to Methodists. However, the idea, first used in the Repository, Part Second of 1813, of collecting folk tunes, harmonizing them, and using them as vehicles for hymn texts, was followed by Davisson from the very first. In contrast, the music advocated in New England and the Midwest by the "Better Music Boys" (e.g. Lowell Mason, Thomas Hastings, and others) sought to emulate European styles, while denigrating William Billings and other composers of the First New England School. The 1816 Kentucky Harmony has no European compositions, retains the best of the New England fuging tunes, makes extensive use of regional folk tunes, and has 60% of its songs in the minor key. A Supplement to the Kentucky Harmony A Supplement to the Kentucky Harmony (Harrisonburg, Virginia: 1820) went through three editions. It was notable for its inclusion of English, Scottish and Irish folk tunes pared with spiritual texts. It included very little New England hymnody or church hymns. Davisson specifically dedicated it to his "Methodist friends" for use in their camp meetings. The author's principle design in offering his Supplement is, that his Methodist friends may be furnished with a suitable and proper arrangement of such pieces as may seem best to animate a zealous Christian in his acts of devotion; and while they sing with the spirit, let them learn to sing with the understanding also.Of the camp meetings songs from the Supplement that have been republished in the Shenandoah Harmony (2013), recordings of 319 Salutation (and others) are easily found on YouTube. The folk tunes themselves would have been familiar to the participants, making it easier to pair the religious texts. This was at a time when the Methodists were a much smaller, out of the mainstream religion. Other publications Other books published by Davisson were Introduction to Sacred Music, Extracted from the Kentucky Harmony and Chiefly Intended for the Benefit of Young Scholars, (Harrisonburg, Virginia: 1821), and A Small Collection of Sacred Music (Harrisonburg, Virginia: 1825). In addition to his own tunebooks, Davisson also printed Songs of Zion by James P. Carrell (1821) and Mennonite tunebooks for Joseph Funk. Idumea Davisson's iconic tune first appeared in the Kentucky Harmony in 1816, based on a folk song, with treble and bass voices composed by Davisson, as a setting for Isaac Watts's "My God, my life, my love" (93 in Horae Lyricae: Poems, Chiefly of the Lyric Kind, 1707). Following