Source book on hymns (incl. Peter Cartwright)

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Title: The Story of the Hymns and Tunes Author: Theron Brown and Hezekiah Butterworth Release Date: May 24, 2006 [eBook #18444] Language: English Character set encoding: ISO-646-US (US-ASCII) THE STORY OF THE HYMNS AND TUNES by THERON BROWN and HEZEKIAH BUTTERWORTH _Multae terricolis linguae, coelestibus una._ _Ten thousand, thousand are their tongues, But all their joys are one._ New York, 1906 [Frontispiece: Thomas Ken] CONTENTS. PREFACE, v INTRODUCTION, ix 1. HYMNS OF PRAISE AND WORSHIP, 1 2. SOME HYMNS OF GREAT WITNESSES, 53 3. HYMNS OF CHRISTIAN DEVOTION AND EXPERIENCE, 100 4. MISSIONARY HYMNS, 165 5. HYMNS OF SUFFERING AND TRUST, 190 6. CHRISTIAN BALLADS, 237 7. OLD REVIVAL HYMNS, 262 8. SUNDAY SCHOOL HYMNS, 293 9. PATRIOTIC HYMNS, 321 10. SAILOR'S HYMNS, 353 11. HYMNS OF WALES, 378 12. FIELD HYMNS, 409 13. HYMNS, FESTIVAL AND OCCASIONAL, 458 14. HYMNS OF HOPE AND CONSOLATION, 509 INDEXES OF NAMES, TUNES, AND HYMNS, 543

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"WHERE NOW ARE THE HEBREW CHILDREN?" This quaint old unison, repeating the above three times, followed by the answer (thrice repeated) and climaxed with-- Safely in the Promised Land, --was a favorite at ancient camp-meetings, and a good leader could keep it going in a congregation or a happy group of vocalists, improvising a new start-line after every stop until his memory or invention gave out. They went up from the fiery furnace, They went up from the fiery furnace, They went up from the fiery furnace, Safely to the Promised Land. Sometimes it was-- Where now is the good Elijah? --and,-- He went up in a chariot of fire; --and again,-- Where now is the good old Daniel? He went up from the den of lions; --and so on, finally announcing-- By and by we'll go home for to meet him, [three times] Safely in the Promised Land. The enthusiasm excited by the swinging rhythm of the tune sometimes rose to a passionate pitch, and it was seldom used in the more controlled religious assemblies. If any attempt was ever made to print the song[22] the singers had little need to read the music. Like the ancient runes, it came into being by spontaneous generation, and lived in phonetic tradition. [Footnote 22: Mr. Hubert P. Main believes he once saw "The Hebrew Children" in print in one of Horace Waters' editions of the _Sabbath Bell_.] A strange, wild paean of exultant song was one often heard from Peter Cartwright, the muscular circuit-preacher. A remembered fragment shows its quality: Then my soul mounted higher In a chariot of fire, And the moon it was under my feet. There is a tradition that he sang it over a stalwart blacksmith while chastising him for an ungodly defiance and assault in the course of one of his gospel journeys--and that the defeated blacksmith became his friend and follower. Peter Cartwright was born in Amherst county, Va., Sept. 1, 1785, and died near Pleasant Plains, Sangamon county, Ill., Sept., 1872.

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INDEX OF NAMES. ABBOT, Lyman, 237, 326 ABT, Franz, 228, 364 ADAMS, E., 369 ADAMS, John, 368 ADAMS, John Quincy, 293 ADAMS, Sarah F., 152 ADDISON, Joseph, 113, 114, 353 ADRIAN, (Emperor), 515 AIBLINGER, Johan Caspar, 357 ALDRICH, Jonathan, 287 ALEXANDER, Mrs. C.F., 414 ALLEN, George N., 412 ALLEN, J.O., 129 ALMOND, ----, 364, 365 ALTENBURG, Johan M., 84 AMBROSE, xiii, 1, 2, 3 ANATOLIUS, 354 APES, William, 265 ARATUS, 237 ARNE, Thomas A., 107, 108 ARNOLD, Matthew, 109 ARNOLD, S., 287 ATCHISON, John B., 451 ATKINSON, John, 528, 529 AUBER, Harriet, 168, 169 AUGUSTINE, ix, 2, 3 AVISON, Charles, 327 BACH, Emanuel, 9 BACH, Sebastian, 9, 71 BAILEY, Thomas H., 112 BAKER, Sir Henry, 57 BALDWIN, Thomas, 262 BARLOW, Joel, 242, 243 BARNBY, Joseph, 102, 111, 469, 500, 504, 526, 539 BARNES, Albert, 35 BARTHELEMON, F.H., 202, 222 BASIL THE GREAT, 56 BASSINI, ----, 444 BEANES, William, 333 BEDDOME, Benjamin, 160, 169 BEECHER, Henry Ward, 218 BEETHOVEN, Ludwig Von, 5, 193, 327, 338 BELCHER, Dr., 44 BENNETT, Sanford F., 535-537 BENSON, Louis F., 204, 206 BENTHAM, Jeremy, 97 BERKELEY, Bp. George, 324-326 BERNARD OF CLAIRVAUX, 100 BERNARD OF CLUNY, 407, 510, 511, 519 BERRIDGE, John, 122, 123, 503 BERTHOLD OF TOURS, 55 BEZA, Theodore, xvi BIGLOW AND MAIN, 229 BILLINGS, William, 16, 327, 332, 333, 475 BISHOP, Sir Henry, 135 BLACKALL, C.R., 450 BLISS, Mrs. J. Worthington, 259 BLISS, Philip P., 155, 156, 319, 372, 421, 422, 424, 431, 436, 437, 442, 444, 454 BLOOMFIELD, Dorothy, 503 BOARDMAN, George Dana, 247 BOHLER, Peter, 46 BONAPARTE, Napoleon, 97, 389 BONAR, Horatius, 225, 226, 228, 309, 490, 415, 527 BONAR, James, 490 BONAVENTURA, 54, 458 BORTHWICK, Jane, 103, 499 BORTNIANSKY, Dimitri, 213 BOTTOME, Francis, 433 BOURDALOUE, 13 BOURGEOIS, Louis, 15 BOWRING, Sir John, 97, 98, 170, 501 BOYD, William, 513 BRADBURY, William B., 106, 107, 215, 217, 235, 311, 312, 363, 410, 513, 528 BRADY, Nicholas, 12, 14, 193 BRAINERD, David, 263 BREED, David R., 171, 176, 180, 226, 526 BROOKS, Charles T., 348 BROOKS, Bp. Phillips, x, 164, 169 BROWN, John, 342 BROWN, Phebe H., 229-232, 482 BROWN, Samuel, 232 BROWN, Theron, 188, 476, 480 BROWN, Timothy H., 229 BRUCE, Michael, 297 BRUNDAGE, ----, 454 BULL, John, 338 BURGMUeLLER, F., 425 BURNEY, Charles, 241, 407 BURNS, Robert, 333, 336, 367 BUTE, Walter, 379, 380 BUTTERWORTH, Hezekiah, v, vi, 186, 187, 252, 254 CALDWELL, William, 277 CAMPBELL, David E., 222 CAMPBELL, Jane M., 478 CAMPBELL, Robert, 61 CARADOC, ----, 381 CAREY, Henry, 339 CAREY, William, 172, 491, 492 CAROLINE, (Queen), 203 CARY, Phebe, 407, 529, 530 CARTWRIGHT, Peter, 271, 272 CASE, Charles C., 187 CASWALL, Edward, 75, 101, 459 CAWOOD, John, 414, 465 CELANO, Thomas di., 62, 63 CENNICK, John, 124, 126, 504 CHALMERS, Thomas, 225, 226 CHANDLER, John, 485 CHANDLER, S., 270 CHAPIN, Amzi, 275 CHARLEMAGNE, 5 CHARLES, David, 403 CHARLES, Thomas, 401 CIBBER, Mrs., 108 CLARK, Jeremiah, 9 CLARKE, Adam, 177 CLAUDIUS, Matthias, 478 CLEMENT OF ALEXANDRIA, 294, 296 CLEPHANE, Elizabeth C., 423 CLICHTOVIUS, 5 COLE, John, 115, 479, 507, 515 COLES, George, 126, 127, 285 COLLYER, William B., 72, 73 COLUMBUS, Christopher, 356 CONDER, Josiah, 489 CONKEY, Ithamar, 99, 249 CONVERSE, Charles Crozat, 426 CONWELL, Russell H., 532 COOK, Martha A.W., 148, 149 COOK, Parsons, 148, 149 COOPER, George, 312 CORELLI, Arcangelo, 39 CORNELL, J.B., 438 CORNELL, John Henry, 96, 355, 415 CORSE, Gen. G.M., 424 COUSIN, Anne R., 78, 82 COVERT, 333 COWDELL, Samuel, 265 COWPER, William, x, 129, 131, 176, 192, 403 CROFT, William, 204 CROSBY, Fanny J., 156, 184, 312, 425, 438, 546 CUYLER, Theodore L., 377 CYPRIAN OF CARTHAGE, 1 DADMUN, J.W., 272 DAGGET, Simeon, 330 DANA, Mary S.B., 287, 288 DARTMOUTH, Lord, 269 DAVENANT, Sir William, 306 DE GROOTE, Gerard, 67 DE LA MOTHE, Jeanne M.B., 190, 191 DE LISLE, Roget, 329 DENHAM, David, 134 DERMID, (King), 328 DEXTER, Henry M., 294, 296 DITSON, Oliver, vii, 413 DIXON, William, 36 DOANE, Bp. George W., 482, 483 DOANE, William H., 157, 425, 429, 430, 438, 450, 480, 541 DODDRIDGE, Philip, 116, 117, 169, 410, 413, 476, 488, 495, 519 DODGE, Ossian E., 333 DOUGLAS, George, vii DOW, Howard M., 502 DOW, Lorenzo, 272 DOW, Peggy, 272 DRAPER, Bourne H., 171 DUNBAR, E.W., 288 D'URHAN, Christian, 82 DUTTON, Deodatus, 232 DWIGHT, H.O., 462 DWIGHT, John S., 347, 348 DWIGHT, Timothy, 29, 133, 134 DYKES, John B., 51, 57, 65, 104, 152, 224, 228, 363, 370, 372, 465, 525 EDMESTON, James, 299, 488 EDSON, Lewis, 395, 476 EDWARDS, Jonathan, 263 ELIAS, John, 390 ELIZABETH, (Queen), 17 ELLIOTT, Charlotte, 214, 215 ELLIOT, Ebenezer, 183 ELLSWORTH, J.S., 437 EMERSON, Ralph Waldo, 339, 340 EPHREM, Syrus, 56 ERBURY, ----, 381 ESLING, Catherine, 208, 209, 482 EVANS, Evelyn, 407 EVANS, Heber, 399 EVANS, John Miller, 369 EVANS, Thomas, 401 EWING, Alexander, 512 FABER, Frederick W., 233, 234, 302, 524 FAURE, Jean Baptiste, 470 FAWCETT, John, 132, 133 FINDLATER, Mrs., 103 FISCHER, William Gustavus, 429 FLATMAN, ----, 515 FORTUNATUS, Venantius, 357, 472 FOSTER, Paul, vii FRANC, Guillaume, 194 FRANCIS, Benjamin, 132 FRANKENBERRY, A.D., 424 FREDERICK, (King), 94 FREEMAN, John E., 222 FROTHINGHAM, N.L., ix FULBERT, Bp., 59-61 GARDINER, William, 48, 130 GATES, Bernard, 96 GATES, Ellen M.H., vii, 256, 258, 430, 449, 532, 534 GAUNTLETT, Henry I., 48, 483 GELLERT, C.F., 473 GEORGE I, (King), 11 GERHARDT, Paul, 84, 85, 87, 88, 93 GIARDINI, Felice, 227 GILMORE, Joseph Henry, 235, 236 GLADSTONE, William E., 139, 140 GLASER, Carl, 48 GLENELG, Lord, 22 GOODE, William, 14, 31 GORDON, A.J., 162, 164 GORDON, Mrs. A.J., vii GOTTSCHALK, Louis, 483 GOUGH, John B., 215 GOULD, Eliza, 151 GOULD, John Edgar, 374, 468, 488 GOULD, Sabine Baring, 185 GRANNIS, Sidney M., 259 GRAPE, John T., 429 GRANT, Sir Robert, 21, 22, 212 GREGORY NAZIANZEN, 56 GREGORY THE GREAT, (Pope), xiii, xiv, 8, 10 GRENADE, John, 298 GRIFFITHS, Ann, 396-399 GRIFFITHS, Edward, 386 GRIGGS, ----, 102 GROOTE, Gerald de, 67 GUIDO, Arentino, xiv GUILD, Curtis, 206 GURNEY, Mrs.

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, 503 GUSTAVUS ADOLPHUS, (King), 82-84 GUYON, Madame, 190, 192 HAGUE, John R., vii HALL, Amasiah, 513, 514 HALL, Elvina M., 426 HAMMOND, William, 29 HANDEL, George Frederick, 11, 31, 134, 166, 414 HANKEY, Kate, 427, 429 HANNA, Ione T., 456 HARRINGTON, C.S., 149 HARRINGTON, Karl, 528 HARRIS, Howell, 381, 387, 388 HARRIS, Thomas, 366 HARRISON, Ralph, 48 HART, Joseph, 119, 121 HAREWOOD, Edward, 517 HASTINGS, H.L., 204 HASTINGS, Thomas, 25, 59, 142, 160, 168, 174, 219-221, 223 HATFIELD, C.F., 14 HATTON, John, 37 HATTON, John Liphot, 37 HAVERGAL, Frances Ridley, 154, 155 HAVERGAL, William Henry, 227 HAWKES, Annie S., 153 HAWKES, Robert, 14 HAYDN, Joseph, 32 HAYWARD, Thomas, 488 HEARN, Marianne Farningham, 441, 442 HEATH, George, 143 HEATH, Lyman, 247 HEBER, Bp. Reginald, 4, 50, 51, 178, 179, 318 HEDGE, Frederick H., 71 HEMANS, Felicia, 196, 359, 323, 324, 333 HENRY vii, (King), 18 HEWS, George, 407, 483, 484 HICKS, John J., 272 HILARY, Bp., xiii HILLER, Ferdinand, 65, 66 HINSDALE, George, 229 HODGES, Edward, 212, 464 HOLBROOK, Joseph P., 360, 364, 501 HOLDEN, Oliver, 27, 28 HOLMES, O.W., 52, 249, 344 HOLROYD, Israel, 409 HOLZMAN, ----, 329 HOPKINS, Edward, 30, 112 HOPKINS, John, 15 HOPKINSON, Joseph, 331 HOPPER, Edward, 373 HORDER, Garrett, 489 HOWARD, John, 24 HOWE, Julia Ward, 340, 343 HUCBALD, xiii HUFFER, Francis, 95 HUGHES AND SON, vii HUGHES, Mrs., 359 HUMPHREYS, Cecil Frances, 414 HUNTER, William, 272, 288, 289 HUNTINGDON, (Lady) Selina, 25, 88, 89, 119, 128, 201 HUNTINGTON, DeWitt C., 436 HUSBAND, John Jenkins, 416 HYATT, John, 216 HYDE, Charles, 230 INGALLS, Jeremiah, 121, 274, 278, 507 IRVING, Washington, 322 ISAAC, Heinrich, 91, 112 JACKSON, Andrew, 206 JACKSON, Deborah, 206 JEROME OF PRAGUE, 472 JOHN OF DAMASCUS, 53, 54, 57 JOHNSON, Albert, 222 JOHNSON, Mrs. James G., 452 JONES, H.R., 392 JONES, John, 393 JONES, Nancy, 389, 390 JONES, Thomas, 401 JUDAH, Daniel Ben, 20 JUDSON, Sarah B., 246 JULIAN, John, 204 KEBLE, John, 159, 252, 482 KEENE, Robert, 204 KELLER, Matthias, 343, 345, 347 KELLY, Thomas, 173, 174 KEMPIS, Thomas a, 67 KEN, Bp., 13, 14 KEY, Francis Scott, 49, 333 KEY, John R., 49 KING, Jacob, 71 KING ROBERT II, 11, 57, 58, 60 KINGSLEY, George, 34, 102, 158, 281, 318, 519 KIPLING, Rudyard, 349-351 KOZELUCK, ----, 483 KRISHNA PAL, 491 LAMB, Frank M., 253, 254 LATTIMORE, W.O., 434 LEE, Mary Augusta, 455, 456 LEE, Gen. Robert E., 206 LELAND, John, 224, 276, 482 LINCOLN, Abraham, 239, 256 LINDSAY, Miss, 259 LOGAN, John, 279 LONGFELLOW, Henry W., 248, 249 LONGFELLOW, Samuel, ix LORIMER, George, 252 LOUIS, (King), 5, 191 LOWRY, J.C., 118 LOWRY, Robert, 39, 148, 153, 406, 419, 446, 448 LOYOLA, Ignatius, 74 LUCAS, James, 495 LUDWIG, Duke, 121 LUKE, Jemima T., 305, 306 LULLI, ----, 338 LUMMIS, Franklin H., 342 LUTHER, Martin, xvi, 8, 69-71, 388 LYON, Meyer, 20 LYTE, Henry Francis, 217, 221 MACGILL, Hamilton M., 296 MACKAY, Charles, 135 MACKAY, Margaret, 499 MACKAY, William Paton, 416 MADAN, Martin, 29, 30, 41, 463, 505 MAFFIT, John, 274 MAIN, Hubert P., vi, vii, 115, 134, 228, 240, 299, 307, 369, 415, 430, 470, 537 MALAN, Caesar, xvi, 214, 384, 436 MARCO, (?), Portugalis, 205, 206 MAROT, Clement, xvi MARSH, ----, 363 MARVIN, Bp., 151 MARY, (Queen), 12, 18 MARY, (Princess), 12, 18 MARY, (Virgin), 356, 358 MARY STUART, (Queen), 77 MASON, Francis, 175 MASON, Lowell, 36, 91, 93, 105, 106, 111, 118, 131, 133, 146, 170, 173, 179, 196, 302, 337, 339, 348, 363, 581, 526 MASTERS, Mary, 303 MAURICE, ----, 381 MAXIM, Abraham, 282, 283, 488 MAYO, Mrs. Herbert, 310 MAZZINGHI, Joseph, 202, 203 McGRANAHAN, James, 308, 444, 452 McKEEVER, F.G., vii McKINLEY, William, 151, 251 McMULLEN, Mr. and Mrs., 222 MEEK, William T., vii MEDLEY, Samuel, 136, 276 MELANCTHON, Philip, 69 MENDELSSOHN, Felix, 463, 482, 491 MERRIAM, Edmund F., vii MERRILL, Abraham, D., 269 MIDLANE, Albert, 445 MILLER, James, 367 MILMAN, Henry Hart, 278 MILLS, Elizabeth, 307 MILTON, John, 461, 462 MOHAMMED, 5 MONK, William H., 160, 219, 245 MONTGOMERY, James, 21, 144, 145, 176, 177, 285, 353, 480, 487, 499, 521 MOODY, Dwight L., 308, 310, 421, 426, 431 MOORE, (More), Joshua, 267, 269 MOORE, Thomas, 112, 219, 243, 325-328, 333 MORGAN, David, 392 MORNINGTON, Garret, Colley Wellesley, Earl of 523 MORRIS, Robert, 260 MORSE, Charles H., 482 MOTE, Edward, 216 MOZART, Johan Wolfgang, 222, 244, 327 MUHLENBERG, Henry M., 158, 498 MUHLENBERG, W.A., 157, 158 MURILLO, Bartolomeo, 162 NAeGELI, Johan G., 161, 162 NAPOLEON, 97, 389 NARES, James, 95 NEALE, John M., 6, 7, 55, 57, 354, 512 NERO, (Emperor), 322 NEWELL, Harriet, 175 NEWMAN, John Henry, 223, 224, 524 NEWTON, John, 130, 203, 204, 286, 386, 403, 493 NICHOLSON, Ludovic, 201 NOVELLO, Vincent, 73, 74 NUTTER, Dr., 180 OAKELEY, Frederick, 459 OAKELEY, Sir. Herbert S., 252 OAKEY, Emily, 434, 435 OCCUM, Samson, 267-269, 279 O'KANE, Tullius C., 437 OLDCASTLE, John, 379 OLIVER, Henry K., 104, 105 OLIVERS, Thomas, 19, 20, 22, 504 OSBORNE, John, 146 PAINE, John K., 462 PAINE, Robert T., 335 PALESTRINA, xiv-xvi PALMER, Horatio R., 261, 311, 417, 450 PALMER, Ray, 59 PARKER, Theodore, ix PARRY; Joseph, 395, 398 PATRICK, St., 328 PAYNE John Howard, 135 PELOUBET, F.N., 188 PENRY, ----, 381 PERRONET, Edward, 25, 27, 31, 59 PHELPS, A.S., vii PHELPS, S.D., 147 PHELPS, W.L., vii PHILIP, "King", 265 PHILLIPS, Philip, 149, 150, 239, 256, 267, 309, 333, 421, 531, 532, 534 PHIPPS, George, 188, 189 PIERPONT, John, 335, 336 PINSUTI, 415 PLEYEL, Ignace, 126, 208 PLINY, 293 POPE, Alexander, 238, 326, 515, 516 POWELL, John, 381 PRESBRY, Otis F., 451, 452 PRICE, Dr., 41 PRICE, E.M., 395 PRITCHARD, Rhys M., 379, 396 PROCH, Heinrich, 357 PURCELL, Henry, 338 RALEIGH, Sir Walter, 76 RANKIN, James, 362 RANKIN, Jeremiah E., 496 RAVENSCROFT, Thomas, 338 READ, Daniel, 407, 466 READING, John, 205 REDHEAD, Richard, 50 REDNER, Louis H., 469 REES, William, 402 REINAGLE, Alexander R., 87 REXFORD, Eben E., 439, 440 RHYE, Morgan, 404 RICHARDSON, John, 76 RIDLEY, Bp., 4 RILEY, Mary Louise, 317 RIMBAULT, Edward F., 282 RINGWALDT, Bartholomew, 71, 73 RIPPON, John, 27, 204, 281 RITTER, Peter, 160 ROBERT II, (King), 57, 58, 60 ROBERTS, Evan, 377, 393, 394 ROBERTS, W.M., 404 ROBINSON, Charles, 171, 179 ROBINSON, Robert, 283, 284 ROMAINE, William, 31 ROOSEVELT, Theodore, 151 ROOT, George F., 155, 156,254, 315, 317, 439, 444 ROUSSEAU, J.J., 112, 113 ROWE, Elizabeth, 45 ROWLANDS, Daniel, 381, 387 RUTHERFORD, Samuel, 78, 79, 81 SALMON, Thomas, 432 SANDERSON, Mrs., 335 SANKEY, Ira D., 184, 258, 308-311, 374, 375, 417, 421-423, 434, 438, 447, 537 SCHMOLKE, Benjamin, 499 SCHUMANN, Robert, 87 SCOTT, Thomas, 226, 411 SCOTT, Sir Walter, 240 SCRIVEN, Joseph, 425 SEAGRAVE, Robert, 94 SEARS, Edmund H., 466 SENECA, 320, 322 SERVOSS, Mary Elizabeth, 442, 443 SEWARD, William H., 257 SHEPHERD, Thomas, 411 SHERIDAN, Mrs. Richard Brinsley, 244 SHIPLEY, Dean, 178 SHIRLEY, Sir Walter, 127, 128, 202 SIMAO, Portugalis, 206 SIMPSON, Robert, 298 SINGER, Elizabeth, 45 SMART, Henry, 4, 5, 10, 137, 465, 525 SMITH, Mrs. Albert, 317 SMITH, Alexander, 368 SMITH, Goldwin, x SMITH, Isaac, 324 SMITH, John Stafford, 335 SMITH, Samuel Francis, 180-182, 337, 339 SPAFFORD, Horatio G., 440, 441 SPOHR, L., 126, 207, 227, 228, 244, 488 STAINER, John, 65, 66, 352, 474 STANLEY, (Dean), Arthur P., 65, 66, 148 STEAD, William, 150, 151 STEBBINS, George C., 254, 308, 375, 415, 528 STEELE, Anna, 197 STEFFE, John W., 342 ST. FULBERT, 59-61 STENNETT, Joseph, 23, 488 STENNETT, Samuel, 23, 24 STEPHENS, ----, 395 STEPHEN, (St.), the Sabaite, 57 STERNHOLD, Thomas, 15, 16 STEVENSON, ----, 317 STOKES, Walter, 84 STORES, Richard S., 35, 474 STORRS, Mrs. R.S., 474 STOWE, Harriet Beecher, 481 STOWELL, Hugh, 222, 223 STUART, Charles M., 34 SUMNER, Janaziah, 330 SWAIN, Joseph, 28, 281 SWAN, Jabez, 286 SWAN, Timothy, 194, 195, 327, 506 TADOLINI, Giovanni, 357 TAIT, Abp., 252 TALLIS, Thomas, xv, 17, 18 TANSUR, William, 282, 283 TARBUTTON, W.A., 528 TATE, Nahum, 12, 14, 193, 283 TAYLOR, Benjamin F., 533 TAYLOR, James, 61 TAYLOR, Thomas R., 300, 301 TAYLOR, V.C., 52, 244 TENNYSON, Alfred, 259, 538-540 TERSTEEGEN, Gerhard, 102 TESCHNER, Melchior, 8 THEODULPH, Bp., 5, 6, 7 THOMAS a KEMPIS, 67 THOMAS DI CELANO, 62, 63 THRING, Godfrey, 371 THRUPP, Dorothy A., 310 TOMER, William G., 497 TOPLADY, A.M., 137, 138, 517, 18 TOURJEE, Eben, 149, 150, 235 TOURJEE, Lizzie S., 235 TOURS, Berthold, 415 TRAJAN, (Emperor), 293 TYLER, Mrs. Fanny, 28 UFFORD, E.S., 374, 376, 377 UPHAM, Thomas, 192 URHAN, Christian, 82 VAIL, Silas J., 8, 234, 235 VAN ALSTYNE, Mrs., 156, 184, 312, 425, 438 VERNON, (Admiral), 339 VICTORIA, (Queen), 139, 248, 252 VOKES, Mrs., 171, 173 VOLTAIRE, 43 VON GLUCK, 490 VON WEBER, C.M., 121, 338, 490, 500 WADE, ----, 102 WALFORD, William W., 432 WALTHER, Johan, xvi WARNER, Anna, 418 WASHBURN, Henry S., 245, 247 WATERS, Horace, 303 WATKIN, Jack E., 390 WATSON, Bp., 151 WATSON, Richard, 120 WATTS, Isaac, 14, 29, 33, 35, 37, 40, 41-45, 47, 60, 105, 107-109, 133, 134, 165, 166, 167, 243, 396, 403, 463, 506, 513 WAYLAND, Francis, 42 WEBB, George J., 182, 444 WEBBE, Samuel, 116, 505 WEBSTER, Joseph P., 535-537 WELLS, G.C., 111 WENTWORTH, (Gov.), 269 WESLEY, Charles, 14, 26, 45, 47, 94, 111, 118, 204, 274, 359-361, 388, 396, 403, 420, 463, 474, 493, 520 WESLEY, John, 14, 209, 211, 273, 520 WESLEY, Samuel, 45, 178 WESLEY, Samuel Sebastian, 45, 177, 178, 304, 485 WHEELOCK, Eleazer, 267, 269 WHITE, Henry Kirke, 297, 364-366 WHITEFIELD, George, 19, 31, 88, 124, 132, 201 WHITING, William, 369, 370 WHITTIER, John G., 250, 251 WHITTLE, D.W., 444 WILLIAM, (King), 12, 13 WILLIAMS, Aaron, 130, 134 WILLIAMS, David, 405 WILLIAMS, Helen M., 125, 126, 206 WILLIAMS, Peter, 199, 201, 387, 389 WILLIAMS, Thomas, 393, 401, 403 WILLIAMS, William, 166-168, 199, 381-386, 388, 396, 399, 405 WILLIS, Richard Storrs, 415, 467 WILLIS, Nathaniel, 467 WILLIS, N.P., 467 WILSON, Hugh, 353 WINKS, W.E., 406 WINKWORTH, Catherine, 84 WOODBRIDGE, William C., 338, 339 WOODBURY, Isaac B., 111, 183, 244, 319, 407 WOODMAN, J.C., 410, 415 WOOD, Sir Evelyn, 368 WROTH, William, 379 WYETH, John, 283, 284 XAVIER, Francis, 74 YOUNG, Andrew, 304 ZERRAHN, Carl, 444 ZEUNER, Heinrich, 172, 241 ZINZENDORF, (Count), 91, 92 ZUNDEL, John, 363, 485

INDEX OF TUNES.

ABENDS, 252 ABERYSTWYTH, 395 ABIDE WITH ME, 219 AELRED, 372 AIN, 38, 39 ALMOST PERSUADED, 454 ALSACE, 193 ALL SAINTS, NEW, 513 AMALAND, 465 AMERICA, 336-339 AMES, 34 AMSTERDAM, 95, 96 ANACREON IN HEAVEN, 334 ANNAPOLIS, 507, 515 ANTHEM FOR EASTER, 474 ANTIOCH, 166, 464 ANTIPHONALS, xiii ANVERN, 520 ARABIA, 388 ARIEL, 137 ARLINGTON, 107, 118, 515 ATHENS, 227, 307 AUDIENTES, 303 AULD LANG SYNE, 515 AURELIA, 177 AUTUMN, (Sardius), 222 AZMON, 47, 48 BABEL, 388 BALERMA, 297, 298 BATTLE HYMN ETC., 341-343 BELMONT, 116 BENEVENTO, 494 BERLIN, 491 BETHANY, 153, 465 BEYOND THE SMILING AND THE WEEPING, 528 BIRMINGHAM, 132 BONNY DOON, 367 BOSWORTH, 105 BOWER OF PRAYER, THE, 147 BOWRING, 170 BOYLSTON, 133, 169, 523 BRADEN, 276 BRATTLE STREET, 126, 207 BREST, 505 BRIGHT CANAAN, 273, 274 BRIGHTON, 245 BROKEN PINION, THE, 254 BROOKLYN, 485 BROWN, 232 BRUCE'S ADDRESS, 335, 336 BRYMGFRYD, 388 BUCKFIELD, 283 BURIAL OF MRS. JUDSON, 247 CALM ON THE LISTENING EAR, (EPIPHANY), 468 CANAAN, 514 CANONS, 11 CAPEL Y DDOL, 405 CAROL, 467 CATHARINE, 404 CHESTER, 331, 332 CHINA, 194 CHRISTMAS, 414, 466 CLWYD, 393 COLEBROOK, 137 COLUMBIA, 332 COME, 453 COME, MY BRETHREN, 280 COME, YE DISCONSOLATE, 221 COME, YE FAITHFUL, 55 CONSOLATION, 482 CONVENTION HYMN, 187 CORONATION, 27, 59 CORSICA, 490 COUNTERPOINT, xv CREATION, 40 CRIMEA, 366 CROSSING THE BAR, 539 CRUCIFIXION, 514 CWYFAN, 388 CWYNFAN PRYDIAN, 402 DARBY, 403 DEAD MARCH IN "SAUL", 498 DEDHAM, 48, 130 DENMARK, 41 DENNIS, 133, 161 DEVONSHIRE, 105 DEVOTION, 514 DIES IRAE, 65 DORT, 187, 348, 481 DUNBAR, 531 DUNDEE, 194 DUKE STREET, 37, 166 EASTER ANTHEM, 474 EBENEZER, 406 EDEN OF LOVE, 272, 273 EDINA, 252 EDOM, 401 EIN FESTE BURG, 71 EIRINWG, 403 ELLACOMBE, 177 ELLIOTT, 215 ELVY, 388 EMMONS, 125 EPIPHANY (CALM ON THE LISTENING), 468 ERNAN, 407 ETERNITY, 449 EUCHARIST, 111 EVAN, 227 EVENING SONG TO THE VIRGIN, 359 EXCELSIUS, 96 FAIR HARVARD, 307 FALMOUTH, 514 FEDERAL STREET, 104, 105 FITZWILLIAM, 4 FOREVER WITH THE LORD, 498 FREDERICK, 158, 498 FROM GREENLAND'S ICY, 179 GANGES, 119, 269, 270 GARDEN HYMN, THE, 277, 278 GENEVA, 115 GOLDEN HILL, 108, 274 GOD BE WITH YOU, 497 GOOD MORNING IN GLORY, 164 GOTT IST LICHT, 463 GREENVILLE, 112, 121 GRIGGS, 102 HABAKKUK, 212 HAIL COLUMBIA, 331 HALLELUJAH! 'TIS DONE! 422 HALLOWELL, 283 HAMBURG, 111 HANOVER, 204 HAPPY DAY, 282 HAPPY LAND, 304 HAREWOOD, 485 HARMONY, 514 HARMONY GROVE, 105 HARVEST HOME, 479 HAYDN, 31 HEBER, 102, 318 HE LEADETH ME, 236 HELMSLEY, 505 HENDON, 486 HE WILL HIDE ME, 444 HOLD THE FORT, 424, 432 HOLLEY, 407, 483, 484 HOLY CROSS, 102 HOLY, HOLY, HOLY, 51 HOLY TRINITY, 102 HOME OF THE SOUL, THE, 532, 533 HOME, SWEET HOME, 135 HORBURY, 152 HOSANNA, 512 HUDSON, 105 HURSLEY, 160, 493 HYFRYDOL, 375 I'M GLAD I'M IN THIS ARMY, 299 IMMANUEL'S BANNER, 188 INDEPENDENCE, 332 INNSBRUCK, 91 IT IS WELL, 440 (See Index of Hymns) JAZER, 118 JEWETT, 500 JOYFULLY, JOYFULLY, 289, 290 (See Index of Hymns) KEBLE, 52 KELLER'S AMERICAN HYMN, 433-445 KENT, 105 KENTUCKY, 274 LABAN, 143 LAMENT OVER BOSTON, 332 LAND AHEAD, 369 LANESBORO, 36, 503 LA SPEZIA, 61 LENOX, 395, 476 LEONI, 20 LET THE LOWER LIGHTS, 434 LISBON, 466 LISCHER, 488 LLANIETYN, 404 LOUVAN, 52, 244 LOVING-KINDNESS, 277 LOWELL, 407 LUCAS, 494 LUTHER'S HYMN, 73 LUX BENIGNA, 224 MAGDALEN, 351 MAGNIFICAT, xi, xii, 10 MAITLAND, 412 MAJESTY, 16 MALVERN, 93 MANOAH, 116 MARSEILLAISE, 174, 329, 352 MASSACHUSETTS, 514 MATTHIAS, 245 MEAR, 130 MELANCTHON, 496 MELITA, 370 MILTON, 243 MENDELSSOHN, 463 MERIBAH, 90, 91, 119, 395 MERTON, 105, 519 MESSIAH, 281 MIDNIGHT MASS, 460 MIGDOL, 173 MILLENNIAL DAWN, 177, 182, 477 MISSIONARY CHANT, 172, 291 MONSON, 232 MONTGOMERY, 35 MORECAMBE, 491 MORLAIX, 372 MORNING, 105 MORNING GLORY, 504 MORNINGTON, 523 MOZART, 244 MT. AUBURN, 519 MT. VERNON, 498 MY AIN COUNTREE, 456 MY BROTHER I WISH YOU WELL, 91 MY JESUS, I LOVE THEE, 162, 163 NANCY JIG, 385 NAOMI, 198 NEALE, 355 NEARER HOME, 407, 531 NESTA, 404 NETTLETON, 112, 283, 284 NEW DURHAM, 283 NEW JERUSALEM, 506, 507 NICAEA, 51 NORTHFIELD, 506-508 NORWICH, 207, 462 NOT HALF HAS EVER BEEN TOLD, 451 NOTTINGHAM, 16 NO WAR NOR BATTLE SOUND, 461 OAK, 302 ODE ON SCIENCE, 330 O DO NOT BE DISCOURAGED, 299 OLD HUNDRED, xvi, 15, 41, 166, 339 OLMUTZ, 518 OLD SHIP OF ZION, 290 ONE MORE DAY'S WORK, ETC., 418 ONLY REMEMBERED, 309 ONWARD, CHRISTIAN SOLDIERS, 56, 186 O, PERFECT LOVE, 504 ORTONVILLE, 25 OVER THERE, 436 PALESTINE, 202 PALM BRANCHES, 470 PARADISE, 526 PART-SONG, xv PASCHALE GAUDIUM, 474 PENTECOST, 513 PETERBOROUGH, 48 PILGRIM, 25 PISGAH, 118 PLAIN-SONG, xii, 10 PLEYEL'S HYMN, 280, 411 POLYPHONIC, xv PORTLAND, 283, 488 PORTUGUESE HYMN, 205, 206, 460 PRECIOUS JEWELS, 315, 316 PRESIDENT'S MARCH, 331 RANZ DE VACHES, 352 RATHBUN, 99, 249 RAVENDALE, 84 RAYNHAM, 514 REFUGE, 363 REJOICE AND BE GLAD, 415 RESCUE THE PERISHING, 425 REST, 499, 513 RESTORATION, 514 RETREAT, 223 RETROSPECT, 332 REVIVE THY WORK, 445 RHINE, 125 RIVAULX, 104 ROLLAND, 106, 493 ROCKINGHAM, 131 ROTTERDAM, 55 RUSSIA, 466 RUTHERFORD, 82 SAFE IN THE ARMS OF JESUS, 541 SALEM, 123 SALISBURY PLAIN, 105 SAMSON, 166 SARDIUS, (AUTUMN), 201 SAVANNAH, 238 SAVIOUR, LIKE A SHEPHERD, 310, 311 SAVIOUR, PILOT ME, 374 SCALE, THE, xiii, xiv SCATTER SEEDS OF KINDNESS, 318 SCHUMANN, 87 SCOTS WHA HAE, 336 SEQUENCES, (FOOT NOTE [7]), 8 SHAWMUT, 407 SHERBURNE, 466 SICILY, 129, 283 SILOAM, 244, 318, 319 SILVER STREET, 324 SIMPSON, 126 SOMETHING FOR JESUS, 148 SONGS OF THE BEAUTIFUL, 483 SONNET, 287 SOUND THE LOUD TIMBREL, 327 SPEED AWAY, 184 SPOHR, 244 STAFFORD, 466 STAR-SPANGLED BANNER, THE, 49, 333-335 STATE STREET, 410, 515 ST. AMBROSE, 296 ST. ANSELM, (we plow the fields), 478 ST. ATHANASIUS, 59 ST. BERNARD, 75 ST. BOTOLPH, 244 ST. CHAD, 50 ST. EDMUND, 152 ST. GARMON, 395 ST. KEVIN, 307 ST. LOUIS, 469 ST. MAGNUS, 16 ST. PETERSBURG, 213 ST. PHILIP, 30 ST. THOMAS, 38, 134, 523 STEPHENS, 282 STOWE, 482 SUSSEX, 500 SWEET BY AND BY, 534-537 SWEET GALILEE, 261, 319 SWEET HOUR OF PRAYER, 432 SWITZER'S SONG OF HOME, 352 TALLIS' EVENING HYMN, xvi, 16,17 TE DEUM, 1-4 TELEMANN'S CHANT, 474 THACHER, 109 THE BOWER OF PRAYER, 147 THE BROKEN PINION, 254 THE CHARIOT, 279 THE DYING CHRISTIAN, 516, 517 THE EDEN OF LOVE, 272, 273 THE GARDEN HYMN, 277, 278 THE HARP THAT ONCE, 328 THE HEBREW CHILDREN, 271 THE HOME OF THE SOUL, 532, 533 THE LAND OF THE BLEST, 308 THE MORNING LIGHT IS BREAKING, 177, 182, 477 THE NINETY AND NINE, 422 THE OLD, OLD STORY, 429 THE PRODIGAL CHILD, 430 THE SOLID ROCK, 317 THE STAR-SPANGLED BANNER, 333 THERE IS A GREEN HILL, 414 THROW OUT THE LIFE-LINE, 374 THYDIAN, 388 TO THE WORK, 438, 480 TOPLADY, 59, 142 TRENCYNON, 395 TRIUMPH BY AND BY, 450 TRURO, 241, 407 TURNER, 282 UXBRIDGE, 93 VOX ANGELICA, 525 VOX DILECTI, 238 VOX JESU, 227 WAITING AND WATCHING, 443 WALNUT GROVE, 105 WARD, 196, 493 WARE, 34 WATCHMAN, 170 WEBB, 177, 182 WEIMAR, 9 WELLS, 409 WELLESLEY, 235 WELTON, 486 WE SHALL MEET, 529 WHAT A FRIEND WE HAVE 425 WHAT SHALL THE HARVEST BE, 435, 436 WHEN JESUS COMES, 437 WHEN PEACE LIKE A, 477 WHEN SHALL WE ALL MEET, 266 WHEN THE SWALLOWS HOMEWARD FLY, 364 WHERE ARE THE REAPERS, 429 WHERE IS MY WANDERING BOY, 446 WHILE THE DAYS ARE GOING, 312 WHITMAN, 146, 364 WILMOT, 121, 490 WINDHAM, 407, 466 WINDSOR, 482 WOODSTOCK, 232 WOODWORTH, 215 Y DELYN AUR, 405 YORK, 462 YOUR MISSION, 259 ZEPHYR, 513 ZION, (T. Hastings), 168, 174 ZION, (A. Hall), 514

INDEX OF HYMNS.

A CHARGE TO KEEP I HAVE, 274 ABIDE WITH ME, FAST FALLS, 217 ADAMS AND LIBERTY, 335 ADESTE, FIDELES, 458 ALAS, WHAT HOURLY DANGERS RISE, 198 ALL GLORY, LAUD AND HONOR, 5 ALL HAIL THE POWER OF JESUS' NAME, 25-27 ALL PRAISE TO THEE, ETERNAL LORD, 8 ALMOST PERSUADED, 454 ALONG THE BANKS WHERE BABEL'S CURRENT, 242, 243 A MIGHTY FORTRESS IS OUR GOD, 69 AND IS THIS LIFE PROLONGED TO YOU, 43 AND WILL THE JUDGE DESCEND, 410 ANGEL OF PEACE, THOU HAS WAITED, 344 ANGELS ROLL THE ROCK AWAY, 411 ANOTHER SIX DAYS' WORK IS DONE 23, 488 A POOR WAYFARING MAN OF GRIEF, 285 ARISE, MY SOUL, ARISE, 395 ART THOU WEARY, ART THOU LANGUID, 57 AS DOWN IN THE SUNLESS RETREATS, 243 ASLEEP IN JESUS, BLESSED SLEEP, 499 AT ANCHOR LAID REMOTE FROM HOME, 138 AVE, MARIS STELLA, 356 AVE, SANCTISSIMA, 357 AWAKE AND SING THE SONG, 29 AWAKE MY SOUL, STRETCH EVERY NERVE, 413 AWAKE, MY SOUL, TO JOYFUL LAYS, 276, 277 AWAKED BY SINAI'S AWFUL SOUND, 267 BATTLE HYMN OF THE REPUBLIC, 340, 343 BEFORE JEHOVAH'S AWFUL THRONE, 40, 41 BEGONE UNBELIEF, MY SAVIOUR IS NEAR, 203 BEHOLD THE GLORIES OF THE LAMB, 42 BEHOLD, THE STONE IS ROLLED AWAY, 451 BE THOU EXALTED, O MY GOD, 40 BE THOU, O GOD, EXALTED HIGH, 111 BEYOND THE SMILING AND THE WEEPING, 527 BLEST BE THE TIE THAT BINDS, 132 BLOW YE THE TRUMPET, BLOW, 395 BREAD OF HEAVEN, ON THEE WE FEED, 489 BRETHREN, WHILE WE SOJOURN HERE, 280 BRIGHTLY BEAMS THE FATHER'S MERCY, 431 BUILD THEE MORE STATELY MANSIONS, 249 BY COOL SILOAM'S SHADY RILL, 318 BY THE RUDE BRIDGE THAT ARCHED THE FLOOD, 339 CALVARY'S BLOOD THE WEAK EXALTETH, 385 CHILD OF SIN AND SORROW, 223 CHRISTIANS, IF YOUR HEARTS ARE WARM, 274, 275 CHRIST IS OUR CORNER STONE, 485 CHRIST IS RISEN! CHRIST IS RISEN! 473 CHRIST THE LORD IS RISEN TODAY, 474 COME HITHER, ALL YE WEARY SOULS, 409 COME HITHER, YE FAITHFUL, 459 COME, HOLY GHOST, IN LOVE, 59 COME, HOLY SPIRIT, HEAVENLY DOVE, 282 COME HOME, COME HOME, 430 COME, LET US ANEW, 494 COME, MY BRETHREN, LET US TRY, 279 COME, SINNER, COME, 417 COME, THOU FOUNT OF EVERY BLESSING, 283, 284 COME, THOU HOLY SPIRIT, COME, 58 COME TO JESUS JUST NOW, 291 COME UNTO ME WHEN SHADOWS, 208, 209 COME, WE THAT LOVE THE LORD, 37, 38 COME, YE DISCONSOLATE, 219, 220, 326 COME, YE FAITHFUL, RAISE THE STRAIN, 54 COME, YE SINNERS, POOR AND NEEDY, 119 COMMIT THOU ALL THY GRIEFS, 84-85 CROWN HIS HEAD WITH ENDLESS BLESSING, 30 DAUGHTER OF ZION, FROM THE DUST, 486, 489 DAY OF WRATH: THAT DAY OF BURNING, 62-64 DEAR JESUS, EVER AT MY SIDE, 302 DEAR REFUGE OF MY WEARY SOUL, 196 DID CHRIST O'ER SINNERS WEEP, 160, 161 DIE FELDER WIR PFLUeGEN, 478 DIES IRAE, DIES ILLA, 62-64 EARLY, MY GOD, WITHOUT DELAY, 35 EARLY TO BEAR THE YOKE EXCELS, 401 EIN FESTE BURG IST UNSER GOTT, 69 ETERNAL FATHER, STRONG TO SAVE, 369 FADING AWAY LIKE THE STARS, 309 FATHER, WHATEVER OF EARTHLY BLISS, 196 FEAR NOT, O LITTLE FLOCK, THE FOE, 82 FIERCE RAGED THE TEMPEST, 372 FIERCE WAS THE WILD BILLOW, 354 FOREVER WITH THE LORD, 521 FROM EVERY STORMY WIND, 222 FROM GREENLAND'S ICY MOUNTAINS, 178, 179 FROM WHENCE DOTH THIS UNION ARISE, 263 FULLY PERSUADED, 451 GAUDE, PLAUDE, MAGDALENA, 472 GIVE ME MY SCALLOP-SHELL OF QUIET, 76 GIVE TO THE WINDS THY FEARS, 88 GLORIA, xii GLORY TO THEE, MY GOD, THIS NIGHT, xvi, 16 GOD BE WITH YOU TILL WE MEET, 496 GOD BLESS OUR NATIVE LAND, 347, 348 GOD CALLING YET? 102, 103 GOD IS THE REFUGE OF HIS SAINTS, 196 GOD OF OUR FATHERS, KNOWN OF OLD, 349, 350 GOD'S FURNACE DOTH IN ZION STAND, 89 GREAT AUTHOR OF SALVATION, 398 GREAT GOD, WE SING THAT MIGHTY HAND, 496 GREAT GOD, WHAT DO I SEE AND HEAR! 71 GUIDE ME, O THOU GREAT JEHOVAH, 198, 399 HAIL COLUMBIA, HAPPY LAND, 331 HAIL TO THE LORD'S ANOINTED, 175 HALLELUJAH! 'TIS DONE! 422 HARK! HARK, MY SOUL! 524 HARK! THE HERALD ANGELS SING, 463 HARK! WHAT MEAN THOSE HOLY VOICES, 464 HASTEN, LORD, THE GLORIOUS TIME, 168 HASTEN, SINNER, TO BE WISE, 410 HE DIES! THE FRIEND OF SINNERS, 473 HE LEADETH ME, 235, 236 HERE AT THY TABLE, LORD, WE MEET, 24 HERE BEHOLD THE TENT OF MEETING, 396 HERE, O MY GOD, I SEE THEE, 490 HE ROSE! O MORN OF WONDER! 477 HIGH THE ANGEL CHOIRS ARE RAISING, 68 HOLY, HOLY, HOLY, LORD GOD, 50, 51 HO, MY COMRADES, SEE THE SIGNAL, 424 HORA NOVISSIMA, 510 HOW FIRM A FOUNDATION, 204, 206 HOW HAPPY IS THE CHILD WHO HEARS, 297 HOW HAPPY IS THE PILGRIM'S LOT, 207 HOW SWEETLY FLOWED THE GOSPEL SOUND, 98 HOW SWEET, HOW HEAVENLY IS THE SIGHT, 281 HOW SWEET THE COVENANT TO REMEMBER, 396 HOW, UNAPPROACHED! SHALL MIND OF MAN, 56 HOW VAIN ARE ALL THINGS HERE BELOW, 45 HOW VAST A TREASURE WE POSSESS, 43 I AM FAR FRAE MY HAME, 445 I AM SO GLAD THAT OUR FATHER, 319 I CANNOT ALWAYS TRACE THE WAY, 502 IF I WERE A VOICE, 181 IF THOU WOULDST END THE WORLD, 389 IF YOU CANNOT ON THE OCEAN, 256-258 I GAVE MY LIFE FOR THEE, 154 I HAVE A FATHER, 305 I HAVE READ OF A BEAUTIFUL CITY, 451 I HEAR THE SAVIOUR SAY, 426 I HEARD THE VOICE OF JESUS SAY, 225-227 I'LL CAST MY HEAVY BURDEN DOWN, 384 I LOVE THY KINGDOM, LORD, 133 I LOVE TO STEAL AWHILE AWAY, 229, 231 I LOVE TO TELL THE STORY, 429 I'M A PILGRIM, 278, 288 I'M BUT A STRANGER HERE, 300, 301 I'M GOING HOME, 291 I'M NOT ASHAMED, 107 IN DE DARK WOOD, 264 IN EDEN, O THE MEMORY!, 383 I NEED THEE EVERY HOUR, 153 IN SOME WAY OR OTHER, 148, 149 IN THE BONDS OF DEATH HE LAY, 473 IN THE CROSS OF CHRIST I GLORY, 97 IN THE DEEP AND MIGHTY WATERS, 406 IN THE WAVES AND MIGHTY WATERS, 405 I OPEN MY EYES TO THIS VISION, 404 IS THIS THE KIND RETURN? 108 IT CAME UPON THE MIDNIGHT CLEAR, 466 I THINK WHEN I READ THAT SWEET, 305 IT MAY NOT BE OUR LOT TO YIELD, 250 IT WAS THE WINTER WILD, 460 I WALKED IN THE WOODLAND MEADOWS, 251, 252 I WILL SING YOU A SONG OF THAT, 532 JERUSALEM THE GOLDEN, 509, 511 JESU, DULCIS MEMORIA, 100 JESUS' BLOOD CAN RAISE THE FEEBLE, 385 JESUS, I LOVE THY CHARMING NAME, 116 JESUS, I MY CROSS HAVE TAKEN, 221 JESUS, KEEP ME NEAR THE CROSS, 156, 157 JESUS, LOVER OF MY SOUL, 359, 364 JESUS MY ALL TO HEAVEN IS GONE, 126 JESUS, SAVIOUR, PILOT ME, 373 JESUS SHALL REIGN WHERE'ER THE SUN, 165 JESUS, THE VERY THOUGHT OF THEE, 100 JESUS THE WATER OF LIFE WILL GIVE, 312 JESUS, THY BLOOD AND RIGHTEOUSNESS, 91 JOHN WESLEY'S HYMN, 209 JOYFULLY, JOYFULLY ONWARD, 288-290 JOY TO THE WORLD! THE LORD IS COME, 166, 463 KEEP ME VERY NEAR TO JESUS, 400 KELLER'S AMERICAN HYMN, 343, 345 LAND AHEAD! THE FRUITS ARE WAVING, 367 LEAD, KINDLY LIGHT, 223 LET PARTY NAMES NO MORE, 169 LET TYRANTS SHAKE THEIR IRON ROD, 331 LET US GATHER UP THE SUNBEAMS, 317 LET US SING OF THE SHEAVES, 479 LIFE IS THE TIME TO SERVE THE LORD, 409 LITTLE TRAVELLERS ZIONWARD, 299 LO! A SAVIOUR FOR THE FALLEN, 404 LO! HE COMES, WITH CLOUDS DESCENDING, 504 LO! ON A NARROW NECK OF LAND, 118 LO! WHAT A GLORIOUS SIGHT APPEARS, 505 LORD, HOW MYSTERIOUS ARE THY WAYS, 198 LORD OF ALL BEING, THRONED AFAR, 52 LORD, WITH GLOWING HEART I'D PRAISE, 49, 50 LOVE DIVINE, ALL LOVES EXCELLING, 47, 111 LOVE UNFATHOMED AS THE OCEAN, 401 MAGDALENA, SHOUT FOR GLADNESS, 473 MAGNIFICAT ANIMA MEA, xii, 10 MAJESTIC SWEETNESS SITS ENTHRONED, 23 MARSEILLAISE HYMN, 174, 329, 352 MEIN JESU, WIE DU WILLST, 499 MID SCENES OF CONFUSION, 134 MINE EYES HAVE SEEN THE GLORY OF THE, 341 MOURNFULLY, TENDERLY BEAR ON THE DEAD, 245, 246 MUST JESUS BEAR THE CROSS ALONE, 411 MY BROTHER, I WISH YOU WELL, 290 MY COUNTRY 'TIS OF THEE, 336-338 MY GOD, HOW ENDLESS IS THY LOVE, 105, 106 MY GOD, I LOVE THEE, NOT BECAUSE, 75 MY GOD, IS ANY HOUR SO SWEET, 214 MY GOD, MY FATHER, WHILE I STRAY, 214 MY GOD, MY PORTION AND MY LOVE, 382 MY GRACIOUS REDEEMER, I LOVE, 132 MY HOPE IS BUILT ON NOTHING LESS, 216, 217 MY JESUS, AS THOU WILT, 499, 500 MY JESUS, I LOVE THEE, 162, 163 MY LORD AND MY GOD, I HAVE TRUSTED, 77 MY LORD, HOW FULL OF SWEET CONTENT, 190, 192 MY SAVIOUR KEEPS ME COMPANY, 189 MY SOUL, BEHOLD THE FITNESS, 397 NEARER, MY GOD, TO THEE, 150-152 NO CHANGE OF TIME SHALL EVER SHOCK, 193 NOT ALL THE BLOOD OF BEASTS, 44 NOW TO THE LORD A NOBLE SONG, 33 O BLISS OF THE PURIFIED, 433 O CANAAN, BRIGHT CANAAN, 273 O CHURCH, ARISE AND SING, 186 O COME, ALL YE FAITHFUL, 459 O COULD I SPEAK THE MATCHLESS WORTH, 136 O CROWN OF REJOICING, 451 ODE ON SCIENCE, 330 O DEUS, EGO AMO TE, 74 O DO NOT BE DISCOURAGED, 298 O'ER ALL THE WAY GREEN PALMS, 470 O'ER THE GLOOMY HILLS OF DARKNESS, 166 O FOR A CLOSER WALK WITH GOD, 129 O FOR A THOUSAND TONGUES TO SING, 45, 46 OFT IN DANGER, OFT IN WOE, 366 O GALILEE SWEET GALILEE, 260, 319 O HAD I THE WINGS OF A DOVE, 400 O HAPPY DAY THAT FIXED MY CHOICE, 281 O HAPPY SAINTS THAT DWELL IN LIGHT, 122 O HELP US, LORD; EACH HOUR OF NEED, 278 O HOW HAPPY ARE THEY, 281 O HOW I LOVE JESUS, 291 O LITTLE TOWN OF BETHLEHEM, 468 O LORD OF HOSTS, WHOSE GLORY FILLS, 485 ONE MORE DAY'S WORK FOR JESUS, 418 ONE SWEETLY SOLEMN THOUGHT, 529 ON JORDAN'S STORMY BANKS, 24 ONLY REMEMBERED, 308 ON THE MOUNTAIN TOP APPEARING, 173 ONWARD, CHRISTIAN SOLDIERS, 185, 186 ONWARD RIDE IN TRIUMPH, JESUS, 382 O PARADISE! O PARADISE! 525 O PERFECT LOVE, 504 O SACRED HEAD, NOW WOUNDED, 86 O SING TO ME OF HEAVEN, 288 O THE CLANGING BELLS OF TIME, 449 O THE LAMB, THE LOVING LAMB, 271 O THINK OF THE HOME OVER THERE, 463 O THOU IN WHOSE PRESENCE MY SOUL, 281 O THOU, MY SOUL, FORGET NO MORE, 492 O THOU WHO DIDST PREPARE, 361 O THOU WHO DRY'ST THE MOURNER'S TEAR, 244 O THOU WHOSE TENDER MERCY HEARS, 198 O TURN YE, O TURN YE, FOR WHY, 291 OUR LORD HAS GONE UP ON HIGH, 473 O WHEN SHALL I SEE JESUS, 276 O WHERE SHALL REST BE FOUND, 145 O WHY SHOULD THE SPIRIT OF MORTAL, 238 O WORSHIP THE KING ALL GLORIOUS ABOVE, 22 PARTED MANY A TOIL-SPENT YEAR, 267 PATIENTLY ENDURING, 443 PEACE, TROUBLED SOUL, WHOSE PLAINTIVE, 202 PEOPLE OF THE LIVING GOD, 144 PILGRIMS WE ARE TO ZION BOUND, 281 PORTALS OF LIGHT, 443 PRAISE GOD FROM WHOM ALL BLESSINGS, 13 PULL FOR THE SHORE, 372 REJOICE AND BE GLAD, 415 RESCUE THE PERISHING, 425 REVIVE THY WORK, O LORD, 445 RISE, CROWNED WITH LIGHT, 238 RISE, MY SOUL, AND STRETCH THY WINGS, 94 ROCK OF AGES, CLEFT FOR ME, 137 SAFE IN THE ARMS OF JESUS, 540 SANCTIFY, O LORD, MY SPIRIT, 405 SAVIOUR, LIKE A SHEPHERD LEAD US, 310 SAVIOUR, THY DYING LOVE, 147 SCATTER SEEDS OF KINDNESS, 317 SCOTS WHA HAE WI WALLACE BLED, 335, 352 SEE GENTLE PATIENCE SMILE ON PAIN, 104 SEND THY SPIRIT, I BESEECH THEE, 406 SERVANT OF GOD, WELL DONE, 498 SHEPHERD OF TENDER YOUTH, 293-296 SHOW PITY, LORD, O LORD FORGIVE, 44 SHRINKING FROM THE COLD HAND OF DEATH, 520 SINCE JESUS TRULY DID APPEAR, 503 SISTER, THOU WAST MILD AND LOVELY, 498 SO FADES THE LOVELY, BLOOMING FLOWER, 104, 198, 498 SOFTLY FADES THE TWILIGHT RAY, 484 SOFTLY NOW THE LIGHT OF DAY, 483 SOON MAY THE LAST GLAD SONG ARISE, 173 SOUND THE LOUD TIMBREL, 326, 327 SPEAK, O SPEAK, THOU GENTLE JESUS, 386 SPEED AWAY, SPEED AWAY, 184 SPIRIT OF GRACE AND LOVE DIVINE, 403 STAND! THE GROUND'S YOUR OWN, 335 STAR-SPANGLED BANNER, 49, 333-335 STILL, STILL WITH THEE, 481 SUN OF MY SOUL, MY SAVIOUR DEAR, 159 SUNSET AND EVENING STAR, 535 SUR NOS CHEMINS LES RAMEAUX, 470 SWEET HOUR OF PRAYER, 432 SWEET IS THE DAY OF SACRED REST, 488 SWEET IS THE LIGHT OF SABBATH EVE, 488 SWEET IS WORK, MY GOD, MY KING, 37 SWEET IS THE WORK, O LORD, 168 SWEET THE MOMENTS, RICH IN BLESSING, 127 TAKE ME AS I AM, O SAVIOUR, 384 TE DEUM LAUDAMUS, 1 TELL ME NOT IN MOURNFUL NUMBERS, 248 TELL ME THE OLD, OLD STORY, 427 THE BANNER OF IMMANUEL, 188, 189 THE BIRD LET LOOSE IN EASTERN SKIES, 244 THE BREAKING WAVES DASHED HIGH, 323 THE CHARIOT! THE CHARIOT! 278 THE DAY IS PAST AND GONE, 275 THE DAY OF RESURRECTION, 54, 55 THE EDEN OF LOVE, 272 THE GLORY IS COMING, GOD SAID IT, 400 THE GOD OF ABRAHAM PRAISE, 18 THE GOD OF HARVEST PRAISE, 481 THE HARP THAT ONCE THRO TARA'S HALL, 326, 328 THE HEIGHTS OF FAIR SALEM ASCENDED, 403 THE LORD DESCENDED FROM ABOVE, 15 THE LORD INTO HIS GARDEN COMES, 277 THE LORD IS RISEN INDEED, 475 THE LORD OUR GOD IS CLOTHED WITH MIGHT, 366 THE MORNING LIGHT IS BREAKING, 179, 180 THE OCEAN HATH NO DANGER, 371 THE PRIZE IS SET BEFORE US, 449 THE SANDS OF TIME ARE SINKING, 78 THE TURF SHALL BE MY FRAGRANT SHRINE, 244 THE WORLD IS VERY EVIL, 510 THERE ARE LONELY HEARTS TO CHERISH, 312 THERE IS A CALM FOR THOSE WHO WEEP, 499, 521 THERE IS A GREEN HILL FAR AWAY, 414 THERE IS A HAPPY LAND, 304 THERE'S A LAND THAT IS FAIRER THAN DAY, 532 THERE'S A WIDENESS IN GOD'S MERCY, 233, 234 THERE WERE NINETY AND NINE, 422 THEY THAT DWELL UPON THE DEEP, 353 THINE EARTHLY SABBATHS, LORD, WE LOVE, 488 THOU ART, O GOD, THE LIFE AND LIGHT, 244 THOU DEAR REDEEMER, DYING LAMB, 124 THOU LOVELY SOURCE OF TRUE DELIGHT, 198 THROW OUT THE LIFE-LINE, 374-377 'TIS FINISHED! SO THE SAVIOUR CRIED, 24 'TIS RELIGION THAT CAN GIVE, 303 TO CHRIST THE LORD LET EVERY TONGUE, 25 TO GOD THE FATHER, GOD THE SON, 14 TO LEAVE MY DEAR FRIENDS, AND FROM NEIGHBORS, 146 TO THE WORK, TO THE WORK! 438 TOO LATE! TOO LATE! 259 TRIUMPHANT ZION, LIFT THY HEAD, 510 ULTIMA THULE, 320 UNDER THE PALMS, 254 UNNUMBERED ARE THE MARVELS, 402 UNTO THY PRESENCE COMING, 392 UNVEIL THY BOSOM FAITHFUL TOMB, 44, 498 UP AND AWAY LIKE THE DEW, 308 URBS SION AUREA, 509, 511 VENI, SANCTE SPIRITUS, 57, 58 VERZAGE NICHT, DU HAUFLEIN KLEIN, 82 VITAL SPARK OF HEAVENLY FLAME, 515 WATCHMAN, TELL US OF THE NIGHT, 170 WE ARE ON OUR JOURNEY HOME, 417 WELCOME, DELIGHTFUL MORN, 488 WE PLOW THE FIELDS AND SCATTER, 478 WE PRAISE THEE, O GOD, FOR THE SON, 416 WE SAT DOWN AND WEPT BY THE WATERS, 241 WE SHALL MEET BEYOND THE RIVER, 528 WE SPEAK OF THE LAND OF THE BLEST, 307 WESTWARD THE COURSE OF EMPIRE, 324 WHAT A FRIEND WE HAVE IN JESUS, 425 WHAT SHALL A DYING SINNER DO, 43 WHAT SHALL THE HARVEST BE, 434 WHAT VARIOUS HINDRANCES WE MEET, 131 WHEN ALL THY MERCIES, O MY GOD, 113 WHEN FOR ETERNAL WORLDS I STEER, 286 WHEN HE COMETH, WHEN HE COMETH, 314 WHEN I CAN READ MY TITLE CLEAR, 43, 514 WHEN GATHERING CLOUDS AROUND I VIEW, 212 WHEN ISRAEL OF THE LORD BELOVED, 240 WHEN I SURVEY THE WONDROUS CROSS, 42, 109 WHEN LANGUOR AND DISEASE INVADE, 137 WHEN MARSHALLED ON THE NIGHTLY PLAIN, 364 WHEN MY FINAL FAREWELL TO THE WORLD, 441, 442 WHEN OUR HEADS ARE BOWED WITH WOE, 278 WHEN PEACE LIKE A RIVER, 440 WHEN SHALL WE ALL MEET AGAIN, 265, 266 WHEN TWO OR THREE WITH SWEET ACCORD, 24 WHERE IS MY WANDERING BOY TO-NIGHT? 446 WHERE NOW ARE THE HEBREW CHILDREN? 270 WHILE JESUS WHISPERS TO YOU, 418 WHILE SHEPHERDS WATCHED THEIR FLOCKS, 465 WHILE THEE I SEEK, PROTECTING POWER, 125, 207 WHILE WITH CEASELESS COURSE THE SUN, 493 WHY SHOULD WE START AND FEAR TO DIE, 512 WIDE, YE HEAVENLY GATES UNFOLD, 168 WITH JOY WE HAIL THE SACRED DAY, 168 WITH SONGS AND HONORS SOUNDING LOUD, 479 WITH TEARFUL EYES I LOOK AROUND, 214 YE CHOIRS OF NEW JERUSALEM, 59, 60 YE CHRISTIAN HERALDS, GO PROCLAIM, 171, 172 YE CHRISTIAN HEROES, WAKE TO GLORY, 174 YE GOLDEN LAMPS OF HEAVEN, FAREWELL, 519 YE SERVANTS OF GOD, YOUR MASTER PROCLAIM, 204 YES, MY NATIVE LAND, I LOVE THEE, 180 YES, THE REDEEMER ROSE, 476 YOUR HARPS; YE TREMBLING SAINTS, 517 * * * * * Transcriber's note: Obvious spelling/typographical and punctuation errors have been corrected after careful comparison with other occurences within the text and consultation of external sources.

A traditional Carolina ballad singer

Profiles of East Tennessee musicians on line at The Knoxville News-Sentinel's website Songs of Appalachia: Musical Profiles from the Region. The lead story, by Morgan Simmons, hits all the right notes from Cas Walker and the "Midday Merry-Go-Round" to Red Rector, the Laurel Theater and the bluegrass jams at Buddy's Barbecue on Kingston Pike in the 70s.

Also links to brief profiles of southern Appalachian musicians. One is traditional ballad singer Donna Ray Norton, of Asheville, N.C., who sings "Pretty Peggy-O" among other ballads like those that were collected by Cecil Sharp in the Carolina mountains in 1915. Only a couple or three verses but enough to get her sense of the tune and the phrasing. "Some people’s families are ballerinas or football players," Norton told the News-Sentinel. "My family has been singing ballads for eight generations. This is what we do." She's from Madison County, and she sings it the authentic way. Since she started singing to the public at Warren Wilson College, she's been to the West Coast and performed with the North Carolina Symphony.

She has several songs on her MySpace page. Plus some more background. She got interested in traditional music through a high school project in Asheville, has a couple of CDs.

Radio Sri Chinmoy → Free Online Music Radio → Listen to Indian Music Online

"At Radio Sri Chinmoy there is a variety of Indian music. Sri Chinmoy was born in India and was brought up in a progessive Indian spiritual community. His music encompasses the ancient traditions of Indian music and his own innovative developments."

From the About Us page:

"Sri Chinmoy's yoga is at once strictly traditional and progressively modern. Based on Vedantic principles and those of the Bhagavad Gita, it is a synthesis of devotion, intuitive knowledge and dedicated action, with a distinctive emphasis on surpassing self-imposed limits. Sri Chinmoy is known for his many achievements in the areas of music, writing, art and athletics, and also for his commitment to world harmony, expressed through soulful concerts, the international Sri Chinmoy races and the meditations he offers. Sri Chinmoy is a prolific composer with thousands of songs to his credit in his native Bengali and English. He plays many instruments from all over the world including a variety of flutes, the Indian esraj, cello, harmonium, piano and pipe organ."

Sri Chinmoy died in 2007.

Free download: Music and Dharma

Music in the Dharma / Dharma in the Music / Live at IMC

A dharma talk and concert with Rev. Heng Sure, Betsy Rose and Alan Senauke - June 10, 2005 - at the Insight Meditation Center, a community-based urban meditation center for the practice of Vipassana or Insight meditation ... a non-residential center in Redwood City, California, dedicated to the study and practice of Buddhist teachings.

Part 1 - MP3/11MB/32Min ||| Part 2 - MP3/8.3MB/24Min
Part 3 - MP3/10.2MB/29Min ||| ||| Part 4 - MP3/7.5MB/21Min

Folk style with acoustic guitar.

MIDI song files, mostly classical

Here's one I found when ... oh, I don't know what I was looking for ... it was a Saturday morning, and I needed to practice the songs for my gig at New Salem next month. So instead of woodshedding, I started doing keyword searches on "woodshedding." What else is a guy to do? And I found The Silvis Woodshed. It's a collection of MIDI files of classical and early folk musicians from "anonymous" and Anton C. Adlgasser to F.M. de Zulueta. Since I've never heard of either, I decided the website was worth bookmarking. It does have Bach, Beethoven, Buxtehude, Praetorius and a lot of others I have. Says the webmaster, George Silvis: "In the old days a singer would hide out in the woodshed to learn his notes. Now we have tools like midi to help us along. I hope for this page to be a collection of midi files and tools to help singers learn their notes so that they can be ready to turn it into music when they go to rehearsal."

Gruff billygoat's 'Religiøse Folketoner'

Another guy to find out more about: Arve Moen Bergset, singer, member of the group Bukkene Bruse, hardanger fiddle player and classical musician. I heard him singing a song called "Min sjael nu lover herren" on NRK and looked him up on the web. He has a marvelous tenor voice, lots of ornamentation on the song. Sounded a lot like Irish sean nos as James Flannery might sing it.

The Norwegian Music Information Centre has a biography of Bergset. According to Wikipedia, he is a first violinist in the Oslo Philharmonic Orchestra. Two clips from one of his early folk albums have been posted to YouTube: The first one includes:

1- 'Pal Sine honnor': Paul let the hens run over the hillside when the fox was abroad and was afraid to go home to his family's farm.
8. Eg var liten ((When) I was little) Sitting by the open cottage fire on her stool

2- 'Eg er Framand': I am a pilgrim who will stay only one night here. I seek the City of God where sorrow & death are no more. Dear Lord, lead me to Heaven's shore.

The second includes:

'Pa Dovrefjell':Queen Ingeborg's twelve brothers were heroes without equal, who could control the weather & tides, swim like a fish, stand on waves, play a golden harp to which all must dance, blow a horn so that all hearing it feared, capture a dragon . . . This say I and it is true: their like is not found in Norway's land.

'Mit Hjerte Altid Vankor': Xmas carol. My heart always wanders to where Jesus was born, where my longing finds its home.

He began recording when he was 14 years old, and these sound like they were recorded then.

There's also an album on the "This is Music from Norway" website called Religiøse Folketoner. Playlist:

MUSIC CLIPS FROM THIS ALBUM
Title Play Dur.
Store, Store Gud! 3:37
Et Lidet Barn Saa Lystelig 1:06
Det Er Det Nyt, Som Paa Jorderig Skeede 2:50
Herre Gud! Dit Dyre Navn Og Ære 6:36
Min Sjæl Nu Lover Herren 5:24
Overmaade Fuld Af Naade 3:32
Min Gud Jeg Prise Vil Med Flid 2:37
På Jorden Mange Blomster Vokse 0:49
Du Være Lovet, Jesu Krist 2:59
Kven Kan Seia Ut Den Gleda 1:26
Korset Vil Jeg Aldri Svike 1:54
Sørger Du Endnu, Min Sjæl! 5:28
Spor 13 3:57
Hellig Ånd, O Himmel-Lue 2:01
Ned I Vester Soli Glader 1:54
Eg Veit I Himmerik Ei Borg 3:33
Dagsens Auga Sloknar Ut 3:25
I Himmelen, I Himmelen 7:25

The clip I heard is on this album.

It sounds like he does some interesting classical/folk stuff. According to MIC Norway:

Arve emphasises that he is not a genuine dance fiddler because although he has been playing the Hardanger fiddle since the age of fifteen, it has mainly been in a classical context. He has recently recorded Geirr Tveitt’s Two concertos for the Hardanger fiddle with the Stavanger Symphony Orchestra conducted by Ole Kristian Ruud. On an earlier CD, he played Johan Kvandal’s Fantasia for hardingfele og strykere (Fantasia for Hardanger fiddle and strings) with the Kristiansand Symphony Orchestra.

Kirsten Bråten Berg CD

Heard on NRK, Kirsten Bråten Berg singing "Du Være Lovet, Jesus Krist" on Jultid a CD by Kirsten Bråten Berg, Hallvard Bjørgum & Eilert Hægland. Lots of ornamentation, "swoops and slurs"

MUSIC CLIPS
Title Play Dur.
I Denne Søte Juletid 4:19
Et Barn Er Født I Betlehem 3:10
Her Er Det Ny Som På Jorderig Skjedde 2:29
Et Lite Barn Så Lystelig 2:46
Saligheten Er Oss Nær 2:19
Du Være Lovet, Jesus Krist 2:45
Eg Såg Ein Kristi Pilgrim 2:44
Gamlestev 1:17
Herre Jesus Krist 2:42
Guds Godhet Vil Vi Prise 3:43
Faremoanes Brureslag 1:55
Hjå Gud Er Alltid Gleda 4:06
Din Herlegdom, Frelsar 3:09
Stevpreludium 1:34
Nystev 0:55
Folketone Frå Lårdal 1:41
Det Er Den Første Julenatt 1:52
I Prektige Himler 2:02
Guds Sønn Har Gjort Meg Fri 2:34

O verden hav da gode nat

Heard on NKR today ... "O verden hav da gode nat," innspilt 1948 ... by Odd Mehus, Per Vetrhus and Anders Lunde. Singing in unision, lots of ornamentation, sounds like Scottish psalmody.

A keyword search on the title turns up this CD by Unni Løvlid on Amazon.com ... called Vita. Sound clips available on this Brittish website. Lovlid's home page has her schedule. And Scanarts management has a good bio. Excerpt:

... She was the first to take a Master’s degree in the performance of vocal traditional music at the Norwegian State Academy of Music in 2002. She has been a teacher at the Ole Bull Academy and the Norwegian State Academy of Music and has done a number of recordings. With the trios Fjøgl and Rusk she has broadened the scope of traditional music in the direction of contemporary music. Typically, she has recently performed Schoenberg’s ‘Pierrot Lunaire’ as a concert project of her own in Oslo.

And an Amazon.com reviewer had this to say:

1 of 1 people found the following review helpful:
Experiencing the Divine, January 13, 2006
By someone - See all my reviews

I've never heard an album quite like this one [Vita]. The entire album features Norwegian singer Unni Løvlid singing acapella religious music, and while this prospect sounds only remotely appealing at first, it the location of the performance that is truly phenomenal.

Løvlid sings in the cavernous Emanuel Vigeland mausoleum underneath a Norwegian church.

While her voice alone is gorgeous enough to carry this entire album, it is the huge space of the crypt that elevates the experience toward the heavenly. The notes whisper in the absolute stillness, then crescendoing to echo and ripple against the walls to completely fill the gigantic cavern. The audio quality of Vita is as perfect as the acoustics, and it really makes you feel like you're there in the subterranean space.

An audio preview and better description of Vita is available at cdRoots.

Book review on Scandinavian folk hymns

Spiritual Folk Singing. Nordic and Baltic Protestant
Traditions. Kristen Sass Bak, Svend Nielsen
(eds.). Denmark, Forlaget Kragen 2006, 284 pp.

In Vol 36 - Electronic Journal of Folklore, edited by Mare Kõiva & Andres Kuperjanov and published by: FB and Media Group of Estonian Literary Museum.

Home page is at http://www.folklore.ee/

Money grafs. This:

A collection of articles this extensive and of this
quality on the Nordic and Baltic spiritual folk song
has been long expected. The nearly 300-page volume
features articles by ten authors on spiritual
folk singing in Estonia, Finland, Sweden, Denmark,
Norway, the Faeroe Islands, Island and Lithuania.
Two attached CDs of audio samples of the spiritual
folk song repertoire of all the countries discussed
in the collection contribute to the high value
of the publication.

And this:

In the collection, two layers of the spiritual folk singing tradition are discussed. Firstly, scholars have taken interest in the popular variations of Lutheran hymn tunes, disseminated in Protestant European countries, such as the melismatic style, tonality, rhythms, etc. of folk hymns. Secondly, the articles focus on the newer spiritual folk singing tradition, mostly created in the course of the pietistic revival in Northern Europe, particularly in the 17th–18th century in Denmark and Norway. Regardless of historical and social idiosyncrasies, the tradition of all the Baltic and Nordic countries share similarities in the folklorisation of hymns.

Two articles relate to Norway:

Ingrid Gjertsen, Norwegian ethnomusicologist, takes an in-depth look at the musical
tradition of a specific pietistic religious movement, the Hauge movement, which
emerged within the framework of the Lutheran State Church. The revelatory movement,
founded in the early 19th century and still active, has considerably influenced
the traditions and repertoire of Norwegian spiritual singing. The main research focus
of the article is singing as an expressive medium within a particular religious practice,
and an inseparable part of the lives of the given pietistic sect. The main emphasis of
the approach is on the function of singing in different religious, historical and social
contexts.
Irene Bergheim, Norwegian musicologist, has taken interest in the influence of
published hymn tunes on the folk singing tradition in a rural region in Norway. The
author explores a 19th-century collection of hymn tune transcriptions by an amateur
Norwegian musician Knut D. Stafset. This is an interesting collection of more popular
hymn and folk songs of the period. By analysing the compiler’s choice of repertoire, the
principles of notation and the style of variation, the author seeks to answer questions
about the hymn singing tradition, popular among the rural population in the late 19th
century.

Another CD on Kirkelig Kulturverksted

Here are the details on the Kirkelig Kulturverksted page:

TORHILD OSTAD:
BLOMAR I MOLL
KIRKELIG KULTURVERKSTED (1996)
Catalog no.: FXCD167
Genre: Traditional music :: Trad. vocal
Duration: 0:33:43
Format: MP3 - 256kbps

And the playlist:

Buy single tracks for download:
Title Preview Length Price Buy
LOVA LOVA LINE 1:44 NOK 9,50
HELLIG ÅND O HIMMELLUE 2:23 NOK 9,50
FRYD DEG DU CHRISTI BRUD 2:00 NOK 9,50
SALIGHETEN ER OSS NÆR 3:14 NOK 9,50
GRET DU BARNET 0:59 NOK 4,00
SYNG I STILLE MORGONSTUNDER 2:04 NOK 9,50
MIN SJEL OG ÅND OPPMUNTRE DIG 2:49 NOK 9,50
I HIMMELEN, I HIMMELEN 1:24 NOK 9,50
NU DAGENS LYS SIG SNIGER HEN 2:02 NOK 9,50
SULLA LULLA UNGEN MIN 0:45 NOK 4,00
NU SOLEN GÅR NED 3:13 NOK 9,50
FRISK OPP MIN SJEL 1:53 NOK 9,50
KOM, REGN AV DET HØYE 1:59 NOK 9,50
NU RINNER SOLEN OPP 2:23 NOK 9,50
DAGSENS AUGA SLOKNAR UT 3:16 NOK 9,50
KYSJA ROA LITE BAN 1:35 NOK 9,50

Torhild Ostad sings a cappella. There's a little more information on the Web about her. But now I've really got to get back to work.

Later: From Ostad's homepage at http://home.no.net/torhilos/ ...

Torhild Ostad - "Blomar i moll"
The CD's title means both "Flowers In Soil" and "Flowers In A Minor Key". A recording debut by a unique voice (in every sense).
A folk music CD with one vocal voice only was never before released in Norway. Torhild Ostad's debut record, -Blomar I Moll-, contains 16 songs: traditional lullabies and folk hymns.

ONE VOICE

Religious folk hymns and lullabies from all parts of Norway are here performed without any accompaniment, bare and with total intimacy.
As such this makes Torhild Ostad's record one of a kind. It is a homage to a rich musical tradition and to all of them who, often modestly, have carried this tradition.
This is how Torhild Ostad herself describes her CD album and her own encounter with the traditional folk music heritage: - I have learned this way of singing from recordings of old people. Our Norwegian folk music is a soloistic tradition. You can raise up and sing all by yourself where ever. This is fantastic. The folk tunes have strength and simplicity. And every performer has her own personal and individual timbre. -

Another Norwegian folk hymn

Heard on NKR yesterday -- another song, "O du min Immanuel," by Ole & Knut Aastad Bråten and Bodil Haug. From the same CD that I tracked down and posted to the blog Feb. 28. Similar melodic contour and ornamentation to English and southern Appalachian folk hymns. There's a 30-second audio clip on the http://www.musicfromnorway.com/default.aspx?norwegian=artist&music=24232">Music From Norwaywebsite. Here's the playlist, copied and pasted (with

Her Er Jeg En Vandringsmann 2:24
Tankens Runer Og Mitt Farvel Til Norge 1873 3:19
Drankerhustruens Klagesang 3:22
Kaffetiden Os Påminder Svein I Syegarde 2:35
Den Tvilsomme Beiler 4:12
Liljen I Dalen 1:56
Svenskadn På Norderhov 1:26
Ved Dig Min Jesus Bestandig Jeg Bliver 2:55
Sig Mig O Broder Hvad Vei Går Vel Du 3:50
En Sang Om Salighet 1:39
Den Nye Stad "Klukkelåt" 5:31
O I Foreldre Kjære 5:24
O Du Min Immanuel 6:19
For Guds Folk Står En Kvile Tilbake, Etter Truls Tørrisplass, Nes 2:15

Something to order when finals are over and I have time to listen.

Luci Tapahonso -- Monday

A very good Luci Tapahonso poem and biography The poet explains:

"Many of these poems and stories have a song that accompanies the work. Because these songs are in Navajo, a written version is not possible. When I read these in public, the song is also a part of the reading. This is very much a consideration as I am translating and writing--the fact that the written version must stand on its own..."

Amy McNally of the University of Minnesota, who edited the page, offers this assessment:

In the birth poems, in the humorous stories, and in the chants and prayers within Tapahonso's works, a voice emerges that both appreciates and respects traditional Navajo stories and humor. At the same time speaks a writer who will use the narratives she has heard throughout her life as a foundation for the creation of new prayers, stories, and poems that recognize the vitality of present day Navajo culture.

In class we'll read some poems linked to her page at http://www.ipl.org/div/natam/bin/browse.pl/A116 ...

Blog: Compare and contrast the two poems about drinking/drunks we read in class today with "It Has Always Been This Way." Consider the three questions. You know what they are by now, right? Post your answers as comments to this blog.



Here's a link to directory of Dine (Navajo) literature.

http://www.indigenouspeople.net/navajo.htm

HUM 221: Assignment for Friday

Read Luci Tapahonso's autobiography in "Here First" (pp. 337-51).

For background, read an overview of Dine (Navajo) culture written by Navajo Tourism (the Navajo Nation) of Window Rock, Ariz.

Also a short bio with important quotes from Tapahonso at http://www.learner.org/amerpass/unit01/authors-9.html ...

In class we'll read the poems linked to her page at http://www.ipl.org/div/natam/bin/browse.pl/A116 ...

Much of Tapahonoso's writing is about family. How much of it seems to reflect a specifically Navajo, or Dine, way of looking at the world? How much is universal?

One poem we'll look at closely is about the Long Walk to Bosque Redondo in 1864, a tragic moment in Navajo history, and how the poet's family deals with it. After reading the Wikipedia account of the Long Walk (with due *caution), we will go through "In 1864" to see what it tells us about Tapahonoso, the Dine people and perhaps Native Americans in general.

Tapahonso reads at National Book Festival http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=3511 ...

________________

* Caution is always a good idea with Wikipedia, because anyone who visits a page can edit it ... edtitng in (or out) whatever they please. In general, it is self-correction because people are generally conscientious about cleaning up mistakes -- or deliberate misinformation -- when they see something that needs editing. But in another article on the Dine Nation today, I a couple of things that appeared to reflect ongoing controversy over local school board politics on the reservation. The same thing happens on Wikipedia during political controversies everywhere, and eventually everything gets sorted out. But in the meantime, caution is advised whether the politicking concerns the Navajo Nation, the upcoming North Carolina primary or next year's city council and school board elections in Springfield.

HUM 221: Lacrosse, stickball and culture

Stickball is a generic term for a Native American game that was widely played from Canada to what are now the Southeastern states. It may or may not be descended from the ancient Mexican ball games we mentioned in class at Monday, but it has some broad similarities in that players move a ball up and down a playing field toward their opponents' goal. In more or less its traditional form, Stickball survives among Cherokee and Choctaw Indians today in North Carolina and Mississippi. In the northeastern states and Canada, it has evolved into lacrosse.

A freelance writer from North Carolina (George Ellison, linked below), describes the traditional Cherokee version of the game. It's no-holds-barred. Literally:

I asked a Cherokee man standing alongside me, “What are the rules?”

“Can’t touch the ball with your hands,” he replied.

“That’s it?” I asked.

“Pretty much,” he replied.

Lacrosse is an international sport, with lots of rules and a national governing body -- similar to Major League Baseball -- for men's and women's lacrosse. But it grows out of stickball.

US Lacrosse, the governing body, has a history of Native American lacrosse on its website. Thomas Vennum Jr., author of "American Indian Lacrosse: Little Brother of War," says:

Apart from its recreational function, lacrosse traditionally played a more serious role in Indian culture. Its origins are rooted in legend, and the game continues to be used for curative purposes and surrounded with ceremony. Game equipment and players are still ritually prepared by conjurers, and team selection and victory are often considered supernaturally controlled. In the past, lacrosse also served to vent aggression, and territorial disputes between tribes were sometimes settled with a game, although not always amicably.

Vennum's short history on the US Lacross website is the best available.

Lacrosse is especially important to the Haudenosaunee, or Iroquois, people. The Iroquois Nationals are members of the Haudenosaunee nation who carry that nation's passports when they compete internationally. Their website explains that "lacrosse is a medicine sport" because the game "is a holistic process that binds communities and the nations of the Haudenosaunee together." On their website, they explain why lacrosse is more than just a game to them.

Some variants:

• Cherokee stickball is described and explained by George Ellison, who saw a stickball game at a reunion of Oklahoma and Eastern Band Cherokee.
  
• The Mississippi Band of Choctaw Indians explains the evolution of Choctaw stickball ... the game, called toli in the Choctaw language,is still played today.
  
• The Flying Rats are college students who play Choctaw stickball at the University of Georgia-Athens. Their website explains how to play, the history of the game and how they got their name from a Muscogee (and Cherokee) legend about a stickball game between the birds and animals. It also has photos of games between the UGA team and a Choctaw team in Mississippi, from whom they learned the sport.

Here are some questions to blog about. Post as answers to this item.

1. What roles do stickball/lacrosse play in modern Haudenosaunee, Cherokee and Choctaw culture? Has it changed over the years?

2. How does the organized sport of lacrosse differ from tradtional stickball as played by Cherokee and Choctaw Indians? How are they the same?

3. Is lacrosse an example of cultural appropriation? Is the non-Native team at UGA? Do the Flying Rats show respect for Choctaw tradition? If so, how?

Ultimate webpage for surfers, slackers

If you get bored in class and want to surf the World Wide Web, be sure to check out this webpage. It's the ultimate page for surfers and slackers.

HUM 221: A vanished people, ball games

In Phoenix just north of Salt River and Sky Harbor International Airport, stand the ruins of an ancient Indian village, or pueblo, inhabited by a people we call the Hohokam until about 1400 A.D. Partially restored, it is now a municipal museum and archaelogical park called Pueblo Grande. We don't know what the Hohokam people called it. In fact, we don't really know who they were. Today's Pima and Tohono O'odham Indians, who may be descended from them, call them the Hohokam. The name means "used up" or "those who went before."

Read up on Pueblo Grade, the Hohokam and what we can infer about their culture. Pay special attention to their ball game and our best guesses of how it fit into the their culture. You'll have an opportunity to blog on it later.

There's an atmosphere of mystery as you visit Pueblo Grande, you can see the ruins of the platform mound, a large adobe building divided into apartment-like units, as well as the ball court, a couple of reconstructed dwellings and an irrigation ditch. The ditch still collects water, and I heard frogs when I visited several years ago.

In fact, Phoenix is located where it is because the first white settlers in the 1880s were able to use the old Hohokam irrigation canals to water their crops. The Hohokam and the Pima successfully farmed the desert for more than a thousand years.

Part of the mystery is that we have to guess at what Hohokam culture was like. The people left no written records, so we infer what we know about them from archaeology. The canals they left are a lot like the Pima's, for example, so we can infer their agriculture was similar.

Even more mysterious are the ball courts. We know they're like ceremonial ball courts in Mexico, so we infer the ball games were like those played in Mexico. But we can't be sure. In fact, what we know about the Mexican games comes from records of an Aztec game and a surviving traditional ballgame in Mexico called ulama.

Scientists have a pretty good idea how Hohokam must have played the game, though. This article in Tuscon Weekly is a good reconstruction. DesertUSA, a tourism website, has a good overview of the Hohokam people, and how the ball play might have fit into the overall culture.

n interactive webpage explaining a Hohokam village ... click on features of the map, like the houses, the platform mound or irrigation canals, to read about each. The ball court is in the lower right.

Your blog question: Read this account by an anthropologist in 1880 of the Cherokee stick ball game and its origins. It is by James Mooney, a famous ethnographer who did his research in the 1880s and 1890s. What role did athletics play in Native cultures? How does it compare to the role played by athletics in our culture today.


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Wannabes and mascots

What are the pros and cons of using Native Americans as sports team mascots? How did Florida State University handle the controversy over its use of Seminole Indians as a mascot for its teams? What compromise did they come to with the Seminole tribal government? Who wins? Who loses? Could other schools handle the controversy over American Indian team names in a similar fashion?

Does cultural appropriation have to be negative? Can it be done in a way that is respectful to a minority culture and still enriches the majority culture? If so, how?

Discuss. Post your answers as comments to this post.

Some links:

• The American Psychological Association called for an immediate end to American Indian sports mascots in 2005. They cited, among other things, the "particularly harmful effects of American Indian sports mascots on the social identity development and self-esteem of American Indian young people."
  
• Wikipedia has a balanced treatment of the issue. Partisans on each side of the controversy correct each other's language and thus keep each other honest.
  
• Florida State University and the Seminole Tribe of Florida have worked out a culturally sensitive approach that the Seminole tribe and Florida State fans agree on.

Some background. The issue is complex, and no compromise will make everyone happy. But Florida State has been cited as an example of one that worked fairly well.

Some observers make a distinction when American Indians choose a tribal name for their own teams. The high school in Cherokee, N.C., for example, calls its athletic teams the Braves. Yet Native American activists have protested the Atlanta Braves and, especially, the "tomahawk chop" seen at ballgames as insensitive and offensive. When the Braves played the Cleveland Indians in 1995, the activists had a field day. Closer to home, of course, the University of Illinois had its moments of controversy, too, when white students dressed up like Indians and performed what they thought was a "Native American dance" at ballgames.

Cultural appropriation: Raking in the long green on the Red Road

Among the outsiders are "plastic shamans" and "wannabes." Both terms need some definition. A shaman, in Siberia where the term originated, is a traditional healer who mediates between the spirit world and that of daily life. A traditional spirit healer made of plastic is just a contradiction in terms, right? Hence the joke behind the name. A "wannabe" is just somebody who wants to be something he is not. The "American Idol" show is full of wannabe musicians, for example, and karaoke clubs make their money off of wannabe singers.

So white people who "wannabe" Native American can go to a "plastic shaman" and try to buy the kind of spiritual "wisdom" that traditional people would fast and pray for years to attain. At least so goes the stereotype.

Has the revival of Native American religions spread too far? Some believe that's the case, as whites have expressed an interest in the Native world view and incorporated some of its features into "New Age" philosophies -- and New Age marketing ventures that take some of the trappings of Native spirituality but trivialize its spirit. Rather than feeling honored by this, many Native people feel ripped off. Sharing their unease with New Age hype, according to Wikipedia, are "adherents of traditional disciplines from cultures such as India, China, and elsewhere; a number of orthodox schools of Yoga, Tantra, Qigong, Chinese Medicine, Ayurveda and martial arts (the traditional Taijiquan families, for example), groups with histories reaching back many centuries in some cases." It is a form of cultural appropriation ...

Two newspaper stories detail the practice. In 1997 a reporter for The Navajo Times told about traditional Dine (Navajo) people who were ripped off by a fake healer, at a time when the real traditional healers are getting fewer and fewer. And another Navajo Times writer surveyed plastic shamans on the Internet. See also the survey of rip-offs and authentic practices in California's Sonoma County Free Press.

In 1993, a Declaration of War Against Exploiters of Lakota Spirituality was adopted at the Lakota Summit, an international gathering of U.S. and Canadian Lakota, Dakota and Nakota nations. It says, "for too long we have suffered the unspeakable indignity of having our most precious Lakota ceremonies and spiritual practices desecrated, mocked and abused by non-Indian "wannabes," hucksters, cultists, commercial profiteers and self-styled "New Age shamans" and their followers."

White Buffalo Calf

Please answer the questions below. Post your answers as comments to this blog post.

1. What stands out as you read the "White Buffalo Calf" legend?

2. What in your background, heritage, etc., makes you feel that way?

3. What in the story makes you feel that way?

4. Is the story real? In what way? To whom? How? What does it mean for a story to be "real?" Does it have to be scientifically accurate?

Native American religion -- some links

For an overview of Lakota culture, we'll start with the Lakota Information Page developed by Richard Two Elk. He is an Lakota educator in Denver; his page isn't slick, but often that's a good sign with websites. Especially Native American websites, for reasons we'll explore later.

A wealth of information on Lakota spirituality and religion is available here: Articles on Spiritual Heritage. Including Pipe ceremony, four directions, Blessed Kateri Tekakwitha. American Indian Culture Research Center, Blue Cloud Abbey, Marvin, S.D. There is a lot of good information available elswwhere on the AICRC website. Surf around and find something that interests you.

Dakota/Lakota Theology. Correspondences between Lakota and Christian theology. "When you study People you are touching -- not a problem -- but a Mystery. Problems are irritating, and when solved are discarded. Mysteries are fascinating, and when tested are entrancing. ... For your understanding we have used familiar catechetical terms to parallel Indian concepts in religion."

Dakota Theology on the Blue Cloud Abbey website. " Another list.

An overview of relations between Native people and Christian denominations in "Shining Through: Native Spirituality Sheds a New Light on Christianity" by Rea Howarth [from American Indian Report – December, 1999].

Spirituality, hucksters and "wannabes"

HUM 221: We'll discuss this in class Monday, and you'll want to follow up by reading the linked documents.

We will only touch on a deeply controversial topic, the extent to which Native American spiritual practices have been revived in recent decades and the extent to which they have been "commodified" or commercialized by outsiders.

Among the outsiders are "plastic shamans" and "wannabes." Both terms need some definition. A shaman, in Siberia where the term originated, is a traditional healer who mediates between the spirit world and that of daily life. A traditional spirit healer made of plastic is just a contradiction in terms, right? Hence the joke behind the name. A "wannabe" is just somebody who wants to be something he is not. The "American Idol" show is full of wannabe musicians, for example, and karaoke clubs make their money off of wannabe singers. So white people who "wannabe" Native American can go to a "plastic shaman" and try to buy the kind of spiritual "wisdom" that traditional people would fast and pray for years to attain. At least so goes the stereotype.

And there are plenty of websites all over the Internet to confirm the stereotype, although some of the New Age practitioners on the sites I've looked at do appear to be sincere in wanting to help people.

An explanation of why the pipe ceremony is the "basis of Lakota spirituality" by Ben Black Bear Jr. See also the explanation of Prayer with the Sacred Pipe and the comments on the pipe ceremony by Nicholas Flying By. Our descriptions of the pipe ceremony come largely from a Lakota elder named Nicholas Black Elk who described the old ways to a white writer during the 1930s. An account of Black Elk's conversion to Christianity and his activities as a Jesuit catechist (a sort of lay minister) is available on oLive Leaf, a Canadian website that also has a comparison between burning incense and sweetgrass.

The sun dance is a revival of an ancient Native American religious ceremony, once outlawed but legalized during the 1970s. Sun dances are held every year on the Rosebud Reservation in South Dakota. (You'll notice, by the way, I'm not linking to any clips on YouTube. Most Native religious dances are not to be photographed.) The tribal government has some "Dos and Don'ts regarding the behavior and attitudes of all people who are uniformed about one of our customs."

Has the revival of Native American religions spread too far? Some believe that's the case, as whites have expressed an interest in the Native world view and incorporated some of its features into "New Age" philosophies -- and New Age marketing ventures that take some of the trappings of Native spirituality but trivialize its spirit. Rather than feeling honored by this, many Native people feel ripped off. Sharing their unease with New Age hype, according to Wikipedia, are "adherents of traditional disciplines from cultures such as India, China, and elsewhere; a number of orthodox schools of Yoga, Tantra, Qigong, Chinese Medicine, Ayurveda and martial arts (the traditional Taijiquan families, for example), groups with histories reaching back many centuries in some cases."

In 1993, a Declaration of War Against Exploiters of Lakota Spirituality was adopted at the Lakota Summit, an international gathering of U.S. and Canadian Lakota, Dakota and Nakota nations. It says, "for too long we have suffered the unspeakable indignity of having our most precious Lakota ceremonies and spiritual practices desecrated, mocked and abused by non-Indian "wannabes," hucksters, cultists, commercial profiteers and self-styled "New Age shamans" and their followers."

Rachmaninoff’s “All-night Vigil” May 3

At Blessed Sacrament parish at 7 p.m. Saturday, May 3. Choral music written in three- to eight-part harmony, one of the master works of Russian Orthodox liturgical music. Notice excerpted from State Journal-Register arts calendar for April 3:

SPRINGFIELD CHORAL SOCIETY

“Russian Summers” – Sergei Rachmaninoff’s “All-night Vigil”

Where: Blessed Sacrament Church, 1725 S. Walnut St.

When: May 3, 7 p.m.

Tickets: $10

Where: St. Joseph’s Church, 700 E. Spruce St., Chatham

When: May 4, 7 p.m.

Tickets: $10

And this from this month's bulletin of Holy Family Catholic Parish in Lincoln:

Springfield Choral Society, under the direction of
Maion van der Loo, will present “Russian Summers”,
Sergei Rachmaninoff's “All Night Vigil” on Saturday,
May 3, at 7 pm at Blessed Sacrament Catholic
Church in Springfield and Sunday, May 4 at St.
Joseph’s Catholic Church in Chatham. Tickets are
$10 (valid for either venue). Tickets can be
purchased from choral members Greg Coughlin or
Ruth Freesmeier.
This concert gives our parishioners the opportunity to
attend a quality performance of religious music at a
low cost. Springfield Choral Society is a group of 60
members dedicated to providing only the finest music.

The All-Night Vigil, also (incorrectly) known as Rachmaninov's Vespers, is the composer's setting of a Russian Orthodox liturgy sung on the eve of Pascha (Easter) and other festival days. The all-night vigil service combines Vespers with two other monastic services and normally lasts two or three hours, but not all night! Wikipedia, which is this case is reliable, says:

The vigil has been set to music most famously by Sergei Rachmaninoff, whose setting of selections from the service is one of his most admired works. Other musical settings include those by Chesnokov, Grechaninov, Ippolitov-Ivanov and Alexander Kastalsky. It is most often celebrated using a variety of traditional or simplified chant melodies based on the Octoechos [a traditional system of Eastern Orthodox chant] or other sources.

Also this:

It is written for a four-part choir, complete with basso profondo. However, in many parts there is three, five, six, or eight-part harmony; at one point in the seventh movement, the choir is divided into eleven parts. Movements 4 and 9 each contain a brief tenor solo, while movements 2 and 5 feature lengthy solos for alto and tenor, respectively. The fifth movement Nunc dimittis (Nyne otpushchayeshi) has gained notoriety for its ending, in which the low basses must negotiate a descending scale that ends with a low B flat (the third B flat below middle C). When Rachmaninoff initially played this passage through to Kastalsky and Danilin in preparation for the first performance, Rachmaninoff recalled that:
'Danilin shook his head, saying, "Now where on earth are we to find such basses? They are as rare as asparagus at Christmas!" Nevertheless, he did find them. I knew the voices of my countrymen..."'

Psalmodikon at Bishop Hill

Inscription on psalmodikon in the museum at Bishop Hill State Historic Site: m. Peter Hellund, Galva, ca. 1870.

Also in display case: old leather-bound catechism: Dr. Mårten Luthers Lille Catechis, med Förklaring af Doct. Ol. Swebilier, Linköping, 2838.

Background and links. The psalmodikon was a monochord, or one-string instrument, developed in 19th-century Scandinavia for small, rural parishes to help keep the congregation on pitch. It flourished in Norway and Sweden, and was also used in Finland, Estonia and other countries with a lot of Lutheran churches -- including the Upper Midwest. Wikipedia has a brief profile of the psalmodikon (also spelled psalmodicon or, in Norwegian, salmodikon). And in 1998 News of Norway, a publication of the royal Norwegian embassy in the U.S., had a feature story on Beatrice Hole, a Norwegian-American woman who revived the instrument in Minnesota. The Nordic-American Psalmodikonforbundet, which she established, has a newsletter and other information at www.psalmodikon.com.

HUM 221: Ghost Dance, Wounded Knee

A good case can be made that the worst day in American history was Dec. 29, 1890, when troops of the 7th U.S. Cavalry killed between 150 and 300 Lakota men, women and children in what has come to be called the Wounded Knee Massacre on the Pine Ridge Reservation in South Dakota. The American Culture Studies Program at Bowling Green State University has a good, unbiased historical overview of Wounded Knee ... it's a good starting point ... read it and find out more about the massacre and the lasting effect it has had on the American people. The Wounded Knee Museum has pictures and a sound file of a Lakota survivor. The Cankpe Opi webside has a wealth of information, some of it harsh, from a Native American point of view.

An important demonstration sometimes known as Wounded Knee II took place in the spring of 1973, as the town of Wounded Knee was occupied by protestors from the American Indian Movement and essentially besieged by federal agents for 71 days. Russell Means, one of the demonstrators, has this first-person account of the seige from Feb. 27 to May 8, 1973.


In class, pair up in groups of two, three or four, and surf the internet to see what you can find about the Ghost Dance religion, the Wounded Knee massacre of 1890 and the way it is remembered today. Post answers to these questions, and be ready to discuss them in class.

1. How would you characterize the Ghost Dances? Were they peaceful? In what way were they religious? In what way were they hostile to whites? How much of a threat, with the benefit of historical hindsight, do you think they posed to the army and to white settlers?

2. How did things get out of hand on the Pine Ridge reservation before Wounded Knee? Who was at fault? Whites? Indians? The army? Political appointees? Everybody? Nobody? How could the conflict have been avoided?

3. Looking at the websites that commemorate Wounded Knee, how many have an angry tone? How many a tone of sadness? Or a combination of both? What steps are being taken to use Wounded Knee as a constructive lesson for the future?

4. What can we, as college students (and an instructor) in Illinois more than a hundred years later, learn from Wounded Knee?

Cedar flute -- new age or traditional?

HUM 221 -- links for class Monday.

Times change. Until fairly recently, the popular stereotype of Native American music came from the old Western movies ... heavy on the drums, in 4/4 time accented BUM-bum-BUM-bum BUM-bum-BUM-bum on the first and third beat ... but now it's an instrument variously known as the cedar flute, the Lakota courting flute or simply the Native American flute. It's especially a staple of "New Age" radio programming, and it's become an iconic sign of Native culture, as we hear on the homepage of KINI-FM on the Rosebud reservation in South Dakota. Where else have you heard music like this?

Today we're not going to study New Age beliefs and culture, although New Age music has influenced the way the Native flute is played and marketed. It's easy enough to find on the Internet without my adding links. (If you want a refresher on New Age in general, Wikipedia has an overview, and we can rely on Wikipedia users to correct each other's weasel words and keep it honest.) Instead, we'll look at the origins of the instrument and listen to some of the music.

Robert Gatliff, a cedar flute afficionado, webmaster of the Flutetree.com website and "the guy paying the rent for this site," has a collection of descriptions of flutes, pan pipes and other wind instruments going back to 1528. But the cedar flute as we know it goes back to the Plains Indians and their neighbors during the 1800s. Here's a good thumbnail description on the Wisconsin Historical Museum website:

The flute once played an integral role in love and courtship in Native American society. Traditionally, courtship was a public affair that involved a girl’s family and friends. Prior to marriage, families guarded their daughters against having free friendships with young men and an exaggerated shyness among adolescent girls was considered charming.

To attract a girl’s attention, a young man would arrive in the evening outside of her family’s home and play a beautiful love song on his courting flute. The pleasing tones of the instrument, rising and falling in slow sliding cadences, served to entice her into falling in love with him. Specific traditions varied between different villages and tribes. One tradition held that although a young man would play his courting flute, the girl was not allowed to respond to this advance alone. The potential mate first needed to offer the spoils of a hunting expedition to the girl’s parents before he could be considered an acceptable suitor.

The courting flute is no longer learned or played in its traditional context. In earlier days, flute players received no formal instruction, rather learning only by listening to others play, but today lessons are often offered in a classroom setting. In addition, while it was once played only by men with no other instrumental or voice accompaniment, the flute is also currently played by many women, often as part of contemporary Western musical compositions. Even though it has greatly evolved, the beauty of the Native American flute and its haunting music have endured in the modern age.

It accompanies a 1929 photo of a Chippewa (Ojibwe) flute and a striking flute handcrafted in 1994 by flute carved by Louis Webster, of Menominee, Stockbridge, Potawatomi and Oneida descent. There in a nutshell you can see how traditional artists preserve their heritage but also change it and adapt it to new ways over the years.

Another brief article tells of a cedar flute demonstration at SCI. I wrote it for Illinois Times.

Something to look for in all the articles. Many of the artists have Native heritage -- often it is mixed heritage, i.e. more than one tribe or nation and often white ethnic heritage as well. But the music sells like hotcakes to white audiences (remember when we discussed "expropriation" earlier?), and the people who have flocked to learn the Native flute in recent years tend to be white.

To see how the instruments have evolved, compare the 1929 instrument on the Wisconsin museum site and the instruments from the 1820s and 1830s pictured on Gatliff's website to the Amon Olorin Flutes made by Ken Light, who is not of Native blood but has absorbed the culture and its music. He makes flutes for Carlos Nakai (see below), one of the leading Native flute artists. Spend a few minutes with the Amon Olorin catalog and click on the pictures of the flutes to hear the sound of each. It will not only give a sense of the tone of the different instruments, but you will also hear some of the characteristic swoops, flourishes and trills of an accomplished player.

In class we will listen to a radio sound portrait of R. Carlos Nakai. Of Navajo (Dine) and Ute heritage, Nakai is perhaps the most well know artist on the Native flute today. He has famously described his style as "SynthacousticpunkarachiNavajazz," and he has released 35 albums on the Canyon label, which specializes in Native American music. He performs with jazz bands, symphony orchestras and a variety of Asian musicians. You can visit his website at http://www.rcarlosnakai.com/
to learn more.

Some of his thoughts on music and philosophy are discussed in a Q&A on Ken Light's website. Some of Nakai's questioners sound like New Agers, and his attitude seems welcoming of their search for spritual meaning. But notice how he says. "I do not encourage anyone outside of the indigenous cultures to visit or otherwise impose upon native communities and individuals because as indigenous folk we have our own responsibilities and work to engage ourselves in daily and don't need a lot of loose baggage to tow around."

A (somewhat virtual) trip on the pow wow trail

Apparently the DVD that I'd been relying on to introduce you to pow wows and pow wow dancing is fried. So we're going to skin the cat another way. (Sorry about that, Kitty.) We're going put together a pow wow on YouTube. But first, let's pause for this message. It's the Smithsonian Institution's promotional video for the 2007 National Powwow at the Verizon Center in Washington, D.C. It'll give a taste of what a pow wow looks like on professional quality video.

One of the best places to start, though, is Wikipedia. Its page on pow wows explains how they're organized and what to look for. What to listen for, too, since the drum and the master of ceremonies ("emcee") are so important. Another basic website, and a very good one, is Powwow Power ... especially its page on Powwow Etiquette. We'll visit it briefly.

But we'll spend most of the class Friday watching videos collected by YouTube subscriber Ahwahneechee, who describes himself as "a Paiute person whose ancestors came from several bands of Paiutes through out California and Nevada" and who has a fascinating set of videos on pow wow dancing and Native American history. There's other stuff on the net that's more technically proficient, like the Smithsonian promo shots above, but these clips were obviously put together by someone who knows and loves the art form.

We'll watch snippets of:

• the 1995 Grand Entry of Schmitz Pow Wow, from the 1997 Reno Nevada TV program Native Voices. It is the first of 11 clips. The pow wow was huge, and the grand entry lasted 45 minutes.
  
  
• Two clips of teen male Northern Traditional style dancing at the 2005 Numaga Pow Wow in Nevada.
  
  
• Men's Fancy Native American Dancing at the Numaga Pow Wow in 2005. See why they call it "fancy" dancing?
  
  
• Elders' dance at Numaga in 2005. Notice the difference in the pace as the elders join the circle.
  
  
• Combined footage of a men's grass dance and a women's Jingle dance at a pow wow in Yakima, Wash. Here's another clip of a jingle dance ... old footage from an unidentified pow wow.
  
  
• southern cloth dance for women. At a big indoor pow wow in Oklahoma. Notice how different the tempo and movements are from the jingle dance.
  
  
• Old footage of a Rabbit Dance a purely social dance for couples. This was taken at the Fallon (Nev.) Indian Rodeo days around 1996.
  

Bonus! A potato dance at the Welcome Back Pow Wow in 2005 at Southern Oregon University. What's a potato dance? Is it traditional? I doubt it, although one of the YouTube posters who commented on this video mentioned seeing the same dance done with oranges at another pow wow. But it looks like fun.

HUM 221: More on Whitecloud's Ojibwe/Anishinaabe (Chippewa) heritage, spirituality and dance

As you read "Blue Winds Dancing," you may want to check out this video called "Ojibway Heartbeat" to help you get in the mood. It combines pictures from a pow wow, a social dancing event, with nature shots of northern Minnesota or Wisconsin to a sound track of pow wow drumming.

Intermission: Learn how to say "hello" in Ojibwe in this language instruction video. The Ojibwe or Anishinaabe people are making great efforts to revive their language. Listen carefully at the beginning and you'll hear them called "Anishinaabe" in their native language. ("Ojibwe" is the name their neighbors gave them. It means "puckered," and its original meaning is obscure. "Anishinaabe" means the people.)

A powerful video called "Knowing the Ojibwe" combines footage from a pow wow on a Minnesota reservation with an interview with Richard Morrison, a pipe carrier or traditional spiritual leader. His religion was banned for a time during the 20th century, and parts of it are still not shared with outsiders. But Morrison explains some of the ethical principles behind it in terms that are common to many of us. Watch for what he says at the end of his interveiw about what each of us can do in our own communities. Something to think about.

HUM 221: Whitecloud's heritage -- some links

Tom Whitecloud, author of "Blue Winds Dancing" (1938), was a Chippewa Indian. Now the name is more often spelled Ojibwe or Ojibway, and many members of that nation prefer to call themselves Anishinaabe. Since you're writing a paper on the story, you'll want to know more about his cultural heritage.

The Milwaukee Public Museum has some excellent resources on the Ojibwe (when the @#$%! links are working) at its website on Wisconsin Indian tribes. Cross your fingers and try to visit the pages on culture and musical instruments. Note the relationship between dance, healing and spiritual life, if you can get to the webpages.

Also highly recommended: The six-part television series Waasa-Inaabidaa: "We Look in All Directions" at http://www.ojibwe.org/home/overview.html.
When a teenager opened fire at the high school on the Red Lake reservation in Minnesota, a reporter for the Minneapolis Star Tribune profiled the Red Lake Ojibwe community. It is one of the best sources I found. Be sure to read down to the description of a dance and an elder who said, "The answer is in the drums. ... The answer is in the circle."

A very brief overview and links are available on the Native Languages of the Americas website.

Speaking of spirituality, something we all ought to read -- repeatedly -- is Orrin Lewis' essay "Seeking Native American Spirituality: Read This First!" on the Native Languages website. Lewis is a Cherokee, and he has written one of the best common-sense guides for spiritual seekers available on the Internet. He has good advice for those of us who are not Native Americans on how to avoid being misled by fakes and how to treat Native religions with the respect they deserve.

A website devoted to maintaining Anishinaabe language and traditions put up by the Little River Band of Ottawa Indians in Michigan has a wealth of information about the culture. The Little River Band's annual pow wow or dance, called Jiingtamok

HUM 221: 'Blue Winds Dancing,' Reflective response essay due March 24

Posted below is an assignment sheet for the reflective essay you will write over spring break. The story is available on line at several locations, including this personal website maintained by somebody who doesn't appear to be an expert but just liked the story and wants to see it available on the Iinternet. Sometimes people just like the story and keep coming back to it.

Here are some links to help you write your papers.

There's a good, detailed biography of Whitecloud by Daniel F. Littlefield Jr. of the University of Arkansas at Little Rock in The Heath Anthology of American Literature. Several shorter bios, too, including one in Wikipedia that informs us Whitecloud was "one of the Association of American Indian Physicians's foundering members." It's right about his role in the AIP, bit surely "foundering" is a typo!

[UPDATE: In class Monday, we fixed it. I had this post up on the screen, and a student suggested I edit it. Do what? Edit it. Right here? Right now? I'm an old print journalism guy. I learned newspapering on an old-fashioned black Underwood upright manual typewriter. I don't like technology. I don't trust computers. But I try to keep up to date. I believe in Wikipedia and the "wisdom of crowds," and I try to teach to use it wisely, not be scared away from it. So in a spirit of practice-what-you-preach, I clicked on the "edit this page" tab. I made the change: "... one of the Association of American Indian Physicians's foundering founding members." And we got, right there on the screen at the front of the classroom, an immediate demonstration of why Wikipedia works as well as it does.]

Not too much else out there about Whitecloud. WARNING: Stay very far away from the garbage offered by the term paper mills for aspiring plagiarists! You'll have to use your critical thinking skills to spot them, but any use of the term "essay," "essays," "paper" or "papers" in the website's name I interpret as presumptive evidence that they're in the plagiarism business. Some of the sites may be kosher, but the papers I've read -- and I've read enough of them by now to be able to recognize them immediately -- will not be helpful to you in this assignment.

I have written several tip sheets on how to write a reflective response for my classes, too. They are linked here and also to my faculty page on the Springfield-Benedictine website.

You'll find some good advice on my handout for Humanities 223 (roots music), headed "How to Write a Reflective Response on Music (or literature of any other work of art)." That title doesn't mention "Blue Winds Dancing," but it'll do. My three-part outline with Circumstances, Background and Analysis comes from there.

Linked to the reflective response handout is a "Sample Reflective Response Essay" I wrote on a Texas songwriter named Kinky Friedman. It shows you how to use the Circumstances-Background-Analysis format, too ... And it also tells you a little bit about a sadly neglected songwriter.

And linked to the Kinky Friedman sample is an old handout I wrote on literary reader response essays when I was teaching freshman English. It gives more of the theory of reflective response, which comes from an educator named Louise Rosenblatt. She once explained:

The special meaning, and more particularly, the submerged associations that these words and images [in a literary work] have for the individual reader will largely determne what the work communicates to him. The reader brings to the work personality traits, memories of past events, present needs and preoccupations, a particular mood of the moment, and a particular physical condition. These and many other elements in a never-to-be-duplicated combination determine his response to the peculiar contribution of the text.

It is that process of reacting to a text that gives each of us our own unique, individual interpretation. The process also frees us up to appreciate the work of an artist from another culture, because we are focusing on what speaks to us across cultural boundaries instead of pretending to be experts.

A word on plagiarism. My writing assignments are designed to be plagiarism-proof. If you follow the steps I list on the assignment sheet, they'll help you write a paper on which you exercise your independent judgment, come to your own conclusion and support it with evidence drawn from reading the story. If you don't follow the steps, I will stop reading your paper as soon as I realize you are giving me the same-old, same-old. In that event, I will return it to you with no grade and enter a zero (0) in my gradebook which will not be removed until you turn in a completed, original paper. But if I suspect plagiarism, I reserve the right to submit papers to SafeAssign for electronic analysis of their dependence on unqcknowledged sources.

Assignment sheet -- reflective response

Handed out in class Monday, March 10. -- pe

HUM 221: Native American Cultural Expression
Springfield College/Benedictine University
Spring Semester 2008

Reflective Response – ”Blue Winds Dancing”

Read the short story “Blue Winds Dancing” by Tom Whitecloud and write a 1,000- to 1,250-word paper in which you analyze your response to the story and the specific things about the story that made you respond to it as you did. You will need to look up some information about Whitecloud and his tribal heritage, i.e. the Ojibwe or Chippewa people, for background. But I want your paper to be the product of your own independent judgment. (Warning: Be careful to avoid using canned term papers or college essays about the story; there are literally dozens available on the plagiarism websites, and they are uniformly superficial and poorly written.) You may use either MLA or APA documentation. Due March 24, the Monday after spring break. A link to the story and more tips on writing a reflective response are available on our class blog at http://www.hogfiddle.blogspot.com/.

Start by reading “Blue Winds Dancing.” As you do, ask yourself these three questions.

• What about the story stands out in my mind?
• What in my background, values and experience makes me react as I do? How does it compare to Whitecloud’s background and experience as a college student?
• What specific things about the story trigger my reaction? Which specific passages speak to me?

Thinking about these questions will help you frame a thesis. For this paper, you have to narrow your topic. You might decide, for example, that Whitecloud describes the same feelings anyone has upon going off to college and returning home for a vacation. So you might say his story is universal, even though it is grounded in his memory of returning home for an Ojibwe dance. How do you feel about it? Another example: You might say when Whitecloud says the drum is the heartbeat of the universe, he is reflecting a common Native American belief about music, dance and drumming. How do you feel about it? There are literally hundreds of good directions you can take your paper. Whatever your thesis is, be sure to say how the story speaks to you. In writing your paper, follow this format:

• Circumstances. Give a two- to four-paragraph introduction to your essay. Start by describing what's on your mind as you read the story, how you feel about it, what you had for dinner, what the weather's like, anything that sets the stage.
• Background. Here's where you give the necessary information about the piece. You don’t have to dwell on this, but at least tell about Whitecloud’s background as an Obijwe who studied at Berkeley. The story is autobiographical, so this stuff matters.
• Analysis. This is by far the longest part of the paper, and the most detailed. In many ways, it will read like other papers you’ve written in English and humanities classes. As always, argue a thesis. Support your thesis by quoting passages from the story and analyzing how they affect your response. Remember, in college-level writing, an unsupported thesis is sudden death!

Email me your paper at pellertsen@sci.edu as a Microsoft Word attachment to the email message. If you do not follow the format stipulated above, or if I suspect plagiarism, your paper may be submitted to SafeAssign for screening. By turning in the paper for a grade in the course, you assent to such electronic monitoring.

HUM 221: 'Blue Winds Dancing'

If you want to read ahead over the weekend, here is a text of "Blue Winds Dancing" by Tom Whitecloud. We will write a reader response on it over spring break.

We?

Did I say "we?"

I meant "you." You will write the paper over spring break. If you want to get started reading the story now, here's the link.

HUM 221: Allotment, more on Oklahoma

Sometimes the people who tried the hardest to help Native American people did them the most harm. Many would say that is what happened when land held by the people in common were parceled out to individual Indians and the left-over or "surplus" land was sold to whites.

Ironically, allotment, as the process was called, was proposed by people who wanted to help the Indians by speeding their assimilation as American citizens (which most of them were not until 1924) rather than members of their own bands or nations. U.S. Sen. Henry Dawes, R-Mass., believed Indians should learn the cultural and economic values of whites, as he put it, to "wear civilized clothes ... cultivate the ground, live in houses, ride in Studebaker wagons, send children to school, drink whiskey [and] own property." He authored the Dawes Act of 1887, which mandated allotment of tribal lands formerly held in common by the tribe or Indian nation. The land was parceled out in individual farms, often to people who had no experience farming and no desire to farm, and the "surplus land" was sold to white settlers.

Problem was, not everyone had the Indians' best interests at heart. A lot of people were more interested in acquiring land. In Oklahoma, allotment led to settlement of much of the western part of the state by whites claiming ownership of former tribal land. At the same time, in the early 1900s, the U.S. government shut down the Cherokee, Creek, Choctaw and Chickasaw tribal governments, among others. It was all part of an overall effort to get Native Americans to assimilate to white culture; in fact, money from the sale of land was appropriated to schools where Indian youngsters were taught English and various menial trades.

Allotment also led to what was known as the "Oklahoma land rush," which was actually several "rushes" in which settlers raced onto newly opened land to stake claims. You can get a primary (first-person or eyewitness) account of the Oklahoma land rush of 1893 captures the sense of excitement -- and greed? -- when the Indian lands were opened to white settlers. Here's a video that sketches in (with a very broad brush) some of the effects of allotment on the Native peoples living in Oklahoma. The footage of the land rush is from a later Hollywood movie, but it is fairly accurate historically and is an iconic picture of the era.

You knew you were going to get to write something sooner or later, didn't you? Let's return to the (prose) poem "Autobiography" by Joy Harjo. She is of Muscogee heritage, and she speaks of her people's history and ends with "the Muscogee season of forgiveness, time of new corn, the spiraling dance." You were asked to respond to it several weeks ago. Now that you know more more of the poem's cultural and historical background, is your response any different? Ask yourself the same three questions: (1) What stands out? (2) What in your background makes you feel that way? (3) What, specifically, in Harjo's poem do you respond to?

HUM 221: '5 Civilized Tribes' in Oklahoma

While most of us think of the Trail of Tears as a tragedy that befell the Cherokee Nation, they were only one of five tribes that were forced to move to what is now Oklahoma in the 1830s and 1840s. The others were the Creeks (Muscogee), who lived in Georgia and Alabama; the Seminole, who lived in Florida; the Choctaw, who lived mostly in Mississippi; and the Chickasaw, who lived in northern Alabama, Mississippi and Tennessee. White Americans of the 19th century knew them, without conscious irony, as the "Five Civilized Tribes" because they had adopted European-American forms of agriculture, government, religion and culture. In the Indian Territory (as Oklahoma was known before statehood), they joined the Osage, the Kiowa and other tribes already living there.

In class today, we will focus on the smallest of the five tribes that settled Oklahoma in the 1830s, the Chicakasaw. Closely related to the Choctaw, they once lived along the Tennessee River and west to Memphis, and now live in southeastern Oklahoma.

Read first Wikipedia's overview of the Chickasaw people and the historical overview and the cultural resources page on the official website of the Chickasaw Nation. The "Legend of the Big White Dog and the Sacred Pole" tells how the people got to their traditional homeland, and is also an unforgettable example of how myth and oral history relate to each other. Click on "Customs" and read the pages of marriage, religion and especially social dance. Pay special attention to the "Stomp Dance." One of the traditional festivals of all the "Five Civilized Tribes" was the Green Corn Ceremony, held when sweet corn ripens and the new year (in the traditional way of thinking) begins when the new crop comes on. Read the Wikipedia entries on the Green Corn Ceremony and the Stomp Dance. While people of the "Five Tribes" largely embraced Christianity, some elements of the traditional religion are preserved in the Stomp Dance and dance is properly considered to have religious overtones -- something like an old-fashioned gospel singing in the majority culture, which was both a religious and social event.

We will watch three videos. One shows Gary White Deer, explaining his work with a revival of Chickasaw and Choctaw song and dance. Listen for what he says about a "community of spirit" in the music. A very old clip shows men taking part in ceremonial dancing and (I believe) "going to water," a purification ritual. More recent is a video of a stomp dance at a pow wow in Oklahoma. Notice how everyone, of all ages, joins in the dance.

You knew you were going to get to write something, didn't you? Let's return to the (prose) poem "Autobiography" by Joy Harjo. She is of Muscogee heritage, and she speaks of her people's history and ends with "the Muscogee season of forgiveness, time of new corn, the spiraling dance." You were asked to respond to it several weeks ago. Now that you know more more of the poem's cultural and historical background, is your response any different? Ask yourself the same three questions: (1) What stands out? (2) What in your background makes you feel that way? (3) What, specifically, in Harjo's poem do you respond to?

HUM 221 (Friday): Trail(s) of tears

Following up on this week's video about the history and culture of the Eastern Band of Cherokee Indians, we will visit websites today that tell more about the Trail of Tears. While we'll focus on the Cherokee people, most of whom were moved west under military escort in 1838, it is important to remember the Muscogee (Creek), Seminole, Choctaw and Chickasaw nations also had their trails of tears as they were forced out of Georgia, Florida, Alabama, Mississippi and Tennessee at the same time as the Cherokee. The National Park Service has several accounts of Cherokee removal at the website for Fort Smith, Ark., an important stop along the way for many of the Cherokee. Read about the roundup in Tennessee ... described like this by U.S. Army Private John G. Burnett:

I witnessed the the execution of the most brutal order in the history of American warfare. I saw the helpless Cherokees arrested and dragged from their homes, and driven at the bayonet point into the stockades. And in the chill of a drizzling rain on an October morning I saw them loaded like cattle or sheep into six hundred and forty-five wagons and headed for the West.

Read also the eyewitness account by Lucy Ames Butler, whose husband was a missionary with the Cherokee. He was later an instructor at the Cherokee Female Seminary in Tallequah, Okla. Now known as Northeastern State University, it is the oldest college in Oklahoma and one of the first institutions of higher education established west of the Mississippi River.

At the same time as the Trail of Tears, the Potawatami Indians of northern Indiana were removed by the U.S. Army to what is now Kansas. Be sure to read a letter from Father Benjamin Marie Petit, the Indians' parish priest, describing the march; and a diary kept by Jesse C. Douglas, enrolling agent under Gen. John Tipton, who conducted the forced removal. Follow the links to find out what the newspapers in Springfield and Quincy had to say about the march. (The Sangamo Journal, which is one of the papers you will read, is where the "Journal" in the State Journal-Register's name comes from, by the way.) The documents were compiled by "Mr. Foley" (whose first name I was unable to find), a middle school teacher in Urbana.

More Norwegian folk music

Another artist on Radio Norway this morning, a band called Over Stok og Steen (over hill and dale), a band from Hedemarken, a rural area north of Oslo and east of Lake Mjøsa. The song was "Nu vil jeg reise langt herfra" (Now will I travel far from here). Lyrics of the first verse in translation:

I now will travel far
Across to America
I hope God'll help me there
Though from you I must depart.

It's a ballad, a sad song, of love left behind. Norwegians seem to like sad songs. But aren't the old English ballads sad, too?

Definitely worth another look ... or listen.

Old Norwegian religious ballad singer

Heard on Radio Norway's streaming audio folk music channel "Alltid Folkemusikk," a singer named Bodil Haug performing a religious song called "Ved dig min Jesus bestandig jeg bliver." A cappella. Sounds modal, or minor. A lot of ornamentation. I want to hear more.

Haug graduated from the University of Bergen with a major (hovudfag) in ethnology. She took part in a seminar on "bevaring av autentisk tradisjon eller nyskaping" sponsored by the Norsk folkemusikklag og Ole Bull Akademiet på Voss, etnomusikologi og Arne Bjørndals samling ved Griegakademiet - Institutt for musikk, Universitetet i Bergen og kulturvitskap ved Institutt for kulturstudiar og kunsthistorie, Universitetet i Bergen. A Norwegian record label called Etnisk Musikklubb (Ethnic Music Club) has a brief bio in its blurb on Haug's CD "Snart lyset sig mon svinge" (scroll down till you see the title and click on the CD cover graphic):

Snart lyset sig mon svinge - Bodil Haug, Knut og Ole Aastad

EM25
- Traditional Folk Songs and Norwegian Langeleik
- Bodil Haug: Songs Ole & Knut Aastad Bråten: Langeleik, Lyra
- Her songs sound best in a light and bright voice. For the last ten years they have been among the foremost langeleik-players.

BODIL HAUG was born on January 29th, 1970, in Aal, Hallingdal. Little by little she developed her own style of singing and musical expression. As she grew older she became especially fond of religious songs used by lay people. Also many of the concerts at the Folkmusic Festival at Aal were important for the further development of Bodil’s musical interests. Her songs sound best in a light and bright voice. Bodil is very talented, a generous and positive woman. She sings her songs with respect and humour, and her musical expression can be both flirting and challenging. She possesses an analytic mind and a sharp tongue, and has many young admirers. Folkmusicians and folk singers are just simply musicians of our time, Bodil says. What else could they be?

Audio clips are available and mp3 files can be downloaded on the Music from Norway website, a joint venture between institutions in the Norwegian music business including Nordmanns Forbundet and the Music Information Centre of Norway.

Note: I'm switching in and out of English because I can't translate all the Norwegian without a dictionary, and want it where I can easily find it when I have time to read it more carefully. I hope the plagiarism police will understand I am not representing anybody else's ideas or words, especially those I don't understand yet, as my own.

Stevie Wonder: 'Falling in Love with Jesus'

An amateur video of Stevie Wonder introducing Barack Obama and singing "Falling in Love With Jesus" at a church in April 2007. The video is b&w and shaky, but Stevie Wonder's voice ... wonderful! Here's another video, in which he testifies about the song and introduces it on harp. And here's Michelle Obama introduces him at a rally at UCLA before this month's California primary. He speaks of Obama in the spirit of the Dr. Martin Luther King holiday and the freedom of South Africa before singing "Obama" up and down the scale.

HUM 221: SE archaeology, & a book plug

Today we’re going to start looking at the Native American peoples of the Old Southwest (which now we think of as the Southeast, if you’re not confused enough already)! Read the autobiographical essay by Carroll Arnett (Gogisgi) in “Here First,” and be sure to come to class Friday and Monday while we screen a video produced by the Eastern Band of Cherokee Nation in North Carolina about their history, culture, heritage and plans for the future.

So today we’ll look at a couple of websites that suggest what archaeology can tell us about the prehistory of what is now Alabama. But first, the book plug: Our textbook "Native North America" is organized a very brief encyclopedia. If you don't read it, you'll be lost as we hop, skip and jump from Alaska one day (that would be Monday) to Alabama today. With nothing in between!

Well, the "in-between" is the chapters on the Woodland and Southeastern culture areas in "Native North America." They're very brief, and they'll help tie things together.


As we read about the archaic, Woodland and Mississippean cultures, remind yourself how much of this information is inferred from the things, the artifacts, that archaeologists find in the ground. And think about how very little it tells us. We know what the people did, for example. We can figure that out from the tools they left. But we don’t know who they were, what languages they spoke and how they thought. Language and thought don’t leave traces in the ground.

Or do they?

What do the rattlesnake pendants left by Mississippean Indians, for example, allow us to guess about their beliefs and ceremonies?

The second website is a project of the the Southeast Archeological Center in Tallahassee. It has a detailed, unbiased and very informative Outline of Prehistory and History of the Southeast that goes over the same material in greater detail.

Notice again how scientists infer what we know about the ancient cultures from the material culture they leave behind. For example, they can guess the following from a dig called Poverty Point in Louisiana:

Poverty Point sites in Louisiana and western Mississippi exhibit the first major residential settlements and monumental earthworks in the United States. Although the Poverty Point culture is not well understood in terms of social organization, it was involved in the transportation of nonlocal raw materials (for example, shell, stone, and copper) from throughout the eastern United States into the lower Mississippi River Valley to selected sites where the materials were worked into finished products and then traded. While specific information on Poverty Point subsistence, trade mechanisms, and other cultural aspects is still speculative, the sites nevertheless exhibit specific material culture, such as baked clay objects, magnetite plummets, steatite bowls, red-jasper lapidary work, fiber-tempered pottery, and microlithic stone tools.
In Arkansas, Kentucky, Tennessee, and North Carolina, fiber-tempered pottery from the 5,200 to 3,200 years ago (4,500 to 3,000 rcbp) period is not usually found. This area appears to have functioned as a transitional cultural area through which ceramic influences from the Ohio River Valley and the Middle Atlantic were introduced into the Deep South. For example, northern-inspired grit-tempered plain, fabric-impressed, and cord-marked Early Woodland pottery first appeared in central and eastern Kentucky around 3,200 to 2,600 years ago (3,000 to 2,800 rcbp), and, by the end of the Early Woodland period 2,600 years ago (2800 to 2500 rcbp), it had replaced fiber-tempered wares throughout the Southeast.

See how much of this is guesswork? How much of it is scientific reasoning, i.e. the formulation and testing of a hypothesis (actually a number of hypotheses) based on research?

HUM 221: Tlingit totem pole link (and midterm HINT)

Here's a link to the website on totem poles we visited in class today. It's written by Pat Kramer, who describes herself as a "transplant to the Pacific Northwest." She has studied and photographed totem poles erected by all the Northwest Coast peoples, and her website offers a good overview of artistic motifs, meaning and other information about totem poles. Remember the question I asked at the end of class today: How can we find something to latch onto in the art of another person's culture? (Remember also the other question: Wouldn't this make a good 25-point question on the midterm?) Reading websites like Kramer's is a good way to answer both questions.

The midterm, by the way, is an open-book essay exam. It will be in class Wednesday, Feb. 27.

And finally -- here's McCain!

I didn't think I'd be able to find it, but YouTube has clips of Republican presidential candidate John McCain singing "bomb bomb Iran" to the tune of the old Beach Boys' standard "Barbara Ann." It was clearly a joke, but McCain's opponents were horrified. Whether they were just waiting to be horrified, by anything he said or did, is a question I will leave to others.

GOP candidate's band -- more equal time

Since we've got links on my blogs now to music by two Democratic presidential candidates, I decided I'd better find a YouTube clip of former Arkansas Gov. and GOP candidate Mike Huckabee's band "Capitol Offense." Huckabee was governor, and thus working in the state Capitol, at the time he formed the band. It performs mostly 1960s and 70s covers. The clip shows him playing the Lynard Skynard hit "Freebird" at a rally in New Hampshire.

Huckabee plays bass guitar, and he clearly enjoys it. I think he deserves credit for playing at all, given his schedule. Here he is sitting in with a high school jazz band in Concord, N.H., and with Mama Kicks, a local band in Londonderry, N.H. Both sound like they've had more time to practice than Capitol Offense. But then their bass players aren't running for president.

Equal time -- a Hillary Clinton ad

I've been waiting for this, ever since I posted a link to the video by will.i.am promoting Barack Obama's presidential campaign -- it's a chance to link to a video promoting his Democratic opponent Hillary Clinton's campaign. It comes via "The Caucus," the New York Times' political blog. Tacked onto the end of a report on negative TV ads is this snippet:

And then, just a funny riff from the Clinton campaign. You know, she might as well have that Guitar Hero game. So we’re leaving you on a lighter note … maybe just because it’s Friday.
Though, sorry, it is so not T.G.I.F. It keeps going on, as you know. And maybe it’s her counter to the “Yes, We Can” video for Obama featuring will.i.am of the Black-Eyed Peas. Or hey, everybody has their air-guitar, even Physical Phil on “October Road,” who just played “Rock All Night” with a tennis racket. And uh, Fleetwood Mac, didn’t have that air game.

I offer this without comment; either I'm clueless, the New York Times is clueless or we're both clueless. The YouTube clip is embedded in the story, which also has a link to the the blog's story on the Obama video.

So far I haven't seen any musical videos for Republican front-runner John McCain, but I'll keep my eyes open. And GOP challenger Mike Huckaby, I understand, plays bass in a band called "Capitol Offense." I'll keep my eyes open for some of his stuff, too.

HUM 221: Native cultures in the news

Australia's parliament opened today with an traditional Aboriginal welcome as "Didgeridoo-playing Aborigines overturned hundreds of years of British tradition by marking the official opening of the session in their own way." BBC News reports:

Aboriginal elder Matilda House, wearing a coat of animal skins, delivered a traditional message stick to [Prime Minister Kevin] Rudd, and spoke of "the hope of a united nation through reconciliation".

"Today we begin with one small step to set right the wrongs of the past," Mr Rudd said.

The first act of parliament will be to apologise to the Stolen Generations - young Aboriginal children taken from their parents in a policy of assimilation which lasted from the 19th Century to the late 1960s.

Prime Minister Kevin Rudd proposed a motion to acknowledge the "profound grief, suffering and loss" as well as the "indignity and degradation" caused to the Aboriginal community by previous policies.

"For the pain, suffering and hurt of these Stolen Generations, their descendants and for their families left behind, we say sorry," the text of the motion says.

The motion is due to be put to a vote on Wednesday, and is certain to pass because it has the support of both the government and the main opposition parties.

The Aborigines are Australia's indigenous or native people, and at times their experience has paralleled that of American Indians. One has been the way indigenous children were adopted by to white families. Another is the dying out of native languages in Australia and North America.