By the middle of the nineteenth century Lowell Mason (1792-1872) was probably the most famous native-born musician in America. Concentrating almost exclusively on vocal music, he built a spectacular reputation as a choir director and teacher. He published many collections of sacred music that sold in unprecedented numbers and made him a household name. In 1837 he traveled to Europe on a little-publicized trip. This was a bold move decades before such trips by American musicians became commonplace, and his diaries from this time are a primary source of information on early nineteenth-century European music. This edition of Mason's 1837 journal has been carefully edited: throughout, Broyles has attempted to reproduce the original manuscript faithfully, making adjustments only where necessary for intelligibility. Appendices include a list names with brief biographies, an itinerary of the tour, and those letters received during the trip that still survive. An introduction completes this unique and highly readable volume. Michael Broyles is Distinguished Professor of Music and Professor of American History Emeritus at Penn State University and Visiting Professor at Florida State University.

This landmark collection explores the origins and foundations of music education in Europe, The Americas, Africa and Asia-Pacific, and the Middle East, and considers the inclusion of music as part of the compulsory school curriculum in the context of the historical, social and political landscape. Within each chapter, the contributors explore the following key areas: - the aims, objectives and content of the music curriculum - teaching methods - the provision and training of teachers of music - the experiences of pupils This fully revised second edition includes new chapters on Brazil, Israel, Kosovo, Lithuania, and Turkey, along with questions to encourage reflection and discussion. A concluding chapter has been added to encourage readers to consider the evolution of music education globally. The Foreword for this new edition has been written by Sheila Woodward, President of the International Society for Music Education. Contributors have been carefully selected to represent countries that have incorporated music into compulsory schooling for a variety of reasons resulting in a diverse collection which will guide future actions and policy.

The history of American church music is a particularly fascinating and challenging subject, if for no other reason than because of the variety of diverse religious groups that have immigrated and movements that have sprung up in American. Indeed, for the first time in modern history-possibly the only time since the rule of medieval Iberia under the Moors-different faiths have co-existed here with a measure of peace- sometimes ill-humored, occasionally hostile, but more often amicable or at least tolerant-influencing and even weaving their traditions into the fabric of one another's worship practices even as they competed for converts in the free market of American religion. This overview traces the musical practices of several of those groups from their arrival on these shores up to the present, and the way in which those practices and traditions influenced each other, leading to the diverse and multi-hued pattern that is American church music at the beginning of the twenty-first century. The tone is non-technical; there are no musical examples, and the musical descriptions are clear and concise. In short, it is a book for interested laymen as well as professional church musicians, for pastors and seminarians as well as students of American religious culture and its history.

This book provides a practical introduction to researching and performing early Anglo-American secular music and dance with attention to their place in society. Supporting growing interest among scholars and performers spanning numerous disciplines, this book contributes quality new scholarship to spur further research on this overshadowed period of American music and dance. Organized in three parts, the chapters offer methodological and interpretative guidance and model varied approaches to contemporary scholarship. The first part introduces important bibliographic tools and models their use in focused examinations of individual objects of material musical culture. The second part illustrates methods of situating dance and its music in early American society as relevant to scholars working in multiple disciplines. The third part examines contemporary performance of early American music and dance from three distinct perspectives ranging from ethnomusicological fieldwork and phenomenology to the theatrical stage. Dedicated to scholar Kate Van Winkle Keller, this volume builds on her legacy of foundational contributions to the study of early American secular music, dance, and society. It provides an essential resource for all those researching and performing music and dance from the revolutionary era through the early nineteenth century.

Bach's St. Matthew Passion is universally acknowledged to be one of the world's supreme musical masterpieces, yet in the years after Bach's death it was forgotten by all but a small number of his pupils and admirers. The public rediscovered it in 1829, when Felix Mendelssohn conducted the work before a glittering audience of Berlin artists and intellectuals, Prussian royals, and civic notables. The concert soon became the stuff of legend, sparking a revival of interest in and performance of Bach that has continued to this day. Mendelssohn's performance gave rise to the notion that recovering and performing Bach's music was somehow "national work." In 1865 Wagner would claim that Bach embodied "the history of the German spirit's inmost life." That the man most responsible for the revival of a masterwork of German Protestant culture was himself a converted Jew struck contemporaries as less remarkable than it does us today—a statement that embraces both the great achievements and the disasters of 150 years of German history. In this book, Celia Applegate asks why this particular performance crystallized the hitherto inchoate notion that music was central to Germans' collective identity. She begins with a wonderfully readable reconstruction of the performance itself and then moves back in time to pull apart the various cultural strands that would come together that afternoon in the Singakademie. The author investigates the role played by intellectuals, journalists, and amateur musicians (she is one herself) in developing the notion that Germans were "the people of music." Applegate assesses the impact on music's cultural place of the renewal of German Protestantism, historicism, the mania for collecting and restoring, and romanticism. In her conclusion, she looks at the subsequent careers of her protagonists and the lasting reverberations of the 1829 performance itself.

"In Wild Yankees, Paul B. Moyer argues that a struggle for personal independence waged by thousands of ordinary settlers lay at the root of conflict in northeast Pennsylvania and across the revolutionary-era frontier. The concept and pursuit of independence was not limited to actual war or high politics; it also resonated with ordinary people, such as the Wild Yankees, who pursued their own struggles for autonomy. With vivid descriptions of the various levels of this conflict, Moyer shows that the Wyoming controversy illuminates the process of settlement, the daily lives of settlers, and agrarian unrest along the early American frontier."--BOOK JACKET.