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sp-white_spirituals_worksheet - published tunebooks Just...

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Reading Worksheet White Spirituals in the Southern Uplands Richard Jackson writes of in Grove Music : Shortly after joining the German department of Vanderbilt University in 1918, George Pullen Jackson became interested in the music of the large southern singing groups such as the Sacred Harp Singers (together with Alan Lomax he made recordings of their performances, 1942). His study of the music, as found in collections published in the early 19th century, resulted in the book White Spirituals in the Southern Uplands (Chapel Hill, NC, 1933/R), which introduced an important body of American folk music to scholarly and general readers. It was followed by several other publications on this music (1937-1952). Jackson uses capitalized abbreviations for the titles of published tunebooks, so HH stands for William Hauser’s Hesperian Harp (Philadelphia: compiler, 1848). You are not required to know about the individual books; only know that these abbreviations stand for
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Unformatted text preview: published tunebooks. Just because these tunes appeared earlier in print doesn’t rule out the possibility that they were very old folksongs. “Compilers” of published tunebooks often claimed to the the “composer” of a tune, when in fact, they were the first person to notate the tune from the oral tradition. • George Pullen Jackson wrote that “experience” songs usually started with some form of the “come all ye” opening. • What were Miss Hataway and the Romish Lady (a Catholic girl) willing to give up for their religion? • As you read, keep track of the several ways GP Jackson received folksongs (e.g., from someone’s singing them and how else?) You can get a good sense of the cultures that spawned these white spirituals from the story about Hicks’ Farewell. Pay particular attention to the way Elder Berryman Hicks’s family is described. Would those words be used in a 21 st-century news story about the family?...
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