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| [D.W. Steel, letter to University of Georgia Press, December 1991] | [introduction to facsimile edition of Missouri Harmony, 1994] |
|---|---|
| Whatever course you choose, the project should not be abandoned. The Missouri Harmony is the quintessential frontier tunebook. Its rarity, longevity, and historical importance make it an ideal candidate for a facsimile reprint. | The Missouri Harmony was the quintessential frontier tune book. (p. vii) |
| The book's influence may be better summarized through its use by other shape-note compilers, north (Juvenile Harmony), south (Southern Harmony) and west (St. Louis Harmony). | Ultimately, other tune book compilers began using Carden's book as a resource, as demonstrated in the North (Juvenile Harmony), South (Southern Harmony) and West (St. Louis Harmony). (p. viii) |
| [reacting to the suggestion that Carden was a precocious
musician:] Carden's career should be seen as entirely typical of the singing-master and tunebook compiler. He pursued music through his youth, achieved some wealth and experience, then settled down to other activities. | Carden's career was entirely typical of the singing master and tunebook compiler. He pursued music through his youth, achieved some wealth and experience, then settled down to other activities. (p. xvi) |
| It must be emphasized that Carden had no editorial role or financial interest after 1824. The book was a commercial property, administered and exploited by businessmen, not musicians. Compare with Worcester Collection, Village Harmony, and The Easy Instructor. | The book became a commercial property, (much like The Worcester Collection, Village Harmony, and The Easy Instructor), administered and exploited by businessmen, not musicians. (p. ix-x) |
| This topic needs expansion. Sales were probably relatively low until the late 1820s, when demand picked up enough to justify a stereotyped edition in 1829 (edition not mentioned in the chart or text), an event which tended to freeze the contents even more firmly. Explain the effect of stereotyping on the edition and revision process. | Sales were probably relatively low until the late 1820s, when demand for the tune book increased enough to justify a stereotyped edition in 1829. . . . Morgan's decision to stereotype The Missouri Harmony was significant, as it tended to freeze Carden's compilation for later editions. The object of stereotyping was . . . (p. xi) |
| The most striking feature of the Supplement is that its contents are urban and genteel, in direct contrast to that of the rest of the book, which are unchanged from previous editions. . . . | The most striking feature of the Supplement is that it would have appealed to those who preferred the emerging "genteel" style, in direct contrast to the that of the rest of the book, which remains unchanged from previous editions. |
| Speculations on the compiler of the supplement begin with the designation "Amateur." This indicated simply that the compiler was not a "mere" professional musician, suggesting instead a well-rounded and educated gentleman. | Speculation about the identity of the compiler of the Supplement necessarily begins with the designation "Amateur." According to the usage of the day, such a description simply indicated that the individual so named was not a professional musician, but a well-rounded and educated gentleman. (p. xi) |
| The material on Warren should make it clear that he was a foreign-born professional recruited by the publishers to make a silk purse out of what must have been increasingly regarded as a sow's ear. Among the best indicators of musical change is that the publishers, who in 1835 had employed an "amateur" to improve the book, now sought a "professor." | Warren was a foreign-born professional recruited by the publishers to make a silk purse out of what must have been increasingly regarded as a sow's ear. Among the best indicators of musical change is that the publishers, who in 1835 had employed an "amateur" to improve the book, now sought a "professor." (p. xvii) |
Warren Steel (mudws@olemiss.edu)
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