Announcing the Garfinkel Prize

I’m excited to join my colleagues in the leadership of the American Studies Association’s Digital Humanities Caucus in celebrating the announcement of the first annual Garfinkel Prize for “excellent work at the intersection of American Studies and Digital Humanities.” As our announcement notes, the prize “honors caucus founder Susan Garfinkel for her longstanding service to the caucus and her commitment to an inclusive, interdisciplinary, welcoming Digital Humanities.” The announcement continues:

We welcome submissions from all including college and university faculty; public scholars; university and K-12 educators including contingent faculty; students at the graduate, undergraduate, and even K-12 level; activists; artists; and all other researchers, creators, and thinkers. We encourage projects in pedagogy, research, documentary, critical making, digital art, and all other forms.

Submitted projects should have been completed or significantly updated during the 2015 or 2016 calendar year. We will announce the prize winner at the 2016 caucus meeting at the American Studies Association conference, but submitters are not required to present at or to attend the conference.

Please help us share the word about this exciting new endeavor, and consider submitting yourself. Submissions are due July 1, 2016, through a Google form.

“Regional Roots” and “Seasonal Songs” in the Sacred Harp Publishing Company Newsletter

Cath Tyler leads at a Sacred Harp singing in Utrecth, The Netherlands, August 30, 2015. Photograph by Jesse P. Karlsberg.
Cath Tyler leads at a Sacred Harp singing in Utrecth, The Netherlands, August 30, 2015. Photograph by Jesse P. Karlsberg.

Two new articles of mine are included in the latest issue of the Sacred Harp Publishing Company Newsletter (vol. 4, no. 2, December 31, 2015). In “Regional Roots: Growing Sacred Harp in the Netherlands, Alaska, and British Columbia,” I recount recent trips to growing Sacred Harp singings in Utrecht, Sitka, and Vancouver, contending that while during the first wave of Sacred Harp’s expansion beyond the South, singers from Alabama and Georgia played an enormous role in connecting new singing groups and sharing Sacred Harp’s practices, increasingly

regional cores—sturdy groups of singers with substantial Sacred Harp experience—are helping ensure the success of new classes in their areas … welcom[ing] new classes into the international Sacred Harp network, fostering Sacred Harp’s growth in a period when chartered busses no longer regularly transport southern singers to new conventions[.]

Bobby Watkins and son Taylor sport seasonal outfits at the 2014 Henagar-Union Convention. Photograph by Martha Beverley.
Bobby Watkins and son Taylor sport seasonal outfits at the 2014 Henagar-Union Convention. Photograph by Martha Beverley.

In “Seasonal Songs,” written with Mark T. Godfrey, we analyze the variety of ways in which Sacred Harp “singers think about songs in relation to the calendar” when deciding what to lead. As we illustrate,

[some] songs do indeed show a measurable and statistically significant burst in popularity at specific times of the year. Yet the reasons why some songs are led seasonally vary, as do the specific contours in the leading patterns of such songs over time. [This analysis] reveals just one small piece of how … [leaders’] individual discrete decisions build over time, shaping the seasonal ebb and flow of our collective experience.

In addition to these two articles, this new issue of the Newsletter—which I edit with Nathan Rees—includes articles on a 1924 Sacred Harp trophy from Mississippi, a Sacred Harp singing weekend in Sweden, conducting Sacred Harp research online in historical newspapers, a 1965 list of “dos and don’ts” by Nashville minister and Harpeth Valley Sacred Harp News editor Priestley Miller, and much more. You can access the full issue at the Sacred Harp Publishing Company website.

Vol. 4, No. 2 Contents

“Folklore’s Filter” in the New York Times

A recent New York Times article on a Sacred Harp course taught in the Yale music department features my dissertation, “Folklore’s Filter: Race, Place, and Sacred Harp Singing.” The article places the course, taught by Ian Quinn, in the context of recent student protests over racial inequality on campus. For Quinn, “Once the racial tensions broke out on campus, it seemed to me particularly urgent that we spend time talking about” race and Sacred Harp. As Times reporter Phillip Lutz notes, my dissertation “has become a reference for Quinn as he readjusts the course materials as a result of the racial protests.” The article continues:

The dissertation examines how in the civil rights era, a growing number of folklorists began to document black shape-note groups, and festivals started to feature them next to their white counterparts. Speaking to students before the community members arrived to sing, Mr. Quinn invoked Mr. Karlsberg’s analysis of multiracial programming at the Smithsonian’s Festival of American Folklife in 1970. He showed a video of the Wiregrass Sacred Harp Singers, a black shape-note group, performing at the 1983 Smithsonian festival.

But he said that such efforts at recognizing the tradition’s diversity had a limited effect on entrenched attitudes in schools, churches and other places where most of the singing is done. “By nature, Sacred Harp singing is a kind of conservative, tradition-bound practice,” he said. “That’s going to be the issue those of us who would like to see a more diverse community of singers will have to face.”

Mr. Quinn said Mr. Karlsberg’s dissertation represents one of the most sustained counterweights to Jackson’s work to date. Mr. Karlsberg, for his part, said sessions like Mr. Quinn’s might, when coupled with targeted outreach, constitute a forum for diversifying the Sacred Harp experience.

“The welcome mat is there, and the structure, the setup, the practices make it really great for that,” he said.

You can read Lutz’s article, “A Different Note on Race at Yale,” on the New York Times website. Thanks to Ian Quinn for reading my dissertation with his students, and to Phillip Lutz for thoughtfully engaging with the issues my work raises.

“Folklore’s Filter” and a Post-doctoral Fellowship

In August 2015 I graduated from Emory University’s Graduate Institute of the Liberal Arts with a PhD after my dissertation, “Folklore’s Filter: Race, Place, and Sacred Harp Singing,” was accepted by the graduate school. On September 1 I began an exciting new position as Post-doctoral Fellow in Digital Humanities Publishing at the Emory Center for Digital Scholarship.

My dissertation examines the impact of folklorization on Sacred Harp’s associations with race and place. I trace this through the tunebook’s twentieth-century editions and interactions between singers, folklorists, and folk festival audiences. Emory’s electronic theses and dissertations repository features the dissertation’s abstract and table of contents.

In my post-doctoral fellowship I will edit a digital critical edition of Joseph Stephen James’s 1911 Original Sacred Harp, a companion to the Centennial Edition I edited published by Pitts Theology Library and the Sacred Harp Publishing Company this February. The digital edition will use Readux, a tool for annotating and publishing digital critical editions developed by a team from Emory’s Center for Digital Scholarship and the library’s software development team with which I’ve served as annotation and export consultant. My digital critical edition will be the first volume in a series I’m editing using the platform tentatively titled Race and Religion in Turn of the Twentieth-century American Music. In addition to this project, I will teach a class each spring and will continue to pursue my writing and research. I’m happy to have completed my doctoral program and am thrilled to begin this new stage of my career.

Fall Presentations on Sacred Harp and Digital Publishing Platforms

This fall I’m presenting internationally on Sacred Harp singings geography, history, racial politics, and contemporary relationship to the past. I’m also speaking on Southern Spacess newly redesigned Drupal-based website and on Readux, Emory’s new platform for reading and annotating digitized books and publishing digital critical editions.

Jesse P. Karlsberg introduces Sacred Harp's history at the Festival Oudiemuziek Utrecht, in the Netherlands, August 30, 2015.
Jesse P. Karlsberg introduces Sacred Harp’s history at the Festival Oudemuziek Utrecht, in the Netherlands, August 30, 2015.

In late August I traveled to Utrecht, in the Netherlands, to give a pair of presentations on Sacred Harp’s history and the relationship of contemporary singers to that past. My talk “Resonance and Reinvention: Sounding Historical Practice in Sacred Harp’s Global Twenty-First Century” at the Stichting voor Muziekhistorische Uitvoeringspraktijk [Foundation for Historical Musical Performance Practice] described frames of folk and early music applied to Sacred Harp singing have affected contemporary singers’ and performing ensembles’ conceptions of the style’s aesthetics. This symposium is held each year in conjunction with the Festival Oudemuziek Utrecht, a large international early music festival. The festival this year featured a Sacred Harp singing school taught by Cath Tyler of Newcastle, United Kingdom, and an all-day singing, the first in the Netherlands. In addition to participating in the singing, I gave a short talk on Sacred Harp’s history and geography to complement Cath’s singing school.

Festival organizers invited black and white groups of Sacred Harp singers to sing together at the 1970 Smithsonian Festival of American Folklife in Washington, DC. Photograph by Joe Dan Boyd, courtesy of the Alabama Council for Traditional Arts.
Festival organizers invited black and white groups of Sacred Harp singers to sing together at the 1970 Smithsonian Festival of American Folklife in Washington, DC. Photograph by Joe Dan Boyd, courtesy of the Alabama Council for Traditional Arts.

In October and November I’ll give two additional talks on Sacred Harp’s history, here centered on interactions between folklorists and Sacred Harp singers in the field and at folk festivals. In “Separate but Equal?: Civil Rights on Stage at Sacred Harp Folk Festival Performances, 1964–1970” at the American Studies Association in Toronto, Canada, part of a session I organized on “Race and Resistance in the Folklorization and Reappropriation of Musical Cultures of Struggle,” I’ll describe how folk festival organizers drew on ideas about the civil rights and folk music movements when deciding how to program Sacred Harp singers at the 1964 Newport Folk Festival and the 1970 Smithsonian Festival of American Folklife, and will speak about how these concerns differed from singers’ own priorities. Later, at the Alabama Folklife Association’s Fall into Folklife symposium, I’ll speak about Alan Lomax’s relationship to Sacred Harp singing, focusing on the recordings that emerged from his visit to 1959 United Sacred Harp Musical Association in Fyffe, Alabama, and the encounter’s influence on Sacred Harp singing ever since.

Long Cane Baptist Church, a possible site of the 1845 first Sacred Harp convention, features a balcony in which enslaved African Americans sat after entering the church through a separate, then-outdoor staircase.
Long Cane Baptist Church in LaGrange, Georgia, a possible site of the 1845 first Sacred Harp convention, features a balcony in which enslaved African Americans sat after entering the church through a separate, then-outdoor staircase.

One final talk on Sacred Harp singing, at the American Academy of Religion meeting in Atlanta, Georgia, illuminates a little-told chapter of Sacred Harp’s racial history. In “The Black in ‘White Spirituals,'” I detail the racial politics and musical landscape of the nineteenth-century West Georgia setting in which the Sacred Harp’s compilers lived and worked. I argue that revival choruses, the song form most characteristic of the editions of The Sacred Harp edited in this region, emerged from the mixed-race religious context of early nineteenth century camp meetings, and may have reached the ears of Sacred Harp contributors sung by enslaved African Americans.

Home page of the redesigned Southern Spaces site. Screen capture courtesy of Southern Spaces.
Home page of the redesigned Southern Spaces site. Screen capture courtesy of Southern Spaces.

I’ll also give three presentations this fall on new digital platforms I’ve helped develop for open access journal and scholarly edition publishing. In presentations at the Digital Library Federation in Vancouver, Canada (with Sarah Melton), and at Drupalcamp Atlanta (with Daniel Hansen), I’ll detail the Drupal 7–based platform for scholarly journal publishing developed for Southern Spaces in conjunction with Sevaa Group, Inc., a project I oversaw as the journal’s managing editor. I’ll also speak at Emory University’s Currents in Research lecture series on the Readux platform’s value for editing and publishing annotated facsimile digital scholarly editions.

Announcing Southern Spaces’s New Mobile-friendly Design

Home page of the redesigned Southern Spaces site. Screen capture courtesy of Southern Spaces.
Home page of the redesigned Southern Spaces site. Screen capture courtesy of Southern Spaces.

In August Southern Spaces, the open access peer-reviewed journal for which I serve as managing editor, launched a new redesigned site. As I described in a blog post announcing the launch the “new design emphasizes visual clarity, readability, richer multimedia, and a mobile-friendly responsive layout [and] introduces a dynamic, open source journal publishing platform” the journal will make available as a Drupal 7 distribution this fall.1

The launch of the new site also marks the end of my tenure on the journal’s graduate student staff after two years as managing editor and two additional years in other positions. As I look forward to a new position at Emory’s Center for Digital Scholarship this fall I am also transitioning into a newly created role as the journal’s consulting editor. As consulting editor I will work with the journal’s senior editor, editorial board, and new managing editor Meredith Doster, contributing to discussions on strategy and consulting on the development and distribution of our publishing platform.

Notes

  1.  Jesse P. Karlsberg, “Renewing Multimedia Scholarly Publishing: A Streamlined and Mobile-Friendly Design for Southern Spaces,” Southern Spaces Blog, August 19, 2015, https://southernspaces.org/2015/renewing-multimedia-scholarly-publishing-streamlined-and-mobile-friendly-design-southern-spaces.

Article on the Debut Singing from Original Sacred Harp in the Sacred Harp Publishing Company Newsletter

Speaking about the history and design of Original Sacred Harp at the joint session of the Society for Christian Scholarship in Music and the Emory singing. Photograph by Mark Karlsberg.
Speaking about the history and design of Original Sacred Harp at the joint session of the Society for Christian Scholarship in Music and the Emory singing. Photograph by Mark Karlsberg.

The latest issue of the Sacred Harp Publishing Company Newsletter includes an article I wrote recounting the debut singing from Original Sacred Harp: Centennial Edition. The singing, held on Valentine’s Day at Emory University’s Cannon Chapel during a joint session of the Society for Christian Scholarship in Music and the Emory Sacred Harp Singing, brought together more than one hundred singers and scholars. The event included a talk on the history of the tunebook, an hour or so of singing from the new edition, dinner on the grounds, and singing from The Sacred Harp: 1991 Edition. As I wrote in my report on the singing, “Old Strings on a New Harp,”

the day also gave a number of musicologists their first exposure to Sacred Harp singing, and provided an opportunity to reflect on how singers from generations past articulated the relevance of our tradition to their own times and places as we do so today in a rapidly changing Sacred Harp landscape.

Read “Old Strings on a New Harp” in the Sacred Harp Publishing Company Newsletter.

Spring Presentations

This spring I’m presenting on a range of topics on the cultural politics and book history of Sacred Harp singing in the nineteenth and twentieth centuries. The topics range from the Philadelphia print culture that produced the meticulously composed Sacred Harp editions of the 1840s–1860s to 1960s black South Alabama singers’ disagreements over the politics of protest.

In February I presented a paper co-written with Christopher Sawula at the Auburn University Montgomery Southern Studies conference on the life and music of Philadelphia bookkeeper Elphrey Heritage. Our paper argues that many of the songs Heritage contributed to tunebooks like The Christian Minstrel, The Hesperian Harp, The Social Harp, and The Sacred Harp, show musical markers of close and dispersed harmony styles. Combined with evidence of social interaction between Heritage, his employer the printer Tillinghast King Collins, and tunebook compilers William Hauser and John G. McCurry, Heritage’s music offers a glimpse into a Philadelphia social scene in the 1840s and 1850s that affected the form of southern shape-note tunebooks to a greater extent than commonly acknowledged.

Leading from Original Sacred Harp: Centennial Edition at the Society for Christian Scholarship in Music and Emory Singing with Allen Tullos, co-director of the Emory Center for Digital Scholarship and Danielle Pitrone, who assisted with the production of the new Centennial Edition.
Leading from Original Sacred Harp: Centennial Edition at the Society for Christian Scholarship in Music and Emory Singing with Allen Tullos, co-director of the Emory Center for Digital Scholarship and Danielle Pitrone, who assisted with the production of the new Centennial Edition.

The next weekend I presented a lecture–participatory singing at Emory during a joint session of the Society for Christian Scholarship in Music and the Emory Sacred Harp singing focusing on the musical conservatism and material modernity of Joseph Stephen James’s Original Sacred Harp. My talk, which also served as the official launch of the new Original Sacred Harp: Centennial Edition, was a hands on tour of the book’s design and contents, articulating how its various features illuminated its revisers’ aims and social context. After a short break over 100 singers and conference attendees joined in singing a range of songs from the new edition illustrating its editors’ musical choices. Amy Kiley, a reporter from Atlanta’s NPR station, WABE, covered the event and the publication of my new edition.

I presented at another conference in Atlanta the following weekend, the Southern American Studies Association, on the politics of race and protest that emerged in a 1968 field recording in which SUNY Buffalo music professor William H. Tallmadge interviews south Alabama reverend Shem Jackson, a son of Colored Sacred Harp compiler Judge Jackson. During an interview largely about services and singings at Jackson’s church the conversation unexpectedly turns to Jackson’s resistance to his daughter Mary’s participation in student protest at Tuskegee Institute—protests which Tallmadge seems to regard positively. I presented this paper as part of a panel on race and Sacred Harp singing, where I was joined by Nathan Rees, who spoke about the Wiregrass singers’ album cover art, and Jonathon Smith, who discussed celtic imagery in representations of East Tennessee New Harp of Columbia singers. Douglas Harrison, an insightful scholar of southern gospel, chaired our session.

Paste
Pasted corrections on a page for the 1992 “Cooper book.” Collection of Stanley Smith. Photograph by Jesse P. Karlsberg.

Earlier this month I presented a paper on how Texas singers associate the layout of pre–digitally retypeset Sacred Harp editions with the sound of small rural singings and find both an impediment to efforts promoting the style to urban(e) southern audiences. My paper, delivered at the annual meeting of the Society of American Music in Sacramento, drew on Buell Cobb‘s metaphor of “the South’s ring of repugnance” to describe how such singers invest the digital with the potential to erase the vernacular rusticity that some newer singers romanticize, echoing a folkloric paradigm.

Later this month I will travel to Boston for the Nineteenth Century Studies Association, where I will speak about the nineteenth century editions of The Sacred Harp. Far from a vernacular folk production, The Sacred Harp was a meticulously produced publication of T. K. and P. G. Collins, a high status firm at the center of the emerging national book trade.

Viewing the title page of Original Sacred Harp in Readux BETA.
Viewing the title page of Original Sacred Harp in Readux BETA.

I’ll travel from Boston to Portland, Oregon, to present one final paper, discussing the Readux platform under development at the Emory Center for Digital Scholarship at the Library Publishing Forum. Readux is a new tool for reading, annotating, and publishing digital critical editions of digitized texts. The open source platform is designed to foreground scanned page images, paired with fully searchable text and robust multimedia annotations mapped to page regions. A digital critical edition of Original Sacred Harp will serve as a proof of concept demonstration of the tool’s capacity and will be the first in a series of editions featuring nineteenth- and twentieth-century sacred tunebooks and manuscripts, but the platform will also be available for use, for free of charge, by others interested in editing and publishing digital critical editions.

Echoes of John Leland’s “Mammoth Cheese”?: Reviving #BigBlockOfCheeseDay at the White House

Today the White House celebrates #BigBlockOfCheese day, reviving an open-house tradition dating back to President Andrew Jackson’s day. But for Sacred Harp singers, and Jeffersonians, the story of a 1,400-pound cheese at the White House recalls the even older story of Connecticut preacher John Leland’s journey to Washington to present a “mammoth cheese” (also weighing 1,400 pounds) to Thomas Jefferson at his inauguration. The event—and its retelling by Joseph Stephen James in the historical note accompanying “Bound for Canaan” on p. 82t of Original Sacred Harp—gave rise to the name “cheese notes” for James’s annotations. It’s great to see the White House bringing back such a cheesy tradition!

Original Sacred Harp: Centennial Edition Debut, February 14

My first book, Original Sacred Harp: Centennial Edition, is printed and on its way to the publisher’s warehouse in Georgia. We will be officially launching the book at Emory’s annual Sacred Harp singing on Saturday, February 14, 2015.

Front cover of Original Sacred Harp: Centennial Edition.
Front cover of Original Sacred Harp: Centennial Edition.

We will celebrate the book’s publication with a joint session of the Emory singing and the annual meeting of the Society for Christian Scholarship in Music. I’ll give a short talk placing the book in the social world of its editors and describing its “musical conservatism and material modernity.” We’ll then devote the first session of the Emory singing to participatory singing from the Centennial Edition. Sacred Harp singers will take turns leading songs from the new book and I’ll chime in here and there with comments on the songs, the tunebook, and their makers. The debut presentation and singing will take place from 9:45–10:45 am in Emory University’s Cannon Chapel. The event is free and open to the public. Please join us!

We’ll sing for the rest of the day from The Sacred Harp, 1991 Edition, pausing for dinner on the grounds at noon. Other special events include:

  • Noon and 3 pm: A tour of an exhibit on hymnody and psalmody at the Pitts Theology Library including Watts, Wesley, and selections from the library’s collection of shape-note songbooks.
  • A talk by Joanna Smolko on the history of Sacred Harp singing in Athens, Georgia, also part of the SCSM conference session.

The new edition is the product of four years of work by a dedicated team at Emory University’s Pitts Theology Library and Emory Center for Digital Scholarship. At 584 pages, its editing was an enormous task I could not have undertaken without the support of many people, but Danielle Pitrone, M. Patrick Graham, and Allen Tullos deserve special mention. As noted on the book’s ordering page on the Sacred Harp Publishing Company website,

This commemorative edition celebrates the century that has passed since the 1911 publication of Original Sacred Harp, the direct progenitor of the Sacred Harp Publishing Company’s Sacred Harp, 1991 Edition. Each song in the book includes a historical note written by James. These annotations comprised the most ambitious and accessible record of the history of the songs and hymns in The Sacred Harp and their writers until David Warren Steel’s 2010 reference work, The Makers of the Sacred Harp. Although of variable accuracy, the annotations [in Original Sacred Harp] are a valuable source of information, and a frequent source of humor! Original Sacred Harp included all the songs in the 1870 Sacred Harp, the last edition Sacred Harp co-compiler B. F. White edited. In addition, it restored two thirds of the songs removed from the songbook in the nineteenth century, and introduced new songs that are among the most loved in the book today including “Present Joys,” “Praise God,” and “Traveling On.”

The Original Sacred Harp: Centennial Edition reprints the entire contents of the 1911 tunebook in meticulously reproduced facsimile, preserving the book’s quirky then-modern typographical style. The book features a new introduction by Jesse P. Karlsberg placing Original Sacred Harp in historical and social context, describing how it came to be published, and detailing its reception and legacy.

A handsome hardbound volume reproducing the 1911 tunebook’s original cover, Original Sacred Harp: Centennial Edition makes newly accessible James’s fascinating historical notes and a trove of engaging music.