7,795 research outputs found
John Rutherford to Susan Kean, August 17, 1796
No full textJohn Rutherford wrote from Tranquility, New Jersey, to Susan Kean in Elizabethtown, New Jersey. Rutherford offered Susan advice and assistance on a bond. He endorsed the bond with his name and then assigned it to Susan so she could then act in her own right and not as an executive in the business and receive the money. Rutherford then resealed the paper that contained other bonds and offered to keep them until Susan’s future determination. He also informed her that there was no need to present or offer an explanation to Robert Barnwell.https://digitalcommons.kean.edu/lhc_1790s/1560/thumbnail.jp
John Rutherford to Susan Niemcewicz, February 2, 1801
No full textJohn Rutherford wrote to Susan Niemcewicz in Elizabethtown, New Jersey. Rutherford discussed how beneficial a turnpike road beginning in Trenton would be. A bridge across Newark Bay would facilitate the intercourse between New York and Elizabethtown and enhance the value of land in the neighborhood. Preferred shares in the Newark bridges to any exchange Susan was able to make for them.https://digitalcommons.kean.edu/lhc_1800s/1150/thumbnail.jp
John Rutherford to Susan Kean, August 22, 1799
No full textJohn Rutherford wrote to Susan Kean in Elizabethtown, New Jersey. The top of this document is torn. Rutherford informed Susan that he just returned to New York and was executing her order regarding the bonds. He did not understand Susan’s last letter where she requested the bonds be sent to her but enclosed them. They could be sent to Barnwell in their present state or the endorsements filled in.https://digitalcommons.kean.edu/lhc_1790s/1618/thumbnail.jp
Maria Mary Rutherford to Susan Livingston, May 11, 178x
No full textMaria Mary Rutherford wrote to Susan Livingston. Mary asks Susan to purchase a yard and a quarter of Dimothy similar to the pattern she enclosed. There was an unsettled account between Susan\u27s brother and Mary\u27s father. Topics of discussion include family news, accounts, clothing, sewing, and patterns.https://digitalcommons.kean.edu/lhc_undated/1003/thumbnail.jp
"Singer for the Million":Henry Russell, Popular Song and the Solo Recital
No full textLondon, 1820. The British capital is a metropolis that overwhelms dwellers and visitors alike with constant exposure to all kinds of sensory stimulation. Over the next two decades, the city’s tumult will reach new heights: as population expansion places different classes in dangerous proximity and ideas of political and social reform linger in the air, London begins to undergo enormous infrastructure change that will alter it forever.It is the London of this period that editors Roger Parker and Susan Rutherford pinpoint in this book, which chooses one broad musical category—voice—and engages with it through essays on music of the streets, theaters, opera houses, and concert halls; on the raising of voices in religious and sociopolitical contexts; and on the perception of voice in literary works and scientific experiments with acoustics. Emphasizing human subjects, this focus on voice allows the authors to explore the multifaceted issues that shaped London, from the anxiety surrounding the city’s importance in the musical world at large to the changing vocal imaginations that permeated the epoch. Capturing the breadth of sonic stimulations and cultures available—and sometimes unavoidable—to residents at the time, London Voices, 1820–1840 sheds new light on music in Britain and the richness of London culture during this period
"Singer for the Million":Henry Russell, Popular Song and the Solo Recital
No full textLondon, 1820. The British capital is a metropolis that overwhelms dwellers and visitors alike with constant exposure to all kinds of sensory stimulation. Over the next two decades, the city’s tumult will reach new heights: as population expansion places different classes in dangerous proximity and ideas of political and social reform linger in the air, London begins to undergo enormous infrastructure change that will alter it forever.It is the London of this period that editors Roger Parker and Susan Rutherford pinpoint in this book, which chooses one broad musical category—voice—and engages with it through essays on music of the streets, theaters, opera houses, and concert halls; on the raising of voices in religious and sociopolitical contexts; and on the perception of voice in literary works and scientific experiments with acoustics. Emphasizing human subjects, this focus on voice allows the authors to explore the multifaceted issues that shaped London, from the anxiety surrounding the city’s importance in the musical world at large to the changing vocal imaginations that permeated the epoch. Capturing the breadth of sonic stimulations and cultures available—and sometimes unavoidable—to residents at the time, London Voices, 1820–1840 sheds new light on music in Britain and the richness of London culture during this period
"Singer for the Million":Henry Russell, Popular Song and the Solo Recital
No full textLondon, 1820. The British capital is a metropolis that overwhelms dwellers and visitors alike with constant exposure to all kinds of sensory stimulation. Over the next two decades, the city’s tumult will reach new heights: as population expansion places different classes in dangerous proximity and ideas of political and social reform linger in the air, London begins to undergo enormous infrastructure change that will alter it forever.It is the London of this period that editors Roger Parker and Susan Rutherford pinpoint in this book, which chooses one broad musical category—voice—and engages with it through essays on music of the streets, theaters, opera houses, and concert halls; on the raising of voices in religious and sociopolitical contexts; and on the perception of voice in literary works and scientific experiments with acoustics. Emphasizing human subjects, this focus on voice allows the authors to explore the multifaceted issues that shaped London, from the anxiety surrounding the city’s importance in the musical world at large to the changing vocal imaginations that permeated the epoch. Capturing the breadth of sonic stimulations and cultures available—and sometimes unavoidable—to residents at the time, London Voices, 1820–1840 sheds new light on music in Britain and the richness of London culture during this period
Susan Kean to John Rutherford, August 21, 1799
No full textSusan Kean wrote from Elizabethtown, New Jersey to John Rutherford in Trenton, New Jersey. Susan informed her cousin Rutherford that Barnwell’s bonds were canceled and that he discharged them by payment he made to her in May. Asked what kind of receipt she should send him for the bonds. Susan erased another bond based on Rutherford’s advice. Peter was in New York with a supervisor of his education.https://digitalcommons.kean.edu/lhc_1790s/1617/thumbnail.jp
Susan Kean to John Rutherford, March 8, 1796
No full textSusan Kean wrote from New York to her cousin, John Rutherford, addressed to the Senate of the United States, Philadelphia, PA. Susan’s nephew George Van Brugh Brown arrived in Philadelphia. George grew up in Scottland, where he attended school, then served in the Army, in Jamaica. He was a Captain in the 52nd Regiment. Susan asked John to show him kindness and “give him some directions in what manner he ought to conduct himself.” She was sorry Mr. Bond didn’t stay to meet the president [George Washington]. A postscript vaguely described a man cast away “cast away incoming from Jamaica and had been some time in North Carolina… very much out of health.”
Names included: Mrs. L, Mr. Read, Capt. B.https://digitalcommons.kean.edu/lhc_1790s/1342/thumbnail.jp
Peter Kean and Susan Ursin Niemcewicz to John Rutherford, July 5, 1823
No full textPeter Kean and Susan Ursin Niemcewicz wrote from Ursino to John Rutherford, their uncle and cousin, addressed to Edgerston, NJ. Peter included a copy of a letter he received from Joseph Bloomfield, President of the Society of Cincinnatti, NJ regarding a speech he gave at their meeting.
People Included: Aunt Rutherford, Sarah Sabina Keanhttps://digitalcommons.kean.edu/lhc_1820s/1071/thumbnail.jp
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