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CHAPTER I.

THE MUSIC OF THE CLOISTER.

VEN more interesting than the high-gabled cloister buildings at Ephrata, with their curious history and associations, or the issues of the printing office and writing room, with its ornate specimens of caligraphy, is the music of the Ephrata Kloster, with its distinctive system of harmony, unique nota

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tion and quaint melodies, with a peculiar method of vocal rendition, all of which were an outgrowth of the theosophy taught by Conrad Beissel and his followers on the Cocalico.

That this singular system of harmony (if strictly speaking it can be called a system), was an original evolution

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