This volume documents not only the academic and music curricula offered at a distinguished seminary, but the importance of piano study from a sociological viewpoint, music making in a gendered environment, and performance opportunities available for 19th century women.

The Moravians, or Bohemian Brethren, early Protestants who settled in Pennsylvania and North Carolina in the eighteenth century, brought a musical repertoire that included hymns, sacred vocal works accompanied by chamber orchestra, and instrumental music by the best-known European composers of the day. Moravian composers -- mostly pastors and teachers trained in the styles and genres of the Haydn-Mozart era -- crafted thousands of compositions for worship, and copied and collected thousands of instrumental works for recreation and instruction. The book's chapters examine sacred and secular works, both for instruments -- including piano solo -- and for voices. The Music of the Moravian Church demonstrates the varied roles that music played in one of America's most distinctive ethno-cultural populations, and presents many distinctive pieces that performers and audiences continue to find rewarding. Contributors: Alice M. Caldwell, C. Daniel Crews, Lou Carol Fix, Pauline M. Fox, Albert H. Frank, Nola Reed Knouse, Laurence Libin, Paul M. Peucker, and Jewel A. Smith. Nola Reed Knouse, director of the Moravian Music Foundation since 1994, is active as a flautist, composer, and arranger. She is the editor of The Collected Wind Music of David Moritz Michael.

The first comprehensive biography of any American woman musician born before the Civil War brings to life a composer whose story is both old-fashioned and strikingly modern.

First published in 2006. Routledge is an imprint of Taylor & Francis, an Informa company.

'Food for Apollo:' Cultivated Music in Antebellum Philadelphia by Dorothy Potter, describes and evaluates the growth and scope of cultivated music in that city, from the early eighteenth-century to the advent of the Civil War. In many works dealing with American culture, discussion of music's influence is limited to a few significant performances or persons, or ignored altogether. The study of music's role in cultural history is fairly recent, compared to literature, art, and architecture. Whether vernacular or based on European models, a more thorough understanding of music should include attention to related subjects. This book examines concert and theatre performances, music publishing, pre-1861 manufacture of pianos, and British and American literature which promoted music, informing readers about individuals such as Wolfgang Amadeus Mozart, whose works and fame generated interest on both sides of the Atlantic. Though initially hindered by the Society of Friends' opposition to entertainments of all sorts, numbers of non-Quakers supported dancing, concerts, and drama by the 1740s; this interest accelerated after the Revolution, with the building of some of America's earliest theatres, and over time, Musical Fund Hall, the Academy of Music, and other venues. Emigrant musicians, notably Alexander Reinagle, introduced new works by contemporary Europeans such as Franz Joseph Haydn, Mozart, C.P. E. Bach, and many others, in concerts blended with favorite tunes, like the 'President's March.'. Later in the nineteenth century, Philadelphia's noted African-American composer and band leader Francis Johnson, continued the tradition of mixing classical and vernacular works in his popular promenade concerts. As they advertised and shipped their music to an ever-growing market, post-Revolutionary emigrant music publishers, including Benjamin Carr and his family, George Willig, and George Blake, created successful businesses that influenced American taste far beyond Philadelphia. While many of their imprints were vernacular pieces of all sorts, pirated European music adapted for amateur pianists, many of whom were women, formed a substantial part of their stock. Mozart's music was frequently republished or adapted for domestic entertainments, particularly as waltzes and songs from his operas.

Female seminaries in nineteenth-century America offered middle-class women the rare privilege of training in music and the liberal arts. A music background in particular provided the foundation for a teaching career, one of the few paths open to women. Jewel A. Smith opens the doors of four female seminaries, revealing a milieu where rigorous training focused on music as an artistic pursuit rather than a social skill. Drawing on previously untapped archives, Smith charts women's musical experiences and training as well as the curricula and instruction available to them, the repertoire they mastered, and the philosophies undergirding their education. She also examines the complex tensions between the ideals of a young democracy and a deeply gendered system of education and professional advancement. An in-depth study of female seminaries as major institutions of learning, Transforming Women's Education illuminates how musical training added to women's lives and how their artistic acumen contributed to American society.

This collection of essays showcases the variety and complexity of early awakened Protestant biblical interpretation and practice while highlighting the many parallels, networks, and exchanges that connected the Pietist and evangelical traditions on both sides of the Atlantic. A yearning to obtain from the Word spiritual knowledge of God that was at once experiential and practical lay at the heart of the Pietist and evangelical quest for true religion, and it significantly shaped the courses and legacies of these movements. The myriad ways in which Pietists and evangelicals read, preached, translated, and practiced the Bible were inextricable from how they fashioned new forms of devotion, founded institutions, engaged the early Enlightenment, and made sense of their world. This volume provides breadth and texture to the role of Scripture in these related religious traditions. The contributors probe an assortment of primary source material from various confessional, linguistic, national, and regional traditions and feature well-known figures—including August Hermann Francke, Cotton Mather, and Jonathan Edwards—alongside lesser-known lay believers, women, people of color, and so-called radicals and separatists. Pioneering and collaborative, this volume contributes fresh insight into the history of the Bible and the entangled religious cultures of the eighteenth-century Atlantic world. Along with the editors, the contributors to this volume include Ruth Albrecht, Robert E. Brown, Crawford Gribben, Bruce Hindmarsh, Kenneth P. Minkema, Adriaan C. Neele, Benjamin M. Pietrenka, Isabel Rivers, Douglas H. Shantz, Peter Vogt, and Marilyn J. Westerkamp.