, 1742 Amzi Chapin, 1813 455b Rockbridge Isaac Watts, 1709 Amzi Chapin, c.1798; Treble, 1847; Alto, 1867 419t Rockingham (First) Charles Wesley, 1739 Amzi Chapin; Arr. -
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. -
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. -
Barbara Allen
120 Charles Seeger Versions and Variants of the Tunes of "Barbara Allen" As sung in traditional singing styles in the United States and recorded by field collectors who have deposited their discs and tapes in the Archive of American Folk Song in the Library of Congress, Washington, D.C. AFS L 54 Edited by Charles Seeger PROBABLY IT IS safe to say that most English-speaking people in the United States know at least one ballad-tune or a derivative of one. If it is not "The Two Sisters, " it will surely be "When Johnny Comes Marching Home"; or if not "The Derby Ram, " then the old Broadway hit "Oh Didn't He Ramble." If. the title is given or the song sung to them, they will say "Oh yes, I know tllat tune." And probably that tune, more or less as they know it, is to them, the tune of the song. If they hear it sung differently, as may be the case, they are as likely to protest as to ignore or even not notice the difference. Afterward, in their recognition or singing of it, they are as likely to incor porate some of the differences as not to do so. If they do, they are as likely to be aware as to be entirely unconscious of having done ·so. But if they ad mit the difference yet grant that both singings are of "that" tune, they have taken the first step toward the study of the ballad-tune. They have acknow ledged that there are enough resemblances between the two to allow both to be called by the same name. -
Hymnody of Eastern Pennsylvania German Mennonite Communities: Notenbüchlein (Manuscript Songbooks) from 1780 to 1835
HYMNODY OF EASTERN PENNSYLVANIA GERMAN MENNONITE COMMUNITIES: NOTENBÜCHLEIN (MANUSCRIPT SONGBOOKS) FROM 1780 TO 1835 by Suzanne E. Gross Dissertation submitted to the Faculty of the Graduate School of The University of Maryland in partial fulfillment of the requirements for the degree of Doctor of Philosophy 1994 Advisory Committee: Professor Howard Serwer, Chairman/Advisor Professor Carol Robertson Professor Richard Wexler Professor Laura Youens Professor Hasia Diner ABSTRACT Title of Dissertation: HYMNODY OF EASTERN PENNSYLVANIA GERMAN MENNONITE COMMUNITIES: NOTENBÜCHLEIN (MANUSCRIPT SONGBOOKS) FROM 1780 TO 1835 Suzanne E. Gross, Doctor of Philosophy, 1994 Dissertation directed by: Dr. Howard Serwer, Professor of Music, Musicology Department, University of Maryland, College Park, Maryland As part of an effort to maintain their German culture, the late eighteenth-century Mennonites of Eastern Pennsylvania instituted hymn-singing instruction in the elementary community schoolhouse curriculum. Beginning in 1780 (or perhaps earlier), much of the hymn-tune repertoire, previously an oral tradition, was recorded in musical notation in manuscript songbooks (Notenbüchlein) compiled by local schoolmasters in Mennonite communities north of Philadelphia. The practice of giving manuscript songbooks to diligent singing students continued until 1835 or later. These manuscript songbooks are the only extant clue to the hymn repertoire and performance practice of these Mennonite communities at the turn of the nineteenth century. By identifying the tunes that recur most frequently, one can determine the core repertoire of the Franconia Mennonites at this time, a repertoire that, on balance, is strongly pietistic in nature. Musically, the Notenbüchlein document the shift that occured when these Mennonite communities incorporated written transmission into their oral tradition. -
Church Music United States
Church Music in the United States 1760–1901 essays by David W. Music and Paul Westermeyer Published in partnership with the Center for Church Music, Concordia University Chicago MorningStar Music Publishers, Inc. 1727 Larkin Williams Road, Saint Louis, Missouri 63026-2024 morningstarmusic.com © 2014 by MorningStar Music Publishers, Inc. All rights reserved. Published 2014 Printed in the United States of America No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, mechanical, electronic, recording, photocopying or otherwise, anywhere in the world, including public perfor- mance for profit, without the prior written permission of the above publisher of this book. ISBN 978-0-944529-63-8 Library of Congress Cataloging-in-Publication Data Church music in the United States : 1760-1901 / essays by David W. Music and Paul Westermeyer. pages cm Includes bibliographical references and index. ISBN 978-0-944529-63-8 (alk. paper) 1. Church music--United States--19th century. 2. Church music--United States--18th century. I. Music, David W., 1949- author. II. Westermeyer, Paul, 1940- author. ML2911.4.C38 2014 781.700973--dc23 2014032347 vii TABLE OF CONTENTS Foreword xi Preface xiii Abbreviations xv Part I: 1760–1861—David W. Music Essay 1 American Psalmody in the Northeastern States and Canada 3 British Elaborate Psalmody 3 The Introduction of Elaborate Psalmody into America 5 William Billings 7 Later American Composers and Collections of Psalmody 10 Psalmody in Canada 13 Church Music -
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). -
MAY, 2011 Scarborough Presbyterian Church Scarborough, New York
THE DIAPASON MAY, 2011 Scarborough Presbyterian Church Scarborough, New York Cover feature on pages 30–32 May 2011 Cover A_518.indd 1 4/14/11 9:57:16 AM May 2011 pp. 2-19.indd 2 4/14/11 9:58:14 AM THE DIAPASON Letters to the Editor A Scranton Gillette Publication One Hundred Second Year: No. 3, Whole No. 1218 MAY, 2011 Review of Wayne Leupold Editions “major concerns” for any publisher. Established in 1909 ISSN 0012-2378 Bach Vol. 8 I’m not sure whether they should nec- An International Monthly Devoted to the Organ, I am well aware that one of the func- essarily be a major concern, but to me the Harpsichord, Carillon, and Church Music tions of a critical review is to criticize, the way a book feels and looks quite but that is certainly not the only func- obviously has an impact. If a book feels tion. As important as what one says nice, I want to pick it up, read and play negatively is what one says positively. It from it again and again. I think that’s CONTENTS Editor & Publisher JEROME BUTERA [email protected] is rare that one fi nds a work so poor that a highly desirable quality for any book 847/391-1045 good things cannot be said about it. But to have. FEATURES when one chooses to review a work with It is true that I wrote little about the Eighth International Organ and Associate Editor JOYCE ROBINSON so many outstanding features as the fi rst introductory essay, although I did com- Early Music Festival, Oaxaca, Mexico, [email protected] volume of Wayne Leupold Editions new ment on a few details in it. -
Much of the Scholarly Research Regarding Music in a Black Religious
Much of the scholarly research regarding music in a black religious context is limited to spirituals and contemporary gospel, largely neglecting the shape-note singing tradition. As African American participation in shape-note singing declines due to social change and an aging population base, it is vital that shape-note literature and practices be included in the study of traditions that make up the landscape of African American choral practice in the United States. The following article will discuss the African American practice of shape-note singing (specifi cally seven- shape gospel singing) and highlight the author’s visit to two singing conventions that represent remaining strongholds of this tradition in the United States. AFRICAN AMERICAN PRACTICE OF SHAPE-NOTE SINGING IN THE UNITED STATES DERRICK FOX Derrick Fox Assistant Professor of Choral Music Education and Choral Conducting Ithaca College School of Music [email protected] CHORAL JOURNAL Volume 56 Number 5 39 AFRICAN AMERICAN PRACTICE OF SHAPE- Early Shape-Note Development ule small singings that progress to the larger convention In 1801, William Little and William Smith’s The Easy singings generally held at the same time each year.10 The Instructor, or a New Method of Teaching Sacred Harmony, con- author’s personal experience attending two major shape- taining the Rudiment of Music on an Improved Plan, wherein the note conventions is discussed later in this article. Naming and Timing the notes are familiared to the weakest capacity,1 With the continued improvement of music -
CD 5 Southern Gospel Shapenote Singing
1. Amazing Grace 2:33 13. America on Her Knees 3:22 2. Heaven’s Jubilee 2:01 14. The Walls Came Down 2:52 3. Gonna Shout All Over God’s 15. My Jesus Knows 3:02 Heaven 1:51 16. Praying, Hoping, Trusting, 4. Glory Glory, I’m So Glad 2:43 Clinging 3:00 5. The Grand Highway 4:49 17. What A Glorious Morn 3:18 6. It’s Gonna Be Wonderful 1:33 18. There Is A Part For Me 1:52 7. Come, Lean On Me 4:15 19. The Roll Call Day 2:23 8. They Sang a Song in the Night 20. Sing Hallelujah 3:28 3:14 21. Here I Am, Oh, Lord, Send Me 9. Some Morning Fair 3:08 4:00 10. What A Morning! 1:48 22. He’s in Control 1:42 11. The Voice in the Wilderness 23. Ole Jordan 3:55 2:36 24. Come and Go With Me 1:44 12. Ready Just Any Day 1:12 25. What a Meeting in the Air 3:44 Traditional Musics of Alabama Series Volume 5 Alabama Traditions 205 © 2010 Alabama Folklife Association and the Alabama Center for Traditional Culture 201 Monroe Street, Montgomery, AL 36104 AlabamaFolklife.org and TraditionalCulture.org Preface This CD project attempts to highlight the importance, in Ala- bama, of the enduring Southern Gospel “New-Book” or seven shapenote singing tradition, represented here by regional organizations that make up the Alabama State Gospel Sing- ing Convention. Well known to this fi eld of singers are home- grown gospel songwriters such as G.T. -
“Why Should the Devil Have All the Pretty Tunes?” the Great Awakening of a New American Idiom: Organ Music Based on Shape-Note Hymns
“WHY SHOULD THE DEVIL HAVE ALL THE PRETTY TUNES?” THE GREAT AWAKENING OF A NEW AMERICAN IDIOM: ORGAN MUSIC BASED ON SHAPE-NOTE HYMNS by SARAH ROBERTA READ-GEHRENBECK Submitted to the faculty of the School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2017 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Christopher Young, Research Director & Chair ______________________________________ Janette Fishell ______________________________________ Mary Ann Hart ______________________________________ Gretchen Horlacher ______________________________________ Marilyn Keiser December 6, 2017 ii Copyright © 2017 Sarah Roberta Read-Gehrenbeck iii Acknowledgements I wish to express my profound gratitude to my professors, who have been a great source of inspiration to me. Each one brought a unique palette of knowledge and experience to bear upon this project. Thank you, Dr. Young, for your guidance and insight as my Research Director. You have always given me a great deal to think about—the breadth and depth of your knowledge is truly stunning. A special thank you to Dr. Keiser – the reason I came to Indiana University in the first place. You planted and nourished the seeds of my passion for Hymnody, and you have supported my work from the beginning to the end of my studies. You have mentored me, and inspired me with your leadership and passion for education and per- formance. I count my blessings that I was able to absorb your wisdom as your Music Intern at Trinity. Prof.