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A pioneering study of the Shaker west's opening generation and an
analytical reconstruction of the first Ohio Shaker hymnal The
arrival of the Shakers in Ohio, Kentucky, and Indiana in the
decades after 1805 saw a substantial escalation in the movement. In
Richard McNemar, Music, and the Western Shaker Communities, Carol
Medlicott and Christian Goodwillie reconstruct a vast repository of
early Shaker hymns, using them to uncover the dramatic history of
Shakerism's bold expansion to the frontier. With newly discovered
tunes for more than one hundred Shaker hymns, this volume
illuminates a little-known dimension of American folk hymnody.
Richard McNemar's blended passions of printing, theology, and hymn
writing were well suited to the needs of the new western Shaker
enterprise. The abundance of rich spiritual and doctrinal hymns
circulated by McNemar throughout the Shaker world literally gave
voice to a generation of Shakers. In the early 1830s, he
established a printing press at the Shaker settlement of Watervliet
on the outskirts of Dayton, Ohio. There, in collaboration with
other Shaker musicians and leaders, McNemar produced the first
printed hymnal of the Shaker west. McNemar's hymnal appeared at a
crucial juncture in Shaker history. The Shaker west was a full
generation old, and in several communities the transition to
younger leaders was a struggle. Shaker spirituality and worship
patterns were changing fast during the decade. Shaker music itself
was quickly evolving in the 1830s, with the onset of new song
styles and the formalization of a distinctive music notation
method. Medlicott and Goodwillie paint a rich picture of the Shaker
west during its most dynamic years. They probe the hymn texts and
use them to illuminate the dramatic events of the Shaker west from
its founding through the 1830s. They analyze the collection of
hymns and hymn tunes in light of the development of Shaker hymnody
by the 1830s and of American folk hymnody in general. A series of
carefully researched commentaries is presented alongside the score
for each hymn, serving to contextualize them individually. One
learns of the hymn's history, its authorship, and its use among the
Shakers, making this exploration an invaluable reference for music
historians, students of Shaker history, and students of Ohio
cultural history.
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