J. Mark Stauffer Crusade For Christ Songs and similar items
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J. Mark Stauffer CRUSADE FOR CHRIST SONGS Mennonite Hour Shape Note Sacred Harp
£11.91 GBP
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View full item details »
Shipping options
No shipping price specified to GB
Ships from
United States

Offer policy
OBO - Seller accepts offers on this item.
Details
Return policy
Refunds available: See booth/item description for details
Details
Purchase protection
Payment options
PayPal accepted
PayPal Credit accepted
Venmo accepted
PayPal, MasterCard, Visa, Discover, and American Express accepted
Maestro accepted
Amazon Pay accepted
Nuvei accepted
Item traits
Category: | |
---|---|
Quantity Available: |
2 in stock |
Condition: |
Used |
Handmade: |
No |
Genre: |
Religious & Devotional |
Instrumentation: |
Piano/Organ |
Topic: |
Hymnal |
Subgenre: |
Country Gospel |
Listing details
Seller policies: | |
---|---|
Shipping discount: |
Seller pays shipping for this item. |
Price discount: |
12% off w/ $300.00 spent |
Posted for sale: |
More than a week ago |
Item number: |
1577309312 |
Item description
Tight. clean, flat, square, and sharp book, in four part harmony with full versification. Shaped notes. Multiple copies. We have three in this condition and one in fair condition we will offer when these are gone.
J. Mark Stauffer, 85, taught music courses and led choirs
at EMU from 1939 to 1976. He had been a chaplain at
Menno-Haven and Mennonite Village in
Chambersburg where he resided since 1979.
Many will remember Stauffer for his leadership in the
choral music program and especially as director of the
traditional alumni rendition of ?The Holy City?
by A. R. Gaul during annual homecoming weekend.
The Altoona, Pa., native was choral director for seven
years of the former ?Mennonite Hour? radio broadcasts
produced by Mennonite Media. He was pastor of the
Charlottesville Mennonite Church, 1961-77, and
chaplain of the Cedars and the Towers nursing
facilities in Charlottesville during that same
time period.
.
Shape notes are a style of musical notation designed to facilitate congregational and social singing.
The notation, introduced in late 18th century England, became a
popular teaching device in American singing schools. Shapes were added
to the noteheads in written music to help singers find pitches within the scales without the use of more complex information found in key signatures or staff.
Shape notes of various kinds have been used for over two centuries in a variety of music traditions, mostly sacred music but also secular, originating in New England (evolving from earlier chants writ down in the Scots Highlands) practiced primarily in the Southern US for many years, and now experiencing a renaissance in other locations as well.
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