User:Opus33/Sandbox

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Contents

[edit] Redirecting

Pound sign, no space, REDIRECT:, then the new link in double brackets.

[edit] Collection of errors

Factual errors inserted casually by people who didn't consult reference sources but just thought they knew. I exclude cases where the reader could detect incompetence simply from bad prose (cf. Robert McHenry's point).

Long term purpose is to provide a more informed evaluation of how safe it is to rely on the Wikipedia for facts.

  • Piano wire is made of brass, copper or aluminum.
  • Beethoven's birthdate is known (multiple edits).
  • People perceive the top frequency of a note played with Vibrato.
  • Mozart's opera The Magic Flute was premiered in 1791 in a theater built in 1801. [1]
  • The text of the Renaisance song "L'homme arme'" is in Italian. Ditto Mozart's aria "Dies Bildnis ist bezaubernd schön" (one day: [2]
  • Ferdinando de' Medici was the Grand Duke of Florence
  • Emmanuel Schikaneder collaborated with Mozart on several operas.
  • Andrea Lucchesi secretly wrote many of the symphonies of Mozart and Haydn.
  • Charles Waring Darwin contracted scarlet fever several years before his birth [3], error introduced July 2004 [4], repaired 6/16/07
  • The role of the Queen of the Night, in Mozart's The Magic Flute, was premiered by his former love interest Aloysia Weber. ("Aloysia Weber", March-June 2007)
  • Mozart made 50,000 florins a year. (on Wolfgang Amadeus Mozart for several years, fixed Sept. 2007. The correct figure is unlikely to be much about 5000; Braunbehrens bio. 1990, Solomon bio. 1995)
  • Mozart died of a disease known as "military death". <up only for a day or so, but it was advertised to the world on the Main Page, in the abominable "Did you know?" section.> [5]

[edit] To do

    • See if you can find:

O'Brien, James Patrick. 1969. An Experimental Study of the Use of Shape Notes in Developing Sight Singing. Ph.D. dissertation, University of Colorado at Boulder.

a followup on Kyme, perhaps providing balance.

  • Bartolomeo Cristofori and fortepiano
    • Pollens seems to think that Maffei's diagram was accurate for the time
    • Write an article on the piano before Cristofori. Difficult to title it without committing POV! Source: Pollens's book.
    • Cristofori was part of the Prince's crew of musicians, it would appear - Pollens
  • Go through old emails with references in them.
  • Beethoven's Fifth (abandoned in despair):
    • accelerated themes (you've made a few figures of the musical notation)
    • Install section on the place of the symphony in Beethoven's work
    • Replace the "Reception" section, using Grove.
    • More generally, it seems that an article in which virtually every sentence is footnoted with a reference source is less vulnerable to damage. Could this be done for the Fifth? And ditto for the poor Ninth.
  • Fix up Vibrato, reading the J. Ac. Soc. Am. article you Xeroxed as basis
    • and thereby repair the howler in Violin
  • Piano <not editing pianos for the forseeable future, but someday?>
    • We are sadly lacking in diagrams and discussions of piano actions Someone started but it's just a ripoff of another Web site.
      • Cristofori (and Maffei's error--evidently the basis for the Silbermann pianos of the 1730's).
      • Viennese
      • Zumpe
      • English
      • Modern
  • article on Rondo variations? as in Haydn's Gypsy Rondo trio
  • Social history of the piano
    • Gershwin's job as a 15-year-old, somewhere (lost it) in Parakilas. Perhaps Google book search would help.
  • Goldberg Variations
    • Add that the question of who wrote the aria is very controversial; get various people's point of view.
    • Quodlibet--identify the passages (cabbages, more meat, come closer ...)
  • Mozart
    • Where did people say his operas are difficult? Deutsch p. 315, the Emperor felt this way.

[edit] Varia

Personal archive and material in progress.

[edit] Sacred Harp: music structure

Sacred Harp music is a tradition of a capella tradition of sacred choral music, rooted in the American South and now sung widely in America and the English-speaking world. Scholars have repeatedly noted a number of important traits of musical structure in this body of music, which are summarized here.

A caveat is needed concerning the observations made here: the music itself is not homogeneous. The earlier portion of the Sacred Harp canon represents 18th-century composers of the "First New England School", who wrote in four-part harmony and were the musical mainstream in their place and time. Later work, from the early to mid 19th century, was the product of the more rural culture in the South, inhabited by B. F. White and Elisha J. King, the compilers of the first edition of The Sacred Harp. These composers knew the New England material from the hymnbooks they owned and used, but when composing they pursued a different path, writing in just three parts (the alto parts sung today were added around the turn of the 20th century), and drawing on new resources, notably folk tunes and camp meeting songs. Later songs, from the second half of the 19th century, represented a further evolution in taste, and in the "Cooper" edition of The Sacred Harp, a layer of songs influenced by gospel music is included. Nevertheless, the entire corpus can in some sense be considered as a single tradition, since each new generation adding to it was familiar with, and strongly influenced by, the styles of the previous ones.

--prevalence of minor tunes: Cobb 34-35

[edit] The emphasis on fourths and fifths

In a Sacred Harp song, often the set notes sung at a given moment are separated by the interval of a fourth, a fifth, an octave, or some combination thereof. Thirds and sixths do occur frequently, but they are rarer than in other traditions.

--example, "Amazing Grace" = "New Britain", which could shorten the main Sacred Harp article

--last chord of a minor tune: virtually always leaves out the third

--The Rudiments of Music section of The Sacred Harp: "quartal" harmony; cite and quote

--there are almost no secondary dominants; part of the reason that few accidental signs are needed (cf. Ananias Davison's view). Someone (Marini?) talks about this in describing why gospel music sounded strange to Sacred Harpers, when it was new.

  • Lowell Mason's "Shawmut," (Denson book 535) which is not in the idiom, has a secondary dominant, i.e. a V/VI.
  • Isaac Smith's "Silver Street" (Denson 311) has a secondary dominant (5th measure, last beat) that was present in the original version[1] but is removed in the Sacred Harp version.

[edit] Violations of the traditional laws of voice leading

--Seeger (1940) and his "blue pencil"

[edit] Rhythm and music notation

The musicologist Dorothy Horn asserted[2] that a number of songs in The Sacred Harp (as well as in the similar hymnals Southern Harmony and the New Harp of Columbia) are misbarred'. By this she evidently means that a trained musician, listening to a song to detect the strong musical beat, would place the bar lines in different locations than the printed version, in order to respect the general law of music notation that the strongest beat of a measure is the first one.

As an example Horn cites the song "Jackson" (Denson edition, p. 317 on the bottom; xxx get Cooper page), whose tenor part is printed thus:

xxx

Horn's preferred barring is thus:

xxx

In support of this barring, Horn notes that it avoids the counterintuitive placement of weak syllables in the verse in the strong positions of the meter. Compare:

Printed version:

 I am a stranger here below
 And what I am is hard to know,
 I am so vile, so prone to sin,
 I fear that I'm not born again.

Horn's rebarred version:

 I am a stranger here below
 And what I am is hard to know,
 I am so vile, so prone to sin,
 I fear that I'm not born again.

[ xxx and there's more: cases of misbarring that to barred correctly would have to mix time signatures, as Cecil Sharp did when transcribing the related Appalachian folk songs ]

[edit] References

  • Graham, Fred Kimball (2004) "With One Heart and One Voice: A Core Repertory of Hymn Tunes Published for Use in the Methodist Episcopal Church in the United States, 1808-1878. Lanham, MD: Scarecrow Press.
  • Horn, Dorothy (1970) Sing to me of Heaven. Gainesville: University of Florida Press.
  • Seeger, Charles (1940) "Contrapuntal style in the three-voice shape note hymns," The Musical Quarterly XXVI(4):483-493.

JSTOR has:

The Alto Parts in the "True Dispersed Harmony" of "The Sacred Harp" Revisions, Wallace McKenzie The Musical Quarterly, Vol. 73, No. 2. (1989), pp. 153-171.

http://links.jstor.org/sici?sici=0027-4631%281989%2973%3A2%3C153%3ATAPIT%22%3E2.0.CO%3B2-2

The Tunebook That Roars: The Sound and Style of Sacred Harp Singing James Scholten Music Educators Journal > Vol. 66, No. 6 (Feb., 1980), pp. 32-37+74-75+77

---

Sing to me of heaven, by Dorothy Horn (cited)

[edit] The spread of Sacred Harp singing

The first Sacred Harp convention to be held outside the South took place on October 2, 1976 at Wesleyan University in Middletown, Connecticut; it was organized by Neely Bruce, Larry Gordon, Poppy Gregory, and Juanita Kyle. Significantly, it was attended by a busload of Southern singers, led by Hugh McGraw; thus, it was an early manifestation of a trend seen throughout the history of the spread of Sacred Harp singing, namely the participation by traditional Southern singers in spreading the customs and traditions of Sacred Harp, in addition to just the music, to new singers.[3]


[edit] Media interest

The spread of Sacred Harp singing has probably been facilitated by repeated occasion in which the ongoing phenomenon has been noticed and given prominence in news media and popular culture outlets.

Arise my soul, Moyers? , Rivers of Delight?, Cold Mountain, Time magazine?

---

new tunebooks?

Why do people take it up? this gets very speculative, perhaps direct quotation of scholars might be best?


[edit] References

Marini, Stephen A. (2003) Sacred Song in America: Religion, Music, and Public Culture. Urbana: University of Illinois Press.

[edit] The origin of the songs in The Sacred Harp

The tracing of the history of many Sacred Harp songs is a often quite difficult, and in the past various errors have been made.[4] The appearance of a song in a historical hymnbook naturally permits it to be traced back as far as the hymmbook in question, but often the ultimate origin is obscure.

[edit] Songs from before Billings

The musical tradition printed in the pages of the Sacred Harp first came into bloom in America in 1770 with the publication of the New England composer William Billings's The New England Psalm Singer' (see below). However, there is a number of songs [ xxx I keep finding more ] that are older than Billing's work; most originated in England.

[edit] Old Hundred

The oldest song in the Sacred Harp is, evidently, the famous hymn "Old Hundred", (C,D 49 top). It is possibly by Louis Bourgeois and dates to a seminal work of Protestant hymnody, the xxxth edition of the Genevan Psalter, 1551. This work comes from the time when the Reformation leader John Calvin created a system in which the congregation sang exclusively the poetry of the Bible, translated metrically into their own vernacular language.[5] The Sacred Harp version is, of course, in English, and does not use the same harmonization as the Geneva original, but is plainly the same tune. As is usual in Sacred Harp music, the melody is found in the tenor, and not in the treble as the original (for the notes of the original version, see Old Hundredth).

Other pre-Billings tunes are mostly English.

49b Mear 1720 A Sett of Tunes 28b Wells 1724 Holdroyd, Israel 84 Amsterdam 1742 Foundery Collection 81b Cookham 1760 Harmonia Sacra 273 Milford 1760 Stephenson, Joseph 73b Arlington 1762 Arne, Thomas A.

xxx there are more if you include Cooper book dating. Their pre-Billings tunes are:

Wells Israel Holdroyd 1724 Portuguese Hymn From John F. Wade's Cantus Diversi; Alto by W.M. Cooper 1751 Arlington Thomas A. Arne 1762

Another really old one is "Corley", Denson book 510. Arranged by Richard DeLong from this source: "John Wilson, 17th century"

e.g. they give 1751 for Portuguese hymn

Keith Willard has a nice web essay on fasola.org: [6]

The other seven pre-Billings songs come from England, where during the 18th century a robust traditional of rural church music arose, considered the direct ancestor to the New England tradition. cite Temperley; how many of these does he mention?

xxx but not all of these are from the country parish tradition; Arne ? xxx wrote operas, I think...

  • Amsterdam (D. 84). Appears in The Foundery Collection, 1742, [ xxx I think this is an early Methodist hymnal ] and is thus attributed in the 1991 edition. Graham gives the first American versions as A collection of the Best Psalm Tunes, Boston 1764 or The Grounds and Rules of Musick, 8th ed., Boston 1764.
  • Aylesbury (D. 28 top). Denson edition gives "A book of Psalmody, 1718; Graham says "in this form" first published in James Green, A Book of Psalm-Tunes, 5th ed., London 1724, and gives the first American printing as Thomas Johnston, untitled collection, Boston ca. 1760.[6]
  • Cambridge (D. 287). John Randal (1717-1799). According to Graham (2004, 52) "probable" first appearance is in Stephen Addington, A Collection of Psalm Tunes fo Publick Worship, 6th ed., London 1786. He gives the first American publication as in Nehemiah Shumway, The American Harmony, 2nd ed., Philadelphia 1801. The Denson edition gives the song a date of 1790.
  • Mear (D 49 bottom). Irving Lowens traces "Mear" (D 49 bottom) to Simon Browne's Hymns and Spiritual Songs (London, 1720).[7]. The title page of this hymnal, quoted in The Sacred Harp, reads: "A / Sett / of / Tunes in 3 Parts / (Mostly New) / Fitted to the following / Hymns / But may be sung to any / others in the same measure / By Several Hands / Frances Hoffman sculp / Sold by Em Mathews at the Bible in Pater Noster Row.",</ref> [ xxxx add in what Graham says ]
  • St. Thomas (D. 34b). Aaron Williams. First published in Thomas Knibb, The Psalm Singer's Help (London, ca. 1769; the Denson edition gives 1770). First American printing in Andrew Law, Select Harmony, Cheshire, Connecticut, 1778.[8]
  • Silver Street (D. 311). Isaac Smith (1734-1805). First published in Isaac Smith, A Collecton of Psalm Tunes in Three Parts, London, 1779-1780 First American publication in The Chorister's Companion, 2nd ed., New Haven, 1788.[9]
  • Wells (D 28b). Israel Holdroyd (1702-1753). First published in Holdroyd's The Spiritual-Man's Companion, London, ca. 1722 (the Denson edition gives 1724). First American printing in James Lyon's Urania, Philadelphia 1761.[10]


[edit] Sacred Throne

check who was Hugh Wilson (1764-1824). Denson 569

[edit] The first New England School

xxx cite the article we have on this, list the composers Going through Stephen Jenks (1812), there are 97 songs

  • Bridgewater (D. 276). Lewis Edson. 1782, The Chorister's Companion, or Church Music Revised, New Haven.[11]
  • China (D. 163b). Timothy Swan. 1801, New England Harmony[12]
  • Lenox (D. 40). 1782, The Chorister's Companion, or Church Music Revised, New Haven.[13]
  • Lisbon (D. 467b). The original version was by Daniel Read and appeared in The American Singing Book (New Haven 1785). Oddly, the original version was a fuging tune in duple time; the current Sacred Harp version is not a fuging tune but an ordinary hymn tune, with the fuging notes compressed into a homonphonic texture; thus the Denson edition describes the work as "arranged from Daniel Read".[14]
  • Windham (D. 38b). Daniel Read. First appeared in Read's The American Singing Book, New Haven, 1785.[15] [ xxx Graham says that it's in triple time. Try to find Read's original; SH version is in 4/4. ]

[edit] should something be said about sentimentality?

It does seem that weepy stuff became prominent with the later White editions, though I'm not sure how to say this without violating WP:NOR. But look at these titles:

"The Dying Boy" H.S. Reese 1859, Denson book 398 "Weeping Mary" J. P. Reese 1859 Denson 408 "The Dying Californian", Ball and Drinkard 1859, Deson 410 "The Loved Ones" Arr. E. T. Pound 1859. Denson 413


[edit] Songs that are not specifically religious

There are more than you might think. The topics are, naturally enough, closely allied to religion: patriotism, temperance, family.

  • "The Loved Ones" Denson 413 is about family
  • "O, Come, Come Away!" is a temperance song


Denson, p. 334

[edit] the gap

Between 1869 and 1909, only three songs:

445 Passing Away 1872 Watson, John A. 117 Babylon Is Fallen 1878 Chute, W. E. 55 Sister's Farewell 1905 McLendon, A. J.

This was after B. F. White had died, and no new editions were being prepared.

[edit] O, Come, Come Away!

Denson, p. 334, attributed to William Houser (Hauser?), Hesperian Harp, 1848. [xxx Look up Cooper]

As Horn (1970, xxx) points out, this is originally the German driking song "Krambambuli". Krambambuli is a kind of bright-red liquor made in Germany. It gave rise to a student drinking song, which got imported to America. Then the temperance folk then adopted it with new (opposite!) words, and this got incorporated into various songbooks and ultimately the SH.

For the song, see German Wikipedia: http://de.wikipedia.org/wiki/Krambambuli_%28Getr%C3%A4nk%29, and for the German words (with mp3) see http://www.leonensia.de/lieder.php?id=10

A whole article on its history, by Armin Hadamer: http://www.jstor.org/stable/view/849576?seq=6

[edit] Soft Music

This is Denson 323, attributed to B. F. White himself [xxx look up Cooper page]. The model is the German son Du, du liegst mir im Herzen, considerably modified.

[edit] Songs originating in popular music

Popular music is used here in the sense of music prepared and sold, aiming at mass consumption. Popular music has overwhelmingly dominate public tastes since the beginning of the last century, and much contemporary religious music mimics its styles and genres. However, in the heyday of Sacred Harp music composition, the technological means for disseminating popular music were primitive; essentially the printing press and the domestic piano. These prevailed more in the cities than in the rural locales where the Sacred Harp tradition and its predecessors flourished; yet it seems that nevertheless there was some inflow of popular music tunes, reset with religious texts, into the Sacred Harp tradition.

  • Happy Land

This site:

http://www.madras.fife.sch.uk/archive/articles/TheMadrasCollegeAppendix1.html

offers:

"Andrew Young, who was English master from 1840 to 1853, made a great reputation from a hymn he wrote, a hymn which was to become known throughout the English-speaking world and was to be translated into many foreign languages. A popular drawing-room song of the period had these words:

"I've come from a happy land
Where care is unknown :
I've parted a merry band
To make thee mine own.
Haste, haste fly with me !
Where love's banquet waits for thee,
Thine its sweets shall be
Thine, thine alone. "

He liked the tune and thought that the words could be turned into something for use in his Sunday school. The result was the hymn "There is a happy land", the melody of which is still called "Indian Love Song".

Can this be tracked down?

See also

Scottish Church Music: Its Composers and Sources By James Love

on Google books; a visiting lady played the tune to Young on the piano.

Further Googling indicates that the words above come from a play by James Planché.


  • Sweet Home

also on Home! Sweet Home! and its composer, Henry Bishop. This is a nice example of "Southernization" of harmony and style--the SH version is pleasingly much less treacly.

A book noting the incredible popularity of the song (100,000 copies the first year): xxx

  • The Dying Californian. Appears to be based on a published song of the 1850's: see Google's copy of Folksongs of the Catskills. But the version in Sacred Harp (originating in the third edition of 1859) is not the same tune.

[edit] Portuguese Hymn

Long misattributed. See http://www.hymnsandcarolsofchristmas.com/Hymns_and_Carols/Notes_On_Carols/adeste_fideles.htm

The Denson Edition assigns it no date; Cooper says 1751.

[edit] Works with an origin in classical music

Classical music is the source for a number of songs in the Sacred Harp. These songs typically use the tune of the classical source, but the musical setting is adapted to the genre of the hymn.

[ It's starting to look like there may be scads of these. The two by Pleyel are prominent mainly because the composer's name is acknowledged in the title. And the origin gets obscured because the process of "hymnification" often occurred long before the song was adopted into Sacred Harp.]


[edit] Arlington (C,D 73b)

Originally, this was a minuet, part of the overture to Thomas Arne's opera Artaxerxes. The adaptation to being a hymn tune took place in England. The first appearance in a hymnbook is in Harrison's Sacred Harmony of 1784, and it was shortly thereafter reprinted in America in the Chorister's Companion (1788).[16]

The Denson edition notates the song in 3/2, preserving the original minuet rhythm. The Cooper edition recasts the rhythm into xxx notation, with altered rhythm.

[edit] Weeping Savior

According to Horn (1970, 19), the tune was composed by the Ukrainian-Russian composer Dmitry Bortniansky; q.v. for details. The version in The Sacred Harp was prepared by Edmund Dumas in 1869 (1936 ed: 1839); the alto part of the Denson edition was prepared by Seaborn Denson in 1911 (according to the 1936 edition).

A version of Bortniansky's tune may be seen here: [7]. The melody is in the soprano. Dumas clearly modified it considerably, including the refrain in Aramaic in the the last four bars.

[edit] Pleyel's Hymn Second

Graham (2004) attributes the melody to "the andante movement of a string quartet in G major published in 1788" by Ignaz Pleyel. It entered hymnody in Arnold and Callicott's Psalms, published in England in 1791 (more available in Graham, which obtain...)

[edit] Loving Jesus

Denson p. 361, attributed to "Pietro Guglielmi" 1772, whom investigate.

[edit] Sweet Affliction

Denson 145. From the opera Le devin du village by Jean-Jacques Rousseau, according to Horn (1970, 165). See also Denson books description.

[edit] Folk origin?

These are so hard to verify.

  • "Joyful", Denson 513, is "The Seven Joys of Mary" -- origin? Arranger was B. F. White
  • "The Great Day" Denson 567. Joel Cohen thinks he's spooted the original. Arranged by J. P. Reese in 1859.


[edit] References

  • Graham, Fred Kimball (2004) "With One Heart and One Voice: A Core Repertory of Hymn Tuns Published for Use in the Methodist Episcopal Church in the United States, 1808-1878. Lanham, MD: Scarecrow Press.
  • Horn, Dorothy (1970) Sing to me of Heaven. Gainesville: University of Florida Press.
  • Lowens, Irving (1954) "John Tufts' "Introduction to the Singing of Psalm-Tunes" (1721-1744): The First American Music Textbook," Journal of Research in Music Education 2:89-102.


[edit] Sacred Harp conventions

[edit] Dinner on the grounds

The middle of the day is the time for "dinner on the grounds", a potluck dinner. This is prepared by local singers and is traditionally hearty. Stephen Marini describes the dinner on the grounds for singing he attended in in Blount County, Alabama:[17]

Six picnic tables were set up end to end in front of the church and laden with homemade dishes. Platter of fried chicken, baked ham, smoked turkey, and barbecued ribs vied for space on the crowded tables with bowls of fried okra, sweet potato pie, black-eyed peas, baked beans, and collard greens. One end of the groaning board was reserve for desserts: peach and cherry cobbler, chess pie, lemon meringue pie, coconut custard pie, chocolate pie. Two ten-gallon urns of iced tea shared space with the desserts.

[edit] Closing song

Often a convention has a particular song which is sung at the end of the day, during which time handshakes or hugs are exchanged among the singers. Often this song is "Parting Hand" by William Walker (p. 62 of both Cooper and Denson editions).[18]

[edit] References

Marini, Stephen A. (2003) Sacred Song in America: Religion, Music, and Public Culture. Urbana: University of Illinois Press.

[edit] Notes

  1. ^ See Graham (2004, 112)
  2. ^ Horn (1970, pp. 125-130)
  3. ^ Source for this paragraph: Marini (2003, 83)
  4. ^ Notably, earlier editions ascribed songs to Chopin and Mozart, evidently in error; xxx nail this down!, and the 1991 Edition simply removed all the historial material from the earlier 1971 edition, perhaps considering it insufficiently reliable. [Cobb says why; look up xxx ]
  5. ^ See Metrical psalms, as well as Marini (2003, 74)
  6. ^ Graham 2004, 43-43
  7. ^ Lowens (1954, 98)
  8. ^ Graham (2004, 106-7)
  9. ^ Graham (2004, 112-113)
  10. ^ Graham 2004, 126
  11. ^ Graham 2004, 38-39
  12. ^ Graham 2004, 53
  13. ^ Graham 2004, 75-76
  14. ^ Graham 2004, 76-77
  15. ^ Graham 2004, 130
  16. ^ Graham 2004, 41-42.
  17. ^ Marini (2003, 72)
  18. ^ Marini (2003, 73)