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Notes
Where two editions of a book are given, page numbers cited are from the more recent edition.
Chapter 1. Who Are the Amish?
Epigraph. Eine Unparteiische Liedersammlung, 156 (1999 edition). First printed in 1860 by John Baer’s Sons of Lancaster, this is a condensed version of Unpartheyisches Gesang-Buch, containing 47 songs from the Ausbund and 104 from later sources. It is known among the Amish as “das kleine Büchlein” or “dinn Blichi” because of its size. Ohio Amish Library, Songs of the Ausbund, 4n; translation by Martina Machniak.
1. Eine Unparteiische Liedersammlung, 156.
2. The date of Jacob Amman’s death is unknown.
3. For more detail on the European origins of the Amish and their immigration to North America, see Kraybill, Johnson-Weiner, and Nolt, The Amish, chapters 2 and 3.
4. For current Amish demographics and population statistics, visit www.etown.edu/Amishstudies/.
5. See Hurst and McConnell, An Amish Paradox, for a detailed description of the Amish affiliations living in Holmes County, Ohio. Kraybill, Johnson-Weiner, and Nolt, in The Amish, provide a description of North American Amish tribes.
6. Unidentified Amish woman, personal interview, 19 March 2008. I identify by name all Amish interviewees who specifically agreed to be mentioned; otherwise, I have maintained their privacy.
7. Rokicky, Creating a Perfect World, 5.
8. Hurst and McConnell, An Amish Paradox provide an excellent description and analysis of recent changes in the Holmes County settlement.
9. Marglin, “Development as Poison,” 25.
10. Unidentified Amish woman, personal Interview, 22 July 1999.
11. Pamuk, Istanbul, 244.
12. Foucault, Madness and Civilization, 20.
13. Smucker, “How Amish Children View,” 220.
14. Hostetler and Huntington, Amish Children, 21–22.
15. E., J. H. “Abner and His Cookies,” 27–28.
16. Piaget, The Origins of Intelligence, 335.
17. Smucker, “How Amish Children View,” 220.
18. Milicia, Amish Teens Rebel.
19. Erikson, Childhood and Society, 266–68.
20. Unidentified Amish men and women. Personal interviews between 2000 and 2007.
21. Hurst and McConnell in An Amish Paradox and Kraybill, Johnson-Weiner, and Nolt in The Amish provide information on Amish schools in Holmes County and across the nation, respectively.
22. Fishman, Language in Sociocultural Change, 25. See also Keim, “From Erlanbach to New Glarus,” 9.
23. Gallagher, “Accepting Things Modern.”
24. Family Life, Young Companion, and/or Blackboard Bulletin can be ordered from Pathway Publishers, 10380 Carter Road, Aylmer, Ontario N5H 2R3 Canada for $11.00, $8.00, and $7.00 per year, respectively, or $21.00 per year for all three. In Canada add 6% G.S.T.
25. Amish man, personal interview, 29 October 1999.
26. Amish woman, personal interview, 22 July 1999.
27. Interviews of Amish adults at Mt. Hope, Middletown, and Berlin, summer 1999.
28. Christenpflicht.
29. Geertz, “Religion as a Cultural System,” 14. Geertz, The Interpretation of Cultures, 90.
30. McNamara, “Introduction,” 5–6.
31. Weber, qtd. in Geertz, The Interpretation of Cultures, 131.
32. Nolt, History of the Amish.
33. Kauffman, Amish in Eastern Ohio, 8.
34. Geertz, The Interpretation of Cultures, 14.
35. Hostetler, Educational Achievement and Lifestyles, 406–7.
36. Hostetler, Educational Achievement and Lifestyles, 6.
37. Mast, The Duty of Children, qtd. in Hostetler, Educational Achievement and Lifestyles, 400.
Chapter 2. The Functions of Amish Singing
Epigraph. Ausbund, Lied 50, 275 (1997 edition).
1. Unidentified Amish woman, personal interview, 29 October 1999.
2. Results from a survey conducted at Mt. Hope Auction in August 1999.
3. Blacking, Music, Culture, and Experience, 34.
4. Unidentified Amish people, personal interviews, summer 1999.
5. Wittmer and Moser, “Counseling the Old Order,” 266.
6. Rose, Governing the Soul, 50.
7. Thomas A. Dorsey (1899–1993), an American songwriter known as the father of gospel music, was a preacher’s son who became a pianist for blues artists Bessie Smith and Gertrude “Ma” Rainey.
8. Raber, Music—Harmonizing, 5–6.
9. Brunk, Musical Instruments, 3.
10. Ada Lendon, personal interview, 26 July 1999.
11. Blacking, Music, Culture, and Experience, 217.
12. “The Stranger and His Music,” 14–16.
13. Unidentified Amish woman, personal interview, 29 October 1999.
14. Unidentified Amish woman, personal interview, 21 April 2007.
15. Teacher Arlene, “The Singing Situation,” 4.
16. Stokes, Ethnicity, Identity and Music, 6–8.
17. Kingston, “The Amish Story,” n.p.
18. Hostetler and Huntington, Amish Children, 14.
19. Blacking, Venda Children’s Song, 31.
20. Kraybill, Concise Encyclopedia of Amish, 20.
21. Huntington, “The Amish Family,” 1.
22. Behaque, Music and Black Ethnicity, 20, 32.
23. See Keeney, Dutch Anabaptist Thought, 14 and Oyer, “Amish Theology?” 281.
24. Yoder, Amische Lieder, preface.
25. Blacking, Music, Culture, and Experience, 56.
26. Behaque, Music and Black Ethnicity, v, 13. See also Blacking, “The Study of Man,” 3–17.
27. Blacking, “The Study of Man,” 3–15.
28. Keil, Tiv Song, 254–57.
29. Blacking, Music, Culture, and Experience, 198.
30. Blacking, “A Commonsense View,” 98.
31. Blacking, Music, Culture, and Experience, 26, 127.
32. Fishman, Amish Literacy. Fishman notes that the average hymn has 17.6 stanzas. John Hostetler explains that the Amish “rarely sing more than four or five verses of a hymn,” but some hymns “have as many as thirty-seven verses.” See Hostetler, Amish Society, 230.
33. Nettl, The Study of Ethnomusciology, 92–95.
34. Grauer, “Thoughts on Cross Cultural,” 3.
35. Blacking, “Ethnography of Musical Performance,” 384.
36. Blacking, Music, Culture, and Experience, 172.
37. Blacking, Music, Culture, and Experience, 160–62.
Chapter 3. Case Study: “Es sind zween Weg”
Epigraph. “Es sind zween Weg,” Eine Unparteiische Liedersammlung, 151.
1. Ausbund, 748; Liedersammlung, 156.
2. These include: “See, I have set before you this day life and good and death and evil; In that I command you this day to love the Lord your God, to walk in God’s ways, and to keep God’s commandments and God’s judgments, that you may live and multiply … I have set before you life and death, blessing and cursing; therefore choose life, that both you and your children may live.” Deuteronomy 30:15, 16, 19; “And turn ye not aside: for then you will go after vain things, which cannot profit or deliver; for they are vain … Moreover as for me, God forbid that I should sin against the Lord in ceasing to pray for you: but I will teach you the good and the right way; only fear the Lord, and serve him in truth with all your heart: for consider how great things he hath done for you.” 1 Samuel 12:21–24 (ca. 1095 B.C.E.); “Hast thou marked the old ways, which wicked men have trodden?” Job 22:15 (ca. 1520 B.C.E.); “Remove from me the way of lying … I have chosen the way of truth.” Psalm 119:29 (ca. 1030 B.C.E.); “Stand ye in the ways, and see, and ask for the old paths, where is the good way, and walk therein, and ye shall find rest for your souls.” Jeremiah 6:16 (ca. 601 B.C.E.).
3. Harms, Homo Viator in Bivio, 40–43.
4. Sommers, “Teaching the Virtues,” 41.
5. Harms, Homo Viator in Biviio, 85.
6. Meyers, “The Amish Division,” 40–53.
7. Miller, A Pilgrim’s Search, n.p.
8. See appendix I, Musical Example A1.3 for an additional version of the song—from a songbook compiled by Ben Troyer in 1997—and a comparison between it and the FAR version.
9. Blacking, Venda Children’s Songs, 156.
10. Yoder, Amische Lieder, 25.
11. Yoder, Amische Lieder, v.
12. Steel, “Shape Note Singing Schools.”
13. Troyer, Ausbund and Liedersammlung Songs, iii.
14. Troyer, Ausbund and Liedersammlung Songs, iii.
15. Jackson, “Amish Medieval Folk Tunes,” 152.
16. Umble, “The Old Order Amish,” 92.
17. Frey, “Hymns as Folk Music,” 155.
18. Burkhart, “The Church Music,” 34.
19. Nettl, “Hymns of the Amish,” 323.
20. Durnbaugh, “The Amish Singing Style,” 29.
21. Nettl, “Hymns of the Amish,” 325.
22. Jackson, Amish Medieval Folk Tunes, 286–88.
Chapter 4. Songs for Nurture
Epigraph. Words, spelling, and translation provided by an Amish friend, Ada Lendon.
1. Jacob and Erma Beachy, personal interview, September 1999.
2. Yoder and Estes, eds., Proceedings of the Amish, 180.
3. Hostetler and Huntington, Amish Children, 14–16.
4. O’Day, Family and Family Relationships, 39.
5. Huntington, “The Amish Family,” 384.
6. Atlee Miller, personal interview, 2 May 2007.
7. “The Problem Corner,” Family Life, 31–32.
8. Hostetler, Amish Society, 156.
9. Huntington, “The Amish Family,” 386.
10. Hostetler, Amish Society, 157.
11. Unidentified Amish woman, personal interview, 22 July 1999.
12. Titon, Worlds of Music, 495.
13. Blacking, “Problem of Music Description,” 54–72.
14. Sackville-West, Nursery Rhymes, 27.
15. Sackville-West, Nursery Rhymes, 29.
16. Sackville-West, Nursery Rhymes, 30.
17. Sackville-West, Nursery Rhymes, 20.
18. Gerstner-Hirzel, Das volkstümliche deutsche Wiegenlied, 243, 271–72, 275, 323.
19. Klassen, Singing Mennonite, 29–31.
20. Klassen, Singing Mennonite, 29–31.
21. The speed is quarter note = 176.
22. Unidentified Amish informants, personal interviews, July, August 1999.
23. Ibid.
Chapter 5. Songs for Instruction
Unparthenisches Gesang-Buch, 151.
1. Apel, Harvard Dictionary of Music, 626–27.
2. “Summary,” 30.
3. Giroux, Border Crossings, 76–77.
4. Hostetler and Huntington, Children in Amish Society, 109.
5. Kraybill and Bowman, Backroad to Heaven, 103–5.
6. Hostetler, Amish Society, 156.
7. Klimuska, Amish One-Room Schools, n.p.
8. Klimuska, Amish One-Room Schools, n.p.
9. These songs are generally sung slower than quarter note = 80 beats per minute.
Chapter 6. Case Study: School Repertoire
Eine Unparteiische Liedersammlung, 176 (1999 edition). Translation by Martina Machniak. Tune: “Jesus, Lover of My Soul,” according to Frey, “Hymns as Folk Music,” 151.
1. Ressler, “Liedersammlung’s 175th Anniversary,” 18.
2. I have notated this example as the children sang it. Since they held no phrase ending more than one beat, it gave the feeling of alternating four and three beat phrases. The sound is very smooth, not choppy, however.
3. Fisher and Stahl, The Amish School, 25.
4. Coblentz, Music in a Biblical Perspective, 9.
5. Coblentz, Music in a Biblical Perspective, 44.
6. Teacher Arlene, “The Singing Situation,” 4.
Chapter 7. Songs of Identity
David Beatty wrote this song in 1958. The Oak Ridge Boys and several gospel groups have since recorded it.
1. Unidentified Amish man, personal interview, 9 April 2008.
2. Unidentified Amish woman, personal interview, 18 March 2008.
3. Inspiring Favorites is published by a committee of the Markham-Waterloo Mennonite Conference of Ontario.
Chapter 8. Songs of Memory
Ausbund, Hymn 87, 453, translated in Miller, Our Heritage, Hope and Faith, 190.
1. Atlee and Mary Miller, personal interviews, 4 May 2007.
2. See Rokicky, Creating a Perfect World; Alpert, “Heart and Soul,”www.bbc.co.uk/programmes/p005qznm; Bruce, And They Sang Hallelujah.
3. Unidentified Amishman, personal interview, August 1999.
4. Umble, “The Old Order Amish,” 85.
5. Yoder, “The Ausbund.”
6. Ausbund, 435. Smith, The Mennonite Immigration, 255.
7. Ohio Amish Library, Songs of the Ausbund, 4.
8. Umble, “The Old Order Amish,” 87.
9. Umble, “The Old Order Amish,” 6.
10. Frey, “Hymns as Folk Music,” 142.
11. Springer, “Editions of the Ausbund,” 32–39.
12. Bender, “Teachings Stressed in the Ausbund,” 20–22.
13. Frey, “Hymns as Folk Music,” 142.
14. Riall and Peters, Hymns of the Ausbund, 33.
15. Riall and Peters, Hymns of the Ausbund, 135.
16. Yoder, “The Ausbund,” 8–10.
17. Yoder, “The Ausbund,” 9.
18. Yoder, “The Ausbund,” 10.
19. Wolkan, Die Lieder der Wiedertäufer, 151–52.
20. Martin Luther himself set some of his texts to folk tunes of his day. Musical borrowing has been a standard practice since early days. See Blume, Protestant Church Music and Harrell, Martin Luther, His Music.
21. Wolkan, Die Lieder der Wiedertäufer, 151–52.
22. Songs with each of the ranges include the following: range of a fifth, 1 song; sixth, 12; seventh, 6; octave, 27; ninth, 19; tenth, 3; and twelfth, 2. One song with the range of a twelfth, “Ew’ger Vater,” also has an interesting set of intervals. The piece opens outlining a major triad, C-E-G, surrounds the C and descends by seconds to the C, then moves to C-E-G and falls from G to C. The third line has a downward melody of C-A-F. Most of the piece moves by step, but the movement by thirds outlining triads is unusual. The Anabaptists named this tune “Grasshopper Weisz.” Of forty syllables per verse, nine have three notes, seven have four, four have five, four have seven, and two have eight notes. For this song, the Amish sing twenty-six of the syllables to three or more notes. By contrast, “All die ihr jetz” is syllabic, which means it has one or two notes per syllable. In its twenty-six syllables, which have a range of only a sixth, one has five notes, two have four, four have three, twelve have two, and seven have one.
23. Frey, “Hymns as Folk Music,” 142.
24. Atlee Miller, personal interview, March 2007.
25. Umble, “The Old Order Amish,” 87.
26. Ohio Amish Library, Songs of the Ausbund, 3.
Chapter 9. Songs of Belonging
Eine Unparteiische Liedersammlung, 80 (1999 edition).
1. Unidentified Amish woman, personal interview, October 2006.
2. Ibid.
3. Other songs used during the service are Ausbund 359, 408, 604, 655, and 770.
4. Episcopal Church, The Hymnal, 409.
5. 1 Peter 5:14.
6. Christenpflicht, 42.
7. Ausbund hymn 99, p. 526, vs. 20, 21, trans. Miller, Our Heritage, Hope and Faith, 293.
8. Atlee Miller, personal interview, 4 May 2007.
9. Before his execution, Jesus shares bread and wine with his disciples and asks them to solidify their commitment to spreading the message of a new kingdom, a new world order. The fourth gospel, attributed to John, reports that Jesus also washes their feet as a sign of humility (John 13:4–20).
Chapter 10. Case Study: The Loblied, or Lobsang
1. Wolkan, Die Lieder der Wiedertäufer, 118–19. Ohio Amish Library, Songs of the Ausbund, 3–4.
2. Jackson, “Amish Medieval Folk Tunes,” 152.
3. The grace notes appear as small notes. Like a cut in Irish bagpipe music, a grace note with a slash through the stem precedes the beat and anticipates the main note, which follows on the beat. Glissandos, or slides between two notes, occur between almost all intervals that are farther apart than one musical step. The first glissando occurs between the first two notes of the song (Musical Example 10.1). They are four steps apart.
4. However, the F-sharp also functions less as a raised note because the succeeding note is a lower pitch. The F-sharp does not lead to G, for example, but returns to an E.
5. In the Lomax, Indiana, version (1938b; Musical Example 10.3), the rhythm is static because the singers sustain very long notes, singing notes that neighbor each other, as in measure 4, where they walk up the scale from the whole note B to the whole note D. In measure 9, they leap down a third (from D to B) and turn around and sing a second higher (a C) as the third through fifth notes and the same turn for the next three notes. Yet, comparing the first measures of the Lomax (1938b) and Holmes County (2006) versions shows that the rhythm of long-short-long-short (L=long, S=short, Musical Example 10.3, first line, second through fifth notes) becomes LSSL in the Holmes County version (Musical Example 10.1, first line, third through sixth notes). As the song progresses, the Holmes County singer sometimes adjusts the notes so that the rhythm approaches that of the Lomax, long-short-long-long, in diminished note lengths.
6. Yoder, Amische Lieder, preface.
7. Smith, Mennonite Immigration to Pennsylvania, 256.
Chapter 11. Songs of Love and Life
Ohio Amish Library, Songs of the Ausbund, 141–43, verse 8.
1. The poetic Song of Solomon and Revelation 19:7–10 and 21:9ff are examples of passages commonly believed to refer to the Bride of Christ. Ohio Amish Library, ibid., 141.
2. Stoll, In Meiner Jugend, 209.
3. Unparteiische Liedersammlung, Hymn 248, 385.
4. Klees, The Pennsylvania Dutch, 56.
5. Huntington, Dove at the Window, 164.
6. Translation from Belle Center Amish Church, Rushsylvania, Ohio, version (2003). Sugarcreek, OH: Carlisle, 452.
7. Ausbund, 227.
8. Liedersammlung, 189.
9. Unidentified Amish woman, personal interview, 4 May 2007.
10. Lyrics by Mrs. A. S. Bridgewater, written in the early twentieth century.
Chapter 12. Songs of Trust
Ausbund, 301 (1997 edition).
1. Lapp, Heartland Hymns, 451.
2. Unidentified Amish man, personal interview, August 1999.
3. The tune used for this hymn is “The Love of God,” written by Frederick M. Lehman in 1917.
4. Eine Unparteiische Liedersammlung, 158.
5. Unidentified Amish woman, personal interview, 27 March 2007.
6. Unidentified Amish woman, personal interview by Patrice Trudell, 15 July 1999.
7. Erma Beachy, personal interview, 16 February 2007.
8. Ibid.
9. William B. Bradbury, born in Maine in 1816 and dying in New Jersey in 1868, wrote and compiled Sunday school hymns to promote devotional singing.
Chapter 13. Songs for the Future
Ausbund, 604 (1997 edition).
1. Blacking, “A Commonsense View,” 23.
2. Levine, Black Culture, 5.
3. See Bender, “Teachings Stressed in the Ausbund,” 20.
4. Numerous personal Amish interviews in 1999 and 2000.
5. Kraybill, Nolt, and Weaver-Zercher, Amish Grace, 20–21.
6. Translation by Martina Machniak.
7. Kraybill, Nolt, and Weaver-Zercher, Amish Grace, 28.
8. Ausbund, 242, hymn 44, verse 2.
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