Question: In what year was the hymnbook that Elisha J. King compiled first published?

full_context: Document 1: Elisha J. King: Elisha James King (1821-1844) was, with B. F. White, the compiler of "The Sacred Harp", a shape note hymnbook that came to be used widely in the rural South. In revised form, the book continues to be popular among singers to this day.
Document 2: Old-Time Religion: ("Give Me That") "Old-Time Religion" (and similar spellings) is a traditional Gospel song dating from 1873, when it was included in a list of Jubilee songs—or earlier. It has become a standard in many Protestant hymnals, though it says nothing about Jesus or the gospel, and covered by many artists. Some scholars, such as Forrest Mason McCann, have asserted the possibility of an earlier stage of evolution of the song, in that "the tune may go back to English folk origins" (later dying out in the white repertoire but staying alive in the work songs of African Americans). In any event, it was by way of Charles Davis Tillman that the song had incalculable influence on the confluence of black spiritual and white gospel song traditions in forming the genre now known as southern gospel. Tillman was largely responsible for publishing the song into the repertoire of white audiences. It was first heard sung by African-Americans and written down by Tillman when he attended a camp meeting in Lexington, South Carolina in 1889.
Document 3: Redemption Hymnal: The Redemption Hymnal is a red-covered hymnbook containing 800 evangelical hymns, first published by the Elim Publishing House in London, in 1951. The hymnal was compiled by a committee of leaders from the three main Pentecostal denominations in the United Kingdom: Assemblies of God in Great Britain, Elim Pentecostal Church and the Apostolic Church (denomination). It is strongly associated with the emergence of the Pentecostal movement in the United Kingdom.
Document 4: Julian King (recording engineer): Julian King is a Grammy Award-winning recording engineer, mix engineer, record producer and musician based in Nashville, Tennessee. In one capacity or another, he has been involved with records that have sold more than 100 million units (see listing below). King has worked with some of the most notable artists in country music, such as George Jones, George Strait, Waylon Jennings, Willie Nelson, Kenny Rogers and Merle Haggard. Other artists he has worked with include Tim McGraw, Vince Gill, Charlie Daniels, Hank Williams, Jr., Clint Black, Martina McBride, Randy Travis, Brooks & Dunn, Toby Keith, Alabama and The Judds. His credits also extend to some of the hottest young acts in country music today, such as Sugarland, Chris Young, Kellie Pickler, Lauren Alaina and Casey James.
Document 5: National Gospel Singing Convention: The convention was established by the most prominent publishers of shape note song books in 1936, including the Morris-Henson Company, the Vaughan Quartet, James D. Vaughan Music Publishers, the Hartford Music Company, A. J. Showalter Company, Denson Music Company, Theodore Sisk Music Company, Tennessee Music and Printing Company, George W. Sebren, W. P. Ganus, and the Stamps-Baxter Music and Printing Company. The first event was held in 1936 in Birmingham, Alabama, with Adger M. Pace serving as the convention's first president.
Document 6: Christadelphian hymnals: The earliest Christadelphian hymn book published was the "Sacred Melodist" which was published by Benjamin Wilson in Geneva, Illinois in 1860. The next was the hymn book published for the use of "Baptised Believers in the Kingdom of God" (an early name for Christadelphians) by George Dowie in Edinburgh in 1864. ""The Golden Harp"" was put together in 1864 by Scotsman Robert Roberts. This was then followed a year later by first 'official' (as the Christadelphians had not been named as such until then) book, compiled also by Roberts, and was called simply ""The Christadelphian Hymn Book."" It contained 223 psalms/hymns and 50 anthems but no music. In 1869 Robert's produced a version of this book with music included.
Document 7: Christian Science Hymnal: The Christian Science Hymnal is a collection of hymns sanctioned for use in Christian Science services including Sunday services and Wednesday evening testimony meetings, as well as in occasional informal hymn sings. It includes both traditional Christian hymns, traditional hymns with minor adaptations better suiting Christian Science theology, and hymns unique to Christian Science, including seven poems by the denomination's founder Mary Baker Eddy set to various tunes: "Christ, My Refuge", "Christmas Morn", "Communion Hymn", "Feed My Sheep", "Love", "Mother's Evening Prayer", and "Satisfied". Found in the Supplement section are the hymns, "I Need Thee Every Hour", "I'm a Pilgrim and I'm a Stranger", and "Eternity", which were originally included in the Hymnal in accordance with [Mrs. Eddy's] wish."
Document 8: Singing the Living Tradition: Singing the Living Tradition is a hymnal published by the Unitarian Universalist Association. First published in 1993 by the Hymnbook Resources Commission of the UUA, it was meant to be much more inclusive in both gender references, multicultural sources, and a wider number of religious inspirations. According to Jason Shelton,
Document 9: Gospel music: Gospel music is a genre of Christian music. The creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. Gospel music usually has dominant vocals (often with strong use of harmony) with Christian lyrics. Gospel music can be traced to the early 17th century, with roots in the black oral tradition. Hymns and sacred songs were often repeated in a call and response fashion. Most of the churches relied on hand clapping and foot stomping as rhythmic accompaniment. Most of the singing was done a cappella. The first published use of the term "gospel song" probably appeared in 1874. The original gospel songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby. Gospel music publishing houses emerged. The advent of radio in the 1920s greatly increased the audience for gospel music. Following World War II, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate.
Document 10: Sacred Harp hymnwriters and composers: "The Sacred Harp" is a shape note tunebook, originally compiled in 1844 by Benjamin Franklin White and Elisha J. King in Georgia and used to this day in revised form by Sacred Harp singers throughout America and overseas. This article is a historical overview and listing of the composers and poets who wrote the songs and texts of "The Sacred Harp".
Document 11: Sacred Harp: Sacred Harp singing is a tradition of sacred choral music that originated in the American South of the United States. The name is derived from "The Sacred Harp," a ubiquitous and historically important tunebook printed in shape notes. The work was first published in 1844 and has reappeared in multiple editions ever since. Sacred Harp music represents one branch of an older tradition of American music that developed over the period 1770 to 1820 from roots in New England, with a significant, related development under the influence of "revival" services around the 1840s. This music was included in, and became profoundly associated with, books using the shape note style of notation popular in America in the 18th and early 19th centuries.
Document 12: The Great Speckled Bird (song): "The Great Speckled Bird" is a hymn from the Southern United States whose lyrics were written by the Reverend Guy Smith. It is an allegory referencing Fundamentalist self-perception during the Fundamentalist–Modernist Controversy. The song is in the form of AABA and has a 12 bar count. It is based on Jeremiah 12:9, ""Mine heritage is unto me as a speckled bird, the birds round about are against her; come ye, assemble all the beasts of the field, come to devour."" It was recorded in 1936 by Roy Acuff. It was also later recorded by Johnny Cash and Kitty Wells (both in 1959), Pearly Brown (1961), Hank Locklin (1962), Marty Robbins (1966), Lucinda Williams (1978), Bert Southwood (1990), Marion Williams, and Jerry Lee Lewis.
Document 13: Singing the Faith: Singing the Faith is the current authorised hymnbook of the Methodist Church of Great Britain, first published in 2011.
Document 14: Christian Hymnary: The Christian Hymnary is a hymnbook used by Mennonites and other Anabaptist groups. It was compiled by John J. Overholt, and published in 1972. Featured in this hymnbook is a compilation of over 1000 hymns, including classic hymns, Martyr Songs from the Ausbund, Evangelistic and Gospel Songs and tunes from the Harmonia Sacra. It is widely used in conservative Mennonite circles.
Document 15: E Ola Ke Alii Ke Akua: "E Ola Ke Aliʻ i Ke Akua", translated as "God Save the King", was one of Hawaii's four national anthems. It was composed in 1860 by Prince William Charles Lunalilo, who later became King Lunalilo. Prior to 1860, the Kingdom of Hawaii lacked its own national anthem and had used the British royal anthem "God Save The King". A contest was sponsored in 1860 by Kamehameha IV, who wanted a song with Hawaiian lyrics set to the tune of the British anthem. The winning entry was written by the 25-year-old Lunalilo and was reputed to have been written in 20 minutes. Lunalilo was awarded 10 dollars, which later donated to the Queen's Hospital. His composition became Hawaii's first national anthem. It remained Hawaii's national anthem until 1866, when it was replaced by Queen Liliʻ uokalani's composition "He Mele Lahui Hawaii".
ground_truth: 1844