Shape Note
The sacred music of The First New England School of composers quickly spread south, facilitated by the invention of shape notes, a system in which four different note heads corresponded to the four syllables (fa, sol, la and mi) then used in musical instruction. In 1801, William Smith and William Little published The Easy Instructor, a sacred tunebook introducing this system. While the shape-note system itself never took root in New England, The Easy Instructor and similar collections were instrumental in spreading the music of New England composers to the western and southern states, where tunebook compilers added settings of folk and popular melodies (including "folk hymns" and revival choruses) to the popular New England repertory. Popular collections included Ananias Davisson's Kentucky Harmony (Harrisonburg, Virginia, 1817), Allen Carden's Missouri Harmony (Cincinnati, 1820), William Walker's Southern Harmony (1835) and B.F. White and E.J. King's Sacred Harp (1844).
As the popularity of seven-syllable (doremi) solmization increased in the antebellum period, some teachers and publishers experimented with seven-character shape notes as well; the system of Jesse B. Aikin in The Christian Minstrel (Philadelphia, 1846) eventually won out in the years after the Civil War.
Read more about this topic: Music History Of The United States To The Civil War
Famous quotes containing the words shape and/or note:
“This whole day have I followed in the rocks,
And you have changed and flowed from shape to shape,
First as a raven on whose ancient wings
Scarcely a feather lingered, then you seemed
A weasel moving on from stone to stone....”
—William Butler Yeats (1865–1939)
“To note an artist’s limitations is but to define his talent. A reporter can write equally well about everything that is presented to his view, but a creative writer can do his best only with what lies within the range and character of his deepest sympathies.”
—Willa Cather (1876–1947)