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A Portion for the Singers: A History of Music among Primitive Baptists since 1800
This book by R. Paul Drummond is a history of music among the Primitive Baptists since 1800. The text was provided by his dissertation for the Doctor of Arts degree in Choral Conducting and Literature in 1986 by the University of Northern Colorado (Greeley). His dissertation was awarded the "Graduate Dean's Citation for Excellence."
486 pages, Hardcover
First published January 1, 1989
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July 12, 2012
As a Primitive Baptist myself, this book has special meaning to me. However, I believe that many musically-inclined people will enjoy it, especially those who are interested in the traditional hymns that have become of interest to many choir directors and composers.
First, though, an explanation of the book's contents is in order. The first chapter of this book offers a brief doctrinal explanation of the Primitive Baptists and explains how these doctrines aided the preservation of the body of hymns--many of which were written in the 18th and 19th centuries--that the denomination still enjoys. This chapter also categorizes the hymns of the Primitive Baptists into four large categories: "Southern Folk Tradition," "Mason-Bradbury Style," "Gospel Songs," and "Traditional Protestant Hymns." Chapter 2 presents an overview of the musical practices of the denomination from 1800 to present, including the controversies that had an effect on musical aspects and the many hymnals that have been published by members of the denomination. Chapter 3, which I personally view as the most interesting chapter of the book, presents what the author terms a "stylistic analysis" of the notated hymnals of the Primitive Baptists. Chapter 4 then presents the author's argument that the music preserved and enjoyed by the Primitive Baptists provides a wealth of material for composers and analyzes attempts that have already been made of adapting some to be performed by choirs.
For the casual reader, it is true that some of the explanations of different hymnals published over the last two hundred years may become rather tedious. However, I believe, as did the author, that these hymns provide much material for choral directors and composers to peruse. Honestly, this book is the best history that has been published at present documenting the music of the Primitive Baptists. It is my belief that it deserves a place in the libraries of students and professors of folk music and the libraries of the members of the Primitive Baptist denomination.
First, though, an explanation of the book's contents is in order. The first chapter of this book offers a brief doctrinal explanation of the Primitive Baptists and explains how these doctrines aided the preservation of the body of hymns--many of which were written in the 18th and 19th centuries--that the denomination still enjoys. This chapter also categorizes the hymns of the Primitive Baptists into four large categories: "Southern Folk Tradition," "Mason-Bradbury Style," "Gospel Songs," and "Traditional Protestant Hymns." Chapter 2 presents an overview of the musical practices of the denomination from 1800 to present, including the controversies that had an effect on musical aspects and the many hymnals that have been published by members of the denomination. Chapter 3, which I personally view as the most interesting chapter of the book, presents what the author terms a "stylistic analysis" of the notated hymnals of the Primitive Baptists. Chapter 4 then presents the author's argument that the music preserved and enjoyed by the Primitive Baptists provides a wealth of material for composers and analyzes attempts that have already been made of adapting some to be performed by choirs.
For the casual reader, it is true that some of the explanations of different hymnals published over the last two hundred years may become rather tedious. However, I believe, as did the author, that these hymns provide much material for choral directors and composers to peruse. Honestly, this book is the best history that has been published at present documenting the music of the Primitive Baptists. It is my belief that it deserves a place in the libraries of students and professors of folk music and the libraries of the members of the Primitive Baptist denomination.
Displaying 1 of 1 review