Relive the stirring music and ancient traditions of one of America's most prestigious universities. This collection includes beloved classics like 'Fair Harvard' and 'Ten Thousand Men of Harvard, ' as well as lesser-known but equally enchanting songs of the campus. Accompanied by extensive notes and historical background, this book is a treasure trove of academic lore and artistic beauty. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Listen to a short interview with Joan Shelley RubinHost: Chris Gondek | Producer: Heron & Crane In the years between 1880 and 1950, Americans recited poetry at family gatherings, school assemblies, church services, camp outings, and civic affairs. As they did so, they invested poems--and the figure of the poet--with the beliefs, values, and emotions that they experienced in those settings. Reciting a poem together with others joined the individual to the community in a special and memorable way. In a strikingly original and rich portrait of the uses of verse in America, Joan Shelley Rubin shows how the sites and practices of reciting poetry influenced readers' lives and helped them to find meaning in a poet's words. Emphasizing the cultural circumstances that influenced the production and reception of poets and poetry in this country, Rubin recovers the experiences of ordinary people reading poems in public places. We see the recent immigrant seeking acceptance, the schoolchild eager to be integrated into the class, the mourner sharing grief at a funeral, the grandparent trying to bridge the generation gap--all instances of readers remaking texts to meet social and personal needs. Preserving the moral, romantic, and sentimental legacies of the nineteenth century, the act of reading poems offered cultural continuity, spiritual comfort, and pleasure. Songs of Ourselves is a unique history of literary texts as lived experience. By blurring the boundaries between "high" and "popular" poetry as well as between modern and traditional, it creates a fuller, more democratic way of studying our poetic language and ourselves.

Edited here for the first time is Florentius de Faxolis' music treatise for Cardinal Ascanio Sforza. The richly illuminated small parchment codex bears witness to the musical interests of the cardinal, himself an avid singer. The author's unusual insights into the musical thinking of his day are discussed in the ample commentary.

Excerpt from Songs of Harvard Every production stamped specifically with the name of Harvard is pre sented here in a tangible form as a part of the present collection. Nearly every one of this class of songs has been hitherto accessible only as sheet-music, each being published separately. The first and most important duty of the compiler of this volume has been to make a complete and standardized collec tion of these songs, such as can be duplicated in no other publication. The music has been carefully revised, and the words are printed here, often for the first time, in full. But along with these songs that belong both by their tradition and by authorship solely to Harvard, to the stadium, to the torch-light procession, and to commencement-day, there is a large number of songs not originating at Harvard, but which belong to Harvard through long use and familiarity. Every student and every alumnus is familiar with most of them, and it has been the aim of the compiler to make this volume embrace every song that is dear to the hearts of Harvard men. It is almost unnecessary to say that the earlier and less voluminous so - called song books are no longer adequate, if ever they were, nor in any sense truly representative. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.