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((Use mdy dates|date=March 2020))
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[[File:Grave of Ananias Davisson.jpg|thumb|Grave of Ananias Davisson]]
'''Ananias Davisson''' (February 2, 1780 – October 21, 1857) was a [[singing school]] teacher, printer and compiler of [[shape note]] tunebooks. He is best known for his 1816 compilation ''[[Kentucky Harmony]]'', which is the first Southern shape-note tunebook.<ref>"Four leading shape-note tune books of this period, each containing a number of folk hymns, are Ananias Davisson's ''Kentucky Harmony'' (the first Southern shape-note tunebook, Harrisonburg, VA, 1816)..." ((cite book |last1=Eskew |first1=Harry |last2=McElrath |first2=Hugh T. |date=1980 |title=Sing with Understanding: An Introduction to Christian Hymnology |location=Nashville, Tennessee |publisher=Broadman Press |isbn=0-8054-6809-9))</ref><ref>"the very first shape-note book produced south of the Mason-Dixon line, Ananias Davisson's ''Kentucky Harmony'', published in Harrison, Virginia, in 1816" ((cite book |last=Hatchett |first=Marion J. |date=2003 |title=A companion to the New harp of Columbia |url=https://books.google.com/books?id=anvss1Vyi58C&pg=PA34 |publisher=Univ. of Tennessee Press |page=34 |isbn=978-1572332034))</ref> According to musicologist [[George Pullen Jackson]], Davisson's compilations are "pioneer repositories of a sort of song that the rural South really liked."<ref>((cite book |last=Jackson |first=George Pullen  |author-link=George Pullen Jackson |date=1933 |title=White Spirituals in the Southern Uplands: The Story of the Fasola Folk, Their Songs, Singings, and "buckwheat Notes" |publisher=University of North Carolina Press |page=30 ))</ref>

== Life and career ==

Davisson was born February 2, 1780, in [[Shenandoah County, Virginia]]. His wife was named Ann (surname unknown); they had no children.<ref name=DOVB>((cite web | last = Dictionary Of Virginia Biography | title = Ananias Davisson | url = https://www.lva.virginia.gov/public/dvb/bio.asp?b=Davisson_Ananias | publisher = Library of Virginia | access-date = 13 December 2019 | df = dmy-all ))</ref> In 1804 he bought land in [[Rockingham County, Virginia|Rockingham County]], supplementing his income as a farmer by conducting singing classes in the Shenandoah Valley.<ref name=DOVB /> He established a printing shop in [[Harrisonburg, Virginia|Harrisonburg]] in 1816, and in that year published the Kentucky Harmony, the first Southern [[shape note]] tunebook. As a printer, he cultivated a network of singing school teachers and composers in Virginia, Tennessee, and Kentucky who sold his tunebooks and sent him their own compositions.<ref name="Music">David W. Music, "Ananias Davisson, Robert Boyd, Reubin Monday, John Martin, and Archibald Rhea in East Tennessee, 1816-26", ''American Music'' Vol. 1, No. 3 (Autumn, 1983), pp. 72-84.</ref> He spent his last years living on a farm at [[Weyers Cave, Virginia|Weyer's Cave]], about 14 miles from [[Dayton, Virginia]], and died October 21, 1857. He is buried in the Massanutten-Cross Keys Cemetery, [[Rockingham County, Virginia]]. Davisson was a member and ruling elder of the [[Presbyterian]] Church,<ref>((cite book |last1=Steel  |first1=David Warren |last2=Hulan |first2=Richard H. |date=December 2010 |title=The Makers of the Sacred Harp |url=https://www.press.uillinois.edu/books/catalog/89sbq9gd9780252035678.html |location=Champaign, IL |publisher=University of Illinois Press |page=104 |isbn=978-0-252-07760-9))</ref> active in the Presbytery of Winchester and the Synod of Virginia.<ref name=DOVB />

== The ''Kentucky Harmony'' and early printing activities ==
((Main|Kentucky Harmony))
There are records of a printing firm in Harrisburg called Davidson and Bourne active 1812-1816; there are reasons for believing that ''Davidson'' is a variant spelling of ''Davisson'', who obtained shape note fonts and began a separate enterprise for publishing music in 1816.<ref>"Although Davisson's last name is spelled ''Davisson'' in his Kentucky Harmony, the Rockingham County Deed Books of this period also record Ananias ''Davis'' and Ananias ''Davidson'', indicating a likely variance in the custom of spelling his name, as well as the increased probability that he was the same person associated earlier with Bourne in the printing business." ((cite journal |last1=Esker |first1=Harry | date=1966 |title=Joseph Funk's ''Allgemein nützliche Choral-Music'' (1816)|url=https://loyolanotredamelib.org/php/report05/articles/pdfs/Report32Eskew38-46.pdf |journal=Thirty-second Report. Society for the History of the Germans in Maryland. 1966. |volume=32 |pages=39–40 |access-date=14 March 2020))</ref> The ''Kentucky Harmony'' was printed early in 1816, and the same fonts were used later in the year to publish [[Joseph Funk]]'s "Allgemein nützliche Choral-Music", a [[Mennonite]] tunebook in German, so it is believed that Davisson was the printer of Funk's tune book.<ref>"Further support of the view that Choral-Music was printed with Davisson's music fonts is found by comparing the music symbols of this tunebook with those of Kentucky Harmony, which have similar lines, and signs for clefs and note heads." ((cite journal |last1=Esker |first1=Harry | date=1966 |title=Joseph Funk's "Allgemein nützliche Choral-Music" (1816)|url=https://loyolanotredamelib.org/php/report05/articles/pdfs/Report32Eskew38-46.pdf |journal=Thirty-second Report. Society for the History of the Germans in Maryland. 1966. |volume=32 |pages=40 |access-date=14 March 2020))</ref>

The invention of shape notes in Philadelphia in 1801 had greatly enlarged the market for printed music.<ref>"As its story is usually told, America's home-grown, accessible notation in triangles, circles, squares, and diamonds moved southward from Philadelphia and Harrisburg, Pennsylvania to Harrisonburg and Winchester, Virginia in the 1810s. Here, Ananias Davisson's Harrisonburg print-shop became a major publishing center for shape-note hymnody, and the tradition quickly spread throughout the MidAtlantic and Southern United States." ((cite thesis |last=Barnett |first=Joshua Rush  |date=2012 |title=The Brandstetter Tunebook: Shapenote Dissemination and the Germans of Western Maryland  |type=MA |publisher=University of Maryland |url=https://drum.lib.umd.edu/bitstream/handle/1903/12804/Barnett_umd_0117N_13219.pdf |access-date=March 15, 2020))</ref> Even during the Davidson and Bourne days, Davisson traveled extensively to supplement his income by teaching singing schools. Sometime during 1815-1816 he acquired shape note fonts and began to print music. Following the pattern of [[John Wyeth]], who targeted his ''Repository of Sacred Music'' (1810, [[Harrisburg, Pennsylvania]]) to Calvinists, and the [[John Wyeth#Wyeth's Repository of Sacred Music, Part Second|Part Second]] of the ''Repository'' (1813) to Methodists and Baptists, Davisson targeted the ''Kentucky Harmony'' to his fellow Presbyterians, and the ''Supplement to the Kentucky Harmony'' to Methodists. However, the idea, first used in the ''Repository, Part Second'' of 1813, of collecting folk tunes, harmonizing them, and using them as vehicles for hymn texts, was followed by Davisson from the very first. In contrast, the music advocated in New England and the Midwest by the "Better Music Boys" (e.g. [[Lowell Mason]], [[Thomas Hastings (composer)|Thomas Hastings]], and others) sought to emulate European styles, while denigrating [[William Billings]] and other composers of the [[Yankee tunesmiths|First New England School]]. The 1816 ''Kentucky Harmony'' has no European compositions, retains the best of the New England fuging tunes, makes extensive use of regional folk tunes, and has 60% of its songs in the minor key.<ref>"The editions of ''The Kentucky Harmony'' and ''The Tennessee Harmony'' are roughly 60% minor; even the early editions of ''The Easy Instructor'' are over 50% minor." ((cite web | first = Rachel | last = Hall | title = ''One of the most beautiful of those old minors'' | url = https://www.shenandoahharmony.com/2012/one-of-the-most-beautiful-of-those-old-minors/ | access-date = 23 December 2019 | df = dmy-all | archive-date = December 9, 2019 | archive-url = https://web.archive.org/web/20191209074403/https://www.shenandoahharmony.com/2012/one-of-the-most-beautiful-of-those-old-minors/ | url-status = dead ))</ref>

== ''A Supplement to the Kentucky Harmony'' ==
''A Supplement to the Kentucky Harmony'' (Harrisonburg, Virginia: 1820) went through three editions.<ref>The 1825 edition of ''A Supplement to the Kentucky Harmony'' is available on-line at ((Citation | url = http://www.shapenote.net/berkley/SKyH3.htm | title = shapenote.net )).</ref> It was notable for its inclusion of English, Scottish and Irish folk tunes paired with spiritual texts. It included very little New England hymnody or church hymns. Davisson specifically dedicated it to his "Methodist friends" for use in their [[Camp meeting#Methodism|camp meetings]]. 
<blockquote>The author's principle design in offering his Supplement is, that his Methodist friends may be furnished with a suitable and proper arrangement of such pieces as may seem best to animate a zealous Christian in his acts of devotion; and while they sing with the spirit, let them learn to sing with the understanding also.<ref>((cite web | last = University of Kentucky Special Collections Research Center | title = A Supplement, To the Kentucky Harmony. | url = https://exploreuk.uky.edu/catalog/xt7fn29p402z_1#page/1/mode/1up | work = Hymn Book | publisher = Harrissonburg, VA | access-date = 10 December 2019 | df = dmy-all ))</ref><ref>Of the camp meetings songs from the ''Supplement'' that have been republished in the [[Shenandoah Harmony]] (2013), recordings of ''319 Salutation'' (and others) are easily found on [[YouTube]].</ref></blockquote>
The folk tunes themselves would have been familiar to the participants, making it easier to pair the religious texts. This was at a time when the Methodists were a much smaller, out of the mainstream religion.

== Other publications ==
Other books published by Davisson were ''Introduction to Sacred Music, Extracted from the Kentucky Harmony and Chiefly Intended for the Benefit of Young Scholars'', (Harrisonburg, Virginia: 1821), and ''A Small Collection of Sacred Music'' (Harrisonburg, Virginia: 1825).

In addition to his own tunebooks, Davisson also printed ''Songs of Zion'' by [[James P. Carrell]] (1821) and Mennonite tunebooks for Joseph Funk.

== ''Idumea'' ==

Davisson's iconic tune first appeared in the Kentucky Harmony in 1816, based on a folk song,<ref>((cite book |last=Jackson |first=George Pullen |author-link=George Pullen Jackson |date=1933 |title=White Spirituals in the Southern Uplands: The Story of the Fasola Folk, Their Songs, Singings, and "Buckwheat Notes |publisher=University of North Carolina Press |page=177 ))</ref> with treble and bass voices composed by Davisson, as a setting for [[Isaac Watts]]'s "My God, my life, my love" (93 in ''Horae Lyricae: Poems, Chiefly of the Lyric Kind'', 1707).<ref>It appears on page 33 of the facsimile of the ''Kentuck Harmony'' (sic), as made available by the University of Kentucky Library: ((cite web |url=https://exploreuk.uky.edu/catalog/xt7sxk84kk4r_1#page/35/mode/1up/search/Idumea |title=Kentuck[y] harmony, or, A choice collection of Psalm tunes, hymns and anthems; in three parts taken from the most eminent authors, and well adapted to Christian churches, singing schools or private societies. Fifth Edition. |last=Davisson |first=Ananias |date=1826 |website=Explore UK |access-date=3 March 2020 )).</ref>  Following the convention of using a toponym for the tune name, he called it "[[Edom#Classical Idumaea|Idumea]]" (the name of Biblical Edom during the Roman period), pronounced "Eye-DEW-mee-a" or "Eye-DEW-mee" by traditional singers.<ref>As observed by [[Charles Wells (mathematician)]], who in the same article says "The words are both existentialist and apocalyptic at the same time and call up something deep and terrified in me every time I sing it." ((cite web |url=http://www.abstractmath.org/Articles/Idumeamore.html |title=More About Idumea |last=Wells |first=Charles |date=May 4, 2004 |access-date=4 March 2020 |archive-url=https://web.archive.org/web/20080921062504/http://www.abstractmath.org/Articles/Idumeamore.html |archive-date=September 21, 2008 |url-status=dead ))</ref>
((wide image|1816 Idumea by Ananias Davisson.jpg|700px|The tune "Idumea" as it first appeared in Ananias Davisson's 1816 ''Kentucky Harmony'', in four parts, using lyrics by Isaac Watts, "My God, my life, my love."))

The first appearance of the tune with the present words ("And am I born to die?"; [[Charles Wesley]] 1763, Hymn 59) is in the [[Southern Harmony]] (1835) by [[William Walker (composer)|William Walker]], who omitted the alto. When he again published the song in [[Christian Harmony]] (1867), Walker composed a new alto part, the one that is used today.

The song has a [[Roud Folk Song Index|Roud Number]] of 6678.<ref>((cite web |url=https://www.vwml.org/roudnumber/6678 |title=RN6678 |author=<!--Not stated--> |website=Vaughn Williams Memorial Library |publisher=English Folk Dance and Song Society  |access-date=2 March 2020 ))</ref> It has been covered by numerous folk music groups, such as [[The Watersons]]<ref>((cite web |url=https://mainlynorfolk.info/watersons/songs/idumea.html |title=> The Watersons > Songs > Idumea |author=<!--Not stated--> |date=1 March 2020 |website=Mainly Norfolk: English Folk and Other Good Music |access-date=2 March 2020 ))</ref> and [[The Young Tradition]].<ref>((cite AV media |people=The Young Tradition |date=1968 |title=The Young Tradition, "Galleries" — Idumea |url=https://www.youtube.com/watch?v=QCBxHfuXams  |archive-url=https://ghostarchive.org/varchive/youtube/20211212/QCBxHfuXams| archive-date=2021-12-12 |url-status=live|access-date=7 March 2020 |format=audio with still photograph |publisher=YouTube ))((cbignore))</ref> The tune is also featured in the motion picture ''[[Cold Mountain (film)|Cold Mountain]]'' (2003), during the scene depicting the [[Battle of the Crater]];<ref>((cite AV media |date=2003 |title=Cold Mountain - Battle of the Crater (Siege of Petersburg) HD |url=https://www.youtube.com/watch?v=x5fbYJMEyes&t=194  |archive-url=https://ghostarchive.org/varchive/youtube/20211212/x5fbYJMEyes| archive-date=2021-12-12 |url-status=live|access-date=7 March 2020 |format=YouTube |publisher=Miramax Films ))((cbignore))</ref> (the other shape song in the film, led in a church by Reverend Monroe ([[Donald Sutherland]]) is "I'm Going Home," page 282 in the [[Sacred Harp]]).

The 2006 album ''[[Black Ships Ate the Sky]]'' by British experimental group [[Current 93]] features nine versions of "Idumea", each by a different vocalist.<ref>Available here: ((cite AV media |people=Current 93 |title= Idumæa (ft. Marc Almond) |url=https://www.youtube.com/watch?v=vZjR0Uo0DYM&list=PLDzS1Jgeqb3MGKXcCj_QxA5331wsCtRfR  |access-date=3 March 2020 |format=YouTube |publisher= Savas Poulos ))((dead link|date=September 2023))</ref> The tune has been arranged for SSATB choir and two violins by Richard Bjella,<ref>((cite book |last1=Davisson |first1=Ananias |last2=Bjella |first2=Richard (arranger) |date=2008 |title= Idumea |url=http://www.alliancemusic.com/product.cfm?iProductID=1005 |publisher=Alliance Musical Publications Inc. ))</ref> and during 1993–1996 Larry Bell composed an "Idumea Symphony" (Symphony No. 2, op. 40).<ref>((cite web |url=http://www.larrybellmusic.com/?p=1088 |title=Idumea Symphony |last=Bell  |first=Larry |date=1993–1996 |access-date=3 March 2020 ))</ref>

== Davisson's songs today ==
[[File:Davisson_Graveside_20150607.png|thumbnail|left|Singing Davisson's "Retirement" at his graveside, following an all-day singing from the [[Shenandoah Harmony]] (June 7, 2015).]]  Davisson's songs and the tunes he collected are in continuous use both in small group singings and at all-day shape note singing events. The Shenandoah Harmony (2013) contains 24 compositions by Davisson, 52 other songs from the ''Kentucky Harmony'', and 46 songs from ''Supplement to the Kentucky Harmony'', and is used in over a dozen all-day singings worldwide.<ref>Fourteen are listed here: ((cite web |url=https://www.shenandoahharmony.com/singings/ |title=SINGINGS: ALL DAY + REGULAR |author=<!--Not stated--> |website=The Shenandoah Harmony homepage |access-date=15 March 2020 ))</ref> The [[Missouri Harmony]] (2005 edition) contains 7 compositions and 8 arrangements, and the [[Christian Harmony]] contains Idumea, Imandra, and "The Lord's Supper."

The [[Sacred Harp]] only has "Idumea," but it has been sung 2667 times at all-day singings during the period 1995-2019,<ref>((cite web |url=https://fasola.org/minutes/stats/?s=c |title=Song Use in The Sacred Harp, 1995-2019 |last=Minutes Book Committee |date=2020 |website=Sacred Harp Singing |publisher=Sacred Harp Musical Heritage Association |access-date=3 March 2020 ))</ref> and was the second most popular song in 2019, sung at 140 different all-day singings held around the world. In small-group singings, where novices are given a turn to choose a song that will then be led by an experienced singer, the new singer often apologizes for the choice, as though everyone else must be sick of this song by now. Modern popular culture may thrive on novelty, but old time singing is not that way; Davisson's songs have a remarkable staying power, and the words he set to music deserve new consideration every day.

==References==
((Reflist))

==Further reading==
*((cite thesis |type=PhD |last=Harley |first=Rachel A. B. |date=1972 |title=Ananias Davisson: Southern Tune-Book Compiler (1780- 1857) |publisher=University of Michigan))
*((cite book |last1=Steel |first1=David Warren |last2=Hulan |first2=Richard H. |date=2010 |title=Makers of the Sacred Harp |publisher=University of Illinois Press |page=104 |isbn=978-0-252-07760-9 ))

((Authority control))

((DEFAULTSORT:Davisson, Ananias))
[[Category:1780 births]]
[[Category:1857 deaths]]
[[Category:American male composers]]
[[Category:American music publishers (people)]]
[[Category:American Presbyterians]]
[[Category:People from Augusta County, Virginia]]
[[Category:People from Shenandoah County, Virginia]]
[[Category:Shape note]]
[[Category:19th-century Presbyterians]]
[[Category:19th-century American composers]]
[[Category:Musicians from Virginia]]
[[Category:19th-century American male musicians]]
[[Category:19th-century American businesspeople]]

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