HUM 223: Three questions to ask yourself

Here are some quetions that are designed to get you thinking about your response to a piece of music ... or any other piece of art. Ask yourself:

1. What about this work stands out in my mind?
2. What in my background, values, needs and interests makes me react that way?
3. What specific things in the work trigger that reaction?

We'll ask ourselves variations on these questions all semester. Please note: If you were taught in English class never to say "I" in a paper for school, you're off the hook in HUM 221! There's no way you can write about these questions without saying "I." One would guarantee it. I guarantee it.

Keep these three questions in the back of your mind. We'll keep coming back to them.

Here are links to earlier posts I put on "Hogfiddle" about how to write about music and on the literary theory the questions are modeled after, which is called reader response and which works just as well for music as it does for literature.

HUM 223: Irish folk roots, popular music

Many of the deepest roots of American popular music are Anglo-Celtic, and we can hear some things in Irish traditional music that we'll meet again in America. We'll trace one or two of them by watching some Irish folk music and seeing how some of its features show up in 21st-century popular music. What changes as the music crosses from folk to popular styles? What remains? What is lost? What is gained?

First, this YouTube clip of a young Irish girl singing a Gaelic song in the "sean nos" (old style) manner shows how our vocal music began. Notice how matter-of-fact and unemotional her expression is, like that of a ballad singer, and listen for the quality of her voice. Sean nos singers tense up the mouth as they sing, and their throat muscles are tight. This is the authentic style of traditional Irish singing as it has come down over hundreds of years. Notice how proud the older man (her grandfather?) is that this young kid is carrying on the tradition. The language is Gaelic.

A more popular Irish singer is Muireann Nic Amhlaoibh (her name is pronounced like Murin Nick'olive) of the band Danu. Link here to her home page and to her MySpace page. In this clip from the Comhaltas traditional music website she sings “An Spealadóir” (a West Kerry song) and plays two reels, “The Caucus” and “The Wind That Shakes The Barley.” She is backed by Michelle Mulcahy on accordion and Billy McGlynn on bouzouki. Do the two instrumental numbers remind you of American old-time string band music?

A review in the electronic magazine Rootsworld says Nic Amhlaoibh has "steered [her band] in a more accessible, if less daring, direction" and "possesses a clear, pleasant, and steady voice suited to both traditional and MOR soft rock tunes." In other words, she's a crossover artist. She sings in folk and popular styles alike. Compare her singing to the descriptions of folk and popular music in the handout from Daniel Kingman I gave you in class.

Another band that has made Irish traditional music very popular is called the Chieftans. In this YouTube clip they play the "Dublin Reels" for Irish step dancers. This is a very traditional combination of music and dance, although the movie and dance troupe Riverdance crossed over into pop music several years ago. Notice how stiff the dancers' upper bodies are and how intricate the footwork is.

Thursday:

Another type of Irish traditional music is featured by Sinead O´Connor, seen here with the Chieftans rehearsing "The Foggy Dew," a song of the Easter Rebellion in 1916, for an album released in the 1990s. Click on "More info" to see the lyrics. Since O'Connor is singing in English, you can hear another feature of sean nos singing -- the way she bends words like "city" so it sounds like "c-i-i-ty" or "Their armed lines" like "The-ir ar-r-med lines." It's called ornamentation, and you'll hear it again in American singing. How does O'Connor's singing style compare with Muireann Nic Amhlaoibh's? With the traditional sean nos singer we heard first? Is she more emotional? More expressive?

Finally, we'll listen to Emmylou Harris and The Chieftains singing an Irish lyric song called "Lambs on the Green Hills" in concert in Nashville, Tenn. (It's also on the CD "Further Down the Old Plank Road," an album featuring the Chieftans and U.S. country musicians in Nashville.) Click here for the lyrics as printed in Padraic Colum, ed. "Anthology of Irish Verse" (1922). Harris is an accomplished professional whose songs have been on the country, folk and alt. country charts more more than 30 years. How does her style compare to a more traditional folk singer's? Listen for ornamentation, expressiveness, emotion

HUM 223: 'Saints' and madrigals

Harry Belafonte once said if it weren't for the African-American contribution to U.S. music, a quintessentially American song like "When the Saints Go Marching In" might have sounded like an old English madrigal -- one of those songs with a lot of "tra la la's" that sound like old-fashioned Christmas carols. It was a joke, but I think there's something to it. And it's central to what we'll be studying in Humanities 223.

To get into the spirit of Belafonte's joke, let's first watch some buskers (street musicians) in New Orleans playing "The Saints" on April 28, 2007, in the old French quarter of New Orleans. (Notice the people who stop and put money in the trumpet player's basket. That's how buskers make money.) We'll also see Louis Armstrong playing it during a 1959 festival in Stuttgart, Germany. The song, like so much of American music, got its start from New Orleans street musicians a lot like the ones we see playing here. And Armstrong was one of the most famous jazzmen of the 20th century worldwide. Even from an old TV screen grab, we can see why.

Then, to get a sense of what Belefonte joked that "The Saints" would have sounded like, we'll hear an authentic English madrigal as performed in the fall of 2007 by the Herndon High School Madrigals in Herndon, Va. The song is "Now is the Month of Maying" by Thomas Morley (ca. 1558-1602). How does it differ from the versions of "The Saints" we heard? How is it the same?

Finally, we'll listen to Belafonte's version of "The Saints" in class, on a scratchy old LP of mine. It's a perfectly respectable version, backed up (unnecessarily, in my opinion) by a 47-piece Carnegie Hall orchestra in 1959, but the main thing I want you to listen for is Bellefonte's intro to the song. It's joke, sure, but ... think about it. What would American music have sounded like without the contribution made to it by black artists?

HUM 223: Extra Credit -- Blues and BBQs Sat.

While blues had its greatest popularity as an art form during the mid-20th century, we have a good opportunity this weekend to hear some blues. It's at the "Blues and BBQs" festival in downtown Springfield. For extra credit, you can go to the festival and write a journal on it. Shoot for 750 to 1,000 words, if you can get it that long (that's three to four pages typed). Here's a link to the writeup in STLBlues.net, an electronic magazine ("eZine") in St. Louis. Here's the main details:

SPRINGFIELD, IL – This year’s Old Capitol Blues and Barbecues music lineup should please the tastes buds of all kinds of blues fans. Some rock, Chicago-style, gospel, jump, and country blues are all on tap for Old Capitol Blues & BBQs on Saturday, August 23, on Fifth and Washington Streets, downtown Springfield.

Festivities get underway at noon with a baby-back rib cook-off and continue through the evening until midnight. Admission is $5 with children 12 and under free. Twenty BBQ vendors will serve dishes such as smoked chicken, pulled pork, pork chops, ribs, brats, beef brisket, Creole pan BBQ shrimp, chicken wings, catfish nuggets, kabobs, potato salad, slaw, chips, fries and fruit parfait — for prices ranging from $1-$6. Miller beer and Coca-cola products will be available to quench any thirst.

I'm making this assignment for extra credit, since I don't feel right about making anyone spend money for class credit. But I recommend this highly, even if you don't especially care for blues. Especially if you don't much care for blues!

Here are some tips for writing about music that I posted to this blog before the blues festival two years ago. For writing my response to any work of art, I like a "cookbook" or "fill-in-the-blanks" outline that goes like this:

Circumstances. Give a one- to three-paragraph introduction to your essay (and it can go longer for a term paper). Start by describing the concert, or if you're reacting to a recording by saying what's on your mind, where and why you're listening to the work - or listening to it again - what your first reaction was, how you feel about it now, what you had for dinner, what the weather's like, anything that sets the stage. In the case of "Blues and BBQs," I'd describe the scene.

Background. Here's where you give the necessary information about the piece. Title, artist, style of music. In this case, I'd quote from STLBlues.net article.

Analysis. As always, argue a thesis. Support your thesis by quoting passages from the lyrics and analyzing the music. Check those suggestions from Dartmouth again. They'll tell you what to look for. Find some reviews on the internet and quote them. Agree with them, or disagree with them. And say why. Remember, in college-level writing, an unsupported thesis is sudden death!

HUM 223: An English madrigal

Chia-Fen Wu and Dirk Moelants playing Thomas Morley's madrigal "It was a lover and his lass" in Ghent on the Sept. 14, 2007.

Rowdy Irish band w/ good Sean-Nós singer

The band is Danú, and the lead vocalist is Muireann Nic Amhlaoibh, whose name, according to her Wikipedia profile, is pronounced MWI-ren Nick OWL-eve.

Other members of Danú are Tom Doorley on flute; Dónal Clancy (son of Liam Clancy), guitar; Oisin Mc Auley, fiddle; Éamon Doorley, bouzouki and fiddle; Donnchadh Gough, bodhran and uillean pipes; and Benny McCarthy, box accordion.

Muireann Nic Amhlaoibh's MySpace page has downloads of "Isle of Malachy" and "Western Highway," plus several in Gaelic. There's a five-minute clip on the Comhaltas wensite that shows her singing "An Spealadóir" (a song from her native West Co. Kerry), and playing flute on two reels, "The Caucus" and "The Wind That Shakes The Barley." She's accompanied by Michelle Mulcahy on accordion and Billy Mc Glynn on bouzouki. Comhaltas Ceoltóirí Éireann describes itself as "a non-profit cultural movement with hundreds of local branches around the world" that promotes "the preservation and promotion of Irish traditional music."

'Clar de Kitchen'

Perry's Selection; or, Singing for the Million: Containing the Choicest and Best Collection of Admired, Patriotic, Comic, Irish, Negro, Temperance, and Sentimental Songs, Ever Embodied in One Work. Philadelphia: John B. Perry, 1850. 224-225.

Racism, minstrels and 'Old Zip Coon'

An etymology of how "coon" came to be a racial epithet ... from stage characters like Raccoon, a black character who sang an early variant of "Yankee Doodle" in an 18th-century American play, and "Old Zip Coon" of minstrel show fame to a well-known and thoroughly vicious (although perhaps unintentionally so) song called "All Coons Look Alike to Me" in 1896. In a word, the stereotype became more racist as the 19th century wore on. At first, in fact, it didn't refer especially to blacks. Social historian David Roediger explains its early origins:

A song like 'All Coons Look Alike to Me' could, quite simply, not have been written before 1848, because human coons were typically white until that point. It is true that Zip Coon and Raccoon strutted on early American stages, but the word coon referred to a white country person, to a sharpster or, in phrases like a pretty slick coon, to both.

To complicate matters, the eagerness of the Whig party to identify with rural white common people led it to adopt symbols like Davy Crockett's coonskin cap and, in the 'log cabin and hard cider' presidential campaign of 1840, to nail coonskins to supporters' cabin doors and to use live coons as signs of party loyalty. Thus Whigs also became 'coons, especially in the speech of Democrats, who cursed Whigs in 'coongress' and Whig 'coonventions', Whig 'coonism' and a lack of Whig 'coonsistency'. The Whigs, to New York City Democrats, were a "Federal Whig Coon Party' -- a slur that, though sometimes seen in historical writing as racist, probably had nothing to do with the Whigs' slightly greater tolerance for antislavery. Instead, the accusation was that Whigs were sly political manipulators, posturing in coonskin as friends of the common man. (80)

But ... but ... the context is important here. Roediger suggests the term "first emerge[d] as a racial slur" on the minstrel stage, probably from Old Zip Coon and "the many references to coon-hunting and eating coons in blackface songs" (80-81)

For an overview of the "coon" stereotype, especially in its later and more dehumanizing manifestations, see Ferris State University sociologist David Pilgrim's webpage "The Coon Stereotype" for the Museum of Racist Memorabilia at Ferris State University.

Work(s) CitedRoediger, David R. Excerpt from The Wages of Whiteness: Race and the Making of the American Working Class. 1991. In The Nature of History Reader. Ed Keith Jenkins and Alun Munslow. London: Routledge, 2004. Roediger is described as a "leftist historian at the University of Illinois at Urbana-Champaign US who specialises in the history of labour, race relations and the South" (79).

Spirituals in WWII classical oratorio

Mentioned in passing in an article in the July print issue of Grammophone, the British classical music magazine, on Britten's War Requiem and other classical music written in the aftermath of 20th-century wars ... an oratorio by the British composer Sir Michael Tippett called A Child of Our Time. Composed between 1939 and 1941, A Child incorporates African-American spirituals in a choral work about events leading up to the Holocaust in Nazi Germany. Says Lisa Traiger, writing for the website All About Jewish Theatre about a 2005 production at the Kennedy Center in Washington, D.C.:

Gordon Hawkins, a Phoenix-based soloist who has sung with the Metropolitan and the Washington National operas, will fly in from a Miami engagement with the Florida Grand Opera, to sing with the chorus on Sunday.

He considers Tippett's use of Negro spirituals a curative: "I think he uses spirituals not only as commentary, but as a healing. There's a difference between those who persecute and those who are persecuted. If [the Negro spirituals] were just for the persecuted, there would be a psalm that said, 'Don't worry, things will be better for you in another lifetime, in another place.' "

But, when Hawkins sings the spiritual, "Go Down Moses," it is used not as a palliative, but as a means of igniting the passion to fight back, to challenge what took place in Nazi Germany.

"The whole thrust of the piece," he said, "of course, has to be in the context of World War II. While everything happening in the United States [during that period] was in the context of the races, Tippett did not just make a Negro spiritual oratorio. That's not the point.

"The point," Hawkins continued, "is the universality: There's a component of the Negro spiritual that contains something in common that we can all simply relate to." (Brackets in the original.)

Added Robert Schaffer, director of the Washington Chorus, which performed the piece, "Many of these spirituals are very familiar to American audiences -- 'Deep River,' 'Go Down Moses' and others -- so there's an American impact and contribution to the piece. Negro spirituals came out of another time of great oppression with slavery during the 19th century and before."

A Child of Our Time has been recorded by the London Symphony Orchestra and Chorus and the City of Birmingham Symphony Orchestra, directed by the composer.

The article in Grammophone, by Armando Ianucci, is titled "Finding My Place" (p. 24). Its lede paragraph is especially memorable:

In the middle of The-War-on-Terror-and-the-Taliban-and-Iraq-and-Insurgents-and-Saudi-Funded-Jihadists-and-as-inevitably-as-night-follows-day-Iran, there will no doubt soon be a whole catalogue of musical works that celebrate, commemorate or commiserate the frightful mess of the world we seem to have made. At stupefyingly awful times like these, the composer becomes political, emerges as someone who feels obliged to come up with a definite response to international events."

Not only do I think that's an apt characterization of the last seven years of U.S. (and British) foreign policy. The way Ianucci uses his hyphens appeals to the recovering English teacher in me.

'Clar de Kitchen' -- notes on a minstrel tune

A popular song by minstrel showman and singer "Daddy Rice," dated in 1832, was parodied -- apparently pretty well -- in the spring of that year when a steamboat made it up the Sangamon River within hailing distance of Springfield. Printed in The Sangamo Journal, it was to be sung to the melody of "Clar de Kitchen" (minstrel-show dialect for "Clear the Kitchen"). I found enough material on line to get a good start at learning the song, with a little help from Interlibrary Loan and ordering a CD from Amazon.com.

It's on a collection of minstrel tunes by contemporary drop-thumb banjo players Joe Ayers, Clarke Buehling, Bobby Winans, Bob Flesher, Bob Carlin, and Tony Trischka on the Rounder label.

The 2nd South Carolina String Band also has a version, a little livelier to judge by the mp3 snippets available on the Internet. Apparently it went into oral tradition, too, since the Ben Gray Lumpkin Digital Folk Music Collection at the University of Colorado has a field recording collected in 1962.

The lyrics and a MIDI file are linked to Benjamin Robert Tubb's "Music from 1800-1860" page (incidentally a handy year-by-year source for minstrel songs and parlor music of the day) in the Public Domain Music website. Tubb also has listings for hymns, spirituals and Sacred Harp songs.

The blurb on Basinstreet.com has this to say:

Popularized by Thomas Dartmouth "Daddy" Rice, the text is close to the tradition of Negro humor. In a succession of nonsense verses we meet various animals, an old blind horse; a joy bird sitting on a hickory limb; a bull frog dressed in soldier's clothes; and a little whip-poor-will whose sad fate is to be eaten. The tag "I wish I was" was destined to become a stock item in minstrel songs and folk music.

George Nichols was the first to sing "Clare" in public and is said to have adapted it from a melody which Nichols had heard sung by Negro fireman on the Miss. River. Stephen Foster's family musical group, the "Thespian Company" sang this on their programs. The song uses the cakewalk rhythm in its melody.

Unless I'm missing something, I'd guess the cakewalk was a later development that no doubt came down from earlier songs like "Clar de Kitchen." It sounds like a jig to me.

Steve Leggett's All Music Guide says in a review of the Rounder album excerpted on the Yahoo! shopping guide the "tunes are pleasant enough sounding on the surface, the banjo tones are round and gentle, ... if one can set aside the ugly racial problems in America that really drove the minstrel phenomenon," but the lyrics are "are layered with subliminal cultural baggage and cruel ironies that are difficult to set aside even all these years later." This song isn't as bad as some of the others, though, and, as the folks at Basinstreet.com suggest, the talking animals might -- possibly -- suggest a derivation, however indirect, from African American folklore of the day.

The music is printed in The Frank C. Brown Collection of North Carolina Folklore, at pp. 277-78. under XII, Blackface Minstrel and Negro Songs; and in The Voices that Are Gone by Jon Finson, at pp 173-174.

A legend about Peter Cartwright

Published in the July 2008 issue of The Prairie Picayune, newsletter for interpreters at Lincoln's New Salem State Historic Site (link from New Salem's home page to see complete newsletter).

Shape Note Singers at 2nd Berry-Lincoln in August

By Pete Ellertsen

Next month the New Salem Shape Note Singers will return to New Salem’s historic village. Started in 1995 by interpreters at Lincoln’s New Salem State Historic Site, we have sung more often at other venues in recent years, but we’re scheduled to sing from 10 a.m. to 3 p.m. Saturday, Aug. 2, in the Second Berry-Lincoln Store.

For visitors, and for other interpreters, it will be a chance to hear a living musical tradition with its roots in the singing schools and camp meetings of the early 19th century. For the folks we hope will join us for a song or two (or the rest of the day!), it will be a chance to take part in an ancient and still-living tradition. Beginners are welcome.

We’ll start at 10 with a brief “singing school,” at which experienced singers will explain how to sing in the shape-note tradition, and we’ll have loaner books available. We use “The Sacred Harp,” published continuously in Georgia since 1844, and a recent revision of “The Missouri Harmony.” We know the Rutledge family had a copy, and young Abraham Lincoln sang from it along with Anne, Robert and the other Rutledge youngsters.

Among our songs are several that were sung at Rock Creek campground, including “How firm a foundation” and “On Jordan’s stormy banks I stand.” Others are associated with the Rev. Peter Cartwright, the circuit rider of Pleasant Plains who visited New Salem so often when he wasn’t out riding the circuit.

There’s something about the old songs that brings the past to life.

I’ll never forget the time 12 years ago, when we sang an old camp meeting song that has been attributed to Peter Cartwright while were strolling in the village next to Sam Hill’s Store.

As we sang the old, repetitive verses, “Where are the Hebrew children? Where are the Hebrew children? Where are the Hebrew children? Safe in the promised land,” I couldn’t help thinking that Cartwright had loafed and traded wisecracks at Hill’s store more than 150 years ago, and now visitors to the site were hearing a song Cartwright had led.

I can’t explain why, but it felt almost as if the one of the “Southern uplanders” we read about in the history books had come back to New Salem for a couple of minutes. By that time I’d read Cartwright’s “Autobiography,” and I’d begun to study the shape-note songbook arrangers and the modal Scots-Irish harmonies that went into their the folk hymns they collected. But actually hearing it sung, the song came alive.

In the Sacred Harp tradition that we follow, the New Salem Shape Note Singers have a method for reaching back in time, and learning ways of singing that predate the earliest sound recordings in the 1920s. You don’t always get that with other types of music.

The tradition even helped me find out more about Peter Cartwright: It was from an older edition of “The Sacred Harp” that I learned of his association with “Where are the Hebrew children?”

According to a footnote by Joseph James of Douglasville, Ga., editor of the 1911 edition, attributes the tune to Cartwright between 1820 and 1825, about the time he moved from Kentucky to Illinois. “The original name of the above tune was ‘Where Now Are the Hebrew Children.’ Peter Cartwright was a minister of the gospel, and he used this tune in his camp meetings long before it was ever placed in notation. It is one of the old melodies of America, and has a long time been quite a favorite of many of the older people in their younger days who are now living. Peter Cartwright was born in Amherst county, Va., 1785, and died in Sangamond [sic] county, Ill., 1872. It was first published in the Sacred Harp of [B.F.] White and [E.J.] King, 1844.”

While more recent research has corrected inaccuracies in some of his footnotes, Joe James was a Southern country lawyer of a scholarly bent. (Think of Gregory Peck’s character Atticus Finch in “To Kill a Mockingbird” or U.S. Sen. Sam Ervin, D-N.C.) As often in fact as in legend, the old country lawyers truly were scholars. And in this case, I’m convinced James picked up on an oral tradition dating from Cartwright’s early days as a circuit rider in the southern Appalachians.

Another account of Cartwright, and one that James probably consulted, is in “The Story of the Hymns and Tunes” (1906), by Theron Brown and Hezekiah Butterworth. Here’s what they say about Peter Cartwright and his song about the Hebrew children:

“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.”

There’s a lot more about the song in Brown and Butterworth, who say it “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.” But I think they got ahold of a couple of legends about Cartwright that were handed down by oral tradition. I’ve seen a story similar to the one about the blacksmith in a history of early Midwestern camp meetings, except in that version, it was a saloonkeeper he fought and it was the old hymn “Coronation” (beginning “All hail the power of Jesus’ name …”) that Cartwright sang as he was beating him up.

Lincoln is not the only person around New Salem who gave rise to legends, and singing the old songs is one way to breathe life into the old legends. We promise we won’t beat up any blacksmiths when the New Salem Shape Note Singers gather Aug. 2 in Second Berry-Lincoln, but we will recreate an ancient art form that goes back to New Salem, Rock Creek campground and frontier days in Illinois.

# # #

A footnote about a footnote. I quoted from the 1976 edition of The Original Sacred Harp, which incorporates James' footnotes. They were not included in the "Denson book," i.e. the 1991 Denson Revision of The Sacred Harp currently in use. Brown and Butterworth are quoted in full on "Where are the Hebrew children" elsewhere on this blog.

MP3 files of Irish harp and shakuhachi

Philip Horan, shakuhachi player of Dublin, has a report on a workshop of Japanese and Irish music and culture in Belfast in August 2007 featuring Horan on shakuhachi and Junshi Murakami, who he accurately described as an accomplished player of the Irish harp, playing several pieces by Turloch O'Carolan and other traditional Irish composers. Said Horan, "The timbre of the Irish harp is not unlike the Japanese koto so the ensemble worked well."

Horan's website Shakuhachi Zen also has sound files of two traditional honkyoku pieces, and articles titled "Shakuhachi Zen: 'In one sound, become the Buddha!'" and "Irish melodies for shakuhachi: Celtic honkyoku!" He has a masters in Ethnomusicology from the Irish World Music Centre in Limerick and lived in Japan from 1999 to 2001.

Source book on hymns (incl. Peter Cartwright)

http://www.ebooksread.com/authors-eng/unknown/the-story-of-the-hymns-and-tunes-theron-brown-and-hezekiah-butterworth-444/1-the-story-of-the-hymns-and-tunes-theron-brown-and-hezekiah-butterworth-444.shtml

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

http://www.ebooksread.com/authors-eng/unknown/the-story-of-the-hymns-and-tunes-theron-brown-and-hezekiah-butterworth-444/page-10-the-story-of-the-hymns-and-tunes-theron-brown-and-hezekiah-butterworth-444.shtml

"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.

http://www.ebooksread.com/authors-eng/unknown/the-story-of-the-hymns-and-tunes-theron-brown-and-hezekiah-butterworth-444/page-18-the-story-of-the-hymns-and-tunes-theron-brown-and-hezekiah-butterworth-444.shtml

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.

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"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.