YWCA - Kum Ba Yah

Topic: Kumbaya 1955-1961
The Young Women’s Christian Association (YWCA) was the second youth group to include “Kum Ba Yah” in 1957.  We know it came after the Girl Guides’ book, because one page of graces is described as “from CHANSONS DE NOTRE CHALET” [1].

In this case, Augustus D. Zanzig’s role is clearer: he is listed as an editor.  In addition, he translated or arranged 15 of the 63 international songs.
 
It is not known if he contacted the organization, which may not have placed an order since 1954.  On the other hand, it may decided it was time to issue a revised songster and lacked the resources after Marie Oliver left in 1952.  In the 1965 revision, Zanzig is credited with arranging the music. [2]

As mentioned in the post for 20 March 2022, the impression was Oliver was the victim of Harvey Matusow’s claim the organization was infiltrated by the Communist Party.  The 1957 songster has 13% fewer songs from countries controlled by the Soviet Union or which fought against us in World War II.  However, many of the labor songs were reprinted, including the most controversial, “Joe Hill.”

Although some of the songs the caused problems for Oliver were kept, her presence was excised.  Zanzig redid her arrangements for “The Silver Moon Is Shining” and “Golden Day Is Dying.”  This leads to questions about bureaucratic and budgetary decisions that cannot be answered.

Otherwise, the selection of songs remained the same.  It dropped 46 songs from the earlier edition and added 54.  If such changes were not made, no one would have a reason to buy it.

The major change had occurred between the 1941 and 1951 editions, when the number of religious songs increased by nearly 40%. [3]  They came at the expense of what were called “general songs.”  That class included camp songs.  This edition dropped two songs then in active camp tradition, “French Cathedrals” and “Hark to the Chimes.”  The first is a round; the second is a grace.

The songbook’s intended audience was Y-Teen clubs for high-school and college aged young women.  This is a group that would be more likely to sing religious songs at its meetings.  The songbook offered 52 hymns, of which 10 were new.  Among the 8 spirituals, “He’s Got the Whole World” and “Let Us Break Bread Together” replaced “Swing Low, Sweet Chariot.”

The group drew its members from the same main-line denominations that ordered songbooks from Cooperative Recreation Service.  Sing Along, or the owner of CRS, Lynn Rohrbough, did not offer popular gospel songs like “Just a Closer Walk with Thee” or the “Old Rugged Cross.” It certainly did not include the raucous ones like “Do Lord.  The closest the songbook came was “Green Grow the Rushes.”

Spirituals may have been used as a substitute for the popular religious songs. [16]  “Kum Ba Yah” had the good fortune to be presented in the “Folk Song” section where it replaced “As the Sun Goes Down” as the token African song.

Since the Y was a Protestant organization, it was interested in converting the heathen of Asia, rather than Spanish-speaking Roman Catholics.  Thus, the editors were still trying to find songs from China, Japan, and Korea that were singable by girls trained in western music.  There were 5 from Asia and 6 from Latin America.

The interest in Jewish settlements in the Holy land continued with “Shalom Chaverim” and “Zum Gali Gali.”  The first still only had the English words by Zanzig, and so was not the source for that song in tradition.

Performers
Vocal Soloist: single melodic line

Credits
African (Angola)

Notes on Lyrics
Language: English

Pronunciation: “Koom-bah-yah,” same as that published in Indianola Sings, which is reproduced in the post for 29 May 2022

Verses: kumbaya, crying, singing, praying; same verses and same order as those published in Indianola Sings

Pronoun: someone
Term for Deity: Lord
Special Terms: none
Basic Form: four-verse song
Verse Repetition Pattern: none
Ending: none
Unique Features: none

Notes on Music
Opening Phrase: 1-3-5; the melody is the same as Indianola Sings
Time Signature: 3/4
Tempo: slowly
Key Signature: no sharps or flats
Basic Structure: strophic repetition
Singing Style: one syllable to one note except for final “Lord”
Ending: none

Notes on Performance
Cover: Five-line music at top and bottom of with YWCA logo at bottom left

Color Scheme: the cover uses dark blue ink on medium gray stock; inside the pages employ faded navy ink on white paper

Plate: The songster was reprinted several times, and each time the plate change.  The first issued had the one made by Jane Keen for Indianola Sings.

Notes on Performers
Lura Marie Barnes was born in 1897, [4] and raised in Topeka, Kansas, where she sang in the chorus of The Messiah in 1915. [5]  She married Byron Mohrbacher in 1921, when he was working for the Santa Fe Railroad.  At the time, they planned to attend Kansas State Agricultural College.  She expected she would study music and home economics. [6]

The next public notice came in 1924 when they were living in Wichita, Kansas, where he managed the United Warehouse.  They both were singing in glee clubs. [7]  By 1942, they were living in Ithaca, New York.  He ran the Cooperative Consumers Society grocery store there. [8]

Her first known contact with the YWCA came in 1943, when she wrote a letter to Oliver that said the composer of “Witchcraft” had been her accompanist in 1940. [9]  This song is mentioned in the post for 5 December 2021.

Around 1945, the Mohrbachers moved to Hazardville, near Enfield, Connecticut, where they remained. [10]  She was representing the Y on colleges in 1949, when she was a member of the national music committee. [11]  In 1950, she put on a program for the Y in Hartford where she sang and played accordion. [12]  The following year the soprano gave a concert in Thompsonville, a village near Enfield. [13]

Her first known contact with CRS came after 1954, when she set down an Indonesian song she heard at the Y’s summer school.  Rohrbough’s wife, born Katharine Ferris, translated it and he copyrighted it in 1956. [14]

After that she disappears from public view.  She died in 1977. [15]

I could find nothing about Mary B. Wheeler.  It is a common name.  Posts about Zanzig are listed in the index to the right.

Availability
Songbook: “Kum Ba Yah.”  7 in Sing Along, edited by Mary Wheeler, Lura Mohrbacher, and Augustus D. Zanzig for the National Board of the YWCA in New York.  Delaware, Ohio: Coop. Recreation Service, Cooperative Song Service, 1957.

End Notes
1.  Sing Along.  61.  Chansons is discussed in the posts for 27 November 2022 and 4 December 2022.

2.  Sing Along, edited by Mary Wheeler for the National Board of the YWCA in New York.  Delaware, Ohio: Coop. Recreation Service, Cooperative Song Service, 1965.  Inside front cover.

3.  Earlier YWCA songbooks are discussed in the posts for 5 December 2021, 13 March 2022, and 20 March 2022.

4.  “Lura Mohrbacher.”  Ancient Faces website.

5.  Item.  The Topeka Daily Capital, Topeka, Kansas, 8 April 1917.  3.  Uploaded to the internet by fritzabq on 18 January 2015.

6.  Item in “Among Ourselves.”  The Santa Fe Magazine, 13:96:1921.

7.  Item.  The Marysville Advocate, Marysville, Kansas, 24 April 1924.  5.  Uploaded to the internet by araywatson on 4 August 2020.

8.  Ithaca Directory, 1942.  Bellows Falls, Vermont: H. A. Manning Company, 1942.  237.

9.  Marie Oliver.  Let’s Have Music.  1945.  47.  When I was copying pages from the book in the 1970s, I did not get the complete publication information, and it is not in WorldCat.  Presumably it was issued by the YWCA’s Woman’s Press in New York City.

10.  Lura Mohrbacher.  “Three Stories about Music and People.”  Music Journal 9(6):15:1 October 1951.

11.  “Sara Swartz Heads Membership Week Committee for S. C. M.”  The Etownian, Elizabethtown College, Elizabethtown, Pennsylvania, 44(1):3:15 September 1947.

12.  “About Town.”  Manchester Evening Herald, Manchester, Connecticut, 13 September 1950.  14.
 
13.  “Plan Concert.”  The Thompsonville Press, Enfield, Connecticut, 72(27):5:4 October 1951.

14.  “Sarimandé.”  39 in Sing Along.

15.  Obituary for Lura Mohrbacher.  Manchester Journal Inquirer, Manchester, Connecticut, 10 June 1977.

16.  The one group who used evangelistic songs was Pioneer Girls.  As mentioned in the post for 4 December 2022, their songbook, Pioneer Girls Sing, contained no spirituals.  It had more hymns than many CRS songsters along with the words to a Fanny Crosby song.  “Good-bye, Our God Is Watching O’er You” was composed by Wendell P. Loveless.  He lived in Wheaton, Illinois, and had a radio program on the Moody Bible Institute’s station in Chicago. [17]

17.  “Wendell P.  Loveless.”  Hope Publishing company website.  

 

Buckeye Recreation Workshop - Kum Ba Ya (Come By Here)

 

Topic: Kumbaya 1955-1961
The Buckeye Recreation Workshop is the second place from whence “Kumbaya” could have spread before Lynn Rohrbough began publicizing the song.

John Blocher transcribed the song from the singing of Kathryn Thompson Good, [1] probably in the fall of 1954 for a songbook published on 15 March 1955. [2]  I asked Blocher if Good ever took her young children to the family evenings in Delaware, Ohio, that are mentioned in the post for 22 May 2022.  He, in turn, asked them what they remembered from their childhoods.  Blocher wrote back:

“None of the three surviving Goods remember going there as a family, but they distinctly remember Tommy’s activities on the Board of BRW.” [3]

While this suggests a high probability that she heard the song at the workshop, it is not proof.  More suggestive evidence come from the papers saved by a workshop board member from the 1955 workshop held in Urbana, Ohio, from April 17 to April 23.  Most items were handouts from sessions, but there was no schedule of events.  It also included a roster and group photograph.

Some of the handouts look like they were prepared to be used during sessions.  A few were created during the workshop.  They all were made from stencils.

Good helped write one that chronicled the afternoon group sessions.  As mentioned in the post for 3 October 2021, the first workshops featured afternoon teas with short lectures.  Lynn Rohrbough discussed games on Monday.  Tom Bruce spoke on Wednesday. [4]

The most important tea occurred on Thursday when “our own Gus Zanzig, who most interestingly and graciously presented new songs, and taught us several.  He pointed out the value of different types of songs, and told us the origins of several.  Songs that can be acted out and most enjoyable and play a part all their very own.” [5]

A sheet titled “Song Leading” suggests he may have given a talk on that subject. [6]  Usually, such handouts include instructions or hints for directing group session.  If those existed, they disappeared.  Instead, the first three attached pages featured hand-written transcriptions of music with typed texts.  One had been used during a Thursday event, [7] and another included a parody “contributed by Warren Bright.” [8]

The inclusion of material that emerged during the workshop suggests these pages were produced to satisfy requests from attendees.  The fourth page has the same character.   It is handwritten, and includes fragments that Zanzig might have mentioned in his talk: an introduction to “Good News,” simple parts for “Walking at Night,” and a descant for the chorus of “Down the River.”

The last page is the most important.  It is a handwritten version of “Kum Ba Ya.”  The stencil is so uneven, it could not have been produced by a professional like Jane Keen. [9]  However, the treble clef signs are the same on all five pages.  The handwriting varies some from that on the previous page, but has enough similarities to suggest they two were done by the same person.

The unknown is why the song was included.  Someone who attended the workshop may have inquired about something remembered from the previous year, or Good may have made an announcement about her camp’s new songster.  In the process she may have sung or otherwise mentioned it included a song they might remember.

The fact “Kum Ba Yah” was included may be the first signal people liked the song.  The stenciled version also implies some changes that were made to fit the audience.  Instead of coming from Angola, this headnote says it is an “African spiritual.”  Rohrbough’s version did not mention “come by here,” but this version does.  This hints that, from the beginning, some were uncomfortable with unknown or foreign words.

Notes on Lyrics
The text is identical with the version by Blocher that was issued 33 days before the start of this workshop.  Blocher’s version is reproduced in the post for 29 May 2022.

Notes on Music
The melody is the same as Blocher’s version.  Whoever made the stencil had to have seen a copy of Indianola Sings or a proof sheet for the song that Rohrbough could have produced if asked.

The most important change was the addition of chords, which were associated with the key of C, which has no flats or sharps.  For some reason, the autographer indicated it had one flat.  This idiosyncrasy appears with some of the other songs in the “Song Leading” set.  The tempo marking also has been dropped.

Notes on Performers
Augustus D. Zanzig’s name appears in the list of references in the column at the right.  At this time, he was associated with the Brookline Music School in Massachusetts, [10] and versifying translations of international songs as a part-time consultant to CRS. [11]

The Buckeye Recreation Workshop is discussed in the post for 3 October 2021.  In 1955, 123 individuals are listed in the workshop roster, excluding outside speakers, vendors, and people from out of state. [12]  All but one in the group photograph was white.  The dark-skinned young man in the back row might have been from Africa. [13]  His name gave no clues, and he attended from Ohio State.  Rohrbough introduced two Ohio Wesleyan University students from what was then the Gold Coast as part of his discussion of the game ADI. [14]

Of the 123 attendees, 81, or more than 65% were women.  This should not be surprising since the workshop lasted for seven days.  Most who came had jobs that were related to youth recreation.  More than 61% were 4-H leaders or employees of county agricultural extension offices or farm groups like the Grange.  Again, this would be expected since the group grew out of the extension activities of Tom mentioned in the post 3 October 2021.

Many of the remaining people were associated with churches (17%), with the majority of those Methodists.  A few were interested in folk or square dancing, [15] while twelve were involved with the Girl Scouts (5), Boy Scouts (2), Camp Fire Girls (2), YWCA (2), or DeMolay (1). [16]

The home addresses of the 123 gives some sense of the geographic reach of CRS, and the potential areas were “Kumbaya” subsequently might have been taught.  In the map below, black locations represent counties with one to three attendees, while red represents counties with more.  Often friends, or couples, especially ministers and their wives, came together.

Ohio was settled from three directions in the nineteen century.  Some came along the Lake Erie, especially after the Erie Canal was opened in 1825.  Later, immigrants were brought to factories along the lake’s shore.  4-H and county extension offices were organized to serve rural area; urban 4-H did not yet exist. [17]  Places like Toledo, Cleveland, and Akron sent no representatives, but Lorain and Sandusky did.

The second entry point was the Ohio River.  People often came from the south.  Except for Cincinnati, which saw a sizable influx of Germans in the middle-19th century, few came to the Workshop from counties that bordered Kentucky.

The third route was the National Road, which stretched from Wheeling, West Virginia, through Columbus to Richmond, Indiana, by 1839. [18]  Most of the migrants came from or through Pennsylvania.  That is roughly the path of the red dots on the map.

No one came from northwestern Ohio, which included Wyandot County mentioned in the post for 17 July 2022.  The land there generally was less good than the prairie lands in the middle of the state.  Good’s husband wrote his master’s thesis on part of the Great Black Swamp that dominated that part of the state. [19]

Graphics
1.  “Kum Ba Ya.”  5 in A. D. Zanzig.  “Song Leading.”  Buckeye Recreation Workshop, 1955, papers.

2.  Base map:  United States Census Bureau.  Outline Map of Counties.  Copy uploaded to Wikimedia Commons website by Abe Suleiman uploaded on 7 February 2010.

End Notes
Copies of papers from the eleventh annual Buckeye Recreation Workshop, Urbana, Ohio, 17 April to 23 April 1955 provided by a member of the current board of the workshop.

1.  John Blocher, Jr.  Email, 5 May 2016.
2.  Lynn Rohrbough.  Letter to Shawnee Press, 16 February 1959.

3.  John Blocher, Jr.  Letter, 30 June 2016.  The use of “surviving” is odd, since four of the Goods’ children were alive.  However, one had moved away, and may not have been part of the family discussion provoked by Blocher.  The fourth child, Bruce Good, is discussed in the post for 17 October 2021.  “BRW” is the Buckeye Workshop.

4.  Helen Stanfeld and Tommy Good.  “Teas.”  Buckeye Recreation Workshop, 1955, papers.  Stanfeld was with the extension office in Batavia and active in her church. [20]  Tommy was Good’s nickname.

5.  Stanfeld and Good.
6.  Zanzig, Song Leading.

7.  “Walking Together” was “used for Signature Thursday by Paul Whipple.” [21]  He was a Methodist minister from Hartford, Ohio. [22]

8.  Bright was a Methodist minister from the church that was sponsoring the event in Urbana, Ohio. [23]

9.  Keen produced stencils for the Northland Recreation Laboratory in the 1940s, before she began working for Rohrbough.  She is discussed in the posts 24 April 2022 and 8 May 2022.  This implies she was not present at the workshop, and, thus, probably was not a possible source for the notes mentioned in the post for 29 May 2022.

10.  “Buckeye Recreation Workshop - 1955” list of attendees.  Workshop papers.

11.  Augustus D. Zanzig.  Letter to Larry Nial Holcomb, 1 May 1972.  Cited by Holcomb in “A History of the Cooperative Recreation Service.”  PhD dissertation.  University of Michigan, 1972.  135.

12.  Workshop roster for 1955.

13.  Group photograph included between the Workshop cover page and the roster.  Buckeye Recreation Workshop papers, 1955.

14.  Stanfeld and Good.  The Gold Coast is now Ghana.

15.  Philip Maxwell came from the Oglebay Institute in Wheeling, West Virginia.  It is discussed in the post for 22 May 2022.  The fact someone came from Oglebay may suggest Mary Lea Bailey might have stopped by to visit without registering.  If she did this every year, she could be a source for the added notes to the CRS version of “Kum Ba Yah.”  She is discussed in the post for 22 May 2022.

16.  DeMolay is an organization for high-school-aged boys associated with the Masons. [24]  When I went to county fairs in Calhoun County, Michigan, in the early 1960s, older women had a food tent to provide inexpensive meals to individuals camping out in the barns with their livestock.

17.  The post for 3 October 2021 has a little on the history of the organizations.
18.  “National Road.”  Wikipedia website.

19.  E. E. Good.  “A History of the Natural Resources of Van Wert County.”  MA thesis.  Ohio State University, 1947.  He published some of the results in E. E. Good.  “The Original Vegetation of Van Vert County, Ohio.”  The Ohio Journal of Science 61(3)155–160:May 1961. [25]  He is mentioned in the post for 10 October 2021.

20.  Workshop roster for 1955.
21.  Zanzig, Song Leading.
22.  Workshop roster for 1955.
23.  Workshop roster for 1955.
24.  “DeMolay International.”  Wikipedia website.

25.  Thomas M. Stockdale and John F. Disinger.  “Ernest Eugene Good.”  Ohio Journal of Science 94(5):164–165:December 1994.

CRS Print Shop

Topic: CRS Versions
The production of custom songbooks by Lynn Rohrbough’s Cooperative Recreation Service (CRS) involved more than the compilation of a list of available songs.  It also required the creation of a physical plant to produce the booklets at low cost with reasonable quality.

Before the Rohrboughs moved to Delaware, Ohio, they used commercial printers in Chicago [1] and, before that, in Boston. [2]  They probably used someone local when they first relocated, but soon after bought a “small hand-fed press.”  Rohrbough’s wife, Katherine Ferris Rohrbough, recalled, they “put it in the barn and hired one man to operate it. [3]

Most likely it was a letterpress printer.  Usually, type was set and the pages laid out.  Then, copper-sheet molds were made that were used by the press. [4]  They could have been setting the type themselves or hiring the work done.  In 1937, Lynn said CRS had four employees, plus some who worked part-time. [5]  The latter probably helped with shipping.

The introduction of music added a level of complexity.  Jane Keen’s drawings were transferred to copper plates with light-sensitive coatings.  Then, like photograph negatives, they were exposed while electrical impulses etched the lines.  These thin sheets often were backed by chrome so they could withstand long press runs. [6]

The Rohrboughs hired William Detwiler to operate the press, [7] and probably sent the artwork to Van Bolt Kreber Electrotype in Columbus. [8]  Frank Kreber bought out the interest of George Van Bolt in 1938, and his son continued to run the company. [9]  By 1957, the Electrotypers Union was supplying chrome-plated copper printing plates. [10]

Newer presses were added to the hand-fed one, until Donald Frye remembered there were four in the barn. [11]  In 1948, Grace Goulder described them as “thundering, up-to-date presses” that could “ turn out as many as 30,000 booklets at a time.” [12]  John Leininger set the type and Hugh Macmillan ran the letter press. [13]

In 1951, Rohrbough introduced offset printing. [14]  Oscar Bailey photographed completed pages, and exposed the negatives “under arc-light in contact with aluminum printing plates in a vacuum frame.” [15]  In 1957, the Photoengravers Union of Newark Engraving Company was supplying zinc etchings. [16]

Offset printing images are not as clear as those of letterpress, [17] but involve less labor.  More important, the technology provides more flexibility.  When I was in high school in the early 1960s, our yearbook was produced by a commercial offset printer. [18]  All the photographs and lines of text were rubber cemented onto large pieces of paper marked by light blue graph lines, then shipped off to the printer.

This means that, whenever CRS produced a new songbook, all the shop had to do was take Keen’s original autograph, [19] or a photograph of it, and lay out a new page with new page numbers and whatever changes were required in the headings.  After the songster was mocked up, Bailey could create new plates.  There was no need to redo Keen’s work, and no need for outside skilled labor.

Because offset printing relied on photography, it allowed artwork to be incorporated at little cost.  However, CRS did not exploit these uses.  The only artistic book produced by the company was a reissue of Flora McDowell’s collection.  The cover of the 6 5/8" x 8 5/8" book has a drawing by McDowell’s son. [20]

Rohrbough never produced separate plates for different colors, [21] but instead, within the technology of a single plate, created effects with different colored inks and papers.  Oscar’s wife, the former Sara Besco, made sketches that appeared at the bottoms of pages of McDowell’s book.

Keen redrew the music, and used curved tails for the eighth notes.  The clef sign also is more upright than in her 1940s autographs. [22]  In what had become a small artistic community, each person rose to the levels of the others.

Notes on Performers
William Detwiler’s grandfather [23] moved to Thompson Township, in the northwestern corner of Delaware County, Ohio, where he opened a tavern in the 1830s. [24]  William was born in 1913, [25] so he would have been in his twenties when he began working for Rohrbough.  He and his wife moved to Alabama while he served in the military in World War II, when Rohrbough would have needed someone else to run his press.  The Detwilers returned after the war. [26]  I do not know when he retired.  He died in 1981. [27]

John A. Leininger was a former Unitarian minister who worked as a compositor for the Rohrboughs.  He graduated from the Harvard Divinity School. [28]

Hugh MacMillan was from Berlin Township, south of Delaware. [29]

Oscar Wilson Bailey’s Quaker ancestors moved to Belmont County, Ohio, from North Carolina in the early 1800s. [30]  He graduated from the denomination’s Wilmington College in 1951 and went to work for “a commercial printer in Delaware, Ohio” [31] where he “learned offset printing.” [32]

Bailey met his wife when he attended folk dances sponsored by the Oglebay Park in Wheeling, West Virginia. [33]  Their interest in dance may be one reason that devoted such attention to the McDowell revision.

He left in 1956 to pursue a master’s degree in fine arts from Ohio University.  He taught photography at State University College in Buffalo and the University of South Florida.  While he was teaching, Bailey’s reputation as an artist grew.  Ohio Wesleyan University exhibited his works in Delaware in 1964. [34]

Oscar and Sara [35] moved to the North Carolina mountains near Burnsville [36] after he retired in 1985. [37]  His interest in art turned to more manual ones: he designed their home, built furniture, and designed kites, which he called “wind-supported sculptures.” [38]  A member of the Society for Photographic Education recalled: “Oscar was a fun and exciting person to be around.  He liked to figure out how things worked and then explored how he could integrate these qualities with his ideas.” [39]  Bailey died in 2010. [40]

The Newark Engraving Company was founded by James Dean Mackey in 1926.  He was born near Marietta, Ohio, but lived in Columbia, South Carolina, and Parkersburg, West Virginia, before returning to Ohio.  In each city he worked as a professional musician and ran engraving companies.  He patented some improvements in the design of clarinets. [41]

Graphics
1.  Flora L. McDowell.  Folk Dances of Tennessee And Other Authentic Folk Material.  Delaware, Ohio: Cooperative Recreation Service.  Cover by Jack McDowell.  Music autographs by Jane Keen.  Typesetting, layout, and sketches by Sara Bailey.  Photography by Orville Joyner.  Printing by Oscar Bailey.  Editorial Supervision by Lynn Rohrbough.  McDowell is discussed in the post for 12 December 2021.  As suggested then, this booklet may have been published in 1953, or shortly thereafter.

2.  Bottom line of “Shuckin’ of the Corn.”  Credits and other illustrations of this music appear in the posts for 372 12 December 2021, 13 February 2022, and 22 February 2022.

3.  John A. Leininger.  Photograph by Grace Goulder for her “Good Neighbors in Action.”  Cleveland Plain Dealer Pictorial Magazine. Cleveland, Ohio.  Copy provided by Oscar Bailey’s family. [42]

4.  Hugh MacMillan.  Photograph by Grace Goulder for 1951 article.

5.  Sara Besco Bailey and Oscar Wilson Bailey at Oglebay Park, Wheeling, West Virginia.  Copy provided by their family.

End Notes
1.  Holland Press. [43]
2.  Old Dutch Press. [44]

3.  Katherine Ferris Rohrbough.  “Good Times as a Career.”  Wellesley Alumnae Magazine 84–86:January 1956.  84.  Quoted by Larry Nial Holcomb.  “A History of the Cooperative Recreation Service.”  PhD dissertation.  University of Michigan, 1972.  108.

4.  “Letterpress Printing.”  Encyclopædia Britannica website, 20 July 1998; last updated 30 October 2013 by Yamini Chauhan.  The plates were coated to preserve the lead type.

5.  Lynn Rohrbough.  “Cooperative Recreation Service.”  Consumers’ Cooperation 33(11):171–172:November 1937.  Cited by Holcomb.  108.

6.  “Electrotyping.”  Wikipedia website.  Katherine Rohrbough said “for a long time, I did all the music drawings from which electrotypes were made.” [45]

7.  Grace Goulder.  “Play Is Business for Delaware (O.) Couple Who Specialize in Group Recreation.”  Cleveland Plain Dealer, Cleveland, Ohio, 5 December 1948.  Cited by  Holcomb.  109.  Also, 108.

8.  The YWCA listed the unions involved with its 1957 songbook. [46]  There is no reason to believe Rohrbough changed contractors, once he found good ones.

9.  “The Evolution of Kreber.”  Company website.

10.  Forward to Revised Edition.”  1–2 in Sing Along, edited by Mary Wheeler, Lura Mohrbacher, and Augustus D. Zanzig for the Young Women’s Christian Association’s National Board.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service, 1957.  1.

11.  Donald Frye.  Interviewed by Larry Nial Holcomb on 7 January 1972.  Cited by Holcomb.  109.  Frye was born around 1928, [47] and began working for the company in the late 1930s mowing lawns.  He learned the printing trade, before leaving in 1950 to open his own business in Delaware. [48]

12.  Goulder, 1948.  Quoted by Holcomb.  109.
13.  Goulder, 1951.
14.  “Oscar Bailey.”  National Gallery of Art website.

15.  “How a Sampler Is Made.”  Song Sampler Number 3:7–8:July 1956.  Quoted by Holcomb. 134.

16.  YWCA.  1.

17.  Robert Lechêne.  “Printing.”  Encyclopædia Britannica website; revised 9 May 2000; last updated on 1 October 2020 by Aakanksha Gaur.

18.  Our school paper was produced by the local newspaper and went through the older printing processes that included  linotype machines.  I am drawing up my own knowledge of the two publications to fill gaps left by web articles that assume the reader either knows or does not care about details.  Many write about technological processes as they exist today, not as they did in the late 1940s and early 1950s.

19.  “Autograph” is the technical term for preparing a piece of music for print.

20.  Flora McDowell’s son was William Jackson McDowell.  He was living in Cincinnati, Ohio, when he died in 1994. [49]

21.  The one exception may be an African Song Sampler, which featured a multi-colored painting by Thango.  The 1958 edition was overseen by Walter F. Anderson of Antioch College and is twice as wide as a CRS publication.

22.  Keen’s early work is illustrated in the post for 24 April 2022.  Her later work is discussed in the posts for 8 May 2022, 15 May 2022, and 29 May 2022.

23.  Detwiler’s father was John Harry Detwiler. [50]  John Harry’s father was John Detwiler. [51]

24.  Illustrated Historical Atlas of Delaware County, Ohio.  Philadelphia: L. H. Everts and Company, 1875.  11.

History of Delaware County and Ohio.  Chicago: O. L. Baskin and Company, 1880.  546.

25.  “William L Detwiler.”  Ancestry website.

26.  “Margaret Elaine Detwiler.”  The Delaware Gazette, Delaware, Ohio, 25 October 2012.  She was William’s wife.

27.  “William L Detwiler.”
28.  Goulder, 1951.
29.  “Hugh McMullian in the 1940 Census.”  Ancestry website.

30.  Bailey’s mother was Rebecca Steer.  Her ancestor, Moses Hall, arrived from North Carolina in 1804. [52]  The Bailey line has been traced back to Lindley Patterson Bailey who was born in Belmont County in 1850. [53]  The movement of Quakers from North Carolina to Ohio is discussed in the post for 28 March 2021, which describes the ancestry of Varner Chance.

31.  National Gallery of Art.  Prabook makes clear the commercial printer was CRS. [54]

32.  Mary Lea Bailey.  Email to John Blocher, Jr.  25 June 2016.
33.  Email from Oscar Bailey’s family, 23 February 2022.
34.  National Gallery of Art.
35.  Sara Bailey is discussed in the post for 15 May 2022.
36.  Barbara Edwards.  Photograph on Flickr website.
37.  National Gallery of Art.

38.  “Remembering Oscar Wilson Bailey.”  Society for Photographic Education website, 30 January 2010.  Bailey was a founding member of the organization. [55]

39.  Society for Photographic Education.
40.  National Gallery of Art.

41.  Will Peebles.  “James Dean Mackey’s Clarinet Patents.”  The Clarinet 47(4):46–49:September 2020.

42.  Holcomb has the date as 1949, but 1951 is more likely.  Not only are the Baileys mentioned, but the Homestead Acres project is described as “three years ago.”  In note 15 for the post for 22 May2022, Holcomb says that project began in 1948.

43.  Holcomb.  63.
44.  Holcomb.  63.
45.  Katherine Ferris Rohrbough.  108.  Quoted by Holcomb.  84.
46.  YWCA.  1.

47.  “Donald Frye in the 1940 Census.”  Archives website.  He was living in Radnor, Township to the northwest of Delaware.

48.  Holcomb.  109.
49.  Steve Eskew.  “Fora E. Lassiter.”  His website; last updated 25 August 2021.
50.  “William L Detwiler.”

51.  “Delaware/OakGrove.”  Internment website.
“Detwiler Tavern.”  Past Perfect Online website.

52.  Elizabeth J. (Hall) Hartley.  Descendants of Moses Hall, John Dounda, and Benjamin Hall (Quaker Families of Belmont County, Ohio, from Virginia & North Carolina.  Denver, 1958, second private printing.  vii on Moses Hall, 1 on his son Moses Hall, 146 on Joseph Hall, 181 on Thomas Hall and David Hall, 182 on Linley Hall who married Millicent Bailey, and 183 Mary Hall who married William James Steer.

53.  “Oscar Joseph Bailey.”  Roots Web website.  Oscar Joseph was Oscar Wilson’s grandfather.  Oscar Wilson’s great grandfather was Lindley Patterson Bailey.

54.  “Oscar W. Bailey.”  Prabook website.
55.  National Gallery of Art.

CRS YWCA Repertoire

Topic: CRS Versions
The Young Women’s Christian Association (YWCA) published a songbook through Cooperative Recreation Service (CRS) in 1942. [1]  The reasons it chose CRS are unknown, but the editor, Marie Oliver, may have known or known of Lynn Rohrbough when she was studying music in Boston.

Oliver graduated from Pomona College in 1922, [2] and was teaching in Pomona’s Garey Junior High School in the 1922–1923 school year. [3]  She entered the master’s program in music of Boston University [4] sometime after that.  Rohrbough started his Social-Recreation Union at BU in 1924. [5]

BU was a much smaller school then than now.  Ryan Hendrickson says the total enrollment in 1920 was 450 students. [6]  Depending on how Rohrbough advertized his group’s meetings, she could have seen a notice.  Or, as likely, she could have had friends who were majoring in music and interested in church youth groups.

I have no information on her life for the next few years.  In 1935, she was on the music faculty at BU. [7]  At this time, she also became the music secretary for the Boston Y. [8]  That led to her job with the national office.  She may have seen some of Rohrbough’s publications when she was in Boston, or some member of the New York office was aware of his work with recreation and folk dancing.

The earliest edition I have of Sing Along the Way has a note on the inside cover that the owner was a “member of Y. W. C. A. ‘Six-Thirty Club’ 1944.” [9]  It may not be the first edition, but differs significantly from a dated version I own nfrom 1951. [10]  Oliver published a companion pamphlet in 1943 [11] that suggests ways songs could be used in club meetings and conventions.  This identifies titles that were included in the first edition.

Oliver was a soprano who had been trained to teach public school music.  As such, she was accustomed to leading music programs, not following requests from an audience.  She recommended a song leader begin with songs everyone knows, to “draw a group together in good feeling.”  Then one could introduce new songs. [12]

She suggested some international songs “to promote understanding among peoples of various backgrounds of race, nationality, and region.” [13] Sing Along the Way is not as inclusive as the 1920s’ Botsford Collection mentioned in the post for 13 March 2022.  Like the contemporary CRS songbooks mentioned in the post for 27 February 2022, the largest number of international folk songs come from Italy.  Unlike those editors, she has more songs from the South [14], including “Shuckin’ of the Corn.” [15]

The one foreign country that Oliver does include is China.  Communists had not yet taken over, and the Y had representatives in the country.  Both the “Spring Song” [16] and Sun Yat-sen’s “Chinese National Anthem” [17] are overtly political.  The “Boatman’s Chanty” and “Treading the Water Wheel” are in the “Work Songs” section.  They had been collected by Maryette Lum. [18]

The songbook has two sections whose contents overlap: “Work Songs” and “Social Justice.”  Zilphia Johnson Horton was on the music committee, [19] and may be responsible for labor songs like “Solidarity” [20] and “We Shall Not Be Moved” [21]  However, as is mentioned in the post for 13 March 2020, the Y had been involved with working women from the beginning.  “Shuttles of Commerce” had been sung at a YWCA meeting in Indianapolis, Indiana, in 1934. [22]

Other than the nine related to the union movement [23], the other work songs follow the standard groups used by Carl Sandburg [24], John and Alan Lomax [25], and Olcutt Sanders. [26]  Five are chanteys or related to boats [27], three have references to cowboys [28], and three to railroads. [29]  Like Sanders, most of the songs related to agriculture are international folk songs. [30]

The pamphlet section on camp and conference singing did not list any songs, and the songbook contains few.  Camping programs, in general, developed after World War II.  Oliver includes the Girl Guides’ “Kookaburra” [31], the Camp Fire Girls’ “My paddle’s keen and bright” [32], and the Y’s “Witchcraft.” [33]  She also has the requisite two pages of graces. [34]

Oliver probably was a typical customer for Rohrbough.  She had to strike a balance between the type of songs she wanted and the ones he had to offer.  When she found a Y song among his plates, she accepted his version.  Her version of the “Weggis Song” is neither the one published by Francis Hudson Botsford [35], nor the one Rohrbough used in the 1951 songbook. [36]

Oliver had more concerns than song selection.  She could not rely on Rohrbough for copyright information.  “Cowboy’s Lullaby” was introduced, without credits, in the 1941 Y songbook published by Carl Edward Zander and Wes Klusmann book. [37]  In the 1951 edition of Sing Along the Way, she wrote that, “after using this song for a long time, we find that it has been copyrighted!  We see that the tune and words are slightly different and are glad to change our version to the correct one with the kind permission of the copyright owner.” [38]

The 3 3/4" x 6 11/16" cover for the song book maintains the blue and gray color combination seen in the earlier songbook covers reproduced in the post for 13 March 2022.  The ink is more blue than other songbooks, but that may have been a result of war shortages rather than aesthetic design.  Otherwise, the sonngster was fairly generic, the type Rohrbough would produce if a customer did not provide artwork.  The only graphic of interest is the one CRS itself used on the inside front cover.

Notes on Performers
Marie Oliver was from Claremont, California, and may have been connected to a wealthy family there. [39]  In 1952, the man who falsely accused Pete Seeger of being a card-carrying Communist, [40] also claimed “the Boy Scouts, the Girl Scouts, the YWCA” were “all Communist infiltrated.” [41]

Conservatives criticized Oliver’s use of “Joe Hill,” a song associated with labor organizers in the Pacific Northwest, the International Workers of the World (IWW).  Karl Robinson had written the ballad when he was music director at the Communist Party’s Camp Unity near Wingdale, New York, in the 1930s. [42]  She responded the song “belongs to a part of labor history that cannot be wiped out simply by eliminating the song.” [43]

It did not matter that Harvey Matusow recanted in 1955; the damage was done.  Oliver resigned in 1952, [44] and returned to Pacific Grove, California, where she taught music in the public schools, and later piano.  She died in 2000. [45]

So far as I know, only YWCA songbooks contain the labor songs.  Rohrbough did include “Shuttles of Commerce” in the master list mentioned in the posts for 20 February 2022 and 27 February 2022.  However, he may not have made the others available to other customers, especially after 1952.

Availability
Book: Sing Along the Way, edited by Marie Oliver for the YWCA’s Woman’s Press.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service.

Graphics
1.  Sing Along the Way.  Front cover.

2.  Sing Along the Way.  Inside front cover and page 1; copyrighted song on page 1 not reproduced.

3.  “Weggis Song.”  Sing Along the Way, page 25.

End Notes
1.  Larry Nial Holcomb.  “A History of the Cooperative Recreation Service.”  PhD dissertation.  University of Michigan, 1972.  105.

2.  “The Chronicle of Commencement.”  Pomona College Quarterly Magazine 10:153–154:1922.  153.  This makes her graduation date 1922.

3.  “Garey Junior High School.”  California State Department of Education, Directory of Secondary Schools and Teachers Colleges for the School Year 1922-1923.  Sacramento, California: California State Printing Office, January 1923.  198.

4.  “Second Inter-Ass’n. Conference of YWCA to Be Held Monday.”  San Pedro News Pilot, San Pedro, California, 21 October 1943.

5.  See the post for 12 September 2021.

6.  Ryan Hendrickson, Howard Gotlieb Archival Research Center, Boston University Libraries.  Email, 15 November 2021.

7.  Advertisement for Boston University College of Music.  Boston Symphony Orchestra Concert Bulletin, 1935.  569.

8.  San Pedro News Pilot.

9.  So far as I can tell, Six-Thirty Club was a common term for organizations, and not a program sponsored by the YWCA as a national organization.  Most, who used the term, were groups that meet for supper and an after-dinner program.

10.  Sing Along the Way, edited by Marie Oliver for YWCA.  Delaware, Ohio: Cooperative Recreation Service, Cooperative Song Service; fifth printing, 1951.  Rohrbough uses the word “printing” to mean revision of an existing edition like Zander and Klusmann, discussed in the post for 28 November 2021.  The post for 13 March 2033 mentions the confusion this practice caused in YWCA meetings.

11.  Marie Oliver.  “Let’s Plan a ‘Sing’.”  The Woman’s Press, July-August 1943. 18–21 in Let’s Have Music, edited by Oliver.  1945.  When I was copying pages from the book in the 1970s, I did not get the complete publication information, and it is not in WorldCat.  Presumably it was issued by the YWCA’s Woman’s Press in New York City.

12.  Oliver, 1945.  19.  Olcutt Sanders makes a similar point in the post for 13 February 2022.

13.  Oliver, 1945.  19–20.

14.  “Sweet Petatehs” is identified as a “Creole Folk Song.”  “Mr. Rabbit” is described as a “Virginia Folk Song.”

15.  “Shuckin’ of the Corn.”  Tennessee, from Flora L. McDowell, 1938.  An early CRS version is reproduced in the post for 12 December 2021.  The plate had been remade with standard-sized notation, as shown in the post for 20 February 2022.

16.  “Spring Song.”  The footnote on page 52 said this song is used extensively today, especially where the singing of national Chinese songs is not permitted.  ‘Winter’ symbolizes war, and ‘Spring’ peace.”

17.  Sun Yat-sen was a leader in the revolution that ended the Quing Dynasty in 1911.  He served briefly as president of the new Republic of China, and remained active until his death in 1925. [46]

18.  Maryette Hawley Lum was a Congregation Church missionary who taught music in a Beijing school for girls. [47]  She published a collection of children’s songs in 1936 that did not include these two songs. [48]  She was in China as late as 1938, when Oberlin College mentioned she had attended the conservatory. [49]  By 1943, she was teaching at the Tule Lake “segregation center” for Japanese-Americans in California.  She was forced to resign for distributing literature from the pacifist Fellowship for Reconciliation mentioned in the post for 13 February 2022. [50]  She died in Santa Jose, California, in 1944. [51]

19.  Hulan Glen Thomas.  “Horton, Zilphia (1910-1956) Folk Music Collection 1935-1956.”  14 February 1964.  Tennessee State Library and Archives website.  Horton is discussed in the post for 28 July 2019.

20.  “Solidarity Forever” to “Battle Hymn of the Republic.”  48 in Sing along the Way and 20 in Oliver, 1945.  Ralph Chaplin wrote the words for the IWW in 1915, and it since has been used by many unions. [52]

21.  “We Shall Not Be Moved.”  51 in Sing Along the Way and 20 in Oliver, 1945.  This is discussed in the post for 4 August 2019.

22.  “Nation-wide Festival Will Be Marked by Y. W. C. A.”  Indianapolis Times, Indianapolis, Indiana, 19 March 1934.  It is sung to “Come to the Fair.”

23.  “Bread and Roses,” “Go We Forth,” “Joe Hill,” “Over All the Lands,” “We Shall Be Free,” “Whirlwinds of Danger,” and the ones already mentioned.

24.  Sandburg is discussed in the post for 5 May 2019.
25.  The Lomaxes are discussed in the post for 12 May 2019.
26.  Sanders is discussed in the post for 13 February 2022.

27.  “Cape Cod Chanty,” “Donkey Riding,” “Down the River,” “Erie Canal,” and the Chinese “Boatman’s Chanty.”  “Down the River” is treated as a play party.

28. “Cowboy Lullaby,” “Cowboy Night Song,” and “Night Herding Song.”  The last was credited to Singing America, edited by Augustus D. Zanzig.  Boston: C. C. Birchard, 1940.

29.  “Chicka Hanka,” “Drill Ye Terriers,” and “Levee Song.  The first is described as a “track laborer’s song” and the second as an “Irish-American work song, 1880.”  The chorus for the last is “I’ve Been Working on the Railroad”

30.  Sanders is discussed in the post for 13 February 2022.
31.  “Kookaburra” is discussed in the post for 20 February 2022.
32.  “The Canoe Song” is discussed in the post for 5 December 2021.
33.  “Witchcraft” is discussed in the post for 5 December 2021.

34.  “Adelynrood Grace,” “Fellowship,” “For health and strength,” “Hark to the chimes,” “Morning had come,” and “O Give Thanks.”

35.  Botsford’s version of “Weggis Song” is mentioned in the  the posts for 5 December 2021 and 13 March 2022.

36.  Sing Along the Way, 1951, credits the words to Zanzig as published by E. C. Schirmer in Ten Folk Songs and Ballads.  Set III.  I have not been able to confirm this attribution.  Zanzig said the Ten Folk series was a set of pamphlets that was selling for .10 in 1933. [53]  No library has reported a copy to WorldCat and no copies are for sale by on-line used book sellers.  I found the words that appear in the 1951 Y songbook used in a 1942 arrangement by J. A. Fitzgerald.  Zanzig used another set of words in Singing America in 1940.  The Fitzgerald arrangement was copyrighted by E. C. Schirmer and Singing America by C. C. Birchard.  The post for 13 March 2020 suggests copyrights might have been another reason the Y no longer used the Botsford version.

37.  “Cowboy’s Lullaby.”  50 in Girl Reserve Song Book.  Inglewood, California: Songs ’n’ Things, 1941.  Camp Songs ’n’ Things was owned by Carl Edward Zander and Wes Klusmann.  This songbook is discussed in the post for 13 March 2022.

38.  It’s “Cowboy Lullaby” on page 7 of this edition.  The 1951 edition has “Round-Up Lullaby” on page 7 with a credit to “From Sun and Saddle Leather, Copyright by Chapman and Grimes Music Copyright, 1947, by Ralph H. Lyman.”  Copyright claims like this are not always accurate.  Badger Clark, born Charles B. Clark, Jr., included “A Roundup Lullaby” in Sun and Saddle Leather.  Boston: The Gorham Press, 1915.  Clifton Wellesley Barnes wrote the camp melody.  The composer was a member of the class of 1914 at Pomona College, [54] where Lyman was head of the music department. [55]  Lyman altered the melody for his glee club version.  I have heard both Barnes and Lyman’s versions sung in camps. [56]  Clark’s original version has more stanzas.

39.  “Welcome to Marie’s Room.”  Martine Inn, Pacific Grove, California, website.  “This room is named after Marie Oliver who was a niece of the Parke family as she lived in this room for over 20 years.”  The inn was the home of James Parke, son of the founder of Parke-Davis.  He had one brother and two sisters, along with three step-brothers and a step-sister. [57]  The Oliver connection, if it exists for the Y’s Oliver, could have been through any of their wives.

40.  For more on the accusation against Pete Seeger, see the post for 18 August 2019.

41.  Harvey Matusow.  False Witness.  New York: Cameron and Kahn, 1955.  This is the explanation for how he came to make false statements.  He remembered:

“As if that wasn’t enough, I continued with, ‘The Columbia Broadcasting System, State Department, the Boy Scouts, the Girl Scouts, the YWCA, the USO, the United Nations, Voice
of America, and the Farmers Union are all Communist infiltrated’.” [page 168]

42.  Camp Unity is mentioned in the post for 14 July 2019.

43.  Marie Oliver.  Quoted by the anonymous overview of the YWCA archives in the Sophia Smith Collection.  Smith College website.

44.  Smith College.

45.  Obituary for Marie Oliver.  Herald, Monterey Peninsula, California, 29 January 2000.

46.  “Sun Yat-sen.”  Wikipedia website.

47.  Item.  Mission Studies 40(6):162:June 1922.  Published by the Woman’s Board of Missions of Interior (Congregational).

48.  Maryette Hawley Lum.  Songs of Chinese Children.  Peking, 1936.

49.  “China’s Coeds Celebrate Too.”  Oberlin Review, Oberlin College, 66(25):1:7 February 1938.

50.  House of Representatives, Special Committee on Un-American Activities.  Investigation of Un-American Propaganda Activities in the United States, 1943 hearings, volume 16, page 11,038.  Washington, DC: Government Printing Office, 1944.

51.  Trudy Hawley.  “Maryette H. Lum.”  The Hawley Record on RootsWeb website, last updated 24 October 2019.

52.  “Solidarity Forever.”  Wikipedia website.

53.  Augustus D. Zanzig.  “School Contributions to Community Life.”  Music Supervisors’ Journal 19(4):18–19,65:March 1933.  19.

54.  Camp Songs, Folk Songs.  52.

55.  Ralph H. Lyman.  “The Music of the Year.”  Pomona College Quarterly Magazine 9:164–165:1921.  He was head of the department when Oliver was a student at Pomona College.

56.  Camp Songs, Folk Songs.  418.

57.  “Death of Hervery Coke Parke.”  Detroit Free Press, Detroit, Michigan, 9 February 1899.  5.  Posted by majorwilliamstree on 25 February 2019.

CRS Custom Secular Songbooks

Topic: CRS Versions
If Lynn Rohrbough had done nothing more than he had done in the early 1940s, he would have had a comfortable business producing songbooks for churches and religious organizations.  Larry Holcomb says that, over the years, The Methodist Church ordered 520,000 copies of Larry Eisenberg’s Sing It Again, while the Evangelical and Reformed Church ordered 385,000 copies of Songs of Many Nations through multiple editions. [1]

The Columbus, Ohio, Indianola Methodist Church still would have published Indianola Sings, and John Blocher, Jr., still would have transcribed “Ku Bah Ya” for it.  However, the song probably would not have spread much farther than Methodist Youth Fellowship (MYF) networks and local youth camps.

What allowed “Kum Bah Ya” to become an international song was Rohrbough’s access to secular markets.  That began in 1942, when his Cooperative Recreation Service (CRS) published Sing Along the Way for the Young Women’s Christian Association (YWCA).  More than 145,000 copies had been produced by the early 1970s. [2]

Of all the organizations that sponsored youth groups, the YWCA had perhaps the greatest interest in music.  A librarian at Smith College thinks this was an outgrowth of its religious origins, and that “ participatory singing of hymns and folk songs from all over the world, was a part of Association meetings and events from very beginning.” [3]

There is no single founder or parent organization.  In England, several groups with similar names were formed in the 1850s to respond to the needs of working women.  Similarly, in this country, prayer groups in cities like Boston and New York evolved into a national organization in 1907. [4]

The Boston group organized in 1866, and immediately began offering classes in singing.  Two years later it was running a boarding house for young working women in the city. [5]  This was a forerunner of the Bethany Girls Center where Rohrbough worked in Chicago in the 1920s. [6]

One of the Y’s first music publication efforts was initiated by the Department for Work with Foreign-Born Women after World War I.  Florence Hudson Botsford began publishing collections of immigrant folk songs in 1921. [7]  Two entered residential camp singing traditions: “Baby Owlet” [8] and “Weggis Song.” [9]

In 1918, when denominational groups like the Epworth League were expanding, the Y organized Girl Reserves clubs for girls of all ages. [10]  Mildred Roe oversaw its first songbook in 1923.

The format anticipates that of Lynn Rohrbough’s Handy books, [11] and, so far as I have seen in early camp songsters, was unique to the Y. [12]  The leatherette cover, which measures 3 5/8" x 7", extends beyond the 3 3/4" x 6 3/4" pages like a Bible.  My copy has 64 pages, and is held together by two metal butterfly fasteners.  Many of the songs are cheers and stunt songs like those published a few years later by E. O. Harbin for the Methodist Episcopal Church South. [13]

Girl Reserves primarily were interested in school-based clubs.  However, its section on camp songs indicate a number of popular ones like “Father time is a crafty man” [14] and “Mister moon moon” [15] already were in tradition.  Roe included a version of “Each camp fire lights anew” that later was used by Carl Edward Zander and Wes Klusmann, and is reproduced in the post for 28 November 2021.

Katharine Blunt Parker took over the chairmanship of the music committee and, in 1925, asked Imogene Ireland to direct music at conferences. [16]  She issued a new Y songbook in 1926 that contained all but six of the 117 songs published by Roe. [17]  The 22 new songs were mainly hymns, Girl Reserve songs, and graces.

Someone, perhaps Margaret Hall, [18] published a Girl Reserve Song Book through Zander and Klusmann’s company in 1941.  While the cover design features the organization’s logo, the overall format is the same as their other collections.  It is 3 5/8" x  6 15/16", and bound by two staples.

Although it has many of the subheadings used by Roe, like “Girl Reserve Songs” and “Folk Songs,” only 16 of the 103 songs are in either the Roe or the Ireland collection. [19]  Of those, only seven are unique to the YWCA.  Three are general (“As the Bright Flame Ascends,” [20] “Each Camp Fire,” and “Follow the Trail” [21]) and four served organizational needs (“Follow the Gleam,” [22] “For the year that came from Thee,” [23] “Gracious I will be in manner,” [24] and “O God grant our daily bread.” [25])  It included one new Y song that entered the traditional girls’ camp tradition, “Witchcraft.” [26]

This does not mean a wholesale change in repertoire.  Many of the songs, like those from the Botsford collection, did not become popular, and were replaced by the newer European folk songs like “Came a Riding” [27] and “Tiritomba.” [28]  It uses Augustus Zanzig’s version of the “Weggis Song” rather than the Botsford one. [29]

The purpose of the songbook was not to include the entire YWCA repertoire, but to provide versions of songs that had were being sung in many camps, but were not yet well-known. [30]  Thus, while there was no need to provide versions of “Father Time” and the “Year Song,” there may have been a need to provide texts or tunes for “The Curtains of Night” [31] and “Tell Me Why.” [32]

This may be the last special songbook published by Zander and Klusmann.  When the Y wanted to publish a new book in 1942, it turned to Rohrbough’s company.

Notes on Performers
Florence Hudson Botsford was born Florence Topping in Cairo, Illinois, in 1868. [33]  She graduated from Shimer College of Chicago in 1888, then taught music for a year. [34]  In 1890, she was singing for the State Street Methodist Church in Troy, New York, where she entranced her audience with versions of “Annie Laurie” and “Comin’ Thro’ the Rye.” [35]  She married Charles Hull Botsford in 1893. [36]  He was involved with oil in the Balkans before World War I. [37]  This exposure may have abetted her interest in European music.

Mildred Roe grew up in Buchanan, Michigan, where her grandfather had a lumber business [38] and played a violin he had purchased from a local German farmer [39]  She studied piano in Chicago, [40] then matriculated to Smith College where she graduated in 1920.  She immediately went to work for the YWCA as a field secretary. [41]  Before and after World War II, she worked with Japan for the Y. [42]

Imogene Belle Ireland graduated from Barnard in 1913, where she was treasurer of the YWCA and wrote music for school programs. [43]  The next semester she entered Columbia College. [44]  She was involved in public school music in 1915, [45] then, with World War I, went to France as secretary to the Y’s Industrial Commission. [46]

Margaret Hall not only is a common name, but is the name of a women’s college at Oxford University and was a dormitory at Iowa State University that burned in 1938.

Availability
Florence Hudson Botsford.  Folk Songs of Many Peoples.  New York: The Womans Press, volume 2, 1922.  Republished as Florence Hudson Botsford.  Botsford Collection of Folk Songs. New York: G. Schirmer, 1930.

Girl Reserve Song-Book.  New York: The Womans Press, 1923.  The Girl Reserve Song-Book Committee included Mildred Roe, chairman, and Imogene B. Ireland.

Imogene B. Ireland.  The Song Book of the Y. W. C. A.  New York: Womans Press, 1926.

Girl Reserve Song Book.  Inglewood, California: Songs ’n’ Things, 1941.  “To Margaret Hall for her invaluable aid in editing.”  Camp Songs ’n’ Things was owned by Carl Edward Zander and Wes Klusmann.

Graphics
1.  Roe.  Front cover.
2.  “Each camp fire lights anew” to “May Madrigal.”  29 in Roe.
3.  Carl Edward Zander and Wes Klusmann.  Front cover.

End Notes
1.  Larry Nial Holcomb.  “A History of the Cooperative Recreation Service.”  PhD dissertation.  University of Michigan, 1972.  106.  Sing It Again is discussed in the post for 9 February 2020.  Songs of Many Nations is mentioned in the posts for 20 February 2022 and 27 February 2022.

2.  Holcomb.  105.

3.  Anonymous overview of the YWCA archives in the Sophia Smith Collection.  Smith College website.

4.  “YWCA of the U.S.A. History.”  International Directory of Company Histories, edited by Jay P. Pederson.  Detroit, Michigan: Saint James Press, volume 45, 2002.  Reposted on Funding Universe website.

5.  Elizabeth Wilson.  “To Refute or Verify.”  The Association Monthly, December 1914.  Cited by “YWCA Boston.”  Wikipedia website.

6.  The Bethany Girls are mentioned in the post for 12 September 2021.

7.  Smith College.

8.  “The Owlet.”  2:86 in Botsford (1922) and 1:31 (1930).  Arranged by Elena Landázuri; English text by Muna Lee.  Reprinted on page 46 of Roe.  More information is provided in the post for 21 January 2018.

9.  “Weggis Song.”  2:160–161 in Botsford (1922) and 3:265–266 (1933).  English by Margaret Widdemer, arranged by Jean Binet.  Reprinted on page 47 of Roe.  This is mentioned in the post for 5 December 2021.

10.  Noriko Namiki.  “A Moment in Our History: Touching the Lives of Future Generations: From Girl Reserves and Y-Teens to Girls’ Summit.”  YWCA Oahu website, 28 April 2020.

11.  A copy of Handy II appears in the post for 12 December 2021.

12.  The camp songbooks I have seen from the 1920s and 1940s were more square than oblong.  Blue Triangle Songs, issued by the Louisville, Kentucky, YWCA in 1924, is 3 ½" x 5 ½".

13.  E. O. Harbin.  Paradology, Songs of Fun and Fellowship.  Nashville: Cokesbury Press, 1927.  This is discussed in the post for 9 February 2020.

14.  “Father Time” to “Father Time.”  29 in Roe.
15.  “Oh, Mister Moon, Moon” to “Moon, Moon.”  30 in Roe.
16.  Smith College.  Parker is discussed briefly in Camp Songs, Folk Songs.  57.

17.  Ireland replaced two hymns and three old songs with others of the same genres.  The Romanian Girl Reserve song, “Come, Girl Reserves, with quickened step,” [47] was replaced with a Czech song from the Botsford Collection. [48]  Neither contained the sung syllables mentioned in the post for 5 December 2021.

18.  Zander and Klusmann.  8.

19.  This number excludes hymns, spirituals, rounds, and older songs like those of Stephen Foster that are not unique to either songbook.

20.  “As the bright flames ascend to heaven” to “Drink To Me Only With Thine Eyes.  29 in Roe.

“As the Bright Flames.”  60 in Ireland.
“As the Bright Flames Ascend” to “Drink To Me Only With Thine Eyes.”  61 in Zander.

21.  “The Camper’ Song” to Stevenson’s “Swing Song.”  28 in Roe.
“Follow the Trail to the Open Air.  58 in Ireland.
“Follow the Trail” by Agatha Deming.  56 in Zander.

Camp Songs, Folks Songs has details on page 463 on Deming’s involvement with the Woodcraft league mentioned in the post for 28 November 2021.

22.  Sallie Hume Douglass.  “Follow the Gleam.”  18 in Roe.
“To Knights in the Days of Old.”  29 in Ireland.

“Follow the Gleam.”  Words and music copyrighted 1922 by Sallie Hume Douglas.  91 in Zander.

The words by Helen Hill Miller are written to “Garden of Paradise” by Sallie Hue-Douglas.  Camp Songs, Folk Songs has more details on pages 365–366 and 457.

23.  “For the Year That Came from Thee.”  S1-11 in Ireland.
“Girl Reserve Litany of Thanks” by John H. Gower and Abbie Graham.  86 in Zander.

24.  “Gracious in Manner” to “I’m Forever Blowing Bubbles.”  16 in Roe.
“Gracious I Will Be in Manner.”  26 in Ireland.
“Girl Reserve Code Song” by Eleanore Weddell Roberts.  9 in Zander.

25.  “O God, Grant Our Daily Bread.”  S1-16 in Ireland.
“Girl Reserve Grace.”  13 in Zander.

26.  “Witchcraft.”  Used by permission of Margaret Snyder.  10 in Zander.  This is discussed in the post for 5 December 2021.

27.  “Came A-Riding.”  Czech with English by Martha C. Ramsey.  35 in Zander.  This is discussed in the post for 9 February 2020.

28.  “Tiritomba.”  From Folk Songs, Ballads and Songs of Great Composers.  Selected by Augustus D. Zanzig under the auspices of the National Recreation Association.  Set III.  Copyright, 1936, by E. C. Schirmer Music Co.”  WorldCat says “Tiritomba” is in Set 1.  Zander used a text by Anne G Molloy of page 32.  For more on the song, see the post for 5 December 2021.

29. Although the YWCA sponsored the Botsford collection, it was published by G. Schirmer.  There may have been copyright issues in reprinting some of the material after the rights were transferred to G. Schirmer in 1929.

Incidentally, there are two Schirmer music companies.  G. Schirmer was founded by Gustav Schirmer in New York in 1866.  His grandson, also Gustav, ran the company from 1919 to 1921.  It specialized in classical music, then branched into other areas. [49]  Gustav’s nephew, Ernest C. Schirmer, apprenticed with the company, then ran the Boston Music Company.  In 1921, he started his own company, E. C. Schirmer, which published works for the Concord School. [50]

30.  Another reason songs sung in camp may have been omitted is that many are written to popular songs.  While the right to create a parody is protected by the first amendment, the right to sing the tune is limited by copyright law.  This is the reason someone who was not present when “Follow the Gleam” was written gets credit, rather than the actual writers mentioned above in note 22.  Oliver discusses the problems the Y had in getting permissions in “How To Write a Parody.”  17 in Let’s Have Music.  New York: Woman’s Press, 1948 edition.

31.  “The Curtains of Night.”  57 in Zander.  “We are indebted to Hazel Bell Withrow and Mrs. Maude Henderson” for this version.  See April 1936 Woman’s Press for story of its origins.”

32.  “Tell Me Why.”  80 in Zander.  Roe has a local version that begins “Why do we love you, O Girl Reserves” to the tune “Because God Made You” on page 14.  Zander has a blank in the last line for the camp name.

33.  “Florence Botsford.”  Shimer College Fandom website.
34.  “Florence Hudson Botsford.”  Prabook website.

35.  “Miss Florence Topping Captivates the Hearts of Her Hearers.”  The Morning Telegram, Troy, New York; republished by The Ottawa Daily Republic, Ottawa, Kansas, 14 May 1890.  4.  Posted to the internet by reedlr on 05 November 2019.

36.  Shimer College.

37.  Thomas W. Hawley.  “Charles H. Botsford ’75.”  Princeton Alumni Weekly 31:390:23 January 1931.

38.  Mildred Roe.  From her “History of Certain Roe and Tichenor Families in the U.S. A.”  October 1965.  31.

39.  Roe, History.  32.  He then was living in Portage Prairie in Berrien County, Michigan.  Buchanan is in the same county.

40.  “Pupils of Edward Ehrhand.”  Music News, Chicago, Illinois, 8:8:19 May 1916.

41.  Item.  The Smith Alumnae Quarterly 12:173:November 1920.  She was tapped for Phi Beta Kappa.

42.  Karen Garner.  “Global Feminism and Postwar Reconstruction: The World YWCA Visitation to Occupied Japan, 1947.”  Journal of World History 15:191–227:2004.  206.

43.  Mortar Board.  Barnard College yearbook, 1912.
44.  The Columbian.  Columbia College yearbook, 1914.  288.

45.  “Yonkers Festival Triumph of Public School Music System.”  Musical America, 15 May 1915.  47.

46.  “Industrial Commission Will Sail to France.”  War Work Bulletin, 7 February 1919.  59.

47.  Roe.  14.

48.  “Andulko.”  Botsford, volume 1 (1921) and 3:30–31 (1933).  English by John Mokrejs, arranged by LudmilaVojáĉkova-Wetche.  Reprinted on page S1-8 of Ireland.

49.  Nicolas Slonimsky, Laura Kuhn, and Dennis McIntire.  “Schirmer, G., Inc.”  Baker’s Biographical Dictionary of Musicians, a publication of G. Schirmer.  Reprinted on Cengage Encyclopedia website.

50.  “E. C. Schirmer Music Company.”  ECS Publishing Group website.

Cooperative Recreation Service’s Repertoire

Topic: CRS Versions
Lynn Rohrbough offered a variety of songs for inclusion in his custom songbooks in 1944.  A comparison of four songbooks mentioned in the post for 20 February 2022 suggests which his customers preferred.

None included the sorts of songs then sung in many camps like “Dummy Line,” [1] although CRS offered it.  They were being replaced by folk songs.  They constituted 45% of the master list, and 42% to 43% of the choices made by E. O. Harbin, Olcutt Sanders, and Edward Schlingman.

Only Paul Albery used a fewer number, 25%.  Instead, he had more hymns, 30%.  This compares with 23% by Harbin, 17% by Sanders, 15% by Schlingman, and 14% on Rohrbough’s master list.  This may reflect concerns of the Methodist Church in Michigan.  Douglas MacNaughton says conservative leaders within the conferences argued “evangelism and education should go hand in hand,” and more “Biblically based” materials should be used. [2]

None of the hymns were by Charles Wesley.  In place of traditional Methodist lyrics, the most common religious songs, used by all four editors, were written by men who had been affected by World War I: “God of Grace and Glory,” [3] “In Christ There Is No East and West,” [4] “The New World,” [5] and “We Would Be Building.” [6]

This emphasis on universal fellowship may seem odd in the midst of World War II.  In 1940, the national meeting of Methodist Youth had discussed topics like “The Christian and War,” “Christian Pacifism in Time of War,” and “Goals and Techniques for an Enduring Peace.” [7]  However, after the Japanese attacked Pearl Harbor Japanese in 1941, many enlisted.  As Thomas Bergler notes, the organization changed from a shared view that war was bad to equal support for draft resistors, conscientious objectors, and men in the military. [8]

The editors of the songbooks avoided the conflict between religious tradition and current reality by looking toward the future, rather than dwelling on the present.  Three editors selected only two patriotic songs from Rohrbough’s list of six, “My Country Is The World” [9] and the familiar “America the Beautiful.”  This does not mean patriotic and war-time songs were not sung at meetings, but only that the editors did not feel the need to spend money printing what was commonly known. [10]

Rohrbough’s concept of a folk song was eclectic and included popular and national songs.  The largest number in his 1943 list of 292 songs came from England (14), but none were Child ballads.  However, he did include a number of songs from the South, especially Tennessee (12) and Kentucky (11).

The other European countries whose songs he used were Germany (8), Italy (8), and Denmark (8).  He offered eight songs in Spanish from Chile and México.  He also included popular work songs: six chanties, five with cowboy themes, and two railroad lyrics.  Songs about farming were mixed with the international songs.

His sources still were people he had met.  The Danish songs came from the Danish American Young People’s League, [11] his Bohemian ones from Victor Pisek, [12] and his southern songs from his interest in play parties and his work with Flora and Lucien McDowell, and with Edna Ritchie. [13]

He did not draw upon academic collections or popular ones like those produced by Carl Sandburg [14] and John Lomax. [15]  The scholarly anthologies rarely contained tunes, and so were not useful.  The others were copyrighted, so that, while they contained folklore, the lore had moved out of the public domain.

Instead, Rohrbough tended to use sheet-music folios that had folk sources, but had been arranged with piano accompaniments like those published by Augustus Zanzig [16] and E. C. Schirmer. [17]  One might call these ethno-American [18] collections because they contained songs with roots in culturally distinct groups that had been altered to fit the expectation of middle-class individuals who had been trained in western aesthetics in public schools. [19]  Such songs were used by subgroups within the middle class and sung in special contexts, like summer camps and club meetings.  They were neither folk, as defined by academics, nor popular music, if the latter refers to songs heard on radio.

The four songbook editors who used Lynn Rohrbough’s CRS service in the early 1940s were less experimental than he.  Of the ethno-American songs selected by at least two of the men, six came from Italy, [20] five from the South [21] or Czechoslovakia (including Bohemia), [22] and three came from England [23] or Germany. [24]  That is, they chose 75% of those available from Italy, 55.5% of those from Czechoslovakia, and 37.5% from Germany.  In contrast, only 21% were from England and 15.6% from the South.

It would appear the ethnic origin of the song was not particularly important.  The trait that characterizes them is their use of the sung syllables, which are discussed in the post about Carl Edward Zander and Wes Klusmann for 5 December 2021.  Strings of vocables were used in 50% of the Italian songs, [25] 37.5% of the German, [26] and 22% of the Czech. [27]  Only 3% of the Southern songs had them, [28] and none of the English ones.  The use of such vocables was less common in the cultural groups who songs were selected by only one of the editors.

These men, especially Harbin and Sanders, were aware of the regional and occupation classifications used by Sandburg and Lomax.  However, only one chantey and two songs with cowboy themes were selected by a plurality of the editors.  As mentioned in the post for 5 December 2021, these were more likely to be selected by camps with programs that emphasized the sea or the west.  It is similar to the problem with ballads mentioned in the post for 28 November 2021: they came from singing traditions that did not fit the congregational aesthetic in religious camps.

Spirituals were the other important group of songs in these collections.  Although the numbers may be small, less than 10% of each songbook, [29] this was greater than the 6% of such songs in the master list.  They form a special class between the ethno-American and hymns, because they, in fact, are both rooted in folk tradition and have religious content. [30]

A number of rounds appeared in each book, averaging nearly 13% of the content of each.  However, it is not clear if they were selected for themselves, or were used as filler.  They never occupy more than two lines of print, and could be placed at the bottoms of pages.  It is hard to find any other explanation for why “To Ope Their Trunks” appeared in the hymn section of Melody in Michigan. [31]  Unlike many publishers, Rohrbough did not fill empty space with artwork or texts; he delivered songs. [32]

Graces [33] use as little space as rounds, but tend to be grouped together where they easily can be found.  They represent another type of song included in CRS songsters, the ceremonial ones that serve utilitarian purposes in camp programs.

End Notes
1.  “Dummy Line” is an authentic American folk song.  It has been collected in many variants from a number of places over a number of years. [34]  Some of the oldest versions collected from African Americans have an identifying verse that begins “some say a dummy line won’t run” and a chorus. [35]  However, by the time it was reported, the chorus or first verse was sung with other, common ones heard in other songs. [36]  Mudcat Café has a discussion where people are sharing their versions. [37]  Camp Songs, Folk Songs quotes lyrics from five variants found in camps. [38]

2.  A. Douglas MacNaughton.  The Methodist Church in Michigan: The Twentieth Century.  Grand Rapids, Michigan: William B. Eerdmans, 1976.  223.  This is similar to the conflicts between Lutheran ministers and Walther League discussed in post for 21 June 2020.  Incidentally, the International Walther League already had published its version of Sing Again when Rohrbough made his list.

3.  Harry Emerson Fosdick.  “God of Grace and Glory.”  Written in 1930 to music by John Hughes for the dedication of Riverside Church in New York City, [39] and included in The Methodist Hymnal in 1935. [40]  Fosdick was a Baptist who accepted evolution.  In his 1933 sermon on “The Unknown Soldier,” he said he had been a “gullible fool” to support World War I. [41]

4.  John Oxenham.  “In Christ There Is No East and West.”  Written in 1908 to music by Alexander Reinagle for a program presented by the London Missionary Society for an exhibition, The Orient in London. [42]  It was published in this country by The Methodist Church in 1927. [43]

5.  Jay Holmes Smith.  “Come Forth, Ye Men of Every Race and Nation!”  Written to “The Heavens Are Telling” from Haydn’s The Creation. [44]  Smith was a Methodist missionary to India who was expelled in 1940 for criticizing British rule.  He founded the Harlem Ashram in New York City to promote Gandhi’s ideas. [45] The first publication known by the Hymnary website was by the Disciples of Christ in 1941. [46]

6.  Purd E. Dietz.  “We Would be Building.”  Written to Jean Sibelius “Finlandia” and copyrighted in 1932 by the Presbyterian Board of Christian Education.  [Hymnary website]

7.  Letters, minutes, and other papers from the 1940 meeting of The National Council of Methodist Youth that were uploaded as a single document to the internet.  Section on “Commissions,” 3–4 of section, 9–10 of packet.

8.  Thomas E. Bergler.  “Youth, Christianity, and the Crisis of Civilization, 1930–1945.”  Religion and American Culture 24(2):259–296:Summer 2014.  266.

9.  Robert Whitaker.  “My Country Is the World.”  Written to “America” and published in My Country and Other Verses.  San Francisco: James H. Barry Company, 1905, copyrighted 1904. [47]  He was born in England, where “America” is “God Save the Queen.”  During World War I, he was a Pacifist. [48]  CRS credited a Farmer Union Song Book. [49]  It may be from the group who sponsored Selected Songs with the Manitoba Federation of Agriculture.

10.  This also may be the reason the editors included few standard hymns, nineteenth-century popular songs, or humorous children’s camp songs.  What was known did not need to be printed.  The collections were not intended to replace existing hymnals, but supplement them with material not yet in the canon.  In this sense the hymn choices, like the collections, reflected ideals to be passed on to youth in senior institutes, not realities.

11.  For more on Rohrbough’s contact with the Danish American Young People’s League, see the post for 26 September 2021.

12.  For more on Pisek, see the post for 19 September 2021.
13. The McDowells and Ritchie are discussed in the post for 12 December 2021.

14.  Carl Sandburg’s The American Songbag is discussed in the post for 5 May 2019.  The CRS list includes the following songs also published by Sandburg: “Cielito Linda” (4), “Down in the Valley” (3), “Sourwood Mountain” (3), “I Ain’t Gwine Study War No More” (3).  Sandburg’s version of “Down in the Valley” was from Frances Ries of Batavia, Ohio.

15.  John and Alan Lomaxes’ American Ballads and Folk Songs is discussed in the post for 12 May 2019.  The CRS list includes the following songs they also published: “Down in the Valley” (3), “Sourwood Mountain” (3), and “Swing Low, Sweet Chariot” (3).

16.  For more on Augustus D. Zanzig, use the keyword in the index at the right.

17.  E. C. Schirmer is mentioned in the posts for 5 September 2021, 19 September 2021, and 5 December 2021.

18.  When I checked with Google on 16 January 2022, I did not find any academic was using the term “ethno-American.”  It was used on YouTube by Walter Maksimovich for recordings of polka music.  This music is another example of the broad class of music I mean with the term.

19.  A 1924 advertisement for folk-song collections intended for grades five and six promised: “Great care has been exercised in collecting the folk tunes that are used in these books.  It is not enough that a tune is merely folk music; it must possess definite racial characteristics; it must be obvious enough in rhythmic and melodic content to interest a child, it must present no unreasonable difficulty, it must tell its own story without help of the harmonic arrangements, and above all it must possess melodic beauty and charm.” [50]

20.  “Marianina” (4), “Tiritomba” (4), “Funiculi” (3), “My Banjo” (3), “The Silver Moon Is Shining” (3), and “Santa Lucia” (2).

21.  “Down in the Valley” (3), “Sourwood Mountain” (3), “Mingo Mountain” (2), “Pretty Saro” (2), and “Shuckin’ of the Corn” (2).

22.  “Came A-Riding” (4), “Over the Meadow” (4), “Walking at Night” (4), “Good Night Beloved” (3), and “The Lover’s Quest” (2).

23.  “The Keeper” (4), “Green Grow the Rushes Ho” (3), and “John Peel” (3).  “The Keeper” and “Rushes” are discussed in the post for 5 December 2021.

24.  “The Generous Fiddler” (3), “The Foot Traveler” (2), and “Holla Hi, Holla Ho” (2).

25.  “Marianina” (4), “Tiritomba” (4), “Funiculi” (3), and “My Banjo” (3).  The first three are discussed in the post for 5 December 2021.

26.  “The Generous Fiddler” (3), “The Foot Traveler” (2), and “Holla Hi” (2).  “Foot Traveler” is discussed in the post for 5 December 2021.

27.  “Came A-Riding” (4), “Walking at Night” (4), and “The Lover’s Quest” (2).  “Riding is discussed in the post for 9 February 2020.  “Walking” is discussed in the post for 5 December 2021.

28.  “Sourwood Mountain” (3).

29.  “Jacob’s Ladder” (4), “Ev’ry Time I Feel the Spirit” (3), “I Ain’t Gwine Study War No More” (3), “I Want To Be Ready” (3), “Lord, I Want To Be a Christian” (3), “O Nobody Knows” (3), “Steal Away” (3), “Swing Low, Sweet Chariot” (3) and “Go Down Moses” (2).  The words to James Weldon Johnson’s “Lift Every Voice and Sing” also were selected by all four editors.

30.  I plan to discuss Rohrbough’s use of spirituals at a later date, and so will not speculate now on why they were so popular.

31.  “To Ope Their Trunks.”  38 in First Years in Song-Land, edited by George F. Root.  Cincinnati: John Church, 1879.  In Melody in Michigan, it appeared on page 12 with “Make Me a Captive Lord” by George Mathewson.  The latter was set to “Leonminster.”

32.  See the placement of the round “Where Is John” in the illustration in the post for 20 February 2022.

33.  “O Give Thanks” (4); “Praise for Bread” (4), which begins “Morning has come”; “A Round of Thanks” (4), which begins “For health and strength,” and “Chimes Grace” (2), which begins “Hark to the chimes.”

34.  Louise Pound.  “Introduction.”  xii–xxxvi in American Ballads and Songs.  New York: Charles Scribner’s Sons, 1922.  xii–xvi.  This is cited in the post for 12 May 2019.

35.  Dorothy Scarborough.  244–245 in On the Trail of Negro Folk-Songs.  Cambridge, Massachusetts: Harvard University Press, 1925.  Collected from Dr. Moore of Charlotte, North Carolina.

E. C. Perrow.  “Songs and Rhymes from the South.”  Journal of American Folklore 26:123–173:1913.  In the 1909 W. P. Bean manuscript from Mississippi Negroes.

The Frank C. Brown Collection of North Carolina Folklore.  521 in Volume 3, Folk Songs from North Carolina, edited by Henry M. Belden and Arthur Palmer Hudson.  Durham, North Carolina: Duke University Press, 1952.  From Eura Mangum of Durham, North Carolina.

36.  Perrow.  In the 1908 W. O. Scroggs manuscript from Alabama Negroes.

37.  “Lyr Add: The Dummy Line (additional verses).”  Mudcat Café website, thread begun by Owlkat on 28 October 1999.

“Origins: The Dummy Line - What’s a dummy train?”  Mudcat Café website, thread begun 2 January 2001 by Chris Seymour.

38.  Camp Songs, Folk Songs.  107–108, 283–284, 289, 321–322.

39.  Michael Hawn.  “History of Hymns: ‘God of Grace and God of Glory’.”  United Methodist Church Discipleship website.

40.  279 in The Methodist Hymnal.  New York: Methodist Book Concern, 1935.  [Hymnary website.]

41.  “Harry Emerson Fosdick.”  Wikipedia website.
42.  “In Christ There Is No East or West.”  Hymnology website.

43.  Great Hymns of the Church, Selected from the Methodist Hymnal, edited by Wilbur P. Thirkield.  New York: Methodist Book Concern, 1927.  [Hymnary website.]

44.  “Come forth, ye men of every race and nation.”  Hymnary website.
45.  “Jay Holmes Smith.”  Hymnary website.

46.  “Come Forth, Ye Men of Every Race and Nation!”  487 in Christian Worship, edited by Fred Wise.  Saint Louis, Missouri: Bethany Press, 1941.

47.  WorldCat entry.  This was brought to my attention by Alfred J. Waterhouse.  “Robert Whittaker’s ‘My Country’.”  Sunset: The Magazine of the Pacific and of All the Far West 16:106:November 1905.

48.  Martha Jenks.  “Inventory of the Robert W. Whitaker Collection.”  Graduate Theological Union Archives, Berkeley, California, website.

49.  Citation from Songs of Many Nations, page 35.

50.  Advertisement for Marie Teresa Armitage.  Folk Songs & Art Songs for Intermediate Grades.  Boston: C. C. Birchard, 1924.  The ad appeared on the back cover of Music Supervisors’ Journal 10(5):May 1924.  This collection is mentioned in the post for 20 February 2022.