In the spring of 1862, Lucy McKim, the nineteen-year-old daughter of a Philadelphia abolitionist Quaker family, traveled with her father to the Sea Islands of South Carolina to aid him in his efforts to organize humanitarian aid for thousands of newly freed slaves. During her stay she heard the singing of the slaves in their churches, as they rowed their boats from island to island, and as they worked and played. Already a skilled musician, she determined to preserve as much of the music as she could, quickly writing down words and melodies, some of them only fleeting improvisations. Upon her return to Philadelphia, she began composing musical settings for the songs and in the fall of 1862 published the first serious musical arrangements of slave songs. She also wrote about the musical characteristics of slave songs, and published, in a leading musical journal of the time, the first article to discuss what she had witnessed. In Songs of Sorrow: Lucy McKim Garrison and “Slave Songs of the United States,” renowned music scholar Samuel Charters tells McKim's personal story. Letters reveal the story of young women's lives during the harsh years of the war. At the same time that her arrangements of the songs were being published, a man with whom she had an unofficial “attachment” was killed in battle, and the war forced her to temporarily abandon her work. In 1865 she married Wendell Phillips Garrison, son of abolitionist William Lloyd Garrison, and in the early months of their marriage she proposed that they turn to the collection of slave songs that had long been her dream. She and her husband—a founder and literary editor of the recently launched journal The Nation—enlisted the help of two associates who had also collected songs in the Sea Islands. Their book, Slave Songs of the United States, appeared in 1867. After a long illness, ultimately ending in paralysis, she died at the age of thirty-four in 1877. This book reclaims the story of a pioneer in ethnomusicology, one whose influential work affected the Fisk Jubilee Singers and many others.

In the spring of 1862, Lucy McKim, the nineteen-year-old daughter of a Philadelphia abolitionist Quaker family, traveled with her father to the Sea Islands of South Carolina to aid him in his efforts to organize humanitarian aid for thousands of newly freed slaves. During her stay she heard the singing of the slaves in their churches, as they rowed their boats from island to island, and as they worked and played. Already a skilled musician, she determined to preserve as much of the music as she could, quickly writing down words and melodies, some of them only fleeting improvisations. Upon her return to Philadelphia, she began composing musical settings for the songs and in the fall of 1862 published the first serious musical arrangements of slave songs. She also wrote about the musical characteristics of slave songs, and published, in a leading musical journal of the time, the first article to discuss what she had witnessed. In Songs of Sorrow: Lucy McKim Garrison and “Slave Songs of the United States,” renowned music scholar Samuel Charters tells McKim's personal story. Letters reveal the story of young women's lives during the harsh years of the war. At the same time that her arrangements of the songs were being published, a man with whom she had an unofficial “attachment” was killed in battle, and the war forced her to temporarily abandon her work. In 1865 she married Wendell Phillips Garrison, son of abolitionist William Lloyd Garrison, and in the early months of their marriage she proposed that they turn to the collection of slave songs that had long been her dream. She and her husband—a founder and literary editor of the recently launched journal The Nation—enlisted the help of two associates who had also collected songs in the Sea Islands. Their book, Slave Songs of the United States, appeared in 1867. After a long illness, ultimately ending in paralysis, she died at the age of thirty-four in 1877. This book reclaims the story of a pioneer in ethnomusicology, one whose influential work affected the Fisk Jubilee Singers and many others.

The history of English song from the late nineteenth century to the Second World War.

The thrilling conclusion to STATE OF SORROW by best-selling fantasy author Melinda Salisbury. Sorrow Ventaxis has won the election, and in the process lost everything... Governing under the sinister control of Vespus Corrigan, and isolated from her friends, Sorrow must to find a way to free herself from his web and save her people. But Vespus has no plans to let her go, and he isn't the only enemy Sorrow faces as the curse of her name threatens to destroy her and everything she's fought for.

First Published in 2003. Routledge is an imprint of Taylor & Francis, an informa company.

Made in Korea: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of contemporary Korean popular music. Each essay covers the major figures, styles, and social contexts of pop music in Korea, first presenting a general description of the history and background of popular music in Korea, followed by essays, written by leading scholars of Korean music, that are organized into thematic sections: History, Institution, Ideology; Genres and Styles; Artists; and Issues.