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A wonderful collection of hymns. The Thomas Hymnal was first compiled by E.D. Thomas in 1877. The original publisher was A.R. Baker in Indianapolis, Ind. Later reprints can be found by C.L. McConnell in Catlettsburg, KY. and the Arrowood Brothers of Wayne, West Virginia. The Thomas Hymnal is used mostly by the Old United Baptist, Old Regular Baptist, United Baptist, and some Primitive Baptist.
Appalachia's distinctive brand of Christianity has always been something of a puzzle to mainline American congregations. Often treated as pagan and unchurched, native Appalachian sects are labeled as ultraconservative, primitive, and fatalistic, and the actions of minority sub-groups such as "snake handlers" are associated with all worshippers in the region. Yet these churches that many regard as being outside the mainstream are living examples of America's own religious heritage. The emotional and experience-based religion that still thrives in Appalachia is very much at the heart of American worship. The lack of a recognizable "father figure" like Martin Luther, John Calvin, and John Knox compounds the mystery of Appalachia's religious origins. Ordained minister John Sparks determined that such a person must have existed, and his search turned up a man less literate, urbane, and well-known than Luther, Calvin, and Knox—but no less charismatic and influential. Shubal Stearns, a New England Baptist minister, led a group of sixteen Baptists—now dubbed "The Old Brethren" by Old School Baptists churches in Appalachia—from New England to North Carolina in the mid-eighteenth century. His musical "barking" preaching is still popular, and the association of churches that he established gave birth to many of the disparate denominations prospering in the region today. A man lacking in the scholarship of his peers but endowed with the eccentricities that would make their mark on Appalachian faith, Stearns has long been an object of shame among most Baptist historians. In The Roots of Appalachian Christianity, Sparks depicts an important religious figure in a new light. Poring over pages of out-of-print and little-used histories, Sparks discovered the complexity of Stearns's character and his impact on Appalachian Christianity. The result is a history not just of this leader but of the roots of a religious movement.
This book provides 20 beautiful Anglo-American folk songs, field-collected by two remarkable real-life song catchers, Josephine McGill and Loraine Wyman, in the Cumberland Mountains of Kentucky in 1914 and 1916. Josephine and Loraine, the latter accompanied by Howard Brockway, a composer and arranger, were among the first persons to search for folk songs in the Southern Appalachians. the musical adventurers traveled hundreds of miles on horseback and on foot through an inaccessible world to which radios, roads and cars had not yet come. They made friends in isolated log cabins, and transcribed some 200 song treasures, some of which they published in complex arrangements in books that are now out of print and rare. This book contains a selection of the songs, presented with simplified musical notation, guitar chords, and dulcimer tablature. It also includes glowing \accounts of their mountain adventures, published by Josephine and Howard in long-forgotten publications; a must for all lovers of American folk music.
In the American imagination, "Appalachia" designates more than a geographical region. It evokes fiddle tunes, patchwork quilts, split-rail fences, and all the other artifacts that decorate a cherished romantic region in the American mind. In this classic work, David Whisnant challenges this view of Appalachia (and consequently a broader imaginative tendency) by exploring connections between the comforting simplicity of cultural myth and the troublesome complexities of cultural history. Looking at the work of ballad hunters and collectors, folk and settlement school founders, folk festival promoters, and other culture workers, Whisnant examines a process of intentional and systematic cultural intervention that had--and still has--far-reaching consequences. He opens the way into a more sophisticated understanding of the politics of culture in Appalachia and other regions. In a new foreword for this twenty-fifth anniversary edition, Whisnant reflects on how he came to write this book, how readers responded to it, and how some of its central concerns have animated his later work.
How does sound ecology—an acoustic connective tissue among communities—also become a basis for a healthy economy and a just community? Jeff Todd Titon's lived experiences shed light on the power of song, the ecology of musical cultures, and even cultural sustainability and resilience. In Toward a Sound Ecology, Titon's collected essays address his growing concerns with people making music, holistic ecological approaches to music, and sacred transformations of sound. Titon also demonstrates how to conduct socially responsible fieldwork and compose engaging and accessible ethnography that speaks to a diverse readership. Toward a Sound Ecology is an anthology of Titon's key writings, which are situated chronologically within three particular areas of interest: fieldwork, cultural and musical sustainability, and sound ecology. According to Titon—a foundational figure in folklore and ethnomusicology—a re-orientation away from a world of texts and objects and toward a world of sound connections will reveal the basis of a universal kinship.