DOCSLIB.ORG

Bibliography of Sources Included in SWASMIS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bibliography of Sources Included in SWASMIS Bibliography of sources included in Southern and Western American Sacred Music and Influential Sources (1700-1870) © by Nikos Pappas, May 2013 1 1. Printed tunebooks, tune collections, musical supplements, and metrical psalters [The Twelve Tunes for the Church of Scotland, composed in Four Parts]. (Aberdeen): (John Forbes), 1666. [The CL. Psalmes of David in Prose and Meter. For the Use of the Kirk of Scotland]. Middleburg: Richard Schilders, 1599. 225 Melodien deutscher Kirchengesänge meist aus dem 16. und 17. Jahrhundert in ihen ursprünglichen Rhuthmen und Tonen, nach Dr. Fr. Layriz. Rev. ed. St. Louis: M. C. Barthel, 1865. Adams, Abraham. The Psalmist's New Companion. ed. 6. London: Thompson & Son, c. 1760. Adams, Benoni. The Evening Star. In three parts: I. The rules of vocal music, in a short and concise manner, which scholars ought to commit to memory before they begin to sing. II. A few tunes in the different moods, suitable for young scholars. III. A supplement, which a teacher may explain or a scholar study, as need requires. Ed. 2. Utica: William Williams, for Benoni Adams and L. & B. Todd, 1820. Addington, Stephen. A Valuable Selection of Psalm and Hymn Tunes: from the most esteemed English authors. Adapted to public worship, and which are now used by the congregation at the Independent Tabernacle, in Philadelphia. Philadelphia: M. Carey, 1808. Adgate, Andrew and Ishmael Spicer. Philadelphia Harmony, or, A Collection of Psalm Tunes, Hymns, and Anthems, selected by A. Adgate: together with the rudiments of music on a new and improved plan. Ed. 3. Philadelphia: Westcott & Adgate, 1789. Adgate, Andrew. Philadelphia Harmony, or, A Collection of Psalm Tunes, Hymns, and Anthems, selected by A. Adgate: together with the rudiments of music on a new and improved plan. Ed. 4. Philadelphia: Westcott & Adgate, 1791. Adgate, Andrew. Philadelphia Harmony, or, A Collection of Psalm Tunes, Hymns, and Anthems, selected by A. Adgate: together with the rudiments of music on a new and improved plan. Ed. 4. Philadelphia: John M'Culloch, 1791. Adgate, Andrew. Philadelphia Harmony, or, A Collection of Psalm Tunes, Hymns, and Anthems, Part II. Ed. 4. Philadelphia: John M'Culloch, 1791. Adgate, Andrew. Philadelphia Harmony, or, A Collection of Psalm Tunes, Hymns, and Anthems, selected by A. Adgate: together with the rudiments of music on a new and improved plan. Ed. 7. Philadelphia: Mathew Carey, 1801. Aiken, J. B. Harmonia Ecclesiæ; or, Companion to the Christian Minstrel: being a very choice collection of psalm and hymn tunes, anthems, chants, &c. designed for choirs, singing schools, and singing societies. Philadelphia: the proprietor, 1853. Aiken, Jesse P. The Christian Minstrel. A new system of musical notation, with a collection of psalm tunes, anthems, and chants, selected from the most popular works in Europe and America designed for the use of churches, singing schools, and societies. Philadelphia: T.K. Collins, Jr., 1846. Aiken, Jesse P. The Sabbath-School Minstrel; being a collection of the most popular hymns and tunes, together with a great variety of the best anniversary pieces. The whole forming a complete manual for the sabbath-school. Philadelphia: by the proprietor, 1859. Aiken, L. W. Crystal Gems for the Sabbath-School: containing a choice collection of new hymns and tunes, suitable for anniversaries and all other exercises of the Sabbath-School, together with a fine selection of hymns for prayer and praise meetings: in the seven character notes, with a clear explanation of first principles of musical science. Philadelphia: Miller’s Bible and Pub. House, 1875. Aitken, John. A Compilation of the Litanies and Vespers Hymns and Anthems as They are Sung in the Catholic Church adapted to the voice or organ. Philadelphia: John Aitken, 1787. 2 Aitken, John. A Compilation of the Litanies and Vespers Hymns and Anthems as They are Sung in the Catholic Church adapted to the voice or organ. Philadelphia: John Aitken, 1787. Aitken, John. Aitken’s Collection of Divine Music. Consisting of psalms, hymns, chants & anthems. For one, two, three & four voice organ & pianaforte. Philadelphia: John Aitken, 1806. Aitken, John. Aitken’s Collection of Divine Music. Consisting of psalms, hymns, chants & anthems. For one, two, three & four voice organ & pianaforte. Ed. 2. Philadelphia: John Aitken, 1807. Aldrich, Rev. J. The Sacred Lyre: a new collection of hymns and tunes, for social and family worship. Boston: Andrew F. Graves; Now York: Andrew F. Graves; New York: Sheldon, Blakeman & Co.; Cincinnati: George S. Blanchard. Allebach, J. C. and I. R. Hunsberger. Temple Harp: being a very choice collection of sacred music, comprising the most popular Psalm and hymn tunes, anthems, etc., ever issued from the press in J. B. Aikin’s seven figured or character notes, including a new and thorough course of instruction in the elementary principles of musical science. Philadelphia: Miller’s Bible and Pub. House, 1872. Allen, F. D. The New York Selection of Sacred Music, containing a great number of plain tunes, carefully arranged, and particularly designed for church worship, and generally suited to the several metres in the psalms and hymns used in the Dutch Church. To which is added an appendix, containing both plain and repeating tunes, intended for the various metres in Watts, Dwight, Dobell, Rippon, and others. The whole of the work has been carefully compiled from the best American and European Authors. [New York: for the author] 1818. Allen, F. D. The New York Selection of Sacred Music, containing a great number of plain tunes, carefully arranged, and particularly designed for church worship, and generally suited to the several metres in the psalms and hymns used in the Dutch Church. To which is added an appendix, containing both plain and repeating tunes, intended for the various metres in Watts, Dwight, Dobell, Rippon, and others. The whole of the work has been carefully compiled from the best American and European Authors. Ed. 4. [New York]: R. M’Dermut, W. B. Gilley and J. C. Totten, 1820. Allen, F. D. A Selection of Sacred Music… for the use of the Reformed Dutch Church, in the City of New York. New York: For the author, by P. van Pelt, 1818. Allen, William Francis, Charles Pickard Ware, Lucy McKim Garrison. Slave Songs of the United States. n.p., 1867. Amateur. Supplement To The Missouri Harmony; containing twenty-three choice tunes of the various metres, one anthem, two set pieces, one duett, one song and one short chorus. (The duett and sacred song are arranged for the organ or piano forte,) Selected from some of the most approved collections of sacred music. Cincinnati: Morgan and Sanxay, 1836. Armstrong, John, The Pittsburgh Selection of Psalm and Hymn Tunes. Pittsburgh: Cramer, Spear and Eichbaum, 1816. Arnold, Adam. Geistliche Ton-Kunst, enthaltend die vornehmsten Kirchen-Melodien, die bey allen Religions-Verfassungen gebräuchlich, - auf vier Stimmen gesetzt; und mit den vornehmsten musicalischen Stücken, sammt hinreichendem Unterricht versehen; zur Uebung der Jugend. Elisabeth-(Hägers-)Taun, Md.: Johann Gruber, 1803. Arnold, Dr. [Samuel], assisted by Dr. John Wall Callcott. The Psalms of David for the Use of Parish Churches. London: For John Stockdale and George Goulding, 1791. Arnold, John. The Compleat Psalmodist. London: A. Pearson, for the author, 1741. Arnold, John. The Compleat Psalmodist. Ed. 2. London: Robert Brown, for the author, 1750. Arnold, John. The Leicestershire Harmony. London: Robert Brown for the author, 1759. Ashmead, Samuel. The Musical Repository, being a collection of popular music, principally original, and adapted to the use of Sabbath-Sschools, and other juvenile institutions. Philadelphia: James Harmstead, 1847. Ashworth, Caleb. A Collection of Tunes. London: J. Buckland, c. 1760. 3 Atwill, Thomas H. The New York & Vermont Collection of Select Music. Ed. 3. New York: by the Author, c. 1807-10. Atwill, Thomas H. The New-York & Vermont Collection of Sacred Harmony, containing the necessary rules of music with a variety of psalm & hymn tunes, set-pieces & anthems; many of which are original: compiled for the use of worshiping assemblies & singing societies, from the most approved antient & modern authors, by Thomas H. Atwill. Ed. 2. Albany: B. Buckley, (1804). Atwill, Thomas H. The New-York Collection of Sacred Harmony. Lansingburgh: for the editor by Abner Reed, 1795. Auld, Alexander. Farmers’ and Mechanics Minstrel of Sacred Music, containing a choice selection of tunes, anthems, etc., from the best American and foreign authors of church music; also a few appropriate moral songs, for the use of temperance societies, schools, academies, orchestras, etc. Cincinnati: Moore, Wilstach, Keys and Company, 1863. Auld, Alexander. The Key of the West: or The Ohio Collection of Sacred Music. Containing a choice selection of tunes, chants, and anthems, &c. from the best American and foreign authors of church music. Also a few appropriate moral songs, for the use of temperance societies, schools, academies, orchestras, &c. Columbus, Oh.: J. H. Riley and Company, 1856. Auld, Alexander. The Ohio Harmonist; a collection of psalm and hymn tunes, from the best authors: to which is added A Supplement of Temperance Songs; for the use of congregations, singing schools, temperance meetings, and musical associations; consisting of three parts: Parts I. and III. Contain the seven syllables, in patent notes. Part II. Contains the four syllables, in patent notes. Also, containing the rudiments of music, on a plain and concise plan. Washington, Oh.: A. Auld and Joshua Martin, 1847. Auld, Alexander. The Ohio Harmonist: a collection of psalm and hymn tunes from the best authors: to which is added a supplement of temperance songs: also containing the rudiments of music on a plain and concise plan. Enl. and rev. ed. Columbus: J. H. Riley and Company, 1852. Aumann, Diederich Christian. Choral-Buch für das neue Hamburgische Gesangbuch. Hamburg: Gottlieb Friedrich Schniebes, 1787. B[arber], A[braham].
Load more

Recommended publications
  • Missouri Historical Revi Ew
    MISSOURI HISTORICAL REVI EW, CONTENTS The Missourian Walter B. Stevens A Century of Missouri M lisle Ernst C. Krohn How Clay County Celebrated Her Centennial Mrs. Ethel Massie Withers The Five Oldest Family Newspapers in Missouri Grace L. Gilmore Shelby's Expedition to Mexico John N. Edwards Pioneer Life in Southwest Missouri Wiley Britton. Historical Notes and Comments Historical Articles in Missouri Newspapers STATE HISTORICAL SOCIETY ^MISSOURI JANUARY, 1923 THE MISSOURI HISTORICAL REVIEW Vol. XVII January, 1923 No. 2 CONTENTS The Missourian 117 WALTER B. STEVENS A Century of Missouri Music 130 ERNST C. KROHN How Clay County Celebrated Her Centennial 159 MRS. ETHEL MASSIE WITHERS The Five Oldest Family Newspapers in Missouri 16? GRACE L. GILMORE Shelby's Expedition to Mexico 187 JOHN N. EDWARDS Pioneer Life in Southwest Missouri 198 WILEY BRITTON Historical Notes and Comments 212 Historical Articles in Missouri Newspapers 239 r^§^> FLOYD C. SHOEMAKER, Editor The Missouri Historical Review is published quarterly. The sub­ scription price is $1.00 a year. A complete set of the REVIEW is still obtainable—Vols. 1-16, bound, $65.00; unbound. $32.00. Prices of separate volumes given on request. All communications should be addressed to Floyd C. Shoemaker, Secretary, The State Historical So­ ciety of Missouri, Columbia, Missouri. ** Entered as second-class matter at the postoffice at Columbia, Mis­ souri, under act of Congress, Oct. 3, 1917, Sec. H2-" CONTRIBUTORS WALTER B. STEVENS, author and journalist, is the most popular historical writer in Missouri. Mr. Stevens has over a score of books to his credit and in 1921 published a Centennial History of Missouri.
    [Show full text]
  • Exploring the Complex Political Ideology Of
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Texas A&M University RECOVERING CARL SANDBURG: POLITICS, PROSE, AND POETRY AFTER 1920 A Dissertation by EVERT VILLARREAL Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2006 Major Subject: English RECOVERING CARL SANDBURG: POLITICS, PROSE, AND POETRY AFTER 1920 A Dissertation by EVERT VILLARREAL Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, William Bedford Clark Committee Members, Clinton J. Machann Marco A. Portales David Vaught Head of Department, Paul A. Parrish August 2006 Major Subject: English iii ABSTRACT Recovering Carl Sandburg: Politics, Prose, and Poetry After 1920. (August 2006) Evert Villarreal, B.A., The University of Texas-Pan American; M.A., The University of Texas-Pan American Chair of Advisory Committee: Dr. William Bedford Clark Chapter I of this study is an attempt to articulate and understand the factors that have contributed to Carl Sandburg’s declining trajectory, which has led to a reputation that has diminished significantly in the twentieth century. I note that from the outset of his long career of publication – running from 1904 to 1963 – Sandburg was a literary outsider despite (and sometimes because of) his great public popularity though he enjoyed a national reputation from the early 1920s onward. Chapter II clarifies how Carl Sandburg, in various ways, was attempting to re- invent or re-construct American literature.
    [Show full text]
  • 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).
    [Show full text]
  • Minutes of Sacred Harp Singings, Conducts Camp Fasola, Hosts the Fasola.Org Web Site, and Administers Other Projects to Promote Sacred Harp Singing
    Sacred Harp Singings 2020 & 2021 How to Submit Minutes 4 E-Mail Instructions / Deadlines 5 2021 Directory Annual Singings 7 Fifth Sunday Singings 28 Local Singings 29 Directions to Churches 43 2020 Minutes Key to Singing Book Abbreviations 46 Minutes 47 Historical Memorial Project 137 Deaths 139 ONLINE EDITION Editorial: Judy Caudle, David Ivey, Samuel Sommers Production: Chris Thorman, Carolyn Deacy Sacred Harp Singings 2020 Minutes and 2021 Directory Volume 76 ISBN: 978-0-578-83354-5 Printed in the United States Copyright © 2021 Sacred Harp Musical Heritage Association fasola.org Editor’s Note In all the years of my life that I have been singing, Sacred Harp singings have been a place of refuge. I have attended many singings, and always found a few moments of peace. I have truly missed gathering with the people I love, singing these tunes that I love, and for a short time leaving the cares and troubles of the world outside. I look forward to a time when I can return to that beloved activity. The process for publishing and distributing the minutes book came about in the mid-1990s through the developments made by Jeff and Shelbie Sheppard and others. This process has continued until the present day because it worked well. As in all things, the minutes book must continue to move forward. It is now time to take advantage of new technology. The minutes book committee has decided to continue the publication and distribution of books, however, there are several changes. The Directory of Singings looks much as it has for many years, but it is all provisional.
    [Show full text]
  • Sacred Harp Singers, Professor Stephen A
    ―IF I CAN REACH THE CHARMING SOUND, I‘LL TUNE MY HARP AGAIN‖: THE FASOLA TUNEBOOK PUBLICATION RENAISSANCE By A. MITCHELL V. STECKER A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2019 © 2019 A. Mitchell V. Stecker ACKNOWLEDGMENTS There are many individuals and groups whose support has facilitated the undertaking and completion of this document. First, I sincerely thank Dr. Laura Ellis and Dr. Jennifer Thomas for their time and energy spent not only on my thesis committee, but for all they both have invested in me over the better part of the past decade. I also wish to express my gratitude to the individuals and groups who gave of their time in answering questionnaires, giving interviews, and having informal conversations about this fascinating musical phenomenon, including the St. Louis Sacred Harp Singers, Professor Stephen A. Marini, and Micah Walter. I thank my parents for their unflagging support of my educational endeavors for the entirety of my life, and Sarah, whose love, encouragement, and strength are continual sources of inspiration. And finally, I would like to thank my singing friends everywhere, without the friendship and hospitality of whom I likely never would have discovered and been taken by this incredible music. How sweet the hours have passed away/Since we have met to sing and pray; How loath we are to leave the place/Where Jesus shows His smiling face. Oh could I stay with friends so kind,/How would it cheer my drooping mind! But duty makes me understand/That we must take the parting hand.
    [Show full text]
  • Download Master List As A
    2/14/19 THESES AND DISSERTATIONS RELATED TO HYMNOLOGY MASTER LIST A Aalders, Cynthia Yvonne. “To Express the Ineffable: The Problems of Language and Suffering in the Hymns of Anne Steele (1717-1778).” Th.M., Regent College, 2007. Abbott, Rebecca L. “‘What? Bound for Canaan’s Coast?’: Songs of Pilgrimage in the American Church.” M.A., Gordon-Conwell Theological Seminary, 2002. Abbott, Rebecca Nelson. “Developing a Curriculum of Spiritual Formation for Children Through the Hymns of Charles Wesley at First United Methodist Church, Georgetown, Kentucky.” D.W.S., Robert E. Webber Institute for Worship Studies, 2010. Abee, Michele. “‘Journey into the Square’: A Geographical Perspective of Sacred Harp.” M.A., University of North Carolina at Greensboro, 2012. Abels, Paul Milford. “An Ecumenical Manual of Song for Young Churchmen.” S.M.M., Union Theological Seminary, 1965. Adams, Gwen E. “A Historical-Analytical Study of Johann Sebastian Bach’s Canonic Variations on the Christmas Hymn ‘Von Himmel Hoch, Da Komm’ Ich Her.’” M.M., Yale University, 1978. Adams, Nelson Falls. “The Musical Sources for John Wesley's Tunebooks: The Genealogy of 148 Tunes.” S.M.D., Union Theological Seminary, 1973. Adams, Robert Alvin. “The Hymnody of the Church of God (1885-1980) as a Reflection of that Church's Theological and Cultural Changes.” D.M.A., Southwestern Baptist Theological Seminary, 1980. Adekale, Elizabeth. “Christian Hymnody: Its Influence on African American Spirituals and Contemporary Christian Music.” M.A., Northeastern Illinois University, 2014. Adell, Marian Young. “Mystery–Body Lost, Body Found: The Decline, Loss and Recovery of the Body of Christ in Methodist Worship.” Ph.D., Drew University, 1994.
    [Show full text]
  • Nineteenth-Century American Literature and History: Trans-Mississippi West Fiche Listing
    Nineteenth-Century American Literature and History: Trans-Mississippi West Fiche Listing Anderson, Ephraim McDowell. [Corsan, W.C.]. Memoirs: historical and personal; including the Two months in the Confederate States, including a campaigns of the First Missouri Confederate brigade. visit to New Orleans under the domination of General Saint Louis, Times Printing Co. 1868 Butler. Fiche: 588-598 London, R. Bentley. 1863 By an English merchant. Austin, J.P. Fiche: 1013-1019a The blue and the gray: sketches of a portion of the unwritten history of the great American civil war, a Smith, James. truthful narrative of adventure, with thrilling An account of the remarkable Occurrances in the reminiscences of the great struggle on land and sea. Life and Travels of Colonel James Smith. Atlanta, Ga., The Franklin Printing and Publishing Fiche: 1100-1103 Co. 1899 Fiche: 600a-600g Field, Charles D. Three years in the saddle from 1861 to 1865; Barney, Chester. memoirs of Charles D. Field; thrilling stories of the Recollections of field service with the twentieth war in camp and on the field of battle. Iowa infantry volunteers; or, What I saw in the army, [Goldfield? Ia.]. [c.1898] embracing accounts of marches, battles, sieges, and Fiche: 1423-1424 skirmishes, in Missouri, Arkansas, Mississippi, Louisiana, Alabama, Florida, Texas, and along the Carden, Allen D. northern border of Mexico. The Missouri harmony; or, A collection of Psalm Davenport, Printed for the author at the Gazette Job and hymn tunes, and anthems, from eminent authors: Rooms. 1865 with an introduction to the grounds and rudiments of Fiche: 614a-614h music.
    [Show full text]
  • Newsletter Vol
    The Newsletter Vol. 5, No. 2 Stories about singers and singings, our music and traditions, and Sacred Harp’s present-day growth. Dec. 2016 Special Issue, Raymond C. Hamrick on The Sacred Harp Raymond C. Hamrick leading at the Mt. Zion Memorial Singing, Mt. Zion Methodist Church, Georgia, July 1973. Photograph by Bill Lightfoot. Courtesy of Pitts Theology Library. Raymond Cooper Hamrick, A Tribute Mary Brownlee | Barnesville, Georgia e knew Raymond through his apt tribute and memorial to Raymond Editor’s Note: Raymond Hamrick taught nearly lifelong association with Hamrick: Integrity was the mainspring, Mary Brownlee and her sisters Rosemund SacredW Harp, but he was known mainly and prudence the regulator of the actions Watson and Martha Harrell to sing, and in Macon as a master watch and clock of his life. He had the art of disposing for many decades Hamrick joined Brownlee repairman and jeweler. He often made of his time so well, that his hours glided and Watson to practice shape-note songs old house calls to repair clocks that could by in harmony and dignity. He ran down and new at Brownlee’s home in Barnesville. not be brought into his shop. I saw November 24, 2014, in hopes of being Brownlee read this tribute to Hamrick at him often at his workbench, working taken in hand by his Maker, thoroughly the 2015 Emmaus Primitive Baptist Church with tiny parts and tools. Precision cleaned, repaired, wound up, and set Singing, Thomaston, Georgia, and the and time marked his professional life, going in the world to come, when time Middle Georgia Singing, Union Primitive and he instructed us, and sometimes shall be no more.
    [Show full text]
  • Jack Leonard Ralston Papers, (K0424)
    PRELIMINARY INVENTORY K0424 (KA1082, KA1128) JACK LEONARD RALSTON PAPERS This collection is available at The State Historical Society of Missouri Research Center- Kansas City. If you would like more information, please contact us at [email protected]. Introduction Approximately 21 cubic feet. The collection consists of research materials, magazine articles, books, organ sheet music, correspondence, scrapbooks, long playing phonograph records, and other related documents concerning the personal life and career of Jack Leonard Ralston, a music librarian. Jack Leonard Ralston was born on October 13, 1929, in Kansas City, Missouri. He attended the Conservatory of Music of Kansas City and earned a master’s degree in music from the University of Kansas City in 1956. In 1967, Ralston graduated with a master’s degree in library science from the Peabody College for Teachers in Nashville, Tennessee. Between 1960 and 1994, Ralston worked as the music librarian for the University of Missouri-Kansas City, a special collections librarian at Regen University, an archivist for the Jesse Helms Center, and as a government document librarian for Fayetteville State University. Ralston contributed several articles to the column The Hymn between 1984 and 1989. In addition, he published music reviews and various music related articles in several music magazines. Donor Information The papers were donated to the University of Missouri by the University of Missouri- Kansas City, Miller Nichols Library on June 5, 2000 (Accession No. KA1082). An addition was made on July 10, 2001 by Jack L. Ralston (Accession No. KA1128). Copyright and Restrictions The Donor has given and assigned to the University of Missouri all rights of copyright, which the Donor has in the Materials and in such of the Donor’s works as may be found among any collections of Materials received by the University from others.
    [Show full text]
  • American Folk Hymns and the Second Great Enlightenment Spring Semester 2020, Tues -Thurs, 12:00-1:15 Pm, LI 325 (Honors Classroom - 3Rd Floor - Stewart Library)
    HNRS 2010: Exploring Key Concepts in the Disciplines – Humanities - CR# 32326 Make a Joyful Noise: American Folk Hymns and the Second Great Enlightenment Spring Semester 2020, Tues -Thurs, 12:00-1:15 pm, LI 325 (Honors Classroom - 3rd Floor - Stewart Library) IMPORTANT: This a FACE-TO-FACE class that meets twice a week; it is NOT an online class. Although access to all course materials is provided in Canvas, classroom attendance is REQUIRED. Any schedule changes, etc. will be posted to the Syllabus on Canvas Instructor: Dr. Wade Kotter, Social Sciences & Music Librarian Contact Info: Office: LI 236 (Library - 2nd Floor - South); Email: [email protected] (preferred); Phone: 626-7458 Office Hours: Mon & Wed: 12-1 pm; Tue & Thu: 2-3 pm; Fri: 8-9 am (or by appointment) Note: Due to privacy regulations, all contact between us about this course must be in person, by phone, by Wildcat Mail, or via Canvas. I cannot send any personal course related information to your personal email account. Course Description: How is sacred music impacted by historical, social, political and economic factors in addition to religious beliefs? Where do American folk hymns fit into this picture? Learn what a hymn is and the relationship between a hymn text and a hymn tune. Explore the origins of the American Folk Hymn in the context of the Second Great Enlightenment and the relationship of this genre to secular folk music in early America. Learn to sing the same way people learned to sing in late 18th and early 19th century America using music written in shape notes.
    [Show full text]
  • Music Heard Deeply: Song and Ethnic Interaction in the Cherokee Ozarks
    UNIVERSITY OF CENTRAL OKLAHOMA Edmond, Oklahoma College of Graduate Studies and Research Music Heard Deeply: Song and Ethnic Interaction in the Cherokee Ozarks A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of MASTER OF ARTS IN HISTORY By J. Justin Castro Edmond, Oklahoma 2008 For most of us, there is only the unattended Moment, the moment in and out of time, The distraction fit, lost in a shaft of sunlight, The wild thyme unseen, or the winter lightning Or the waterfall, or music heard so deeply That it is not heard at all, but you are the music While the music lasts. T. S. Eliot Four Quartets: The Dry Salvages iii Acknowledgements Throughout the process of creating this thesis, from deciding on a topic to revising chapters, Dr. Patricia Loughlin, chair of my thesis committee, was an excellent advisor and mentor. She pushed me forward when I wanted to give up and change topics, gave useful but positive criticism, and spent hours listening to my ideas, reviewing my papers, and helping organize this work. She deserves the utmost recognition for her ability to advise multiple graduate students, while working on important publications, being a civic leader, and teaching a full load of courses. I give many thanks to Dr. Carolyn Pool who worked with me in getting accepted into the history and museum studies program, patiently helped review essays and letters, and introduced me to the processes and theories involved in public history. Department Administrative Assistant Candace Carollo also deserves thanks for being there when I needed good conversation or had questions about classes, forms, grants, and a list of other things I have now forgotten.
    [Show full text]
  • Copyright © 2009 by Kurt F. Kammeyer This Work May Not Be Reproduced by Any Means Without Express Permission of the Author
    Copyright © 2009 by Kurt F. Kammeyer This work may not be reproduced by any means without express permission of the author. Please address any questions or comments to: [email protected] Website: http://www.earlyldshymns.com Copyright © 2009 by Kurt F. Kammeyer www.earlyldshymns.com PREFACE TO THE FOURTH EDITION What a difference a decade makes. This is the first all-electronic copy of this book, thanks to advances in computer technology and the Internet. The increased bandwidth and storage capacity of the Internet now permit this book to be placed online for all to access. In early 1836, Frederick G. Williams and William W. Phelps published the first hymnal of the Church of Jesus Christ of Latter-day Saints at Kirtland, Ohio. That tiny, leather-bound volume, only three by four and one-half inches in size, is the substance of this book. It contained ninety hymns, but only the words were included - the Saints were expected to know the tunes by heart. Emma Smith received her charge to begin compiling this hymnbook at a meeting of the High Council and the Presidency at Kirtland on September 14, 1835: It was further decided that Sister Emma Smith proceed to make a selection of Sacred Hymns, according to the revelation; [see D&C 25] and that President W. W. Phelps be appointed to revise and arrange them for printing. (HC v.II p. 273) Although the book was printed in 1836, it is still referred to as the “1835 hymnbook” because of the publication date on the title page. If the final printing of the hymnbook began in January of 1836, Williams and Phelps only had two months at most to complete it before it was in the hands of the choir that was practicing for the Kirtland Temple dedication.
    [Show full text]