" William Walker's Southern Harmony, first published in 1835, was the most popular tune book of the nineteenth century, containing 335 sacred songs, dominated by the folk hymns of oral tradition and written in the old four-shape notation that was for generations the foundation of musical teaching in rural America. Born in 1809 in South Carolina, William Walker grew up near Spartanburg and early became devoted to the Welsh Baptist Church of his ancestors and to the musical heritage that church had brought to early America. Walker became a singing master, and Southern Harmony was compiled for his students in hundreds of singing schools all over North and South Carolina and Georgia and in eastern Tennessee. Southern Harmony reached Kentucky in the company of music-loving pioneers, and today an annual singing in Benton, Kentucky, remains the only such occasion on which Southern Harmony is consistently the source of the music. The CD included with the book contains 29 tunes, hymns, psalms, odes, and anthems, including ""New Britain"" (Amazing Grace), ""Happy Land,"" ""O Come, Come Away,"" ""Wondrous Love,"" and many, many more.

Black Crowes drummer and cofounder Steve Gorman shares the band's inside story in this behind-the-scenes biography, from their supernova stardom in the '90s to exhilarating encounters with industry legends. "This book is literally the Angela's Ashes of rock memoirs. .. I absolutely loved this book." -BILL BURR, comedian "I couldn't put the book down-absolutely unbelievable read!" -JOHN MCENROE, New York Times bestselling author of But Seriously and You Cannot Be Serious "I honestly couldn't put [this book] down. Made me nostalgic, sad, and happy too." -CHRIS SHIFLETT, lead guitarist of Foo Fighters "Essential reading for rock fans everywhere." -BRIAN KOPPELMAN, co-creator and showrunner of Billions For more than two decades, The Black Crowes topped the charts, graced the cover of Rolling Stone, and reigned supreme over MTV and radio waves alike with hits like "Hard to Handle," "She Talks to Angels," and "Remedy." But as the old cliché goes, stardom can be fleeting, and the group's success slowly dwindled as the band members got caught up in the rock star world and lost sight of their musical ambition. On any given night, they could be the best band you ever saw-or the most combative. Then, one last rift in 2013 proved insurmountable for the band to survive. After that, The Black Crowes would fly no more. Founding member Steve Gorman was there for all of it-the coke- and weed-fueled tours; the tumultuous recording sessions; the incessant fighting between brothers Chris and Rich Robinson; the backstage hangs with legends like Robert Plant, Jimmy Page, and the Rolling Stones. As the band's drummer and voice of reason, he tried to keep The Black Crowes together musically and emotionally. In Hard ToHandle-the first account of this great American rock band's beginning, middle, and end-Gorman explains just how impossible that job was with great insight, candor, and humor. They don't make bands like The Black Crowes anymore: crazy, brilliant, self-destructive, inspiring, and, ultimately, not built to last. But, man, what a ride it was while it lasted.

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. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This authoritative reference work investigates the roots of the Sacred Harp, the central collection of the deeply influential and long-lived southern tradition of shape-note singing. David Warren Steel and Richard H. Hulan concentrate on the regional culture that produced the Sacred Harp in the nineteenth century and delve deeply into history of its authors and composers. They trace the sources of every tune and text in the Sacred Harp, from the work of B. F. White, E. J. King, and their west Georgia contemporaries who helped compile the original collection in 1844 to the contributions by various composers to the 1936 to 1991 editions. Drawing on census reports, local histories, family Bibles and other records, rich oral interviews with descendants, and Sacred Harp Publishing Company records, this volume reveals new details and insights about the history of this enduring American musical tradition. David Waren Stel is an associate professor of music and southern culture at the University of Mississippi. Richard H. Hulan is an independent scholar of American folk hymnody.

The Sacred Harp, a tunebook that first appeared in 1844, has stood as a model of early American musical culture for most of this century. Tunebooks such as this, printed in shape notes for public singing and singing schools, followed the New England tradition of singing hymns and Psalms from printed music. Nineteeth-century Americans were inundated by such books, but only the popularity of The Sacred Harp has endured throughout the twentieth century. With this tunebook as his focus, John Bealle surveys definitive moments in American musical history, from the lively singing schools of the New England Puritans to the dramatic theological crises that split New England Congregationalism, from the rise of the genteel urban mainstream in frontier Cincinnati to the bold "New South" movement that sought to transform the southern economy, from the nostalgic culture-writing era of the Great Depression to the post-World War II folksong revival. Although Bealle finds that much has changed in the last century, the custodians of the tradition of Sacred Harp singing have kept it alive and accessible in an increasingly diverse cultural marketplace. Public Worship, Private Faith is a thorough and readable analysis of the historical, social, musical, theological, and textual factors that have contributed to the endurance of Sacred Harp singing.

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. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

A pivotal twentieth-century composer, Samuel Barber earned a long list of honors and accolades that included two Pulitzer Prizes for Music and the public support of conductors like Arturo Toscanini, Serge Koussevitzky, and Leonard Bernstein. Barber’s works have since become standard concert repertoire and continue to flourish across high art and popular culture. Acclaimed biographer Howard Pollack (Aaron Copland, George Gershwin) offers a multifaceted account of Barber’s life and music while placing the artist in his social and cultural milieu. Born into a musical family, Barber pursued his artistic ambitions from childhood. Pollack follows Barber’s path from his precocious youth through a career where, from the start, the composer consistently received prizes, fellowships, and other recognition. Stylistic analyses of works like the Adagio for Strings, the Violin Concerto, Knoxville: Summer of 1915 for voice and orchestra, the Piano Concerto, and the operas Vanessa and Antony and Cleopatra, stand alongside revealing accounts of the music’s commissioning, performance, reception, and legacy. Throughout, Pollack weaves in accounts of Barber’s encounters with colleagues like Aaron Copland and Francis Poulenc, performers from Eleanor Steber and Leontyne Price to Vladimir Horowitz and Van Cliburn, patrons, admirers, and a wide circle of eminent friends and acquaintances. He also provides an eloquent portrait of the composer’s decades-long relationship with the renowned opera composer Gian Carlo Menotti. Informed by new interviews and immense archival research, Samuel Barber is a long-awaited critical and personal biography of a monumental figure in twentieth-century American music.

From the author of the critically acclaimed "Choral Music in the Twentieth Century" comes an indispensable resource for choral conductors, choral singers, and other music lovers, and an essential text for educators and their students. Strimple covers repertory by Beethoven, Brahms, Mendelssohn, and lesser figures.

In the third volume of this acclaimed country music series, readers can explore topics ranging from the career of country music icon Conway Twitty to the recent phenomenal success of the bluegrass flavored soundtrack to the film O Brother, Where Art Thou?. The tricky relationship between conservative politics and country music in the sixties, the promotion of early country music artists with picture postcards, the history of "the voice of the Blue Ridge Mountains" (North Carolina radio station WPAQ), and the formation of the Country Music Association as a "chamber of commerce" for country music to battle its negative hillbilly stereotype are just a few of the eclectic subjects that country music fans and scholars won't want to miss.