Esther M Morgan-Ellis
Biographic Data
| ID | 4119964 |
|---|---|
| NAME | Esther M Morgan-Ellis |
| GIVEN NAMES | Esther M |
| FAMILY NAME | Morgan-Ellis |
| SIGNATURE | MORGAN-ELLIS E M |
| AFFILIATIONS | University of North Georgia |
| ORCID | 0000-0002-4451-7285 |
| VERIFIED | Yes |
| TOTAL WORKS | 9 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 8 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Negotiated leadership in Sacred Harp singing
The Oxford Handbook of Community Singing
The Oxford Handbook of Community Singing shows in abundant detail that singing with others is thriving. Using an array of interdisciplinary methods, the chapters prioritize participation rather than performance and provide finely grained accounts of group singing in community, music therapy, religious, and music education settings. Themes associated with protest, incarceration, nation, hymnody, group bonding, identity, and inclusivity infuse the …
Oxford Handbook of Community Singing
Musicking in Lumpkin County, Georgia, 1909–1928
This study documents the full range of musical activity that took place in a Southern Appalachian community during a period of rapid cultural transformation.1 While scholars of Appalachian music have typically pursued inquiry into a bounded tradition—social dancing,2 for example, or fiddling3—we have instead attempted to document the entire musical life of a rural town (Dahlonega) and the small county (Lumpkin) in which it is situated. This appro…
Mediated Community and Participatory Blackface in Gillette Original Community Sing (CBS, 1936–1937)
In the United States, sing-along radio programmes became common in the 1930s. These programmes aired locally, regionally, and nationally, and they took various approaches to audience participation. Although categorized as radio participation shows, sing-along programmes were unique in that they prompted scripted musical participation by home listeners during the course of the broadcast. This article examines the most successful sing-along program…
Leslie Uggams, Sing Along with Mitch (1961–64), and the Reverberations of Minstrelsy
In his television program Sing Along with Mitch (1961–1964), Mitch Miller employed the talents of African American singer Leslie Uggams in ways that explicitly countered the legacy of minstrelsy. Although the program can be criticized as reactionary on other grounds, the fact that Sing Along with Mitch presented older, white viewers with a nostalgic vision of American identity realized through collective song amplified the impact of Uggams's perf…
"Your network bandwith is low"
My contribution is a personal account about my experiences with online participatory music-making in the first few months of the pandemic. As an old-time fiddler, I anchored a local Zoom jam and attended a Zoom-based music camp. As a Sacred Harp singer, I participated in regular singings via Facebook Live
Non-participation in online Sacred Harp singing during the Covid-19 pandemic
During the COVID-19 pandemic, a large number of Sacred Harp singers took their activities online, adopting and adapting various platforms for the purpose of participatory music-making. While many singers found online activity to be meaningful, others did not, and an additional group lacked access altogether. This study, which was conducted by means of an online questionnaire, surveys the experiences of Sacred Harp singers who were unable or unwil…
Edward Meikel and Community Singing in a Neighborhood Picture Palace, 1925-1929
Research Article| July 01 2014 Edward Meikel and Community Singing in a Neighborhood Picture Palace, 1925-1929 Esther M. Morgan-Ellis Esther M. Morgan-Ellis Search for other works by this author on: This Site Google American Music (2014) 32 (2): 172–200. https://doi.org/10.5406/americanmusic.32.2.0172 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tool…
No prominent works on this page.
Edward Meikel and Community Singing in a Neighborhood Picture Palace, 1925-1929
Research Article| July 01 2014 Edward Meikel and Community Singing in a Neighborhood Picture Palace, 1925-1929 Esther M. Morgan-Ellis Esther M. Morgan-Ellis Search for other works by this author on: This Site Google American Music (2014) 32 (2): 172–200. https://doi.org/10.5406/americanmusic.32.2.0172 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tool…
"Your network bandwith is low"
My contribution is a personal account about my experiences with online participatory music-making in the first few months of the pandemic. As an old-time fiddler, I anchored a local Zoom jam and attended a Zoom-based music camp. As a Sacred Harp singer, I participated in regular singings via Facebook Live
Non-participation in online Sacred Harp singing during the Covid-19 pandemic
During the COVID-19 pandemic, a large number of Sacred Harp singers took their activities online, adopting and adapting various platforms for the purpose of participatory music-making. While many singers found online activity to be meaningful, others did not, and an additional group lacked access altogether. This study, which was conducted by means of an online questionnaire, surveys the experiences of Sacred Harp singers who were unable or unwil…
Leslie Uggams, Sing Along with Mitch (1961–64), and the Reverberations of Minstrelsy
In his television program Sing Along with Mitch (1961–1964), Mitch Miller employed the talents of African American singer Leslie Uggams in ways that explicitly countered the legacy of minstrelsy. Although the program can be criticized as reactionary on other grounds, the fact that Sing Along with Mitch presented older, white viewers with a nostalgic vision of American identity realized through collective song amplified the impact of Uggams's perf…
Musicking in Lumpkin County, Georgia, 1909–1928
This study documents the full range of musical activity that took place in a Southern Appalachian community during a period of rapid cultural transformation.1 While scholars of Appalachian music have typically pursued inquiry into a bounded tradition—social dancing,2 for example, or fiddling3—we have instead attempted to document the entire musical life of a rural town (Dahlonega) and the small county (Lumpkin) in which it is situated. This appro…
Mediated Community and Participatory Blackface in Gillette Original Community Sing (CBS, 1936–1937)
In the United States, sing-along radio programmes became common in the 1930s. These programmes aired locally, regionally, and nationally, and they took various approaches to audience participation. Although categorized as radio participation shows, sing-along programmes were unique in that they prompted scripted musical participation by home listeners during the course of the broadcast. This article examines the most successful sing-along program…
The Oxford Handbook of Community Singing
The Oxford Handbook of Community Singing shows in abundant detail that singing with others is thriving. Using an array of interdisciplinary methods, the chapters prioritize participation rather than performance and provide finely grained accounts of group singing in community, music therapy, religious, and music education settings. Themes associated with protest, incarceration, nation, hymnody, group bonding, identity, and inclusivity infuse the …
Oxford Handbook of Community Singing
Negotiated leadership in Sacred Harp singing
Art (7 works) · Music History and Culture (6 works) · Visual arts (6 works) · Art history (5 works) · History (5 works) · Singing (5 works) · Theater, Performance, and Music History (4 works) · Aesthetics (3 works) · Citizen journalism (3 works) · Computer Science (3 works)