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"Sacred praise": Thomas Hastings and...

Jordan, John Mark.

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"Sacred praise": Thomas Hastings and the reform of sacred music in nineteenth-century America.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"Sacred praise": Thomas Hastings and the reform of sacred music in nineteenth-century America./
作者:	Jordan, John Mark.
面頁冊數:	563 p.
附註:	Source: Dissertation Abstracts International, Volume: 60-04, Section: A, page: 0930.
Contained By:	Dissertation Abstracts International60-04A.
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9925104
ISBN:	0599246812

"Sacred praise": Thomas Hastings and the reform of sacred music in nineteenth-century America.
Jordan, John Mark.

"Sacred praise": Thomas Hastings and the reform of sacred music in nineteenth-century America. - 563 p.

Source: Dissertation Abstracts International, Volume: 60-04, Section: A, page: 0930.

Thesis (Ph.D.)--Southwestern Baptist Theological Seminary, 1999.

Scholars have long recognized Thomas Hastings (1784--1872) as one of the preeminent figures in nineteenth-century American music and as a tireless campaigner for reform in the musical practices of the church. Despite this recognition, Hastings is mentioned only in passing by most modern writers, particularly in comparison to his more famous contemporary, Lowell Mason (1792--1872). In addition to his obvious contributions as a composer of psalm and hymn tunes and choral literature and a writer of religious poetry, Hastings was a prolific author of theoretical and practical literary works; in a writing career of more than fifty years, he published no fewer than four major treatises on musical or sacred subjects---including his most famous work, Dissertation on Musical Taste (1822; rev. ed. 1853), and his last extended volume, Sacred Praise (1856)---as well as numerous articles, essays, and instructional material for periodicals and for inclusion in his music collections.

ISBN: 0599246812Subjects--Topical Terms:

516178
Music.

"Sacred praise": Thomas Hastings and the reform of sacred music in nineteenth-century America.
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245 1 0 $a "Sacred praise": Thomas Hastings and the reform of sacred music in nineteenth-century America.
300 $a 563 p.
500 $a Source: Dissertation Abstracts International, Volume: 60-04, Section: A, page: 0930.
500 $a Adviser: R. Allen Lott.
502 $a Thesis (Ph.D.)--Southwestern Baptist Theological Seminary, 1999.
520 $a Scholars have long recognized Thomas Hastings (1784--1872) as one of the preeminent figures in nineteenth-century American music and as a tireless campaigner for reform in the musical practices of the church. Despite this recognition, Hastings is mentioned only in passing by most modern writers, particularly in comparison to his more famous contemporary, Lowell Mason (1792--1872). In addition to his obvious contributions as a composer of psalm and hymn tunes and choral literature and a writer of religious poetry, Hastings was a prolific author of theoretical and practical literary works; in a writing career of more than fifty years, he published no fewer than four major treatises on musical or sacred subjects---including his most famous work, Dissertation on Musical Taste (1822; rev. ed. 1853), and his last extended volume, Sacred Praise (1856)---as well as numerous articles, essays, and instructional material for periodicals and for inclusion in his music collections.
520 $a The study examines this vast body of Hastings's writings against the backdrop of his life and times and discusses his philosophy of church music, concentrating on three broad areas: the leadership and participation of Christians in church music, including the importance and methods of cultivation; the repertory of poetry and music intended for worship; and the styles and methods of sacred music performance in the churches of nineteenth-century America. Drawing on sources from throughout Hastings's career, the author synthesizes the views Hastings expressed across six decades and offers perspectives on Hastings's philosophical dispositions and his numerous recommendations for their practical application. Special attention is given to the two periodicals Hastings edited, the Utica-based Presbyterian newspaper Western Recorder (1824--1832) and the New York periodical Musical Magazine (1835--1837). The author also emphasizes Hastings's last treatise, Sacred Praise, a work that has been almost entirely ignored in previous studies. Included in the appendices are an annotated listing of Hastings's known musical writings for the Western Recorder, a complete, annotated catalog of the two volumes of his Musical Magazine, and an accounting of Hastings's publications and other miscellaneous periodical writings.
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