Revival Hymns: A Collection of New and Standard Hymns to Sing Along in Gospel and Social Meetings, S

The armor bearer: a choice collection of new and popular hymns and music; prepared especially for gospel meetings, camp meeting, family devotions, Christian association, and Sunday schools. edited by E. Payson Hammond and W. Warren Bentley. New York: Wm. A. Pond, c1876.

Revival Hymns: A Collection of New and Standard Hymns for Gospel and Social Meetings, Sunday Schools

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Pentecostal hymns: a winnowed collection for evangelistic services, young people's societies and Sunday-schools. selected by Henry Date; music editors: E. A. Hoffman, W. A. Ogden, [and] J. H. Tenney. Chicago: The Hope Publishing Co., c1894.

The gospel call: parts 1 and 2; a choice collection of standard hymns and popular gospel songs. by W. E. M. Hackleman assisted by J. V. Coombs. St. Louis, Mo.: Christian Pub. Co.; Indianapolis, Ind.: Hackleman, c1897.

Pentecostal hymns: no. 2; a winnowed collection for evangelistic services, young people's societies, and Sunday schools. selected by Henry Date. Music editors: E. A. Hoffman and J. A. Tenney. Chicago: The Hope Publishing Company, c1898.

The highway to heaven: a new collection of gospel songs for Sunday-schools, prayer meetings, young people's societies, and all other occasions of religious...and musical endeavor. by A. J. Showalter, J. Henry Showalter, J. M. Bowman and T. B. Mosley. Dalton. Ga.: A. J. Showalter, 1899.

The Brethren hymnal: a collection of psalms, hymns and spiritual songs, suited for song service in Christian worship, for church service, social meetings and Sunday schools. compiled under the direction of the General Conference of the German Baptist Brethren Church by the Committee. Elgin, Ill.: Brethren Publishing House, 1901.

Revival hymns: a collection of new and standard hymns for gospel and social meetings, Sunday schools and young people's societies. edited by Daniel B.Towner and Chas. M. Alexander. Chicago: Bible Institute Colportage Association, 1905.

Glory songs: a choice collection of original and popular gospel songs together with standard hymns and tunes, suitable for church, Sunday-school, young peoples societies, evangelistic services and all occasions of worship. edited by Dr. J. B. Herbert and W. E. M. Hackleman. Indianapolis: Hackleman, [1911?]

Pentecostal hymns: nos. 5 & 6 combined; a winnowed collection for young people's societies, church prayer meetings, evangelistic services and Sunday schools. compiled by Henry Date; Chas. H. Gabriel, Geo. C. Stebbins, Wm. J. Kirkpatrick, music editors. Chicago: Hope Pub. Co., c1911.

Gospel bells: a choice collection of gospel songs and standard hymns for church, Sunday school, endeavor and evangelist. edited by E.O. Excell and W.E.M. Hackleman. St. Louis: Christian Board of Pub.; Indianapolis, IN: Hackleman Music, [1914?]

Light and life songs: number two; adapted especially to Sunday schools, social worship, camp meetings, and revival services. William B. Olmstead, editor, Thoro Harris, assistant editor. Chicago: W. B. Rose, c1914.

Rodeheaver collection for male voices: one hundred and sixty quartets and choruses for men consisting of gospel songs--new and old--the popular songs used in the "Billy" Sunday campaigns; many adaptations from standard authors; old familiar hymns, newly arranged; secular songs; plantation melodies; prohibition songs and special selections. edited and compiled by Dr. J. B. Herbert. Chicago: Rodeheaver Hall-Mack Co., c1916.

Harvest hymns: singable gospel songs for general use in churches, school, young people's meetings and evangelistic services; church hymns, revival songs, children's melodies, solos, duets and choruses. compiled and edited by Robert H. Coleman. Shaped note ed. Dallas, Tex.: Coleman, c1924.

Jehovah's praise: a choice collection of hymns and gospel songs for church, Sunday School, Young People's meeting, and revival work. compiled and edited by I.E. Reynolds and B.B. McKinney. Fort Worth, TX: Southwestern Press, c1925.

The Broadman hymnal: great standard hymns and choice gospel songs new and old, for use in all religious services, such as the worship hour, Sunday school, young people's meetings, assemblies, and evangelistic services. B. B. McKinney, music editor. Nashville, Tenn.: The Broadman Press, c1940.

Devotional hymns: a collection of hymns and songs for use in all services of the church, including Sunday school, young people's meetings, missionary and mid-week services. Chicago: Hope Pub. Co., 1942.

Devotional hymns: a collection of hymns and songs for use in all services of the church, including Sunday school, young people's meetings, missionary and mid-week services. Chicago: Hope Pub. Co., 1947.

Church service hymns: a superior collection of hymns and gospel songs for every department of church work. comp. by Homer Rodeheaver [and] George W. Sanville. Music ed., B. D. Ackley. Winona Lake, Ind.: Rodeheaver, Hall-Mack Co., c1948.

Choice hymns of the faith: a specially selected collection of Scriptural hymns and choruses for church gatherings, evangelistic meetings, Sunday schools, choirs, funerals, marriages, the home, circles, etc. Fort Dodge, Iowa: Gospel Perpetuating Fund, c1952.

Devotional hymns: a collection of hymns and songs for use in all services of the church, including Sunday school, young people's meetings, missionary and mid-week services... Chicago, Ill.: Hope Publishing Co., 1957.

Church service hymns: a superior collection of hymns and gospel songs for every department of church work. comp. by Homer Rodeheaver [and] George W. Sanville. Music ed., B. D. Ackley. Winona Lake, Ind.: Rodeheaver, Hall-Mack Co., 1968, c1948.

This is a recording about a surprising phenomenon: The vigorous survival, in the Northern part of the United States, of folk-inspired religious hymnody. It is well known that the "folk" element in American church music, after a start in eighteenth century New England, migrated South during the nineteenth century. In the South, shape-note hymn books like the Sacred Harp and the Southern Harmony, first published in mid-nineteenth century, have maintained, even into the present day, a style of folk-hymnody that was thought to have disappeared in the North. In the South, too, has flourished black people's congregational music, so powerful and compelling that the musical term "spiritual" has understandably but incorrectly come to mean "black religious music" for much of the general public. So the schema was supposed to be as follows: In the South, folk styles; in the North, politer church music that followed (or attempted to follow) the "rules." What a surprise, then, to find authentic, idiomatic folk hymns and spirituals in song books complied and published in the North! For if it is mainly true that Northern hymbooks of the nineteenth century contain for the most part academic, watered-down Victoriana, a few prints show that the other, more vigorous tradition was indeed alive in the Northern states. Two rare sources were of prime importance for this recorded program: The American Vocalist, an oblong hymn book in four-part harmony, compiled by the Rev. D.H. Mansfield, published in Boston in 1849 (and purchased by this writer 1986 at a secondhand bookstore in Portsmouth, New Hampshire); and The Revivalist, a book of mostly single-line spirituals, published at Troy, New York in 1868. Our main source, The American Vocalist, contains music of several sorts, including a large selection of earlier, eighteenth century pieces. Composed by intuitive, nonprofessional singer-musicians of the colonial and immediate post-independence period, these vigourous works contain frequent "mistakes" of partwriting and voiceleading; they often employ nonstandard gapped or modal scales derived from folk practice. Such seeming eccentricities were anathema to the succeeding, conservatory-minded generations of choirmasters that developed in nineteenth-century Boston and other Northern urban cities. The rugged compositions of Billings, Reed, and others, were, for the most part, either radically edulcorated for the genteel urban congregations, or banished altogether from fashionable hymnbooks. The fortunate survival of these older pieces, both in the American Vocalist and in the Southern shape-note books, seemed to depend on the spontaneous affection of the simpler folk who also embraced the folk-hymn ethos. It seems clear from the other selections of the American Vocalist that the Mansfield, the compiler-editor, was aiming to reach a culturally conservative, presumably less-affluent public for whom folk idiom was still a vernacular style of expression. Many of the standard, nineteenth century hymns are present in this book; so, with modifications, are many of the tunes found as well in Southern collections like the Sacred Harp. A large number of gospel or revival-type melodies are included, as well as arrangements of numerous popular songs of the mid-nineteenth century day, transformed for the occasion into chansons spirituelles. As in old New England and the Southern books, the American Vocalist's melodies are notated in the tenor rather than the soprano voice. But the harmonic treatment of these airs is unlike that of the Southern hymnbooks. Whereas the Southern style remains almost completely melodic in all voices, evoking the organal singing styles of the European middle ages, or of modern Corsica or Albania, the Boston collection treats the tunes in a simplified harmonic language. Root-position triads dominate; modulations are almost nonexistent. If the Southern shape-note hymns of the Sacred Harp school can at times remind the listener of Leonin or of Machaut, the American Vocalist settings may instead evoke the French Renaissance chanson or the Elizabethan partsong. A number of the American Vocalist's and The Revivalist's melodies are in the minor mode. In the South, these same tunes are invariably notated and sung with lowered leading-tones. The Northern books frequently "gentrify" the melodic lines by raising the leading tones (and sometimes creating hairraising problems of voiceleading in the process). Were the melodies actually sung in this more "harmonic" way, or were the added sharps a kind of Sunday suit, mainly for show on the page? There is no clear answer. In these performances, we have frequently ignored the Northern editors' "musica ficta" in order to simplify the voiceleading and to maintain the modal, preharmonic character of the original melodies. All interpretations of historical music involve a blend of knowledge and intuition. Even with music as close to us as this, many questions about performance practice are unclear and must be decided anew in our own time. The still-vital Sacred Harp tradition, while enormously important to us, does not answer all our questions about how this music may have been sung over a century ago, in the North. Our performances here employ a variety of musical means: solo voices, chamber-size vocal ensembles, choral singing, and occasional instrumental accompaniments. We have attempted to make evident the links with earlier musical styles -- this repertoire, after all, has deep roots in older European music -- while maintaining an idiomatic, American approach. The consistent richness and expressivity of these works is once again a testament to the intense musicality -- and the profound spirituality -- of America's peoples. And we are reminded once again that these most essential human qualities are often to be found and experienced away from the mass markets, independent of both the academy and the music industry, and outside the official culture of the United States. Joel Cohen spring, 1992 2ff7e9595c