The Southern Harmony

Lowens, Irving; Walker, William; Wilcox, Glenn C.

doi:10.2307/895088

Cited by 4 publications

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“…It seems likely that the middle part is intended to be sung by tenors and the upper part by female voices, as is sometimes the case in the singing school tradition. 37 But no specific guidance is given for which parts children should sing. Unfortunately, Osborn's tunebook includes only the opening lyrics of each hymn, making it virtually impossible to use without consulting the Sunday School Hymn Book.…”

Section: Sunday School Tunebooksmentioning

confidence: 99%

Early American Sunday School Tunebooks: Laboratories for Public School Music

Sanders

2022

Journal of Historical Research in Music Education

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Early nonsectarian Sunday Schools provided instruction in spelling, reading, writing, and singing in the years prior to the introduction of free, public education in the United States. This study explores the Sunday school as a laboratory for public school music education. Several of the first Sunday school tunebooks included theoretical introductions with elementary instruction in music reading much like the early school songbooks that followed. Three early tunebooks will be considered, E. Osborn’s The Sunday School Music Book (1826), Ezra Barrett’s Sabbath School Psalmody (1828), and Elam Ives, Jr’s American Sunday-School Psalmody (1832). In each case, the various “experiments” introduced in the tunebooks will be discussed. Some of these experiments were rejected in the public schools, but others had lasting importance.

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Section: Sunday School Tunebooksmentioning

confidence: 99%

Early American Sunday School Tunebooks: Laboratories for Public School Music

Sanders

2022

Journal of Historical Research in Music Education

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Hymnody as History: Early Evangelical Hymns and the Recovery of American Popular Religion

Marini¹

2002

Church Hist

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The hymns of evangelical Protestantism are the most widely used spiritual texts in American history. Sacred lyrics like “All hail the power of Jesus' name,” “Jesus, lover of my soul,” “How firm a foundation,” and “When I survey the wondrous cross” have been sung, preached, and prayed by millions of Americans since the eighteenth century. At worship, revivals, youth services, conferences, conventions, and colleges, and in the family circle, these hymns have been ceaselessly repeated in an unending round of living oral tradition. Since the Great Awakening two and a half centuries ago, the churches of the evangelical tradition have published tens of thousands of hymn texts and tunes. This continuous popularity since colonial times establishes hymnody as a crucial expression of American evangelical religiousness.

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"As Far From Secular, Operatic, Rag-time, and Jig Melodies As Is Possible": Religion and the Resurgence of Interest in The Sacred Harp, 1895-1911

Vinson¹

2006

jaf

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Since its publication in 1844, the shape-note tunebook The Sacred Harp has primarily found use in the nonsectarian venue of the singing convention. Around the turn of the twentieth century, however, several promoters of Sacred Harp singing tried to identify the singing tradition more closely with impulses toward religious revival within Southern Protestantism. This identification was one of the factors that fueled a revival of interest in Sacred Harp singing itself during these years.

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The Southern Harmony

Cited by 4 publications

References 0 publications

Early American Sunday School Tunebooks: Laboratories for Public School Music

Early American Sunday School Tunebooks: Laboratories for Public School Music

Hymnody as History: Early Evangelical Hymns and the Recovery of American Popular Religion

"As Far From Secular, Operatic, Rag-time, and Jig Melodies As Is Possible": Religion and the Resurgence of Interest in The Sacred Harp, 1895-1911

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