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William Hauser's Hesperian Harp and Olive Leaf: Shape-Note Tunebooks as Emblems of Change and Progress
Daniel W. Patterson
The Journal of American Folklore
Vol. 101, No. 399 (Jan. - Mar., 1988), pp. 23-36
Published by: American Folklore Society
Stable URL: http://www.jstor.org/stable/540247
Page Count: 14
You can always find the topics here!Topics: Violins, Harps, Shape notes, Folksongs, Methodism, Singing, Friendship, American literature, Melody, Tonal harmony
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Students of the shape-note tradition see the 19th-century songbooks as repositories of archaic tunes and their compilers as conservative folk musicians who pressed musical notation into the service of traditional song. But the family history, career, tunebooks, and other writings of William Hauser present a different picture: of aspiration to move from Moravianism and the German ethnic community into Methodism and the Southern mainstream, from yeoman farmer to slaveholder, from rural to urban professional sphere, from secessionist to American, and from traditional to popular and classical music.
The Journal of American Folklore © 1988 American Folklore Society