The Cashaway Psalmody

Singing master Durham Hills created The Cashaway Psalmody to give as a wedding present in 1770. A collection of tenor melody parts for 152 tunes and sixty-three texts, the Psalmody is the only surviving tunebook from the colonial-era South and one of the oldest sacred music manuscripts from the Carolinas. It is all the more remarkable for its sophistication: no similar document of the period matches Hills's level of musical expertise, reportorial reach, and calligraphic skill. Stephen A. Marini, discoverer of The Cashaway Psalmody, offers the fascinating story of the tunebook and its many meanings. From its musical, literary, and religious origins in England, he moves on to the life of Durham Hills; how Carolina communities used the book; and the Psalmody's significance in understanding how ritual song—transmitted via transatlantic music, lyrics, and sacred singing—shaped the era's development. Marini also uses close musical and textual analyses to provide a critical study that offers music historians and musicologists valuable insights on the Pslamody and its period. Meticulous in presentation and interdisciplinary in scope, The Cashaway Psalmody unlocks an important source for understanding life in the Lower South in the eighteenth century.

This collection situates the North-East within a developing nationwide account of British musical culture.

Baptists have a long and rich heritage of congregational song. The hymns Baptists have sung and the books from which they have sung them have been shaping forces for Baptist theology, worship, and piety. Baptist authors and composers have provided songs that have made an impact not only among Baptists in America but also across denominational and geographic lines. Congregational singing continues to be a key component of Baptist worship in the twenty-first century. Beginning with an overview of the British background, this book is a survey of the history of Baptist hymnody in America from Baptist beginnings in the New World to the present. Its intent is to help the reader better understand the background against which current Baptist congregational song practices operate. Unlike earlier writings on the subject, this book provides both comprehensive coverage and a continuous narrative. It gives thorough attention to the major Baptist bodies in America as well as calling attention to the contributions of significant smaller groups. The British Baptist background is dealt with in an introductory section. The book also includes many texts and tunes as illustrations of the topics being discussed and focuses on some of the contributions of Baptist authors and composers to the repertory of congregational song. Book jacket.

Baptist Churches of South Carolina and list of Baptists.

Worship is dialogue. It is more than that, but it is not less than that. The way Baptists have worshiped for three and a half centuries demonstrates this consistently, in spite of their penchant for freedom and autonomy. No one tells Baptists how to order their worship services. They don’t have a common liturgy that they must follow, and yet their services look remarkably similar. This is largely due to two controlling factors in their worship: The Bible that they embrace as inspired, inerrant, authoritative, and sufficient; and the Christ-revealing gospel that is contained within its pages. When the word of God is followed closely, a shape for worship order begins to emerge. It is the same “gospel-shape” that is found throughout the Bible. When the word of God is applied to a worship service in which God and his people are engaged in a worship conversation, a consistent contour of gospel elements and content begins to emerge that reveals the glory of the Christ we gather to worship. He is so glorious that when we behold him, we are transformed into the same image from one degree to another. This is the power of corporate worship (2 Cor 3).

The Reformation was one of the defining cultural turning points in Western history, even if there is a longstanding stereotype that Protestants did away with art and material culture. Rather than reject art and aestheticism, Protestants developed their own aesthetic values, which Protestant Aesthetics and the Arts addresses as it identifies and explains the link between theological aesthetics and the arts within a Protestant framework across five-hundred years of history. Featuring essays from an international gathering of leading experts working across a diverse set of disciplines, Protestant Aesthetics and the Arts is the first study of its kind, containing essays that address Protestantism and the fine arts (visual art, music, literature, and architecture), and historical and contemporary Protestant theological perspectives on the subject of beauty and imagination. Contributors challenge accepted preconceptions relating to the boundaries of theological aesthetics and religiously determined art; disrupt traditional understandings of periodization and disciplinarity; and seek to open rich avenues for new fields of research. Building on renewed interest in Protestantism in the study of religion and modernity and the return to aesthetics in Christian theological inquiry, this volume will be of significant interest to scholars of Theology, Aesthetics, Art and Architectural History, Literary Criticism, and Religious History.

A significant contribution to the historiography of religion in the U.S. south, Forging a Christian Order challenges and complicates the standard view that eighteenth-century evangelicals exerted both religious and social challenges to the traditional mainstream order, not maturing into middle-class denominations until the nineteenth century. Instead, Kimberly R. Kellison argues, eighteenth-century White Baptists in South Carolina used the Bible to fashion a Christian model of slavery that recognized the humanity of enslaved people while accentuating contrived racial differences. Over time this model evolved from a Christian practice of slavery to one that expounded on slavery as morally right. Elites who began the Baptist church in late-1600s Charleston closely valued hierarchy. It is not surprising, then, that from its formation the church advanced a Christian model of slavery. The American Revolution spurred the associational growth of the denomination, reinforcing the rigid order of the authoritative master and subservient enslaved person, given that the theme of liberty for all threatened slaveholders’ way of life. In lowcountry South Carolina in the 1790s, where a White minority population lived in constant anxiety over control of the bodies of enslaved men and women, news of revolt in St. Domingue (Haiti) led to heightened fears of Black violence. Fearful of being associated with antislavery evangelicals and, in turn, of being labeled as an enemy of the planter and urban elite, White ministers orchestrated a major transformation in the Baptist construction of paternalism. Forging a Christian Order provides a comprehensive examination of the Baptist movement in South Carolina from its founding to the eve of the Civil War and reveals that the growth of the Baptist church in South Carolina paralleled the growth and institutionalization of the American system of slavery—accommodating rather than challenging the prevailing social order of the economically stratified Lowcountry.

In The Enslaved and Their Enslavers, Edward Pearson offers a sweeping history of slavery in South Carolina, from British settlement in 1670 to the dawn of the Civil War. For enslaved peoples, the shape of their daily lives depended primarily on the particular environment in which they lived and worked, and Pearson examines three distinctive settings in the province: the extensive rice and indigo plantations of the coastal plain; the streets, workshops, and wharves of Charleston; and the farms and estates of the upcountry. In doing so, he provides a fine-grained analysis of how enslaved laborers interacted with their enslavers in the workplace and other locations where they encountered one another as plantation agriculture came to dominate the colony. The Enslaved and Their Enslavers sets this portrait of early South Carolina against broader political events, economic developments, and social trends that also shaped the development of slavery in the region. For example, the outbreak of the American Revolution and the subsequent war against the British in the 1770s and early 1780s as well as the French and Haitian revolutions all had a profound impact on the institution's development, both in terms of what enslaved people drew from these events and how their enslavers responded to them. Throughout South Carolina's long history, enslaved people never accepted their enslavement passively and regularly demonstrated their fundamental opposition to the institution by engaging in acts of resistance, which ranged from vandalism to arson to escape, and, on rare occasions, organizing collectively against their oppression. Their attempts to subvert the institution in which they were held captive not only resulted in slaveowners tightening formal and informal mechanisms of control but also generated new forms of thinking about race and slavery among whites that eventually mutated into pro-slavery ideology and the myth of southern exceptionalism.