Topic: Holiday Versions
Bing Crosby is responsible for seasonal music as we know it. In 1942 he recorded “I’m dreaming of a white Christmas,” [1] which was featured in the film Holiday Inn. [2] The next year he released “I’ll be home for Christmas, if only in my dreams.” [3] It was written from a soldier’s point of view. [4]
The prosperity that followed the Depression and World War II was met with songs that celebrated the here-and-now, rather than the deferred hopes of hard times. Starting with Gene Autry’s “Rudolph the Red-Nosed Reindeer” [5] in 1949, each year saw a few new seasonal records. Most lasted one year, but some like “Rudolph” were recorded by other artists. [6]
As radio stations developed to play the most popular single records in the 1950s, demand grew for songs to air during the holiday season. Part of this was driven by advertisers who wanted to have their spots accompanied by appropriate songs. Elvis Presley recorded the first important album devoted to seasonal music. [7] Albums like his allowed stations to play popular artists with more variety. Like most, Presley introduced one new song, “Blue Christmas,” [8] and filled the rest with familiar songs including both of Crosby’s.
Holiday recordings, which first were recorded by Big Band artists and then country music ones, spread to every genre as radio stations were established to cater to niche markets. Classical music artists find it a particularly useful opportunity to become known. Most of the year, records by unknown artists compete with ones by better known ones for the few available time slots, but at Christmas demand outpaces supply.
The Clarion Brass Choir of Spokane, Washington, was organized in 1992, and soon began scheduling a December concert. It produced its first CD in 2000, [9] a second more ambitious community project in 2003, [10] and a third group venture in 2005. [11] Then, no more. After all, how many holiday tunes can any one group record without repeating itself?
The organizer, William Berry, had an answer. He uploaded a video of the group playing 54 Christmas songs in 3.5 minutes in 2013. [12] It sampled everything from the “Hallelujah Chorus” to “All I Want for Christmas Is My Two Front Teeth.” He included a few carols, but not “Silent Night.” Its slow tempo would have dampened the festive tone.
2013 also was the year the group made one more Christmas recording. This one included their version of “Kum Ba Yah.” Berry begins with a nod to the legend the song came from Africa. [13] Paul Raymond strikes a syncopated rhythm on two, small cast-iron bells. [14] An African-style drum enters a few seconds later. The drum stops when the horns begin playing, but the metallic rhythm continues until the last note.
The trumpets begin with a fanfare that resolves itself into John Blocher, Jr.’s tune on the refrain that ends the line. That becomes the pattern: brass virtuosity in the statements, and echoes of the original melody in the refrains. They only play full harmony on the final lines of each iteration.
This is different than the usual brass band or jazz arrangement that begins by playing a recognizable melody, then indulges itself in variations that are further and further removed. The original tune becomes a mere excuse for dexterity. [15] Berry’s alternation of the unexpected statements and familiar refrains is closer to the changing statement-constant refrain structure of the original song.
Berry believed they could “play on the atavistic and institutional memory of those tunes” that one hears “once a year or several times a year every season for your entire life.” [16]
Performers
Vocal Soloist: none
Vocal Group: none
Instrumental Soloist: none
Instrumental Group: four trumpets, four French horns, three trombones, one tuba [17]
Rhythm Accompaniment: Paul Raymond, gankogui; Michael Moon Bear, African-style drum [18]
Instrumental Director: Adam Wallstein [19]
Credits
Arranged by William Berry [20]
Notes on Lyrics
There are none
Notes on Music
Opening Phrase: obscured
Tempo: quick
Rhythm: syncopated
Basic Structure: variations that emphasize the last line and refrains rather than the opening melody
Ending: none; it stops suddenly
Notes on Performance
Cover: red with silver trumpet bell [21]
Audience Perceptions
Brass ensembles tend to take themselves far too seriously, as if the audience is expected to savor every single note to its fullest. Tempos verge on lugubrious. A reviewer who, no doubt, has been sent scores of CDs by aspiring brass musicians, agrees. He said:
“Over the years, I’ve heard quite a few collections like this - Christmas music in original arrangements for brass - including some by top groups like London Brass. This is the first one that I thoroughly enjoyed.” [22]
Notes on Performers
A photograph of the Clarion Brass Choir published in 2014 showed three women in the group: two played French horns and one played trombone. The rest of the players were men. [23]
Paul Raymond is the group’s percussionist. He began classes at Eastern Michigan University, but moved to Spokane and Eastern Washington State at the suggestion of a professor. [24] Later he studied African drumming with Nigerian-born Babatunde Olatunji. Raymond plays with the Spokane Symphony and Moko Jumbie. [25]
Berry began trumpet as a child, and played with the “First U.S. Army Band, stationed at Fort Meade, Maryland,” from 1975 to 1978. After his time in the military, he earned a bachelor’s degree in trumpet performance from Indiana University in 1982. He was living in Washington state by 1988 where he played trumpet with the Spokane Symphony Orchestra. He is now first chair with the Walla Walla Symphony Orchestra. [26]
He says he “was inspired to do the arrangement from teaching Kum Ba Yah to a young beginning trumpet student. It is a simple, straightforward song, so is included in some beginning band books. [27] This particular student was struggling with it for a couple of weeks and I was reminded in working with him on it what a strong tune it is and decided to make a big, bold version of it for Clarion.” [28]
Availability
CD: Clarion Brass Choir. “Kum Ba Yah.” Reindeer Games. [29] 2013, privately produced by William Berry’s Figaro and Company, LLC. Also, available as an MP3 file.
End Notes
1. Bing Crosby. “White Christmas” / “Let’s Start The New Year Right.” Decca 18429. [30] Recorded 29 May 1942, released 20 July 1942. 78 rpm. Written by Irving Berlin. [31] ASCAP ranks the song as number 11 on its list of most performed Christmas songs.” [32] Amazon reports Crosby’s version is number five on its list of songs most requested on its digital service. [33]
2. Holiday Inn. Directed by Mark Sandrich. Paramount Pictures, 4 August 1942. [34]
3. Bing Crosby. “I’ll Be Home For Christmas (If Only In My Dreams)” / “Danny Boy.” Decca 18570. [35] Recorded 1 October 1943, released 1943. 78 rpm. [36] Amazon ranks its sales as 61 in 2021. [37]
4. “I’ll Be Home for Christmas.” Wikipedia website. Johnny Mathis’ 1958 version revived the song as a holiday standard. Mathis also recorded “White Christmas” and “Blue Christmas.” [38]
5. Gene Autry And The Pinafores. “Rudolph, The Red-Nosed Reindeer” / “If It Doesn’t Snow On Christmas.” Columbia 38610. Released November 1949. 78 rpm. [41] ASCAP ranks the song as number 9 on its list of most performed songs. [42]
6. Among those who recorded it are Bing Crosby in 1950, [43] Alvin and the Chipmunks in 1960, [45] and the Temptations in 1968. [46] The most popular version this year on Amazon is one by Burl Ives [47] from a television special for children. [48]
7. Elvis Presley. Elvis’ Christmas Album. RCA Victor LOC-1035. Released 15 October 1957. [Discogs entry] The recording industry organization that certifies record sales [50] lists this as the best selling Christmas album of all time. [51]
8. ASCAP ranks “Blue Christmas” as number 17 on its list of most performed Christmas songs. [52] One consequence of its popularity is one of my neighbors strung flashing blue lights along the eaves of his roof for the holidays.
9. Clarion Brass Choir. Nutcracker Suite Dreams. 2000. CD, privately produced by Figaro Tunes.
10. The Candlelight Singers, Spokane Area Children’s Chorus, and Clarion Brass Choir. Angels. A cantata by William Berry. 2002. CD, privately produced by Figaro Tunes.
11. Clarion Brass Choir A Partridge in a Pear Tree. 2005. CD, privately produced by Figaro Tunes.
12. Clarion Brass. “We Need a Little Christmas.” Uploaded to YouTube by Clarion Brass on 1 December 2013. Included on Reindeer Games.
13. For more on the legends about the African origins of “Kumbaya,” see Patricia Averill. “‘Kumbaya’ and Dramatizations of an Etiological Legend,” with John Blocher, Jr. Voices 46:26–32:Spring–Summer 2020. See Abstracts tab for more information.
14. A gankogui is a clapperless pair of bells joined by a neck that is beaten with a stick. Because they are cast-iron, the tones are duller than they would be if they were brass. [53]
15. One example of this kind of arrangement is John P. Zdechlik’s "Faces of Kumbaya," which is discussed in the post for 9 September 2018.
16. William Berry. Quoted by Nathan Weinbender. “Clarion Brass, A Tradition of Creativity.” The Spokesman-Review, Spokane, Washington, 19 December 2014.
17. William Berry. Email, 12 December 2012. He says “Clarion is structured on the standard brass and percussion sections of a symphony orchestra.”
18. Berry, 2021.
19. Notes for Reindeer Games. Figaro Tunes website.
20. “William Berry - Composer & Musician.” Figaro Tunes website.
21. The use of the bell is an allusion to the song “Silver Balls.” It was introduced in a Bob Hope film [54] and popularized by Bing Crosby. [56]
22. Barry Kilpatrick. Review of Nutcracker Suite Dreams. American Record Guide, November/December 2002. Quoted by “William Berry.”
23. Photograph that accompanied article by Weinbender.
24. Cheryl-Anne Millsap. “Paul Raymond.” Spokane Symphony website.
25. “Paul Raymond, Percussion.” Holy Names Music Center website, Spokane, Washington.
26. “William Berry.”
27. School band arrangements of “Kumbaya” are discussed in a series identified by the keyword “Pedagogy.” They begin 11 July 2018 and continue through 26 August 2018.
28. Berry, 2021.
29. Reindeer Games is taken from “Rudolph.” An early line that describes the red-nosed reindeer as an outsider says the other reindeer never let him “join in any reindeer games.” [57]
30. Discogs entry.
31. “White Christmas (Song).” Wikipedia website.
32. “Christmas Music.” Wikipedia website. ASCAP is the licensing organization, the American Society of Composers, Authors and Publishers. Their list may not include songs handled by other organizations.
33. “The Top 100 Most Played: Holiday.” Amazon website, accessed 10 December 2021. Many songs are missing from this list because people already own copies. It has a number from children’s programs who, by definition, are new listeners.
34. “Holiday Inn (Film).” Wikipedia website.
35. Discogs entry.
36. Wikipedia, I’ll Be Home.
37. Amazon.
38. Johnny Mathis. “I’ll Be Home for Christmas.” Merry Christmas. Columbia CL 1195 [39] recorded 16 June 1958, released 6 October 1958. [40]
39. Discogs entry.
40. “Merry Christmas (Johnny Mathis Album).” Wikipedia website.
41. Discogs entry.
42. Wikipedia, Christmas Music.
43. Bing Crosby. “Rudolph the Red-Nosed Reindeer” / “The Teddy Bear’s Picnic.” Decca 88050. Released September 1950. 78 rpm. [44] This was brought to my attention by Wikipedia, Christmas Music.
44. “Bing Crosby - Rudolph the Red-Nosed Reindeer.” 45 Worlds website.
45. The Chipmunks With David Seville. “Rudolph The Red Nosed Reindeer.” Liberty 55289. Released December 1960. 45 rpm. [Discogs entry] This was brought to my attention by Wikipedia, Christmas Music.
46. The Temptations. “Silent Night” / “Rudolph, The Red Nosed Reindeer.” Gordy G-7082. Released 27 November 1968. 45 rpm. [Discogs entry] This was brought to my attention by Wikipedia, Christmas Music.
47. Burl Ives. “Rudolph the Red-Nosed Reindeer.” Original Sound Track And Music From Rudolph The Red Nosed Reindeer. Decca DL 34327. Released 1964. [Discogs entry.]
48. Rudolph the Red-Nosed Reindeer. Shown 6 December 1964 on NBC. [49]
49. “Rudolph the Red-Nosed Reindeer (TV Special).” Wikipedia website.
50. “Recording Industry Association of America.” Wikipedia website. It began certifying sales in 1958, so I suspect “all time” means since 1958.
51. Keith Caulfield. “The Top Selling Christmas Albums of All Time.” Billboard, 24 December 2013.
52. Wikipedia, “Christmas Music.”
53. “Gankogui.” Grinell College Musical Instrument Collection website.
54. The Lemon Drop Kid. Directed by Stanley Lanfield and Frank Tashlin. Paramount Pictures, 2 April 1951. [55]
55. “The Lemon Drop Kid.” Wikipedia website.
56. Bing Crosby And Carol Richards. “That Christmas Feeling” / “Silver Bells.” Decca 9-27229. Released 1950. 45 rpm. [Discogs website.]
57. Lyrics by Johnny Marks. [58]
58. “Rudolph the Red-Nosed Reindeer (Song).” Wikipedia website.
Friday, December 24, 2021
Clarion Brass Choir - Kum Ba Yah
Sunday, December 19, 2021
Langley Community Chorus - Silent Night Kum Ba Ya
Topic: Holiday Versions
The important holidays in the Christian church are times for choral music: Handel’s Messiah at Christmas and Bach’s passions and masses at Easter. Christmas coincides with the end of the first semester in many schools, and music groups give concerts that often end with carols or other seasonal songs.
For some reason “Kumbaya” has become one of the songs associated with Christmas. The first report [1] I have is a television special in 1965 featuring Judy Collins and Chad Mitchell. [2] The next is a community choir recording released in 1967 in Thunder Bay, Ontario. [3] A school in Beverly Hills is the first school in 1971. [4]
After Joan Baez began using “Kumbaya” in anti-war demonstrations, I think the link between the song and Christmas became the word “peace.” In Luke’s description of an angel announcing the birth of Christ to some shepherds, “a multitude of the heavenly host” [5] appeared to proclaim “on earth peace, good will toward men.” [6]
Donna Phillips made the connection explicit in her arrangement of “Kumbaya” for the 2016 Christmas concert of the Langley Community Chorus in British Columbia. The women began singing “kumbaya” in unison, then in harmony with a descant. The men entered singing the first verse of “Silent Night.” That carol ends with an image of the “Holy infant, so tender and mild” and a wish that He “sleep in heavenly peace.”
Once the lullaby image [7] was introduced, the group sang “someone’s crying” to calm the babe. Then, they finished with the third verse of “Silent Night” which ends “Jesus, Lord, at thy birth!”
The transition between the two songs was easy. Both originally were written with no sharps or flats. “Kumbaya” was in 3/4 time and “Silent Night” in 6/8. No matter the key or tempo adopted by Phillips, the two parts had been written within the same musical context. Phillips piano accompaniment had no need to create a bridge between two independent entities; it only needed to provide a beat and a short rest for the singers between verses.
More subtle connections existed between the two songs that probably were not known to the Langley group or its audience. The original text was written by Josef Mohr in 1816. The area around Mariapfarr, Austria, had not yet recovered from the ravages of Napoléon’s troops when crops failed in 1816. Two years later, Mohr asked Franz Xaver Gruber to add a melody. They sang it with Mohr playing guitar at a Christmas eve mass. [8]
The English translation was made in 1859 by Freeman Young. [9] Sarah Eyerly says he made a number of changes in the first verse, which originally described a “lovely boy with curly hair.” [10] The peace refrain was in the original.
Not much is known about Young. He was raised in a Methodist home but became an Episcopal priest. His first assignments were in the South. He moved to Trinity Church in New York City in June of 1855. It was there he published his version of “Silent Night.” [11]
The associations of “Kumbaya” with peace movements have made it the strawman for cynics who believe war is inevitable. The phrase from Saint Luke has been reinterpreted by Biblical scholars to read “peace to those on whom his favor rests.” [12] The change comes from better interpretations of the original Greek, [13] which resurrect the tribal nature of The Bible. One can find any number of sermons that use this as a pretext to deny the possibility of peace [14] or interpret it to mean inner peace that comes from accepting Christ as a personal savior. [15]
The original English translation by men working for James I of England perhaps understood the need for a text that brought people together. When it was published in 1611, [16] the country was divided between Roman Catholics like James’ mother, Mary I of Scotland, and Protestants like his great-great-uncle, Henry VIII. [17] The island descended into Civil War in 1642, just as this country did soon after Young published his version of “Silent Night.”
Performers
Vocal Soloist: none
Vocal Group: 46 women, 14 men
Vocal Director: Anita Comba
Instrumental Accompaniment: Donna Phillips, grand piano
Rhythm Accompaniment: none
Credits
Arranged by Donna Phillips in 2016 [18]
Notes on Lyrics
Language: English
Pronunciation: kum by ya with equal stress on all syllables
Verses: kumbaya, “Silent Night” verse 1, someone’s crying, “Silent Night” verse 3
Pronoun: someone
Term for Deity: Lord
Basic Form: alternate verses of “Kumbaya” and “Silent Night”
Verse Repetition Pattern: none
Ending: repeat “kumbaya” twice
Unique Features: Medley with “Silent Night”
Notes on Music
Opening Phrase: 1-3-5 introduced by CRS
Tempo: moderate
Basic Structure: each verse begins with one group singing the first line, then harmonies are added; none are repeated
Singing Style: melisma in “Silent Night” and “crying” verse of “Kumbaya”
Vocal-Accompaniment Dynamics: Piano is subdued. It provides a beat and small respite for singers between verses.
Notes on Performance
Occasion: Silver Jubilee Christmas Concert, 25 November 2017 [19]
Location: Willoughby Church, Langley, British Columbia. [20] Three risers are set up in the altar area. The Christian Reformed Church has a plain interior, with brown carpeting on the floor; the altar furniture is removable. Musical instruments are stored at the left where Phillips plays piano.
Microphones: none
Clothing: Women wear black dresses with white collars or scarves. The men wear black suits and white ties. Their music binders are black.
Notes on Movement
A few older members are seated in front of the group. The rest stand in place and do not move. The sopranos are stage right, the altos to the left, and the men in the center. The director has her back to the audience. She uses both hands, usually symmetrically.
Notes on Audience
They are seated in pews, and applaud at the end.
Notes on Performers
Langley was originally a fort on the Fraser River built by the Hudson’s Bay Company. Since 1967, the township has been part of Metro Vancouver. [21]
The community chorus was organized in 1992 by Stan and June McCreary. He then was part of a men’s vocal group in Lynden, Washington. They hired a director and accompanist, and began rehearsals with fifteen people. [22] The group now as about eighty members, all vaccinated against the Coronavirus. [23]
Anita Comba began directing the group in 2012. She earned her bachelor’s degree in piano performance from the University of Victoria, and spent summers at the Banff Centre for Performing Arts. [24]
Donna Phillips came from a musical family where she began playing piano as a child. She must have had some training, but little biographical information exists on the web. She plays organ for the Deer Lake United Church in Burnaby, and has worked with the Coquitlam Chorale and British Columbia Girls’ Choir. [25]
Her musical skills indicate someone who spent many years in family or ensemble music settings. She created an arrangement that would be fun to sing and nice to hear because no part is dominant. Although Phillips rarely repeats her harmonic ideas, the interplay of voices is so subtle that it does not call attention to its virtuosity.
Availability
Video: Langley Community Chorus. “Silent Night Kum Ba Ya.” Uploaded to YouTube by Langley Community Chorus on 21 December 2020.
End Notes
1. I have been looking for references to “Kumbaya” in various sites on the web. Information before the year 2000 is sparse simply because the internet was less used then than now. Any references to first reports must be treated with caution, since they only represent what someone has posted, not what existed.
2. Tell It on the Mountain was a Christmas special produced by the National Council of Catholic Men in 1965. The press releases just list Collins and Mitchell as the lead performers and mention the songs that were presented. It was filmed “in and around the Chapel of the Holy Cross” near Sedona, Arizona, [26] and was aired on Christmas eve by CBS. [27]
3. The Fort William Male Choir. “Kum Ba Yah.” Christmas Songs For 100 Years. Private recording, released 1967. [Discogs entry].
4. Hawthorne School, Beverly Hills, California. “Non Nobis, Domine/Come, Let Us Start A Joyful Song/Kum Ba Yah.” Music of the Holidays 1971. Private recording, released 1972. The elementary school then included grades kindergarten through eight. [28] No songs on the album are strongly religious; one is “Hanukkah Pancakes.” No doubt other schools also were singing “Kumbaya” in December concerts by then, but few had parents with the financial resources and show business acumen as those living in Beverly Hills.
5. Luke 2:13. King James translation.
6. Luke 2:14. King James translation.
7. The most popular arrangement that combines a lullaby motif with the nativity is Jay Althouse’s “Christmas Kum Ba Ya.” It is discussed in the post for 18 July 2018, along with some performances by public schools.
8. Sarah Eyerly. “The humble origins of ‘Silent Night’.” The Conversation website, 19 December 2018.
9. “John Freeman Young.” Hymns and Carols of Christmas website founded by Douglas D. Anderson and maintained since 2014 by Richard Jordan. It reproduces the original cover and its version of “Silent Night. The 1859 Carols for Christmas Tide was edited by J. Freeman Young and published by Daniel Dana, Jr., in New York City.
10. Sarah Eyerly. Quoted by Michael E. Ruane. “Silent Night: How a Beloved Christmas Carol Was Born of War and Disaster 200 Years Ago.” The Washington Post, 23 December 2018.
11. Hymns and Carols of Christmas.
12. Luke 2:14. The Holy Bible New International Version, prepared by New York International Bible Society. Grand Rapids, Michigan: Zondervan Bible Publishers, 1978.
13. “Annunciation to the Shepherds.” Wikipedia website.
14. John, son of Melanie Newton. “Often the message of the angels in Luke 2 is taken as a call for men and women to all be at peace with one another. But the angel did not call for world peace, nor peace between neighbors. . .The angels said peace will be among men with whom God is pleased. With whom is God pleased? Those who have placed their faith in His Son. We know. . .that God is not pleased with all men, in fact, all of mankind is in open rebellion against God. Only those who have placed faith in Jesus have found His peace.” Quoted by Melanie Newton. “Peace on Earth to Those with Whom God Is Pleased.” Bible website. [29] Emphasis added.
15. “Did Jesus come to bring peace on earth?” Got Questions website, Colorado Springs, Colorado, last updated 26 April 2021. “Jesus, the Prince of Peace, came to provide the way for sinful people to have peace with God. He gives believers the resources to experience inner peace and helps them to become the kind of people who can live in peace with others.” Emphasis added.
16. “King James Version.” Wikipedia website.
17. “James VI and I” and “Mary, Queen of Scots.” Wikipedia website.
18. “Donna Phillips, Accompanist.” Langley Community Chorus website.
19. Kurt Langmann. “Langley Chorus Celebrates 25th year with Concerts.” Aldergrove Star, Aldergrove, British Columbia, 16 November 2017.
20. Willoughby Church website, Langley, British Columbia. It has photographs of the interior that match the video.
21. “Langley, British Columbia (District Municipality).” Wikipedia website.
22. Langmann.
23. “Fall 2021 Season.” Langley Community Chorus website.
24. “Anita Comba.” Langley Community Chorus website.
25. “Donna Phillips.”
26. Item. Syracuse Herald-Journal, Syracuse, New York, 19 December 1965. 118.
27. “The Christus and the Chapel of the Holy Cross, Sedona AZ.” Episcopal Net website.
28. “Beverly Hills Unified School District.” Wikipedia website.
29. Because her son may share the name of the composer of “Amazing Grace” her reference to his Advent, A Daily Devotional could not be verified.
Sunday, December 12, 2021
CRS Precursors to Custom Songbooks
Topic: CRS Versions
Lynn Rohrbough began making his living publishing recreation materials in the 1920s. [1] His first format was mimeographed sheets placed in binders. He soon found a printer, but kept the binder format. It no doubt changed in small ways with the technology. The first example I have is Handy II from 1930.
Inside is a set of booklets measuring 3 5/8" x 6 3/4". It lists section S, “Social Songs,” but that was not something saved by the owner of my copy. I suspect the size of the sections was dictated by the size of the binder that was available, and then was perpetuated by custom when binders no longer were used.
Rohrbough’s move into publishing custom songbooks was gradual, and probably evolved from workshops where he taught various types of folk dances. In 1938, he published Folk Dances of Tennessee. So far as I know, this is the first book he published on behalf of someone else.
Lucien McDowell grew up in DeKalb County on a tributary of the Cumberland River in middle Tennessee. He graduated from Tennessee Polytechnic Institute in neighboring Putnam County, and, in 1934, joined the newly organized Tennessee Folklore Society at the college. One member was George Pullen Jackson. [2]
Members encouraged him to compile the songs he had heard as a child, and in 1936 he had a manuscript ready. [3] Unfortunately, the market for Appalachian folk music was sated.
Francis James Child had begun publishing his ballad collection in 1882, [4] and in 1905, Henry Belden asked teachers and scholars to “recover every vestige of the English and Scottish Ballads in America.” [5] Cecil Sharp focused people’s attention on the Appalachians in 1917 when he published local Child ballads. [6] Academic presses had backlists of collections by the 1930s.
The popular folk-song anthology market was dominated by the works of Carl Sandburg [7] and John Lomax. [8] Locals promoting their own collection also were becoming common, with John Jacob Niles the best known. [9] And, of course, nothing could compete with Jackson’s White Spirituals in the Southern Uplands. [10]
McDowell turned to Edwards Brothers in Ann Arbor, Michigan. It had begun by mimeographing copies of notes from professors’ lectures in 1893. In 1930, when it incorporated, it still specialized in small print-runs for academics. [11] His Songs of the Old Camp Ground was “reproduced from typewritten copy” in 1937. [12]
The next year he and his wife, the former Flora Lassiter, published Folk Dances of Tennessee in a mimeographed format. [13] Later that year, Rohrbough republished the book in Flora’s name. It is easy to hypothesize how McDowell heard about the Edwards Brothers. It is harder to deduce how Rohrbough and the McDowells became partners.
In 1939, Rohrbough published six songs with the title Tennessee Folk Songs. He later reissued Dances with modern technology. He added a photograph of Flora and a tribute to her by composer Charles Faulkner Bryan. [14] It contains eight songs, six of which were published in 1939. I do not have a copy of the original Dances, but suspect it did not contain the songs. A review identifies her as “a ballad singer and musician.” [15]
The 1939 Folk Songs is a long sheet of paper, which is folded in half, then in thirds to measure 4" x 7". The ink is blue green, and a woodcut of a mountain-valley farm is on the front page. It identifies Flora as “a native and life-long resident of the Caney Fork valley in the Cumberland mountains of Tennessee.”
Folk Dances of Tennessee led to more collections for the round- and square-dance market. As mentioned in the post for 26 September 2021, he published Singing Games of the South in 1938, and two more dance Kits in 1939. By 1940, he had discovered that different types of dances had distinctly different audiences. He recombined collections in “flexible” bindings as Handy books of play parties, American square dances, and European folk dances. [16] Two years later, he published Western Play Party Games, [17] and reissued the Handy collection with different sections. [18]
I have a copy of the 1940 play party omnibus, which obviously is not from 1940: it has a plastic comb binding. [19] While the reproduction technology changed, I suspect the page format did not. It has medium-weight cardboard covers and cream-colored pages, suitable for removing to use at an event. It is squarer in shape than his usual books, 3 3/4" wide and 6 23/32" long.
The geographic reach of Rohrbough’s recreation network can be glimpsed in the states where his sources lived. The largest number, naturally, are the fourteen from Ohio. Appalachian states, where play parties were popular, came next: six of his sources are from Kentucky, while four are from Tennessee or West Virginia. Surprisingly, six live in Texas.
Rohrbough did not publish many songbooks edited by others. However, the authors of one contributed to the play-party project. Members of the Ritchie family of Perry County, Kentucky, offered six songs, and later Edna Ritchie helped compile Songs of All Times for the Council of the Southern Mountains. [21]
When Flora published her final song collection in 1947, she did it privately in the town where she was living. [22]
Notes of Performers
Flora E. Lassiter was born in White County, Tennessee, where her great-grandparents had lived. [23] In 1908, she married Lucien Lafayette McDowell. [24] Little more is known about her. He was a teacher, then principal and school superintendent in Smithville, Tennessee. [25] While it is possible they met through kin, [26] it also is possible she took classes at Tennessee Polytechnic.
Bryan knew her through the Tennessee Folklore Society. He recalled her family was “a storehouse of folk music” and that she had “a retentive memory for every melodic curve, each word, and even subtle shadings of inflections used by members of her immediate family.” [27] She herself said she was an effective collector because she
“knew where to go and what to ask about, two things an outside collector would not know, be he ever so well versed in collecting folk material. We also had the advantage of a real personal friendship with those among whom we worked, some of them closely connected with us by blood or marriage.” [28]
She died in 1968, and was buried in Bethel Methodist Church Cemetery in DeKalb County. [29]
Graphics
1. Handy II, edited by Lynn Rohrbough. Delaware, Ohio: Church Recreation Service, 1930, copy 440. Inside cover and title page. Name of the owner partially obscured.
2. “Shuckin’ of the Corn.” Tennessee Folk Songs, recorded by Mrs. L. L. McDowell. Delaware, Ohio: Cooperative Recreation Service, 1939. Other copies appear in the posts for 13 February 2022 and 20 February 2020. It is mentioned in the post for 20 March 2022.
3. Lynn Rohrbough. Handy Play Party Book. Delaware, Ohio: Cooperative Recreation Service, 1940. 98–99. “I Want to Be a Farmer.” Contributed by R. Bruce Tom, Columbus, Ohio. [30] “Needle’s Eye.” Described by Soweda Hall, Winchester, Kentucky; courtesy of J. Olcutt Sanders. [31]
4. Flora L. McDowell, taken by Orville Joyner. Folk Dances of Tennessee, edited by Flora L. McDowell. Delaware, Ohio: Cooperative Recreation Service, reissued edition. 4. See the post for 1 May 2022 for more information.
End Notes
1. For more on Lynn Rohrbough’s early career, see the posts for 12 September 2021 and 19 September 2021.
2. Carolyn Livingston. Charles Faulkner Bryan: His Life and Music. Knoxville: The University of Tennessee Press, 2003. 59.
3. Livingston. 70.
4. Francis James Child. The English and Scottish Popular Ballads. Boston: Houghton, Mifflin, 1882–1898.
5. Henry Marvin Belden. “The Study of Folk-Song in America.” Modern Philology 2:573–579:1905.
6. Cecil James Sharp and Olive Dame Campbell. English Folk Songs from the Southern Appalachians. New York: G. P. Putnam’s Sons, 1917.
7. For more on Sandburg, see the post for 5 May 2019.
8. For more on Lomax, see the post for 12 May 2019.
9. John Jacob Niles. Seven Kentucky Mountain Songs. New York: G. Schirmer, 1929.
John Jacob Niles. Songs of the Hill-Folk. New York: G. Schirmer, 1934.
He is mentioned in note 23 of the post for 5 May 2019.
10. George Pullen Jackson. White Spirituals in the Southern Uplands. Chapel Hill: University of North Carolina Press, 1933.
11. Bill Shea. “Printing Company Edwards Brothers Grapples with a Shrinking Market.” Crain’s Detroit Business, 7 January 2010. A similar company, William Brown, is mentioned in the post for 5 January 2020.
12. Lucien L. McDowell. Songs of the Old Camp Ground. Ann Arbor, Michigan: Edwards Brothers, 1937. Description from WorldCat website.
13. Lucien L McDowell and Flora Lassiter McDowell. Folk Dances of Tennessee. Ann Arbor, Michigan: Edwards Brothers, 1938. Description from WorldCat website.
14. The reissue has a yellow cover with a brown design by Jack McDowell and measures 6 5/8" x 9 11/16". If Bryan wrote his appreciation of Flora for this publication, then it was published in 1953; [32] otherwise, the reissue is after that date.
15. Review of the Edwards Brother edition on page 639 of the February 1939 issue of Recreation, the organ of the National Recreation Association. It was favorable.
16. Second title page of Handy Play Party Book of 1940.
17. Western Play Party Games, edited by Lynn Rohrbough. Delaware, Ohio: Cooperative Recreation Service, 1942.
18. Rohrbough, Western, page 2. The 1942 collection included Singing Games from the South, Western Play Party Games, Treasures from Abroad, [33] and an earlier collection of Ohio Play Party songs that supposedly was published in 1923 as Kit 24, and is now Kit P. This must refer to Play Party Games published in 1932 as Kit P according to WorldCat. It was reissued as Play Party Games of Pioneer Times: Set down from Original Sources in Indiana, Ohio, Michigan and Iowa sometime in the 1940s. WorldCat indicates it still is called Kit P.
19. Plastic combs were developed in the 1950s. [34]
20. One contributor was Fred M. Smith. He is mentioned in the post for 26 September 2021 as active in the Northland Recreation Laboratory.
21. Council of the Southern Mountains. Songs of All Times, compiled by Edna Ritchie, Raymond Kane McLain, Richard Chase, and Marie Marvel. Delaware, Ohio: Cooperative Recreation Service, 1946. Chase published a number of books on Appalachian lore. Handy Play Party Book reprinted one from Traditional Ballads, Songs and Singing Games, [35] and attributed “Bow Belinda” directly to him. [36] Edna’s sister, Jean, replaced Niles as the most important indigenous performer of Appalachian music in the 1950s. [37]
22. Lucien L. McDowell and Flora Lassiter McDowell. Memory Melodies. Smithville, Tennessee, 1947. [WorldCat website.] Lucian had died in 1943. [38]
23. “Ceiley Elizabeth Clark.” Ancestry website.
24. Steve Eskew. “Fora E. Lassiter.” Eskew’s website; last updated 25 August 2021.
25. Livingston. 69.
26. Putnam County is southwest of DeKalb and White adjoins it on the east. They all are in the Caney Fork Valley where saltpeter was mined before and during the Civil War. White was on the border between Union and Rebel supporters, and suffered from guerilla activities. [39] No doubt people moved along the river, especially after the war.
No one has done a genealogy of the Lassiters; my information is gleaned from people interested in women who married into their families. One source has Flora’s mother born in White County, [40] and another has her born in DeKalb County with her father born in Davidson County. [41]
27. Charles Faulker Bryan. 5 in revised edition of Tennessee Folk Dances.
28. Flora McDowell. Quoted by Livingston. 70.
29. James Real. “Flora (Lassiter) McDowell (1883 - 1968).” Wiki Tree website; last updated 11 June 2020.
30. Tom also is discussed in the posts for 12 September 2021, 19 September 2021, 3 October 2021, 10 October 2021, and 17 October 2021.
31. Sanders is discussed in a post for 13 February 2022.
32. On page 200, Livingston says it is from a paper Bryan wrote in 1953; the page with the citation is blocked in the on-line version.
33. Treasures from Abroad, edited by Lynn Rohrbough. Delaware, Ohio: Cooperative Recreation Service. Introductory notes by Chester L. Bower and Neva Boyd. The latter is mentioned in the post for 3 October 2021.
34. “The History of Book Binding.” Powis website.
35. Richard Chase. Traditional Ballads, Songs, and Singing Games. Chapel Hill: University of North Carolina Institute of Folk Music, 1935. “The Duke of York” is reprinted on page 122.
36. Pages 94–95.
37. “Jean Ritchie.” Wikipedia website.
38. Eskew.
39. “White County, Tennessee.” Wikipedia website.
40. “Catherine Elizabeth Lassiter (born Parker), 1862 - 1939.” My Heritage website.
41. “Floyd Lassiter, born 1885.” My Heritage website. He is Flora’s brother. Nashville is in Davidson County.
Sunday, December 5, 2021
Zander and Klusmann’s Repertoire
Topic: CRS Versions
(This continues a discussion begun on 28 November 2021.)
My copy of Carl Edward Zander and Wes Klusmann’s Camp Songs (1938) is 56 pages with 163 titles in the index. My edition of their Camp Songs ’n’ Things (1939) is 120 pages with 143 titles. The use of music explains the differences in page length. [1]
Both booklets mix “fun songs” with rounds, nineteenth-century popular songs, religious, and organizational material. In the 1938 version, Boy Scout songs [2] dominate the section of “Organization Songs” while some associated with the Camp Fire Girls, [3] Girl Scouts, [4] and Young Women’s Christian Association [5] are sprinkled through the collection.
The “Organization Songs” section of the 1939 books is more inclusive. Boy Scout songs still are the majority, but there are ones from the Farm Bureau, [6] 4-H, [7] Camp Fire, Young Men’s Christian Association, [8] and Young Women’s Christian Association. [E] In addition, the CFG, YWCA, and Girl Scout songs published in 1938 are included elsewhere in the book, as are some new Girl Scout [9] and YWCA songs. [10]
Many of the remaining songs fall into one of the categories for American folk music used by Carl Sandburg and John Lomax. [11] Two groups are “Sea Songs” and “Songs of the Range.” Chanteys are popular with Boy Scout camps that stress aquatic activities or have a Sea Scouts program. Cowboy songs have special resonance in the west. “Songs of the South” includes both spirituals and songs by Stephen Foster.
Zander and Klusmann are like Sandburg, whose goal is to present the songs people are singing. They differ from Lomax and Lynn Rohrbough who emphasize material they believe people ought to know or be singing. Thus, Rohrbough uses international songs from the Concord school [12] and its publisher, E. C. Schirmer, while the Boy Scout leaders use songs from a variety of sources.
Both include Augustus Zanzig’s “Walking at Night” [13] and the “Weggis Song.” The second was introduced by the YWCA in 1922. [14] They also share the English songs, “Green Grow the Rushes” and “The Keeper.” Rohrbough credits the first to a British songbook, [15] and probably learned the second from a Concord songbook. [16] The camp version of “The Keeper” goes back to Cecil Sharp. [17]
All the European songs used by Zander and Klusmann have choruses of sung syllables. I use the term “sung syllables,” rather than “vocables,” because “vocables” has become a generic term for any spoken sound that does not have a specific definition. It includes everything from words like “huh” to lyrics of Native American music. [18]
“Sung syllables” usually rhyme and often exploit literary techniques like alliteration, consonance, and ablaut reduplicatives. [19] “Weggis” uses the /L/ with different hard consonants in “hol-di-ri di-a.” The more challenging “Walking alternates labial and dental phonemes in “sto-do-lo pum-pa.”
Sung syllables are not nonsense, like “Tiddle de Wink de Wink de Woo,” [20] better known as “skinna-ma-rink-a-dink,” because they alternate textual verses with the choruses. Thus, they provide a way for older campers, who are under pressure to abandon their childish ways, [21] to continue making sounds for the joy of making sounds. Most have three verses, which provide three opportunities to sing the chorus. With “Walking,” added pleasure comes from the juxtaposition of the slow verse with the tongue-twisting chorus.
Zander and Klusmann included “The Foot Traveler” in Camp Songs and said it was from the Franklin Square Collection. [22] The editor, John Piersol McCaskey, began attending the Lancaster County Teachers’ Institutes in Pennsylvania. [23] His collection developed into eight volumes published by Harper Brothers between 1881 and 1892. [24] Its begins “on foot I gaily take my way” with a “tra la la” chorus.
The two editors added more European songs in 1939. “The Herdsman,” has a similar theme to “The Foot Traveler” with a yodeling-style chorus of “ho-le-a.” It first was published by the British Girl Guides in the Kent County Song Book. [25]
The other two European songs are drawn from the national song repertoire. Rohrbough published them in different versions. The Scout’s text for “Marianina” is by Homer Harbour, [26] while CRS has words by David Stevens. [27] The chorus exploits the alliterative qualities of the girl’s name when it combines it with “tra la la.” Zanzig said it was “a popular favorite in Italy, especially in Tuscany.” [28] He was using the Harbour words when he was touring, but, by the time he published Singing America, his publisher probably had indicated it already had copyrighted versions of the song. [29]
The Boy Scout version of “Tiritomba” was published by the Paul-Pioneer Music Corporation in 1933, [30] while CRS used one from the Concord school. [31] The Neopolitan song was published by Guillaume-Louis Cottrau in the early nineteenth century. [32] When Rohrbough’s songbooks reached audiences outside those that supported by youth groups included in Zander and Klusmann’s songbooks, people wanted rational explanations for words that did not fit the “tra la la” mode. CRS finally had to add “‘Tiritomba’ is meaningless, not a word.” [33]
For this blog, “Kumbaya” is the most important of these songs with unknown words that require explanation before some will sing them.
Notes on Performers
Carl Edward Zander, shown in the above photograph was born in 1897 to a man who had moved to California from Troy, New York, sometime before 1892, when he married a local women. [34] During World War I, Zander served in the artillery in France and Germany, [35] something that would have provided him with skills needed to run camps for adolescent boys.
At sometime, he leaned to play “the banjo, guitar, and a small wind instrument.” [36] After World War II, he worked with his wife’s brothers in a lumber company in Berkeley, and died in Contra Costa, California, in 1976. [37] His son remembers “sailings to Catalina Island aboard the boat he built with his Dad” and their “many adventures at the Scout Camp in the mountains.” [38]
His name became more prominent after he joined the national Scout staff to direct the organization’s camping program in 1943. [41] He was particularly active in integrating Order of the Arrow, one of those alternative local activities mentioned in the post for 28 November 2021, into the standard program. He retired in 1962 [42] and died in 1979. [43] “He is perhaps best remembered by a generation of Arrowmen for leading each National Conference in singing his favorite song, ‘The Happy Wanderer’.” [44]
Graphics
1. Carl Edward Zander. Photograph courtesy of his family.
2. W. H. Klusmann. Fort Worth Star-Telegram, Fort Worth, Texas, morning edition, 10 April 1945. Copy from The University of Texas at Arlington Libraries website uploaded under the Creative Commons License.
End Notes
1. More details on these two songbooks can be found in the post for 28 November 2021. Zander and Klusmann are mentioned again in posts for 13 March 2022 and 20 March 2022.
2. The one with the most enduring popularity is “Trail the Eagle.” Its composer, Donald Monroe, was the first Scout executive for the Crescent Bay District Council. [45] He is mentioned briefly on page 172 by Patricia Averill. Camp Songs, Folk Songs. Bloomington, Indiana: Xlibris, 2014.
3. The CFG contributions are “Paddle Song” on page 18, [46] and “Camp Fire Law” and “Camp Fire Prayer” [47] on page 52.
4. The round “Hey, Ho!” is from Sing Together, edited by Janet E. Tobitt. New York: Girl Scouts, Inc., 1936. 57.
5. The YWCA published “As the Bright Flames Ascend” and “Each Camp Fire Lights Anew” in Girl Reserve Songbook, edited by Mildred Roe. New York: The Womans Press, 1923. 29. Girl Reserves was the young women’s group sponsored by the YWCA. “Each Camp Fire” is reproduced in the post for 28 November 2021 and 13 March 2022.
6. Lillian Atcherson, Florence Cheadle, and Catherine Wilson. “American Farm Bureau Spirit.” Copyright 1930 by American Farm Bureau Federation and reprinted on page 48.
7. “A Ploughing Songs” and “4-H Field Song.” Copyright by Home Publishing Company of Grinnell, Iowa. One is on page 83, the other on page 85. CRS identifies the composers as Fannie R. Buchanan and Rena M. Parish. [48]
8. Allen Spur. “Y.M.C.A. Song.” Copyright by Universal Publications and reproduced on page 87.
9. Marie Gaudette. “God Has Created a New Day.” 46 in Kent County Song Book, edited by Gladys Crawter, Doris Escombe, Audrey Page, and Alison Tennant for the Girl Guides. London: Novello, 1934 fifth edition. Reproduced on page 107. Gaudette is discussed by Averill on page 335 and her photograph appears on page 79.
10. Abbie Graham and John H. Glover. “Girl Reserve Litany,” reprinted on page 110.
Margaret Snyder. “Witchcraft.” Written in 1935 and copyrighted on 17 March 1937; reproduced on page 81. The song and Snyder are discussed by Averill on 348–351. Snyder’s photograph appears on page 571. The song is discussed in the post for 13 March 2022.
11. For more information on their organizational formats, see the posts for 5 May 2019 and 12 May 2019.
12. The Concord School is discussed in the post for 5 September 2021.
13. “Walking at Night.” 56 in Singing America, edited by Augustus D. Zanzin. Boston: C. C. Birchard, 1940. Czech, translated and arranged by Zanzig. It is mentioned the post for 28 November 2021. Averill provides more information on page 57.
14. “Weggis Song.” 2:160–161 in Folk Songs of Many Peoples, edited by Florence Hudson Botsford. New York: The Womans Press, volume 2, 1922. For more information, see the post for 13 March 2022.
15. “Green Grow the Rushes.” 59–60 in The New Fellowship Songbook, edited by H. Walford Davies. London: Novello, 1931. He says it is an “old song” and his Eton version came from Nevile Bray. It appears in Pocket Songster, edited for the Fellowship of Reconciliation. Delaware, Ohio: Cooperative Recreation Service. [49] 63.
16. Rohrbough never identifies a source, but it was published as “The Keeper” on pages 38–39 in A Book of Songs for Unison and Part Singing for Grades IV, V, and VI, edited by Archibald T. Davison, Thomas Whitney Surette, and Augustus D Zanzig. Boston: E. C. Schirmer Music Company, 1922. This page number is for the student edition called Concord 4. It appears on pages 44-45 of Concord 14, the version with piano accompaniment. An extract was published by E. C. Schirmer as Ten Folk Songs and Ballads. [50] Since it is identified as “traditional,” “English,” and “18th century,” Rohrbough may not have needed to cite his source.
17. Averill discusses “The Keeper” on page 231.
18. “Vocable.” Cambridge Dictionary website.
19. These techniques are discussed in more detail by Averill on pages 145–149.
20. Camp Songs, 45, and Camp Songs ’n’ Things, 94.
21. Averill discusses the consequences of pressures for rationality on children, and cites Freud on pages 112–113.
22. Camp Songs. 22.
23. Averill. 436. Teachers’ institutes are discussed in the post for 5 September 2021.
24. WorldCat website. “The Foot Traveler” appears in volume 5 of the Franklin Square Song Collection, edited by J. P. Mccaskey. New York: Harper and Brothers, 1888.
25. Kent County Song Book. 37. It is described as Swiss. My information is for the fifth edition. I do not know if it appeared in an earlier edition. These kind of youth group songbooks were not always collected by libraries and so do not appear on the WorldCat website.
26. “Marianina.” Italian melody, with English version by Homer Harbour and Zanzig; copyright by the National Recreation Association. Reprinted on page 68. Harbour earned a degree in English from Harvard in 1906, [51] and in 1911 co-wrote a song with Thomas Whitney Surrette of the Concord School. [52] He contributed eleven lyrics to the Concord schools book for the upper grades, mentioned in the above note 16, and later taught at the Brookline High School [53] where Zanzig was teaching in 1925. [54]
27. “Marianina.” Italian popular tune with words by David Stevens from Singing America. Reprinted on page 33 in CFG edition of Joyful Singing. Delaware, Ohio: Cooperative Song Services; copy provided by Josephine Weber of Oshkosh, Wisconsin.
28. Zanzig, Singing America. 82.
29. “Marianina.” Words by David Stevens and arrangement by Harvey Worthington Loomis; copyrighted by C. C. Birchard of Boston in 1924. [Worldcat website.]
“Marianina.” Words by David Stevens and arrangement by Gladys Pitcher; copyrighted by C. C. Birchard of Boston in 1927. [Worldcat website.]
30. “Tiritomba.” In Keep on Singing, edited by Kenneth S. Clark. New York: Paull Pioneer Music, 1933. Neopolitan Folk Song with English words by Fenton Gaylord; reproduced on page 54 of Camp Songs ’n’ Things.
31. “Tiritomba.” 27 in CFG Joyful Singing. Italian Folk Song from Ten Folk Songs and Ballads for School, Home and Camp. Boston: E. C. Schirmer, 1931. Another version is mentioned in the post for 13 March 2022.
32. Berny Devlin. Comment added 25 November 2011 to “Tiritomba (English translation).” Lyrics Translate website. Cottrau was a Frenchman who moved to Naples where he collected and wrote songs. [55] The first date for his revised Passatempi Musicali [56] on the WorldCat website is 1827.
33. “Tiritomba.” 17 in Music Makers for the Camp Fire Girls. Delaware, Ohio: Cooperative Song Service, copy purchased in 1975. Italian Folk Song, with English by Zanzig; © 1962, CRS, Inc.
34. Day Association Genealogical Committee. The Day Genealogy; A Record of the Descendants of Jacob Day and an Incomplete Record of Anthony Day. Boston: The Warren Press, 1916.
35. Carl Edward Zander family. Email, 3 November 2021.
36. Zander family.
37. BG. “Carl Edward Zander Sr.” Find a Grave website, 8 February 2021.
38. “Carl Edward Zander Jr.” Times-Standard, Eureka, California, 31 January 2012.
39. “Wesley Herman Klusman.” Mormon’s FamilySearch website.
40. “300 Boy Scouts in Annual Banquet.” Daily News, Los Angeles, California, 12 February 1932. 23.
41. “A History of ACA Presidents and Board Chairs.” American Camping Association website. He was president of the ACA from 1943 to 1944.
42. “NOAC 1967.” Order of the Arrow website.
43. FamilySearch.
44. Order of the Arrow. “The Happy Wanderer” was popularized in 1954 by the Obernkirchen Children’s Choir. Averill discusses its history on pages 311 and 332.
45. “Crescent Bay Historical Project.” Crescent Bay District, West Los Angeles BSA Council website, Jeff Morley webmaster.
46. “My paddle’s keen and bright” was written by Margaret Bradshaw McGee at Sebago-Wohelo in 1918. The camp was owned by the founders of Camp Fire, Charlotte Vetter Gulick and Luther Halsey Gulick. Averill has a short biography of her on page 445 and her photograph on page 565.
47. Words are credited to Rowe Wright.
48. The Bridge of Songs, edited by Max V. Exner for Iowa 4-H. Delaware, Ohio: Cooperative Recreation Service, 1957. 12 and 18.
49. This songbook is discussed in the post for 13 February 2022.
50. See note 31 for details.
51. Harvard Alumni Bulletin. 21:104:24 October 1918.
52. Homer Howells Harbour and Thomas Whitney Surrette. “Soldiers of the Republic.” Library of Congress website.
53. Murivan. Brookline, Massachusetts, high school yearbook, 1929.
54. See the post for 5 September 2021.
55. “Guillaume Louis Cottrau.” Wikipedia website.
56. Guillaume Louis Cottrau. Seconda edizione de' primi sei fascicoli dei Passatempi musicali. Naples: Calcografia e Copisteria de’ Reali Teatri, 1827.