Here’s the first in what I hope will be several installments of gems mined from Joseph Stephen James’s historical notes in Original Sacred Harp (1911). James authored a note for each of the book’s 609 songs. The notes are always interesting, sometimes humorous, and just about as often historically accurate. They were a source of embarrassment to singers seeking to shed the “old fogy” label often applied to Sacred Harp singing in the mid-twentieth century. For this reason the notes were removed from The Sacred Harp, 1991 Edition and eventually replaced with David Warren Steel and Richard L. Hulan’s impressively researched Makers of the Sacred Harp. I’m rereading James’s notes as I review page proofs from my Original Sacred Harp: Centennial Edition, forthcoming from Pitts Theology Library and the Sacred Harp Publishing Company in February 2015.
From the Dictionary of Musical Terms in James’s “Rudiments of Music” (p. 24):
Musical Science—The theory of music.
… [several entries later] …
Theory of Music—The science of music.
From James’s note on “Clamanda” (p. 42):
This tune is on page 42 of the “Sacred Harp” … Like some other tunes we have been unable to find any trace of its history or the words in the tune.1
This didn’t stop James from attributing the minor folk hymn to F. F. Chopin.
- The rest of James’s note on “Clamanda” is suggests that the song was the “Murillo’s Lesson” of 1911, frequently requested by older listeners seated toward the back of the church: “It is a great favorite among the older people who sung it from thirty to fifty years ago … and is often requested to be sung in conventions and other musical gatherings, especially by those who used shaped note books.” ↩