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Published by Dover Publications, 1995
ISBN 10: 0486285731ISBN 13: 9780486285733
Seller: Half Price Books Inc., Dallas, TX, U.S.A.
Book
Paperback. Condition: Very Good. Connecting readers with great books since 1972! Used books may not include companion materials, and may have some shelf wear or limited writing. We ship orders daily and Customer Service is our top priority!.
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Published by Applewood Books, 1996
ISBN 10: 1557094349ISBN 13: 9781557094346
Seller: Orphans Treasure Box, Champaign, IL, U.S.A.
Book
paperback. Condition: Very Good. Ships quickly. Mild shelf/reading wear. Orphans Treasure Box sells books to raise money for orphans and vulnerable kids.
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Published by Oak Publications, New York, NY, 1965
Seller: BookScene, Hull, MA, U.S.A.
Paperback. Condition: Very Good. 1965. Nice Firm Clean copy ! Light general wear. 176 pages. Originally printed in 1867. The complete original collection (136 songs) collected and compiled by William Francis Allen, Charles Pickard Ware and Lucy McKim Garrison in 1867, with new piano accompaniments and guitar chords by Irving Schlein. 6509L.
Published by CreateSpace Independent Publishing Platform, 2015
ISBN 10: 1515261573ISBN 13: 9781515261575
Seller: GreatBookPrices, Columbia, MD, U.S.A.
Book
Condition: As New. Unread book in perfect condition.
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Published by Hesperides Press, 2006
ISBN 10: 1406795887ISBN 13: 9781406795882
Seller: ThriftBooks-Dallas, Dallas, TX, U.S.A.
Book
Paperback. Condition: Good. No Jacket. Pages can have notes/highlighting. Spine may show signs of wear. ~ ThriftBooks: Read More, Spend Less 0.5.
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Published by Books For Libraries Press, New York, 1971
ISBN 10: 0836987225ISBN 13: 9780836987225
Book
8vo. Hardcover. Condition: Good. Ex-Library copy with usual markings. Interior is unmarked, including sheet music. Bronze faux leather boards are clean, titled in gilt. Binding secure. Corners lightly bumped.
Published by Oak Publications, New York, 1965
Trade Paperback. Condition: Near Very Good. Reprint. Reprint, trade paperback, has a slight lean with a couple tiny pulls to the binding, light bumps with some faint creasing to spine ends and corners, some sunning and a hint of reading creases to spine, and very slight edgewear, otherwise a solid Near VG copy.
Published by CreateSpace Independent Publishing Platform, 2015
ISBN 10: 1515286029ISBN 13: 9781515286028
Seller: GreatBookPrices, Columbia, MD, U.S.A.
Book
Condition: As New. Unread book in perfect condition.
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Published by Firebird Press, 1999
ISBN 10: 1565545931ISBN 13: 9781565545939
Seller: Phatpocket Limited, Waltham Abbey, HERTS, United Kingdom
Book
Condition: Like New. Used - Like New. Book is new and unread but may have minor shelf wear. Your purchase helps support Sri Lankan Children's Charity 'The Rainbow Centre'. Our donations to The Rainbow Centre have helped provide an education and a safe haven to hundreds of children who live in appalling conditions.
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Published by Literary Licensing, LLC, 2014
ISBN 10: 1498186149ISBN 13: 9781498186148
Seller: Lucky's Textbooks, Dallas, TX, U.S.A.
Book
Condition: New.
Published by University of North Carolina at Chapel Hill Library, 2011
ISBN 10: 080786949XISBN 13: 9780807869499
Seller: booksXpress, Bayonne, NJ, U.S.A.
Book
Soft Cover. Condition: new.
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Published by Historic Publishing, 2017
ISBN 10: 1642270172ISBN 13: 9781642270174
Seller: Lucky's Textbooks, Dallas, TX, U.S.A.
Book
Condition: New.
Published by Legare Street Press, 2022
ISBN 10: 1015432417ISBN 13: 9781015432413
Seller: California Books, Miami, FL, U.S.A.
Book
Condition: New.
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Published by Clearfield, 2009
ISBN 10: 0806313498ISBN 13: 9780806313498
Seller: Cambridge Books, Cambridge, MN, U.S.A.
Book
Soft cover. Condition: Fine. 2nd Edition. 11, xlii, 115 pages : music ; 21 cm. The spine showing some light fading, otherwise a perfect copy.
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Hardback. Condition: Good+. Dust Jacket Condition: No Dust Jacket. First. Mottled brown boards; a trifle marked; very light wear, mainly to corners + head and tail of spine. Some taped repairs to the front endpapers. Gilt titling still quite bright. Binding intact, but a little weak -- joint partially exposed between title page and page i. Reference library number inked on front pastedown + ref library bookplate; owner's name dd 1871 at head of page i. Printed lyrics + music + directions for singing. The songs are grouped into four regions: the South-Eastern slave states including South Carolina, Georgia and the Sea Islands; Northern Seabord slave states, including Delaware, Maryland, Virginia and North Carolina; Inland slave states including Tennessee, Arkansas and the Mississipi River; and the Gulf states, including Florida and Louisiana + Miscellaneous. Laid-in are two related cuttings from the (UK) Daily Telegraph from the early 1920s. The introduction and notes necessarily reflect the language of its time, but that gives no indication of the book's approach or purpose -- indeed, Lucy McKim Garrison was the daughter-in-law of leading pre-Civil War abolitionist William Lloyd Garrison. ; 8vo (6" x 9"); 114 pages.
Published by A. Simpson & Co., New York, 1867
Seller: Beasley Books, ABAA, ILAB, MWABA, Chicago, IL, U.S.A.
First Edition
Hardcover. First Edition; First Printing. Very good with wear to corners with modest top and bottom of spine loss. Small tear to title page and a small hole in the text on page iii of the introduction. A scarce important book of the first African American folk song collection. The owner's signature on the fep is of a contemporary Unitarian minister in New Hampshire. ; 8vo 8" - 9" tall12mo; 115 pp.
Published by A. Simpson & Co, New York, 1867
Seller: Burnside Rare Books, ABAA, Portland, OR, U.S.A.
First Edition
First edition. First edition. xliv, [vi], 115 pp. Bound in publisher's pebbled cloth with gilt spine lettering, front ruled in blind. Very Good, cloth worn away at head and tail, bumped corners,a little staining to rear cloth, a few faint dogears and marginal tickmarks in light pencil. Uncommon. A major work of American ethnomusicology that brought Black music of the South to post-Civil War readers. A somewhat recent Chapel Hill reprint describes it as representing: "the work of its three editors, all of whom collected and annotated these songs while working in the Sea Islands of South Carolina during the Civil War, and also of other collectors who transcribed songs sung by former slaves in other parts of the country. The transcriptions are preceded by an introduction written by William Francis Allen, the chief editor of the collection, who provides his own explanation of the origin of the songs and the circumstances under which they were sung. One critic has noted that, like the editors' introductions to slave narratives, Allen's introduction seeks to lend to slave expressions the honor of white authority and approval. Gathered during and after the Civil War, the songs, most of which are religious, reflect the time of slavery, and their collectors worried that they were beginning to disappear. Allen declares the editors' purpose to be to preserve, "while it is still possible. these relics of a state of society which has passed away.".
Published by A. Simpson & Co, New York, 1867
Seller: William Reese Company - Americana, New Haven, CT, U.S.A.
[2],xliv,[6],64,[2],65-82,[2],83-90,[93]-115pp. (as issued), including much printed music. Original pebbled brown cloth, spine gilt. Cloth sunned, spine neatly mended, retaining most of original cloth. Light tanning and foxing, an occasional red ink stain, otherwise quite clean internally. Very good. First edition of an eminently important and influential collection of slave songs published in the aftermath of the Civil War, and the first "systematic effort to collect and preserve" African-American spirituals. The text brings together 136 such songs, dividing them between regions: Southeastern ("South Carolina, Georgia, and the Sea Islands"), "Northern Seaboard Slave States" (Delaware, Maryland, Virginia, and North Carolina), "Inland Slaves States: Including Tennessee, Arkansas, and the Mississippi River," and the Gulf States, including Florida and Louisiana. The index is even more specific as to the locality from which the song emanates, and occasional footnotes add considerable detail about the history of various songs, describe regional variations, and tell the stories of how the compilers came to learn them. The songs include phonetic renditions of now-famous titles such as "Roll, Jordan, Roll," "Nobody Knows the Trouble I've Had," and "Come Along, Moses," and conclude with seven songs in Creole ("negro-French") "obtained from a lady who heard them sung, before the war, on the 'Good Hope' plantation, St. Charles Parish, Louisiana." A lengthy preface, signed in print by editors and compilers William Francis Allen, Charles Pickard Ware, and Lucy McKim Garrison, discusses the history and traditions of the songs and singing practice amongst the enslaved, and further provides an interesting and extensive grammatical and phonological analysis of Port Royal dialect. All three of the contributors to this volume came to work on the "Port Royal Experiment," during which time they communicated and recorded the majority of the present songs. The Experiment began less than a year after the first shots of the war, when the Union army occupied South Carolina's Sea Islands. The islands' entire enslaved population was freed, and given the opportunity to acquire their former masters' plantations and manage them personally. Missionaries and educators were brought in to create schools, and Port Royal was established as an independent community of free Blacks. The process was expanded even further in 1865, when Sherman ordered all of the land on the southeastern seaboard confiscated and sold or used to settle the Black refugees who had followed his army on their march to the sea. The experiment, though successful in proving that free Blacks could and would own, manage, and profit from their own plantations, proved short-lived; Andrew Johnson soon returned most of the confiscated lands to their White owners as part of his reconciliatory plan for Reconstruction. Allen ran a school for freedmen on the islands from 1863-4 before returning to work with refugees in Arkansas, Charles Pickard Ware was a civilian administrator for the Union Army on the island and transcribed many of the songs here personally, and Lucy McKim Garrison (who married William Lloyd Garrison's third son), was the daughter of a Philadelphia abolitionist and came to the islands with her father. Garrison also published several of the songs in this volume individually a few years prior, which are considered the earliest "slave songs" printed with full musical scores. This collection is the first of what would become a profusion of attempts to "save" the art of the spiritual from extinction. Not unlike the myth of the "vanishing Indian," there was a popular conception (equally prevalent among the formerly enslaved) that the old "slave songs" would disappear entirely in the face of freedom, as free Blacks would naturally come around to White forms of singing and worship. "That these warnings and predictions were still being issued half a century later indicates that the old music did not die a sudden death.but there can be no doubt that the spirituals no longer occupied the position they had enjoyed in slavery. One observer after another attested to the fact that they were being displaced by standard hymns, Moody and Sankey revival songs, and other forms of religious music" (Levine, p.163). The first edition of the first systematic collection of African-American music; a scarce and important work in the historiography of Black music and culture in America. Lawrence W. Levine, Black Culture and Black Consciousness (Oxford University Press, 1978). WORK, p.435. BLOCKSON 9992. LIBRARY COMPANY, AFRO-AMERICANA 247.