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.
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 TheSacred 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.
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.
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.
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.
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.
The design of the Sacred Harp: 1991 Edition was widely hailed as a great improvement over previous editions, yet many singers bemoaned the loss of James’s historical notes. By far the crowd favorite among these notes is James’s comment on John Leland, author of the hymn-text “O when shall I see Jesus, and reign with Him above,” which accompanies Elisha James King’s “Bound for Canaan” (p. 82). James wrote:
Rev. John Leland was born in 1754 and died in 1844. He was a Baptist preacher. In 1801 he took a preaching tour from his home in Massachusetts to Washington with his Cheshire cheese, which made his name national on account of that trip. … The farmers of Cheshire, for whom he was pastor, conceived the idea of sending the biggest cheese in America to President Jefferson. Mr. Leland offered to go to Washington with an ox team with it and preach along the way, which he did. The cheese weighed 1,450 pounds. He died with great hope of rest in the glory world.
This note led some singers to adopt the name “cheese notes” for James’s annotations. Singers in the Boston area even established an annual “cheese notes singing,” featuring dramatic readings of this and other choice historical notes from Original Sacred Harp.
Two other notes in which James touches on Leland’s character are less widely known. James’s comment on “Ecstasy” (p. 106) evinces an awareness of Leland’s friendship with Jefferson, which began during the minister’s time in Virginia from 1776–1791:1
Rev. John Leland … was a Baptist minister, and was a great friend of President Thomas Jefferson. … He was popular among his people, but had many peculiarities. Further notice of him appears under the tune “Bound for Canaan.”
Baptist colleagues of Leland commented widely on the preacher’s peculiarities.2 James’s juxtaposition of Leland’s eccentric nature with the story of the mammoth cheese in his note on “Religion Is a Fortune” (p. 319) suggests he was aware of and attempting to reproduce the story’s humor through including it in his annotations:
John Leland was … a Baptist minister, and composed his own hymns. He was also the author of several tunes. Some persons claim he was very eccentric. He traveled all the way to Washington from Cheshire, Mass., to carry President Jefferson a cheese weighing 1,450 pounds: He went through the country on an ox team, and preached all along wherever he could get an audience. He was a good man; and it is said on his deathbed he quoted the words of this hymn: “O When shall I see Jesus?”
Undeniably comical, the propensity of the notes to encourage jokes at the tunebook’s expense, along with the uneven display of pages after seventy-five years of additions and substitutions, was embarrassing to the tunebook’s revisers, in whose cultural context Sacred Harp singing was often regarded as “old fogy.” In its time and place, however—Cheshire, Connecticut, in November 1801—Leland’s journey to Washington was serious business. The journey was a political statement in favor of the separation of church and state and against slavery, as well as a celebration of the newly elected Jefferson. More on that in a future post!
Elihu Barrett, “Correspondence of Sylvanus Urban: The Great Cheshire Political Cheese,” in Gentleman’s Magazine, vol. 3 (London: Bradbury, Evans, and Co., 1869), 636. ↩
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.” ↩
We published the seventh issue of the Sacred Harp Publishing Company Newsletter on Wednesday, which “documents the continuing spread of Sacred Harp singing in Europe, sheds new light on important moments in Sacred Harp’s early history, and reports on recent developments at the Sacred Harp Museum.” I contributed to three pieces in this issue:
I coauthored an essay on Elphrey Heritage, a Philadelphia bookkeeper who was the sole northern contributor to nineteenth-century editions of the Sacred Harp tunebook. Christopher Sawula and I uncovered new details about Heritage’s life and work that help explain how his music came to be included in the book.
I recently sat down for an interview with Emory’s Bethany C. Nash about open access publishing from my perspective as a graduate student. The Robert W. Woodruff Library’s blog has just published the interview in conjunction with Open Access Week 2014.1 In it, I talk about open access as a value in scholarly publishing, power and privilege in relationship to access to scholarship, the challenges of publishing open access as a graduate student, and how Southern Spaces—the journal I manage—benefits from publishing open access.
There were five early printings of Original Sacred Harp between the book’s initial publication in 1911 and 1929. (Two later printings date from 1949 and ca. 1964.) Each of these early printings features a similar cover. Of the differences among the books’ covers, the most prominent are the colors of the ink, paper boards, and cloth on the spine.
In researching the publication history of this book while preparing a facsimile edition for publication in early 2015, I’ve run into trouble honing in on the colors of the third printing. The Sacred Harp Museum owns copies of the first (1911), second (also dated 1911), fourth (1921), and fifth (1929) printings of Original Sacred Harp with relatively unblemished covers. Yet the museum’s two copies of the third printing (also dated 1911) are in much rougher shape.
I’ve posted scans of covers of the first, second, third, and fourth, and fifth printings of the James book below. (I’ll be adding a scan of the cover of the fourth printing soon!) [Update, 9/2/14: Added!; Update 2/17/15: new printing identified thanks to your responses, post altered accordingly.] Have you seen a copy of the third printing of the James book in better shape than the third image posted below? If so, please contact me!
Thanks to Danielle Pitrone and Wade Kotter for scanning the front covers of these books.
On Thursday I gave a talk at Berea College’s Appalachian Sound Archives about the research I’ve conducted as a Sound Archives Fellow. My talk, “Race, Place, and Tunebook Revision: Researching Sacred Harp’s Twentieth Century Transformations as a Berea Appalachian Sounds Archives Fellow,” drew on my work with materials in the sound archives documenting black Sacred Harp singing in southeastern Alabama in the late 1960s and oral history interviews I’ve conducted as a fellow with members of families with long histories of participation in Sacred Harp singing from Georgia, Alabama, Mississippi, and Texas. My talk drew on examples from both sets of material to describe how folklorists’ aesthetic and economic/occupational priorities often differed from those of their subjects.
The talk was well attended by a crowd of Berea College faculty and students as well as local Sacred Harp singers. I was particularly delighted to meet friends and colleagues of William H. Tallmadge (1916–2004), the music scholar whose field recordings and interviews with black Sacred Harp singers in 1968 I was discussing. Many thanks to Harry Rice, John Bondurant, and the staff of the Sound Archives for their help during my time as a fellow and for their work promoting the talk.