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A Documentation of Muscogee-Seminole Hymns And William & Mary W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2016 Heleluyvn Yvhikares ("I Will Sing Hallelujah") A Documentation of Muscogee-Seminole Hymns and Hymn-Singing Practice Within the Seminole and Muscogee (Creek) Nations of Oklahoma Sarah Katherine Fredrick College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Other Languages, Societies, and Cultures Commons Recommended Citation Fredrick, Sarah Katherine, "Heleluyvn Yvhikares ("I Will Sing Hallelujah") A Documentation of Muscogee-Seminole Hymns and Hymn-Singing Practice Within the Seminole and Muscogee (Creek) Nations of Oklahoma" (2016). Undergraduate Honors Theses. Paper 917. https://scholarworks.wm.edu/honorstheses/917 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. Fredrick 2 Table of Contents Table of Figures…………………………………………………………………………………...3 Chapter 1: Introduction ................................................................................................................... 4 1.1 Historical Background of Muscogee-Seminole People and Hymns ..................................... 4 1.2 Preface to Muscogee-Seminole Documentation and Transcription Projects ........................ 7 1.3 Hymnals, Transcriptions, and Multi-Media Documentation .............................................. 11 1.4 Preface to Transcription ...................................................................................................... 13 Chapter 2: An Ethnographic Description of the Muscogee-Seminole Church Setting ................ 17 Chapter 3: Thematic Description of Muscogee-Seminole Hymns ............................................... 23 3.1 Praise to God or Jesus ......................................................................................................... 24 3.2 Heaven and Those who Dwell Therein ............................................................................... 25 3.3 ‘Those who have Gone on’ ................................................................................................. 25 3.4 Death and Impending Death ............................................................................................... 26 3.5 Religious Narratives............................................................................................................ 27 3.6 The Language of Hymns ..................................................................................................... 29 Chapter 4: Musical Description of Muscogee-Seminole Hymns ................................................. 30 4.1 Musical Form ...................................................................................................................... 30 4.2 Motifs .................................................................................................................................. 32 4.3 Key Signature...................................................................................................................... 32 4.4 Time Signature .................................................................................................................... 33 4.5 Tempo ................................................................................................................................. 35 Chapter 5: Hymn Transmission, Loss, and Association ............................................................... 37 5.1 Acquisition and Transmission............................................................................................. 37 5.2 Loss ..................................................................................................................................... 38 Fredrick 3 5.3 ‘Association’ of Singer with Hymn .................................................................................... 40 Chapter 6: Performance ................................................................................................................ 42 6.1 ‘Song’ vs. ‘Singing’ ............................................................................................................ 42 6.2 Congregation and Individual Singing: Differences in Performance Purpose ..................... 43 Chapter 7: Transcription ............................................................................................................... 45 7.1 Methodological Limitations ................................................................................................ 46 7.2 Future Direction .................................................................................................................. 47 References ..................................................................................................................................... 48 Appendix: Musical Transcriptions ................................................................................................ 50 Table of Figures Figure 1: Thewarle Church Interior ……………………………………………………………..17 Figure 2: Verse-Chorus Form, Cesvs Purke Likan………………………………………………28 Figure 3: Strophic Form, Aeha! Kut! Cv Hesayecv……………………………………………...29 Figure 4: Repeated Motifs, Aeha! Kut! Cv Hesayecv……………………………………………30 Figure 5: 4/4 Time Signature, Momis Komet Vpeyakvres……………………………………….32 Figure 6: 2/4 Time Signature, Pu Hesayecvn……………………………………………………32 Figure 7: 3/4 Time Signature, Tohweklepkv Vnakvn…………………………………………….32 Figure 8: 6/8 Time Signature, Emeyoksvt Vlakofvn……………………………………………...33 Fredrick 4 Chapter 1: Introduction Muscogee-Seminole hymns1 are an integral component of the religious practice and life of the Seminole and Muscogee (Creek) people. Hymns preserve the Muskogee (Creek) language and enforce its continuation through repeated practice in churches and homes. Songs of prayer unite congregations in shared memory of those who have passed on, and are a source of pride upon which Christian and community identity is built. During the summers of 2014 and 2015 I visited the Seminole and Muscogee (Creek) Nations of Oklahoma, where I attended Muscogee (Creek) church, visited a Seminole Nation language immersion school, and aided in a video documentation project of the Muskogee (Creek) language and Muscogee-Seminole songs. I also conducted several formal and informal interviews about hymns with Muscogee community members both in person and over video chat. From my participation, observation, and conversation I became aware of a deep community concern with the loss of knowledge and practice of hymns, as well as with the documentation of religious songs. My objective is to provide documentation of Muscogee-Seminole hymns and the Muscogee hymn-singing tradition by way of musical transcription and description. It is my hope that these might serve the Seminole and Muscogee (Creek) communities as both a cultural record, a source of remembrance and pride, and as a teaching resource for future generations. 1.1 Historical Background of Muscogee-Seminole People and Hymns The history of the people of the Seminole and Muscogee (Creek) Nations provides insight into the origin and importance of Muscogee-Seminole hymns. The native peoples who would much later form the Muscogee (Creek) and Seminole Nations of Oklahoma originated in the southeastern United States, in what are now the states of Georgia and Alabama (Schultz 1 I use the terms ‘hymn’ and ‘song’ interchangeably- both are used by members of the Seminole and Muscogee (Creek) Nations to refer to Muscogee-Seminole hymns. Fredrick 5 1999, Taborn 2004: 26,). These people were early speakers of the Muskogee language and were referred to broadly by early European traders and settlers as “Creek.” Those who settled in the western and southern regions by the Coosa and Tallapoosa rivers were identified by Europeans as “Lower Creeks.” Those who moved to settle in the southeast, along the Chattahoochee and Flint rivers, were referred to as “Upper Creeks.”As contact and conflict with Europeans grew in the 17th and 18th centuries, some of the “Creek” population moved to Florida. It was during this time that the term “Seminole” was first applied to Muskogee speakers, used to distinguish the Florida bands from their northern Creek relatives. In the 1830s most Muscogees and Seminoles were forced to relinquish their land claims in Florida and move to Indian Territory in Oklahoma. In 1856, the Oklahoma Seminoles and Creeks negotiated a treaty which provided the two Nations with separate land and government. Today, the Muscogee (Creek) Nation and the Seminole Nation represent two tribes with separate tribal complexes and governments. However, linguistically, those who belong to the Muscogee (Creek) Nation and those who belong to the Seminole Nation are nearly indistinguishable (Schultz 1999:19). The Muskogee (Creek) language2 is spoken by several thousand citizens of both Nations. Since this project primarily addresses the music of the Muscogee-Seminole community, it is important to consider the influence of Christian missionaries, who brought with them the Christian religion and hymn-singing practice. The adoption of Christianity by the Seminoles and Creeks was gradual and faced with initial resistance. Baptist, Presbyterian, and Methodist missionaries arrived in Indian Territory post-Removal in the early to mid 1800s. Initial hostility toward
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