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James C. Johnson and the American Secular Cantata

James C. Johnson and the American Secular Cantata JAcklIN BOlTON STOpp current scholarship generally credits George F. Root (1820­95), renowned composer civil War songs, as earliest American to write a successful secular cantata: Flor Queen (1852), a work for teenage girls (scored for first second soprano alto), which would be a stepping stone to his aced operatic-cantata, Haymakers (1857).1 But truth is, Root began this aspect his musical career indebted to four innovative successful cantatas by James c. Johnson, whose reputation, which once seemed secure, has long since dwindled. So permit me to revisit Johnson's biography accomplishments in order to give a clearer picture not only his era, but colorful genre he helped develop exigencies historiography that helped crowd him from record. pressionally socially known eir as James c., or J. c., Johnson, he was baptized in 1820 as James Johnson Jr. He had exceptional musical training for his day, beginning in congregational church at his birthplace, Green Mountain town Middlebury, Vermont. Among worshippers re his parents, James Sr. Anna (née Ward) Johnson, ir four surviving fspring. Because Middlebury did not yet vide elementary schooling, church ran a Sabbath school that fered--in addition to Bible stories, reading, writing--training in vocal music. Nearly two decades before introduction http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png American Music University of Illinois Press

James C. Johnson and the American Secular Cantata

Stopp, Jacklin Bolton.
American Music , Volume 28 (2) – May 20, 2010
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Publisher
University of Illinois Press
Copyright
Copyright © University of Illinois Press
ISSN
1945-2349
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Abstract

JAcklIN BOlTON STOpp current scholarship generally credits George F. Root (1820­95), renowned composer civil War songs, as earliest American to write a successful secular cantata: Flor Queen (1852), a work for teenage girls (scored for first second soprano alto), which would be a stepping stone to his aced operatic-cantata, Haymakers (1857).1 But truth is, Root began this aspect his musical career indebted to four innovative successful cantatas by James c. Johnson, whose reputation, which once seemed secure, has long since dwindled. So permit me to revisit Johnson's biography accomplishments in order to give a clearer picture not only his era, but colorful genre he helped develop exigencies historiography that helped crowd him from record. pressionally socially known eir as James c., or J. c., Johnson, he was baptized in 1820 as James Johnson Jr. He had exceptional musical training for his day, beginning in congregational church at his birthplace, Green Mountain town Middlebury, Vermont. Among worshippers re his parents, James Sr. Anna (née Ward) Johnson, ir four surviving fspring. Because Middlebury did not yet vide elementary schooling, church ran a Sabbath school that fered--in addition to Bible stories, reading, writing--training in vocal music. Nearly two decades before introduction

Journal

American Music – University of Illinois Press

Published: May 20, 2010

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