The foremost American musician of the eighteenth century, William Billings wrote more than three hundred compositions and six musical collections at a time when Americans were singing almost nothing but British music. In this study, David McKay and Richard Crawford depict the man, his music, and his place in the tradition of American psalmody. The authors examine Billings' methods, innovations, and interaction with the Boston society in which he lived, placing overall emphasis on his influence on American Protestant sacred music. David McKay is Associate Professor of English at Worcester Polytechnic Institute. Richard Crawford is Associate Professor of Music at the University of Michigan. He is the author of Andrew Law, American Psalmodist (Northwestern, 1968). Originally published in 1975. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Title: The continental harmony: containing a number of anthems, fuges, and chorusses in several parts: never before published.Author: William BillingsPublisher: Gale, Sabin Americana Description: Based on Joseph Sabin's famed bibliography, Bibliotheca Americana, Sabin Americana, 1500--1926 contains a collection of books, pamphlets, serials and other works about the Americas, from the time of their discovery to the early 1900s. Sabin Americana is rich in original accounts of discovery and exploration, pioneering and westward expansion, the U.S. Civil War and other military actions, Native Americans, slavery and abolition, religious history and more.Sabin Americana offers an up-close perspective on life in the western hemisphere, encompassing the arrival of the Europeans on the shores of North America in the late 15th century to the first decades of the 20th century. Covering a span of over 400 years in North, Central and South America as well as the Caribbean, this collection highlights the society, politics, religious beliefs, culture, contemporary opinions and momentous events of the time. It provides access to documents from an assortment of genres, sermons, political tracts, newspapers, books, pamphlets, maps, legislation, literature and more.Now for the first time, these high-quality digital scans of original works are available via print-on-demand, making them readily accessible to libraries, students, independent scholars, and readers of all ages.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++SourceLibrary: Huntington LibraryDocumentID: SABCP03901200CollectionID: CTRG02-B215PublicationDate: 17940101SourceBibCitation: Selected Americana from Sabin's Dictionary of books relating to AmericaNotes: Includes index. Error in paging: p. 168 misnumbered 198.Collation: 199, 1] p., 1] leaf of plates: ill., music; 13 x 23 cm

A young girl and her grandmother find a chipping sparrow with a broken wing and nurse her back to health so that she can return to the wild.

An examination of the music of William Billings, whose works help disseminate rebellion throughout colonial New England and can be seen as the 'soundtrack' of the American Revolution.

William Billings was the first American born composer. A composer of the people during the Revolutionary War, he brought music skills to the middle and lower classes. His compositions reflect the birth of patriotism, religious and political upheaval, and excite the passsions of singers from the late 1700s to today.

Oft-referenced and frequently set to music, Psalm 137 - which begins "By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion" - has become something of a cultural touchstone for music and Christianity across the Atlantic world. It has been a top single more than once in the 20th century, from Don McLean's haunting Anglo-American folk cover to Boney M's West Indian disco mix. In Song of Exile, David Stowe uses a wide-ranging, interdisciplinary approach that combines personal interviews, historical overview, and textual analysis to demonstrate the psalm's enduring place in popular culture. The line that begins Psalm 137 - one of the most lyrical of the Hebrew Bible - has been used since its genesis to evoke the grief and protest of exiled, displaced, or marginalized communities. Despite the psalm's popularity, little has been written about its reception during the more than 2,500 years since the Babylonian exile. Stowe locates its use in the American Revolution and the Civil Rights movement, and internationally by anti-colonial Jamaican Rastafari and immigrants from Ireland, Korea, and Cuba. He studies musical references ranging from the Melodians' Rivers of Babylon to the score in Kazakh film Tulpan. Stowe concludes by exploring the presence and absence in modern culture of the often-ignored final words: "Happy shall he be, that taketh and dasheth thy little ones against the stones." Usually excised from liturgy and forgotten by scholars, Stowe finds these words echoed in modern occurrences of genocide and ethnic cleansing, and more generally in the culture of vengeance that has existed in North America from the earliest conflicts with Native Americans. Based on numerous interviews with musicians, theologians, and writers, Stowe reconstructs the rich and varied reception history of this widely used, yet mysterious, text.