This September I will be transitioning into an exciting new role at Emory University that mixes my interests in collaborative digital research projects, nineteenth- and twentieth-century American music, teaching, and interdisciplinary editing and publishing about the southern United States. After a year as postdoctoral fellow in digital humanities publishing, I will be joining the Emory Center for Digital Scholarship full time as senior digital scholarship strategist.
In this new role, my responsibilities will include overseeing the center’s process for producing digital projects, from the proposal stage, through implementation, to sustainability. I will also manage key center initiatives related to my own research on American music and the US South. These projects include the Sounding Spirit initiative to publish digital critical editions and companion print editions of key texts from the Southern sacred music diaspora, 1850–1925, the Atlanta Studies scholarly journal and blog on the metropolitan Atlanta region, the Readux platform for browsing, annotating, and publishing editions of digitized books, and the Sacred Harp Minutes research database. I will continue to teach one course a year in Emory’s American studies, interdisciplinary studies, and music departments. Finally, I’ll consult with Emory faculty on digital projects related to Readux and the southern United States. I’m excited to move into this new role.
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[.]
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.
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.
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 Spaces’s newly redesigned Drupal-based website and on Readux, Emory’s new platform for reading and annotating digitized books and publishing digital critical editions.
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.
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.
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.
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.
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.
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.
There’s an interesting conversation on the HASTAC blog about the merits of blogging as a form of scholarly publishing. Needless to say, while many academics blog on their own web sites and contribute to other blogs, blogging is not generally considered a form of scholarship on par with books, journal articles, and conference presentations. As online journals proliferate and publishers of such journals experiment with the form of scholarly publishing, why do blogs lack prestige?
My contention in a recent comment is that the lack of peer review in almost all personal (and most group) blogging contexts is a major reason for this difference. Some authors have experimented with subjecting blog posts to peer review. In certain cases, these experiments have productively challenged the nature of peer review, embracing forms of post-publication peer review, for example.
I would argue that in many cases conventional peer review is undesirable for blogs. Blogs facilitate:
Immediate (or at least rapid) publication, which enables authors to respond quickly to timely events,
Conversation among authors of different blogs and through commenting, through which scholarly conversation can move along at a much quicker pace than through peer reviewed journal articles, and
Reflexive writing, thoughts on process, multimedia, and other forms of thoughtful, academically interesting writing that for various reasons are unlikely to find their way into a number of conventionally peer reviewed publication forums.
This capacity to engage in conversation and respond to current events is one reason Southern Spaces, the multimedia, online, peer reviewed journal at which I am an Editorial Associate, is considering launching a blog in the next couple of months to supplement its conventionally peer reviewed publications. A blog would provide the journal’s staff with a platform for participating in conversations about digital publishing and the U. S. South while also providing our authors with a venue to weigh in on timely current events.
The journal will need to determine what kind of pre-publication review posts will undergo. Ernesto Priego suggests that certain review processes involving a community of non-blind reviewers and blogging tools may be superior to conventional peer review in many respects and “empower authors to become active participants in the publication and promotion of their own articles” in his reply to my comment over at HASTAC.
I am planning to use this blog to publish a short piece to accompany a forthcoming publication. While the conventional peer review process at the journal to which I submitted my piece helped refine and shorten my essay, and rendered it more appropriate for the journal’s audience, this shortening left me wishing for a venue to publish some left out quotes and some writing on my own relationship to the events described in the piece. It is entirely possible that such forms of writing might be welcome in other conventionally peer reviewed spaces. However, I imagine that regardless of the forum, there is often some complementary material that an author may wish to make public and accessible, yet that winds up excluded from a given publication. I am willing to sacrifice the academic credit that might come from the imposition of peer review for the flexibility that I have in this publishing space.
What is emerging in the conversation on HASTAC referenced above is that certain forms of review may preserve the advantages of a blog while improving its scholarship. As online journals slowly proliferate and gain legitimacy, amid continuing exploration of what forms such journals can take, blogging should be thrown into the mix. By doing so, scholars and online journal publishers might also helpfully reconsider the form peer review takes in these spaces.
I’m happy to report that I’ve been selected as a HASTAC Scholar for 2011–12, joining six other Emory University graduate students (including threeothersfrom the ILA).
As I work this year on the digitization and presentation of a selection of books in the English and American Hymnody and Psalmody Collection at the Pitts Theology Library I am eager to interact with others in the HASTAC community interested in the representation of printed texts, musical notation, and other digitized objects online and interfaces for expressing scholarship in relation to such digital objects. Presenting such work digitally has the potential to engage a general public (of Sacred Harp singers in my case) as well as a scholarly audience. I’m hopeful that sharing this work may catalyze collaborations around the comparison and annotation of digitized objects.
In addition to participating in a conversation related to my scholarship, as an Editorial Associate with the interdisciplinary online journal Southern Spaces, I’m looking forward to sharing my experience implementing new web technologies for a multimedia digital academic journal. I’m also excited to be able to offer occasional updates on digital scholarship at Emory, where our new Digital Scholarship Commons (DiSC) is in its first year.
The New York Times has published a sequence of blog posts by filmmaker Errol Morris telling a story of the invention of e-mail and his brother’s role in its development. The posts – mixing personal history with the history of e-mail and computer time-sharing – consist largely of excerpts from conversations between Morris and individuals who worked on CTSS and Project MAC at MIT in the 1960s with Morris’s brother. The resulting story provides insight into early human-computer interaction and describes how computers, through the advent of e-mail and time-sharing, unexpectedly came to mediate and facilitate interaction and community-formation among people.