Published online by Cambridge University Press: 07 January 2020
In the winter of 1772–1773, Joseph Johnson (Mohegan/Brothertown) copied musical notation into eight books for Christian Native Americans in Farmington, Connecticut, a town established by English settler colonists on the land known as Tunxis Sepus. Johnson did so because, as he wrote in his diary, “The indians are all desireous of haveing Gamuts.” Johnson's “gamuts” have not survived, but their erstwhile existence reveals hymnody's important role within the Native community in Farmington as well as cross-culturally with the English settler colonists. In order to reconstruct the missing music books and assess their sociocultural significance, this article proposes a surrogate bibliography, gathering a constellation of sources among which Johnson's books would have circulated and gained meaning for Native American Christians and English colonists (including other printed and manuscript music, wampum, and legal documents pertaining to land transfer). By bringing together this multi-modal network of materials, this essay seeks to redress the material and epistemological effects of a colonialist archive. On one level, this is a case study that focuses on a short period of time in order to document the impact on sacred music of conversion, literacy, shifting intercultural relations, and a drive to preserve sovereignty. On another, this article presents a methodological intervention for dealing with lost materials and colonialist archives without recourse to discourses of recovery or discovery, the latter of which is considered through the framework of what I term “archival orientalism.”
Preliminary versions of this paper were presented at the Society for American Music Conference (Boston, 2016) and the 4th Early Americanist Summit on “Translation and Transmission in the Early Americas” (Washington D.C and the University of Maryland, 2016). I am grateful for the feedback I received on a scaled down version of this article presented at the annual conference for the Omohundro Institute (June 2019) and the Society for the History of Authorship, Reading, and Publishing conference (July 2019). My thanks to Courtney Cottrell, Megan Fulopp, Katharine Gerbner, Matthew Laube, Timothy Rommen, Matthew Laube and Iain Fenlon, and Nadine Zimmerli whose comments on drafts of this article made it immeasurably stronger. Special recognition goes to the University of Pennsylvania graduate students in Music 604: Sounding Archives, for the discussions about archives and ethics, which were on my mind when I revised this article.