Baptist Offsprings, Southern Midwife--Jesse Mercer's "Cluster of Spiritual Songs" (1810): a Study in American Hymnody.

By Kay Norton. Warren, Mich.: Harmonie Park Press, 2002. 202 pp.

Discovering and revealing through detailed and reliable research the sources of tunes for early southern hymns is no easy task. It requires dedication, accessibility, and time, but the journey can be rewarding. Most hymnologists, musicologists, and church musicians never even ask the question about where tunes come from. Kay Norton not only pondered this question but also came up with the answer.

In this study one finds both interesting and vital information about Jesse Mercer's Cluster of Spiritual Songs and a concise study of the early Georgian colony. Norton notes Mercer's passions as: "converting sinners of all races at home and abroad, creating educational opportunities for youth and future ministers alike, chairing the Georgia Baptist Association, and collecting hymns for church and home use." (p. 26)

Discussing such varied aspects as Mercer's genealogy, the colony of Georgia, Mercer as a Baptist pioneer, his attitude toward slavery, his concept of females, his admiration for native Americans, and his evangelistic efforts, Norton also includes vestiges from the Great Awakening, including the camp meeting movement.

While accounting for the influence of Northern Baptist music, the Wesleys, George Whitefield, John Newton, Rippon's Selection, and Kentucky camp meeting music, Norton discusses the songsters and folk tunes that came from these varied sources. In order to further prove her point, representative select and specific musical tunes with their sources are, dealt with in a scholarly manner.

This book will be of interest to many readers but because of its title, one may be misled concerning its context. Whether in print or orally transmitted, Mercers Cluster of Spiritual Songs undoubtedly was the Baptist musical offspring that aided the birthing of southern shape note musical expression. The tunes suggested in this study were the starting points of distinctive southern sacred music, including the shape note tune books which were to follow Mercer's 1810 publication.

One of the reasons for the success of Mercer's Cluster is that Baptists have always stressed autonomy of the local church. Therefore, congregations have had the liberty to choose their own liturgy, including their hymns and hymnals. Norton's section on texts and tunes alone serves as a basic hymnological study of the eighteenth century in America as it gives a glimpse of the world surrounding Mercer's adult ministry.

This interesting, well-researched volume of early American hymnody is highly recommended for serious hymnologists or for interested pastors, musicians (especially church musicians), and social historians.--Reviewed by C. Edward Spann, dean, College of Fine Arts, Dallas Baptist University.