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Author: Marcus Lafayette Swan
Publisher:
ISBN:
Category : Hymns, English
Languages : en
Pages : 268
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Book Description
First published in 1867 in Knoxville and based on an even earlier publication of 1848, The New Harp of Columbia is a genuine item of Tennesseana and Americana. This book follows tradition by including old psalm and hymn tunes, anthems and fuguing pieces by the early Americans, many folk hymns, and numerous compositions by the complier himself. In addition to the songs themselves, this carefully produced facsimile edition included a new introduction tracing the history of harp singing and the origins of the book itself, an analysis of the songs, a description of a typical sing, and tables of the most popular songs and the annual sings in East Tennessee.
Author: Marcus Lafayette Swan
Publisher:
ISBN:
Category : Hymns, English
Languages : en
Pages : 268
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Book Description
First published in 1867 in Knoxville and based on an even earlier publication of 1848, The New Harp of Columbia is a genuine item of Tennesseana and Americana. This book follows tradition by including old psalm and hymn tunes, anthems and fuguing pieces by the early Americans, many folk hymns, and numerous compositions by the complier himself. In addition to the songs themselves, this carefully produced facsimile edition included a new introduction tracing the history of harp singing and the origins of the book itself, an analysis of the songs, a description of a typical sing, and tables of the most popular songs and the annual sings in East Tennessee.
Author: Marion J. Hatchett
Publisher: Univ. of Tennessee Press
ISBN: 9781572332034
Category : History
Languages : en
Pages : 532
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Book Description
"The shape-note tradition first flourished in the small towns and rural areas of early America. Church-sponsored "singing schools" taught a form of musical notation in which the notes were assigned different shapes to indicate variations in pitch; this method worked well with congregants who had little knowledge of standard musical notation. Today many enthusiasts carry on the shape-note tradition, and The New Harp of Columbia (recently published in a "restored edition" by the University of Tennessee Press) is one of five shape-note singing-manuals still in use."--Jacket.
Author: M. L. Swan
Publisher:
ISBN: 9781572331280
Category : Music
Languages : en
Pages : 287
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Book Description
In the small towns and rural areas of early America, church-sponsored “singing schools” proliferated as a way of both improving congregational singing and drawing communities together. Congregants attending these schools were taught a form of musical notation in which the notes were assigned different shapes to indicate variations in pitch—a method that worked well with singers having little understanding of standard musical notation. These schools eventually became major social events that drew hundreds of attendees, and today countless enthusiasts carry on the shape-note tradition. The New Harp of Columbia, originally published in Knoxville in 1867, was a shape-note tunebook used in East Tennessee singing schools. It was based on an even earlier publication, The Harp of Columbia (1848). In 1978, the University of Tennessee Press published a facsimile edition of The New Harp with an introduction by Dorothy D. Horn, Ron Petersen, and Candra Phillips that detailed the history of shape-note singing as well as the story of the tunebook itself and its original compilers, W. H. Swan and M. L. Swan. That edition went out of print in 1999. Now, for this “restored edition” of the tunebook, the Press has reprinted not only the full text of its 1978 facsimile edition but has included additional tunes that were part of the original 1848 Harp of Columbia. A few verses to some songs favored by contemporary singers have also been added, and a new foreword by Larry Olszewski and Bruce Wheeler brings the story of the tunebook and its users up to date. Included in the book are old psalm and hymn tunes, anthems, fuguing pieces, and folk hymns—a total of more than two hundred pieces that represent a fascinating slice of Americana. As a reviewer for the Journal of Church Music noted of the 1978 facsimile: “[The book is] a worthwhile addition to any church musician's library, especially those interested in the development of American sacred music over the past two centuries.” This publication marks a significant new step in preserving an important musical tradition.
Author: Marcus Lafayette Swan
Publisher:
ISBN: 9780870492518
Category : Hymns, English
Languages : en
Pages : 226
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Book Description
Author: Marcus Lafayette Swan
Publisher:
ISBN:
Category : Hymns, English
Languages : en
Pages : 232
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Book Description
Author: Marcus Lafayette Swan
Publisher:
ISBN:
Category : Hymns, English
Languages : en
Pages : 220
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Book Description
Author:
Publisher:
ISBN:
Category : Hymns, English
Languages : en
Pages : 224
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Book Description
Author: B. Paret
Publisher: Hal Leonard Publishing Corporation
ISBN: 9780793555239
Category : Music
Languages : en
Pages : 40
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Book Description
Harp
Author: M. L. Swan
Publisher:
ISBN:
Category : Church music
Languages : en
Pages : 224
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Book Description
Author: Laura Clawson
Publisher: University of Chicago Press
ISBN: 0226109631
Category : Music
Languages : en
Pages : 220
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Book Description
The Sacred Harp choral singing tradition originated in the American South in the mid-nineteenth century, spread widely across the country, and continues to thrive today. Sacred Harp isn’t performed but participated in, ideally in large gatherings where, as the a cappella singers face each other around a hollow square, the massed voices take on a moving and almost physical power. I Belong to This Band, Hallelujah! is a vivid portrait of several Sacred Harp groups and an insightful exploration of how they manage to maintain a sense of community despite their members’ often profound differences. Laura Clawson’s research took her to Alabama and Georgia, to Chicago and Minneapolis, and to Hollywood for a Sacred Harp performance at the Academy Awards, a potent symbol of the conflicting forces at play in the twenty-first-century incarnation of this old genre. Clawson finds that in order for Sacred Harp singers to maintain the bond forged by their love of music, they must grapple with a host of difficult issues, including how to maintain the authenticity of their tradition and how to carefully negotiate the tensions created by their disparate cultural, religious, and political beliefs.
