Author: Kevin Isaac

Laurie Anderson’s “ARK: United States Part 5”

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Performing at Aviva Studios Manchester, UK on 15,16 and 20-24 November, 2024.

After posting about an impressive installation work in London, and a new play in Australia, I was fascinated to learn about Laurie Anderson’s newest work, ARK: United States Part 5, which includes a collaboration with shape-note singers. Premiering in Manchester last week, and ending Nov. 24th, the show is a multimedia exploration of America’s identity in the 21st century. Anderson’s avant-garde approach, blending music, performance art, and cutting-edge technology, feels like an unusual yet intriguing match for the raw, unvarnished sound of Sacred Harp singing.

From Factory International

Sacred Harp, a participatory tradition of shape-note singing that dates back to the 18th century, is deeply rooted in American history. Its full-bodied harmonies and unapologetically communal ethos are rarely found outside church halls and local singings. For Anderson to pull this music into a contemporary performance setting feels bold and unexpected—exactly what you’d expect from an artist who has spent her career pushing artistic boundaries.

Laurie Anderson is a groundbreaking artist known for her innovative work in music, performance, and multimedia. She gained fame with her 1981 hit O Superman and has created notable projects such as the performance epic United States and the VR experience Chalkroom. Her experimental use of technology and storytelling has made her a notable figure in contemporary art. Anderson was married to the late Lou Reed, whose influence and collaboration further shaped her creative journey.

Reviews of ARK describe a sprawling production, one that the Guardian calls “a whirlwind of poetry, protest, and performance.” The show weaves together AI-generated visuals, beat poetry, and even a communal scream, which the Times notes is inspired by Yoko Ono. Amid the chaos, Sacred Harp makes its entrance as part of the finale. The Guardian describes the effect as “soul-stirring,” while the Times observes that the inclusion of a 20-member Sacred Harp group is “unexpectedly grounding in a piece that sometimes spirals into abstraction.”

A summary by The Arts Desk reads: “ARK is in a similar format to United States Parts 1-4. Anderson moves around the stage playing keyboard and violin, singing songs and telling stories in a voice electronically modified to transform her into characters including a Russian troll, a naive young man, a Trump devotee, Lou Reed and even God. But if its predecessor held up an ironic mirror to America in the early 1980s, ARK is both more universal (climate change affects us all) and more personal (this time many of the stories are autobiographical).”

This mix of chaotic creativity and rooted tradition has me curious about the role Sacred Harp plays within the work. Does it act as a counterbalance to the more frenetic elements? A moment of clarity amidst the noise? Or perhaps it’s a commentary on America’s own layered, contradictory identity. The Arts Desk suggests that Anderson uses these juxtapositions deliberately, writing that “she steers the viewer into the emotional power of collective voices—an act of rebellion in a fractured time.”

Sacred Harp’s raw sound and its participatory nature feel like a natural metaphor for Anderson’s broader themes. The singing itself is communal by design; you sit in a square and sing for the joy of it, without a traditional audience or soloist. To see it brought into a production that embraces the experimental and the multimedia is thrilling—and, admittedly, a bit nerve-wracking. Will it feel authentic, or will it be reduced to a decorative echo of Americana?

Interestingly, the inclusion of Thom Metzger’s book Strong Songs of the Dead in the gift shop alongside Anderson’s albums and books underscores the care the production has taken to respect the role of shape-note singing in ARK. Metzger’s book is a recent release, and while not as wildly eclectic as Anderson’s show, it treats Sacred Harp singing not as a preserved relic but as a living, powerful artistic expression within a larger cultural landscape. Metzger gives full credit to the Southern roots of the tradition while shifting focus to the singers themselves, emphasizing that the heart of Sacred Harp lies in the body and voice of each participant. This perspective reinforces the idea that the tradition can authentically flourish anywhere, even as its diaspora spreads. The inclusion of this book demonstrates the producers’ effort to support both the singers and the broader tradition, presenting Sacred Harp as an integral, evolving art form rather than a static historical curiosity.

Unfortunately, I won’t be able to experience ARK in person. But I’ll be eagerly following the conversations that emerge, especially from the Sacred Harp singers involved. Their reflections will no doubt offer insight into what it was like to bring this centuries-old tradition into such an innovative and ambitious context.

For now, I’m simply heartened to see Sacred Harp making an appearance in a work as high-profile and daring as ARK. It’s a reminder that this music, which has been sustained through grassroots efforts for generations, can resonate just as powerfully in a cutting-edge performance as it does in a humble church hall.

“Denson Book Timeline”

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My entire master bibliographic timeline of Sacred Harp books is overwhelming in the number of items listed, and while them being in strict chronological order provides interesting perspective, so would a more focused, narrower perspective. I’ve decided to make a dedicated post for just the “Denson” books, since that’s the most popular version and they’re very close to releasing a new edition.

Right now there are two unresolved chronological issues: the 1936 and the 1971 edition. Both have three known cover variants, and it is easy to interpret the one that came first, but I have no clue the order or dates of the subsequent two. Any assistance would be greatly appreciated.

Do you have a book that doesn’t appear to be on this list? PLEASE CONTACT ME: baltimoreshapenote@gmail.com

1936 – “Original Sacred Harp” – Denson Revision – “Denson Book”
Sacred Harp Publishing Company, Inc., Haleyville, Alabama / (PRINTER)
There are three distinct variants I have documented that have been noted as being a 1936 edition. The first cover shown has a very distinctive typography, that reflects the title page inside the book, but also the title page of the red/orange cover. The photo showing the third variant was published in a recent online story and had the caption: “Two women sing from the 1936 revision of The Sacred Harp at the United Sacred Harp Convention in Atlanta, Georgia, 1940s.”

1960 – “Original Sacred Harp” – “1960 Revision” – “Denson Book”
Sacred Harp Publishing Company, Inc. & Denson Music Publishing Co. Cullman, Alabama Owen W. Denson- Owner. (PRINTER)
(NOTES)

1960 – “Original Sacred Harp” – “1960 Supplement” – “Denson Book”
Published by Sacred Harp Publishing Company, Cullman Alabama / (PRINTER)
(NOTES)

1966 – “Original Sacred Harp” – “Denson Book”
Sacred Harp Publishing Company, Inc., Cullman, AL. / (PRINTER)
(NOTES)

1971 – “Original Sacred Harp” – 1971 Edition, First printing – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA. / Kingsport Press, Kingsport Tennessee
(NOTES)
LINK: INTERNET ARCHIVE

1977 – “Original Sacred Harp” – 1971, Second Printing? – “Denson Book”
Sacred Harp Publishing Company, Inc., Cullman, AL.
The cover reads “(Denson Revision) 1844-1977”, so I’m assuming the end date was the year of printing and not a typo. The Cullman, Alabama address seems like it might imply an earlier printing, as a previous and subsequent books are out of Bremen, Georgia.

1980 – “Original Sacred Harp” – 1971, Third Printing – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA. / (PRINTER)
(NOTES)

198_ – “Original Sacred Harp” – 1971 Ed., 4th or 5th Printing – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA. / (PRINTER)
(NOTES)

198_ – “Original Sacred Harp” – 1971 Ed., 4th or 5th Printing – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA. / (PRINTER)
(NOTES)

1987 – Original Sacred Harp – Denson Revision 1987 – “Denson Book”
(PUBLISHER) / (PRINTER)
(NOTES)

1991 – A Proposed Selection of Music 1991 Revision of The Sacred Harp – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA / (PRINTER)
(NOTES)

1991 – The Sacred Harp – 1991 Revision – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA / (PRINTER)
(NOTES)

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Singing Loud: Sacred Harp’s Influence on the Theater Work “The Hall”

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Whenever I mention Sacred Harp singing, almost everyone I talk to says they’ve “never heard of it.” Yet now that I’m paying closer attention, I seem to see it everywhere. Maybe it’s just the Baader-Meinhof phenomenon—a kind of observational bias where something you’ve just learned about suddenly appears in your surroundings—but I can’t help but wonder if shape note singing is having another “moment.” Recent tunebooks, documentaries, and even theatrical productions suggest that the stark harmonies and communal energy of this centuries-old tradition are finding renewed cultural relevance.

More fascinating is that these ripples have emanated out to a small theater in Australia.

Pat Irwin, known for his genre-defying music with the B-52s and acclaimed television scores, has teamed up with theater creator Ro Bright for The Hall, a new production that weaves the raw, communal power of shape note singing into the fabric of musical theater. The play, produced by Bullet Heart Club, draws heavily from the Sacred Harp tradition to tell a story about family, memory, and resilience.

First published in Georgia in 1844, The Sacred Harp songbook compiled Baptist hymns from Appalachia using shape note notation—a unique system designed to make sight-reading accessible to all. Irwin describes the music as “beautiful, austere, primitive, social choral music,” contrasting its “clamorous, pagan attack” with the polished formality of traditions like the Mormon Tabernacle Choir. “I’ve been to a couple of churches that were singing from that hymnal, and it’s very, very powerful and energetic and raw; ancient melodies that seemed timeless to me. When you get a good head of steam going and a bunch of great singers, it can get pretty raucous” (The Age, Nov. 12, 2024).

The production’s promotional material offers a glimpse into its emotional core through the character of Tup:

“Why is there a stack of The Sacred Harp, 1991 Editions in the toilet? Tup lived and breathed every hymn on every page of her Sacred Harp book. At a mass sing, she couldn’t be outsung. These days, Tup struggles to button up her cardy and put names to faces, she is in constant combat with her daughter Alison and cannot keep up with her grandchild Billie. All Tup knows is… when in doubt, sing loud.”

This intimate portrayal of Tup’s relationship with Sacred Harp singing mirrors the central role of shape note music in The Hall. Ro Bright, who first encountered Sacred Harp singing while studying at NYU, was struck by the power of the tradition after attending a 400-singer convention. The experience inspired Bright to create a theatrical work that channels the immersive energy of Sacred Harp. Bright collaborated with Irwin, their former film-scoring teacher and a Sacred Harp singer himself, to compose a score for a smaller choir that performs live in the production.

Teaser filmed by Daniell Flood | Edited by Erin Geurts | Featuring “The Comet” – Lyrics by Ro Bright, Music by Pat Irwin | Music consultant Brian Cavanagh-Strong

“I’d never [written] it before,” Irwin says. “It’s basically four-part singing … but you can almost feel the cold and the wind and the earth in parallel lines. I didn’t want to copy it, but I really love adventurous choral singing, so I guess I was drawing on that” (The Age, Nov. 12, 2024).

Staged at Melbourne’s fortyfivedownstairs theater, the show’s cast combines professional singers with gender-diverse, queer, and community vocalists to reflect the inclusivity of Sacred Harp gatherings. While the production is thoroughly rehearsed, its creators aim to capture the spontaneous, communal spirit that defines the tradition. “Shape note singing doesn’t just underscore the story; it is the story,” says director Kitan Petkovski, underscoring the centrality of the music to the narrative (Theatre Matters, Nov. 2024).

For Irwin, The Hall represents a seamless fusion of his creative passions. Having collaborated with icons like John Cage and scored landmark series such as Dexter and Nurse Jackie, Irwin has consistently sought innovative ways to connect music and storytelling. With The Hall, he introduces audiences to the timeless beauty of Sacred Harp singing, bringing its ancient melodies into a bold new context.

The Hall runs at fortyfivedownstairs through December 2024.
https://www.facebook.com/fortyfivedownstairs
https://www.facebook.com/bulletheartclub

Singing Together: How Sacred Harp Unites Voices Beyond Belief

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In Hole in the Stone (Summer 1995, Vol. 6, Iss. 4), singer Alix Baillie shared her unique perspective on Sacred Harp singing in an article titled Down-Home Singing Frenzies: Sacred Harp for Pagans. Though Baillie comes from a Pagan background, she found herself captivated by the raw, communal power of Sacred Harp. Her story serves as a beautiful reminder of the unwritten rule in Sacred Harp singing: “Leave your politics and religion at the door.”

Although Sacred Harp is deeply rooted in the Christian tradition, Baillie reflected on how warmly the community welcomed her, despite her different spiritual background. She emphasized how the power of the music, the open harmonies, and the shared tradition of singing together transcended any differences. While some Christian singers might have been puzzled had they known about her spiritual beliefs, Baillie discovered a space where music brought everyone together.

She described how Sacred Harp singers “live out” the love and unity that many faiths aspire to, focusing on the singing instead of theological differences. Baillie’s experience is a testament to the Sacred Harp tradition of inclusivity: while the lyrics may be overtly Christian, the power of the music transcends belief systems.

As Baillie’s story illustrates, Sacred Harp is best when it welcomes all singers with an open heart. The community thrives because we put aside differences and unite in song. You can find Alix Baillie’s name listed in the Sacred Harp “Minutes” around that time, a testament to her participation in this vibrant tradition.

–Kevin Isaac

P.S. It’s worth noting that Alix Baillie’s article was written nearly 30 years ago, and her views or perspectives may have changed since then. However, the piece offers an interesting snapshot of one enthusiastic singer’s attempt to bring her unconventional musical passion to an unconventional audience—an audience that might not otherwise have been open to reading about Christian hymnody. Baillie’s experience reflects the inclusivity and welcoming spirit that continues to be a hallmark of Sacred Harp singing, even as our community evolves.

Down-Home Singing Frenzies: Sacred Harp for Pagans

The sound whirls in the center of the room with the roar of a funnel cloud. Hundreds of voices — clear, rumbling, nasal — join in powerful harmonies, swept along over an inexorable, throbbing pulse. An outdoor ritual? No, a Sacred Harp convention. The singers seat themselves, not in a circle, but in the “hollow square,” facing each other in voice sections. They are singing from a book whose tradition has been carried on in these meetings since 1844, and which belongs to an even longer tradition reaching back to the eighteenth century. The book is The Sacred Harp, and even though the words are about Jesus, the music is, in the words of one Pagan visitor, “way too good for the Christians to have all to themselves.”

As it turns out, the Christians don’t have it all to themselves. I recently posted a query on an Internet list, asking non-Christians how they felt about singing The Sacred Harp’s texts, and asking Christians how they felt about non-Christians participating. The response from both groups was quite positive. I heard from Unitarians, Jews, agnostics, atheists, people who are a bit of everything, people who were nothing in particular. A woman in Eugene, Oregon, who identified herself as an atheist, reported that some folks up there substitute Goddess for God. At the opposite end of the spectrum, a woman who describes herself as a traditional Roman Catholic uses The Sacred Harp’s hymns in her private devotions. Many of the respondents were people who feel alienated from their Christian upbringing, but find community, spiritual satisfaction, and a connection to the past in Sacred Harp singing.

The connection to the past is very real, and is reiterated at every Sacred Harp convention. At some point, usually just before the midday dinner, one or two singers read aloud the names of singers who have died in the past year. One of the readers, usually an elder in the Sacred Harp community, gives a talk about death — that it waits for all of us, but that it is nothing to fear. Although this is all in a Christian context, the emphasis is not on platitudes like “they’re all with Jesus now,” but rather on the continuity of death and life. In one sense, the dead singers — all the dead singers, for countless generations — live on as we invoke their memory and sing the songs they loved. Stress is also laid on the fact that everyone sitting in the room will pass through the Veil someday. This is not grim, but joyous: not only will we be remembered in our turn, but we’ll be able to sing together endlessly in the biggest convention of them all on the other side.

Many of the songs in The Sacred Harp and the traditions that accompany them, go back to colonial New England. They flourished in the singing schools advocated by Rev. Thomas Symmes in the 1720s as a remedy against the sad state of rote-learned church music. Typically, a singing master would set up in a church or tavern for a week or two and hold daily classes for adults and children. He would charge a nominal fee for the lessons, and make most of his money from the sale of his particular songbook/textbook. He would teach the rudiments of music using the old four-syllable English solfege: FA, SOL, LA, MI. The students would learn the unaccompanied polyphonic music first, part by part, then put the parts together. At the end of the school, the community would have a core of good sight-singers, and the singing master would move on to the next town.

The appeal of the singing schools was not strictly musical. In strait-laced New England, the singing school provided a parentally-approved way for young people to flirt. Musicologist Irving Lowens cites a 1782 letter written by a Yale undergraduate: “I am almost sick of the World & were it not for the Hopes of going to singing-meeting tonight & indulging myself a little in some of the carnal Delights of the Flesh, such as kissing, squeezing &c &c I would willingly leave it now.” The singing school, and the periodic singing-meetings that succeeded it in some places, also provided an enjoyable way for scattered rural families to socialize. The idea of gathering from far-flung parts for a day of meeting, eating, and singing continues today in the tradition of all day singing and dinner on the grounds.

The New England singing-school phenomenon peaked in the 1770s and 1780s. The Yankee composers/singing masters all had other trades and were usually self-taught in music. Their tunes are modal, powerful, and expressive — and ignore the rules of “correct” counterpoint and harmony. Besides plain tunes, in which all the parts move together, they wrote so-called fuguing tunes. These are not formal fugues, but have sections where the voices enter separately, in melodic imitation. William Billings, in the preface to his Continental Harmony, gives the best description yet of a fuguing tune: “Now the solemn bass demands [the listener’s] attention, now the manly tenor, now the lofty counter, now the volatile treble, now here, now there, now here again. — O enchanting! O ecstatic!”

The wild harmonies and exuberant expression of the Yankee singing-school music gradually lost favor in New England. Churches acquired organs, and Lowell Mason and the “better music boys” sought to “improve” American music by replacing it with watered-down European art-music. As singing masters began to move west and south at the turn of the nineteenth century, the first tunebook in shape notes appeared, William Little and William Smith’s Easy Instructor. Earlier teachers had tried various means of representing the solfege syllables visually, but Little and Smith’s system proved the best; it is still used in The Sacred Harp. Each syllable has a unique shape:

Without worrying about keys, a singer can learn to sight-read quickly.

This effective new tool was taken up in the South. In 1815, Ananias Davisson published his Kentucky Harmony in the Shenandoah Valley. This book marked a turning-point in singing-school music: Davisson put some of the most popular songs from round-note Yankee books into four-shape notation, and added new compositions in a Southern-folk idiom. Davisson and other Southern composers wrote new tunes in the folk idiom and adapted ballads and dance-tunes to hymn texts. Their arrangements, too, were folksy, sometimes more like the English-folk sound of the Yankees, sometimes like bluegrass. Although this vigorous unaccompanied singing was born in New England, it was nurtured and carried into the present in the South.

B.F. White and E.J. King’s Sacred Harp, first published in 1844, was one of the last four-shape tunebooks; by the 1850s the tide had turned to seven-syllable solfege (the modern DO RE MI) with seven shapes. Most tunebook publishers changed with the times; along with the new notation came sweeter harmonies and gospel-music influences. The Sacred Harp, however, kept to its traditions of four-shape notation, raw open-fifth harmonies, and Anglo-American tunes. Some efforts were made to update the book. B.F. White’s son edited a revision in 1909 which included several tunes reworked into “correct” harmony. The free-ranging countermelodies were brought into close harmony positions and made to function as chordal harmony parts, losing their own melodic interest. Needless to say, this book did not find much welcome in the Sacred Harp community.

The more successful revisions have kept B.F. White’s underlying principles, but added new songs in the old style with each edition. One update that still raises controversy among arch-purists is the addition, in the 1911 James Revision, of alto parts to most of the old three-part songs. Some claim this addition softens the harmony too much by filling in the thirds of the chords — but anyone who’s ever heard a good paint-peeling Southern alto can testify there’s nothing softening about the alto part.

The current (1991) revision of The Sacred Harp includes works from the earliest Yankee singing masters, works by living composers, and pieces from every generation in between. Convention customs, too, go back to the colonial singing schools. At modern Sacred Harp singings, the group of singers is called the class; each leader in turn stands in the center of the hollow square to lead a lesson. The procedure is completely democratic: anyone at the singing can lead any song, provided it hasn’t already been sung, or used, that day. The arranging committee tries to make sure that everyone who wants to lead gets a chance. As each leader gets up, s/he calls out a page number. The leader or a designated pitcher finds a workable tonic pitch (hardly ever the actual printed pitch); each section finds its starting pitch from this. Then the whole class launches into the cacophony of singing the notes — everyone sings hir own part with the solfege syllables. Finally, the leader calls out the verses s/he wants, and the whole class sings, washing the leader and each other in waves of glorious sound, beating time with their hands and tapping their feet. At midday, they feed each other, in the potluck feast modestly called dinner on the grounds (from the tradition of picnic tables set up on the grounds of tiny country churches).

The texts Sacred Harpers sing all day are about Jesus and his God, but these are not the wimpy lyrics of standard church hymnals, nor are they as exclusively Christian as might appear. The texts are filled with death; life was harsh for the people among whom the shape-note books flourished originally. The God portrayed in many songs is a raging Old Testament God; the raw power of the Divine-in-Nature and of Nature Herself is feared and celebrated. Some of the songs are gentle and comforting, but in a sincere, not sappy, way. It is this directness of expression that seems to appeal to both Christians and non-Christians. One Christian woman wrote me:

“The words are specific, strong, and even offensive to some, but that is part of their power. …The faith expressed in the Sacred Harp is a specific faith believed by a specific group of people. …Their faith had depth because it was a specific experiential faith. …maybe Sacred Harp people respect this faith because they already know that experience means more than abstract theory.”

I heard similar expressions from non-Christians trying to describe the power of Sacred Harp. For me, the power of the sound itself, the psychic force of dozens or hundreds of people singing together, the absolute acceptance of anyone who joins the hollow square — in perfect love and perfect trust — far outweigh the disagreements I have with the specific theology of the texts. Georgian Richard F. Whatley recently posted an article called “Celestial Fruits on Earthly Ground” to the Internet list, in which he remarks that the single most impressive thing about the huge Midwest Convention is the number of different religions gathered under one roof. “Sacred Harp has a way of attracting people from all the spiritual walks who are willing to put their differences on the back burner; people who expect a miracle and come prepared to let it happen.” He concludes: “Where two religious sects are gathered in His (sic) name is called a war; where 20 are gathered is called a Sacred Harp convention.”

The Crone-like lyrics and earthly harmonies made me want to tell Pagans about Sacred Harp a year ago. I’m glad I waited, though, because in that year I’ve learned that the real magic of Sacred Harp is its community — people who actually live out the unconditional love most religions merely hold up as an ideal. The Sacred Harp has Christian words, but if you visit with an open, respectful attitude, you will be welcomed as an old friend. You may even find something you can adapt!

RESOURCES

  • The Sacred Harp. 1991 Revision. Bremen, GA: 1991. Available ($13 postpaid) from Sacred Harp Publishing Co., 1010 Waddell St., Bremen, GA 30110.
  • Cobb, Buell E., Jr. The Sacred Harp: A Tradition and Its Music. Athens, GA: The University of Georgia Press, 1978; paperback, 1989.
    The best introduction to Sacred Harp history and culture. This is available directly from Mr. Cobb; I have his address somewhere.
  • Davisson, Ananias. Kentucky Harmony or, A choice collection of Psalm tunes, hymns, and anthems, in three parts. Ananias Davisson, 1815.
    Facsimile edition, 1976, Augsburg Publishing House, Minneapolis, Minn.
  • Jackson, George Pullen. White Spirituals in the Southern Uplands. N.p.: The University of North Carolina Press, 1933. Reprint, with an introduction by Don Yoder, Hatboro, PA: Folklore Associates, 1964.
    The first scholarly notice taken of shape-note music; deeper history than Cobb.
  • Lowens, Irving. Music and Musicians in Early America. New York: W. W. Norton, 1964.
    Includes essays on New England school and the invention of shape-notes.
  • Directory and Minutes of Sacred Harp Singings.
    Published annually by the Sacred Harp Publishing Company. Lists all Denson-Revision annual conventions and some smaller singings, including:
    • Rocky Mountain Sacred Harp Convention, third Sunday of September and Saturday before, Fort Collins. Contact John Ramsey, 303-221-9589 for more info on the convention and singings in CO/WY/NM. There are monthly singings in Fort Collins, Denver; probably elsewhere as well.

“The Call”, an interplay between Sacred Harp, Artificial Intelligence, and high concept art.

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As a shape note singer interested in its history, I’ve always found beauty and power in this unique American tradition. To see this 19th-century, Southern form of spiritual folk music continually finding new life in the 21st century, especially outside the US, is deeply moving. Holly Herndon and Mat Dryhurst’s new exhibit “The Call” at the Serpentine in London does just that, using Sacred Harp as a springboard for a thought-provoking exploration of artificial intelligence and its role in artmaking.

Image by Leon Chew, The Call, Holly Herndon and Mat Dryhurst with sub, Serpentine, 2024

What particularly excites me about “The Call” is the artists’ decision to use actual Sacred Harp singing as the foundation for their AI model. By recording 15 professional and community choirs from around the UK singing hymns, exercises, and improvisations based on the Sacred Harp tradition, Herndon and Dryhurst created a rich and unique dataset. This data was then used to train AI models to compose new pieces in a similar style, effectively creating a “new polyphonic language”.

While I don’t know how many people who are regular shape note singers participated, it’s apparent from images of the show that the four shape note tradition is used. While the tunes used originate (in some form) from The Sacred Harp, “a mix of professional and community choirs” were contacted to participate. Holly states in one interview “I wrote into the songbook [the idea of] ‘please take these hymns. and interpret it to the aesthetic of your group’”.

About the unique songbook, the artist elaborates: “We worked with a team (that) research(es) AI music notation—and we wrote a program based on a subset of the Sacred Harp canon. It can write infinite hymns. The songbook could be a thousand hymns, it could be two thousand.” While that might seem astounding to a casual reader, Sacred Harp singers know that just holding The Sacred Harp and The Shenandoah Harmony means they have over a thousand first rate tunes already at hand–no team of computer researchers needed!

The exhibit itself is a multi-sensory experience, with installations designed to evoke the feeling of being in the center of the hollow square. Visitors can listen to compositions generated by the AI, interact with the models through their own voice, and even explore the process of training data through visual elements like a chandelier representing the microphone rig used in recording sessions.

Holly Herndon and Mat Dryhurst conducting a recording session with London Contemporary Voices in London, 2024.

What I find particularly interesting is the artists’ focus on the collective and collaborative nature of both Sacred Harp and AI. Just as Sacred Harp singing involves a group of individuals coming together to create a unified sound, “The Call” explores the potential of AI as a “coordination technology” to facilitate collective art-making. The exhibit also addresses important questions about the ethics of AI and data ownership, with Herndon and Dryhurst working to create a data trust that gives the participating choirs control over how their recordings are used.

This aspect of “The Call” is particularly relevant to the history and spirit of Sacred Harp singing. Sacred Harp is all about community, with singers gathering in a square, facing each other and creating music together. There’s no audience, no performer hierarchy—just a shared experience of creating harmony. Herndon and Dryhurst have attempted to honor this in their exhibit, recognizing that both Sacred Harp and AI, when used thoughtfully and ethically, can be powerful tools for human connection and creative expression.

Susanna Cox leading 547 Granville at the monthly Sacred Harp shapenote singing at The Whitworth Art Gallery in Manchester. Filmed Sunday 4 August 2024.

The UK and Ireland seem to have a particularly active community of Sacred Harp singers, and I’ve seen videos from Ireland All Day singings shared very often as some of the most compelling examples of the tradition. Writing about Sacred Harp and museums immediately evokes in my mind some of the near-cinematic videos by Manchester Sacred Harp of their monthly singings at an Art Gallery. The sound is just at home there as a clapboard Primitive Baptist Church in Alabama, or an 1840s stone Quaker meeting house in Maidencreek, PA.

The choice to feature Sacred Harp in a prominent London gallery is a testament to the enduring power of this musical tradition. It’s a powerful reminder that even a seemingly niche, very old, and regional art form can have a global impact and inspire creative exploration in unexpected ways. “The Call” is more than just an art exhibition—it’s a conversation starter, prompting us to think about the possibilities and challenges of AI, and the role of collective creation in the 21st century. It’s also an inspiring sign that this beloved tradition continues to resonate with artists and audiences across the globe.

Cheese Notes

Before The Sacred Harp: How 1830s Reformists Targeted Shape Note Singing

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The following article, published in Musical Magazine Vol. 1 No. 3 for July 1835, was part of a journal edited by Thomas Hastings, a prominent American composer and music educator who played a central role in advocating for the reform of sacred music in the United States.

This article provides a critical overview of American sacred music, with a particular focus on early collections like Lyon’s and Billings’, which it disparages as being of low quality. It reflects the growing efforts of the musical reform movement, or “better music movement,” which sought to replace the widely embraced shape note system with European-style round notes. The reformists viewed shape notes as unsophisticated and backward, and some of their criticisms became especially harsh. This article is notable for coining the term “dunce notes,” a derogatory label for shape notes, underscoring the hostility of reformers toward the tradition. However, the essay’s harsh stance on shape notes came just nine years before the publication of The Sacred Harp in 1844, a book that would go on to solidify the shape note tradition as an enduring and beloved American musical form.

Despite the reformers’ efforts to push European musical conventions, the shape note tradition persisted and even thrived in many communities. The article’s dismissive tone toward earlier American composers and popular singing practices like shape notes reflects a broader elitist attitude of the reform movement, which often prioritized formal musical education and round note systems over the accessibility and community-focused nature of shape note singing. While the reformists may have gained influence in cities like Boston, their push to homogenize American music overlooked the deep cultural roots and lasting appeal of the shape note tradition.

In its closing, the article calls for musicians to prioritize usefulness and service to God, but its bias against shape note singing reveals the reformers’ narrow vision, one that underestimated the lasting impact and value of shape note music in American sacred song.

–Kevin Isaac

MUSICAL AUTHORS AND PUBLICATIONS OF THE UNITED STATES.

Published in Musical Magazine Vol. 1 No. 3 for July 1835.

Among the singing books that have been published in this country, the earliest we recollect to have seen, was Lyon’s Collection, printed in one of the Southern States. The work was executed by a miserable engraver, and the subject matter was of a corresponding character. As early perhaps, as seventy or eighty years ago, it had some circulation.

Williams and Tansur’s well known collection, was reprinted “and sold by Daniel Bailey, at his house next door to St. Paul’s Church, Newburyport, 1771.” This contained the old parochial melodies, badly arranged. Subsequent corrections and improvements in the scores of these melodies, occasioned much dissatisfaction among a multitude of teachers, who were prone to regard every emendation, even to a “printer’s blunder,” as a felonious violation of the original; while at the same time nothing of the tunes in question, save the melodies, had the least claims to originality. Teachers are now better informed in this respect, but are ready to run into the opposite extreme of encouraging unnecessary alterations of standard tunes. This evil needs the application of a remedy.

Billings commenced his train of publications, we believe, not far from the same period above mentioned. He had some genius, but very little learning. His first publication, during the Revolutionary conflict, was ridiculous in the extreme. The theme of one of his anthems, was a mawkish parody upon a passage of the scriptures,—”And the enemy said, let us draw a line from York to Canada! Oh wonderful! Oh horrible!” &c. Some of his subsequent compositions had rather more merit. His Amherst is on the whole, a decent tune; his Brookfield has been deservedly popular; his Anthem for Easter, contains some interesting traits, and was formerly much admired. His Jordan, if indeed the melody was ever invented by him, had claims somewhat beyond mediocrity. It has lately found its way into one of the leading publications of Boston, an honor, however, of which it is not worthy.

Billings may be regarded as the father of fuging music in this country. He derived his models from some of the most insignificant publications of England. Old Milford, Thirty-fourth, and Luke Anthem, by Stevenson, and the compositions of W. Arnold, and others of a similar character, supplied him with models in abundance. The public taste was thus misled for a season, but good sense finally prevailed. Billings’ efforts as a whole, are not to be lightly spoken of. He did what he could; and who, with his opportunities, would have effected more?

Rev. Andrew Law, L.L. D., commenced his compilations not far from the same period with Billings, whom he greatly excelled in scientific qualifications. Though he felt compelled to aid in the circulation of much real trash under the name of music, which had gained the public favor, he introduced many pieces in connexion, derived from the best English works then extant, which exerted great influence in the progress of cultivation and refinement. His abundant labors in pursuance of this object, should be remembered with lasting gratitude. In his latter days, he sickened with discouragement at the public apathy, and as a last resort, took up the “lozenge characters,” threw aside the musical staff, and endeavored by thus paying court to the general indolence of singers, to arouse them to a more active and vigorous cultivation. The end in view was worthy of a better expedient. But if he here erred in judgment, as most certainly he did, his case is not a solitary one. The late Dr. G. K. Jackson, once lent his name to such an object. Even at the present time, there are some excellent men who are filling the Valley of the Mississippi, with patent notes, which are destined, we fear, to hold back the progress of musical improvement in that region, for half a century to come.

Mr. Law was a good man. His own compositions were of little note, except the single tune Archdale, which is beginning to be revived in a new harmonic dress.

Sometime after Mr. Law commenced his earlier labors, productions of an ephemeral character began greatly to multiply. Men who could pitch a tune correctly and distinguish themselves in the noble art of fuging, thought proper to turn composers and offer their wares to the public. Some of the better read, among them, had caught a glimpse of Tansur’s notable Grammar, which, illiterate as it was, held the highest place on the mount of privileges. The writer of this article, was at that time, among the many who coveted in vain the exalted favor. Of some fifty or a hundred composers, most of them too inconsiderable for special notice, we recollect the names of Benham, Bronson, Gillet, Swan, Shumway, French, Morgan, Little, and Smith. Passing over the first five of this list, we may mention French the sixth, as remarkable for his theory of concords. He said there could be no discords in heaven, ergo there ought to be none on earth. So he made up a collection of mangled specimens of music, in illustration of his favorite principle.

Morgan is a name of more notoriety. His Huntington and Montgomery were universal favorites among the lovers of the fuguing style. His Judgment Anthem was quite famous. Had he really intended it as a burlesque, he could scarcely have invented a worse thing. But public taste was then extensively perverted. The man, as we well recollect, was in good standing when he wrote the piece, and he doubtless did his best to produce good music. The words were awfully solemn, and this circumstance gave for a while, great celebrity to the tune.

Little and Smith, we regret to say, are names which must stand in musical history, closely connected with wholesale quantities of patented “dunce notes.” Probably no other book in the country had ever such an amount of purchasers as theirs; or did so much, in the day of it, to hinder the progress of taste. This, however, was to be attributed, chiefly to the enterprise of money making publishers. The compilers, we believe, were never the richer for their undertaking. Had there been no such practice as literally forcing books into the market, the work last mentioned, we are bold to say, would have never come into general notice. And yet the fact, that some fifty thousand copies of any book, can, within a few years, in this manner, be palmed upon the public, is triumphantly quoted, as evidence of its great utility. What if the same inference were to be drawn in reference to the sales of the Life of Stephen Burroughs, and of Paine’s Age of Reason! We mean not the slightest reflection upon the character of individuals. There is a dearth of correct information. Let the public be better informed, and more can be trusted to the discrimination of purchasers.

For a long while after the period of the revolution, there was a general disposition to dispense, as far as possible, with foreign fabrics and inventions. This was very consonant with national pride and the love of independence in an infant republic. It had its advantages and its disadvantages. Among the latter are to be reckoned some of the musical incidents above enumerated. The general disposition to which we have alluded, was strongly felt by the untutored minstrels and compilers of sacred song. It grew at one period, almost to a mania which threatened the total vitiation of taste; and but for such men as Mr. Law and his successors, it is difficult to see how such a crisis would have been prevented. But the leaven of a better taste, slow and almost imperceptible in its operations, was continually at work till its influence had pervaded the general mass of performers. As the demand for good music increased, American authors and compilers began to improve the character of their publications.

Reed’s compositions manifested some traits of genius. His Stafford was comparatively of a chaste and durable character. His Windham is yet in favor, and has been on the whole a very useful tune. Though he did not wholly discard the fuguing style, he gave it some check, and indulged himself in it, with moderation. He was a worthy man, and for aught we can tell, may be still living, in anticipation of a holier minstrelsy in the regions above.

Bull’s collection, published at Hartford, Connecticut, contained many melodies of a chaster character, with simple harmony, not very scientifically arranged. But it was a great improvement upon the fuguing style and led the way for better things. Report says, that the author was remarkable for having conquered the difficulties of a bad voice and imperfect ear. The teacher who had repeatedly pronounced him incorrigible, became at length his docile pupil. This, when the old notion of instinctive qualifications prevailed, was thought to be a strange thing, an event almost equal to a Popish miracle. The man, who thus succeeded in the face of such a discouraging theory, was entitled to much credit for his perseverance.

The names of Gram, Holyoke, Holden, Mann, and Kimball might have been sooner mentioned. The first three of this number, living at Boston, Salem, and Charlestown, published in 1795, a small quarto of about one hundred pages, entitled the Massachusetts Compiler. Full one third of the work was devoted to musical theory, in the presentation of which, there was more of technicality than of sound science or rational simplicity. This portion of the work was ill-digested: but the musical selections were highly creditable. Gram was a well bred organist, of the German school. During the American revolution, or soon afterwards, he published in the Worcester collection, a patriotic anthem “Bind Kings with chains.”

Holyoke, a man also of liberal education, published a large quarto collection, of 489 pages, embracing Watts’ Psalms and Hymns, each set to a special piece of music in score. A large quantity of the music was original, which had scientific merit, but nothing more. It is presumptuous for any musician of any age to draw so largely upon his own resources, for such an object, in such a limited space of time. The unwieldy Repository sunk by its own weight into speedy oblivion.

Holden also published a separate collection which had little merit compared with the Compiler. His compositions partook of the light phraseology of the day, but were less illiterate than the generality of contemporaneous specimens.

Mann, who, in his latter days resided in Northampton, published considerable music, which was somewhat above mediocrity; and gained the reputation of a worthy, skilful teacher. His compositions would about rank with Holden’s.

Kimball, so far as we can learn, never published a book of psalmody: but the few pieces he wrote manifested some genius and cultivation. He was a musician of the secular school, and his compositions are somewhat in a corresponding style.

Tukey, an organist of Boston, was author of a full anthem, and perhaps of nothing more that was published. The Ninety-seventh Psalm tune, which bears his name, is an extract from his anthem, dressed up by other hands.

Gardiner some forty or fifty years ago, was distinguished as a violinist of “astonishing powers.” He had been a pupil of Giardini, and left England for this country, probably on account of some real or alleged misdemeanor. Many anecdotes are related of him as he went about incog to astonish the natives; but he did little for the cause of sacred music, except as an accompanist, and a theoretical instructor.

Chandler, an American, who spent his last days in Catskill, New-York, deserves a passing notice. He left a quantity of unpublished music which evinces industry and cultivation. A complete musical education would have done wonders for him.

But to return to Hartford: Olmsted’s Musical Olio, succeeded to Bull’s Collection, and passed through two editions. He had a better taste than his predecessor, and was by no means destitute of genius. Had his opportunities been greater, he might have been the Handel of America.

The Olio was succeeded by Robert’s collection, which passed through one edition, and gave place to the American Psalmody, by Messrs. Dutton and Ives which is now in circulation.

Benjamin’s Collection might have been sooner mentioned. It was an earlier work, issued but a little time previous to the death of its compiler, who is said to have fallen a victim to the undue exercise of his vocal powers. His collection was made from the best English books of that period; and he published the pieces we believe, without the slightest alteration, which was a matter of some importance at a time when few men were good judges of music.

Boston, for a long period, held its course steadily onward in the march of improvement, unaffected by the surrounding changes; and that city is still more remarkable than any other place in the Union, for its success in musical cultivation. Its example has had great influence upon other portions of the country; never greater perhaps than at the present moment. The worthy musicians of that city therefore are placed in circumstances of trying responsibility. What they do well (and there is much of it) must ultimately stand; and what they do amiss, though it be never so little, will find a multitude of luckless imitators. This is indeed, more or less true, of all distinguished musicians of the present day, who labor in the sacred department; and it becomes them to look well to the character of their influence. A musical reform has for several years past been in progress; and though its march has been slow and its influence not very widely extended, it seems destined to ultimate success; and very possibly, the foundations of a genuine national taste, may very soon be laid.

Within the last twenty-five years there has been a gradual improvement in the character of our musical publications. The various editions of the Worcester Collection, followed by those of the Village Harmony, and the Songs of the Temple, opened the way for the “Handel and Haydn Society” collection of psalmody, published by Mr. Lowell Mason, of Boston; who also issues among other useful works, Lyra Sacra, the Choir, and the Boston Academy’s Collection; which last work is of recent date and destined no doubt to have an extensive circulation.

The works of Zeuner, of a recent date in that city, though less extensively known, are certainly not destitute of merit. Of these and many others, we may chance to speak on future occasions, should we find sufficient leisure for a thorough perusal of their contents.

We shall not include, our own publications in this brief sketch. Some of them have been long before the public and others are of a recent date. Many other collections now in use, have more or less merit, but as our list of titles is imperfect, and as we are unwilling to appear invidious, we shall omit the enumeration, at the present time. Among works of a miscellaneous and scientific character, it may suffice our purpose to name a few of the most prominent. Kollman’s Essay on Harmony, and Callcott’s Musical Grammar, both European works republished in this country, the latter of which has passed to a second edition: Burroughs’ Musical Primer, an important little work on thorough base reprinted at Boston: Ives and Mason’s manuals of elementary instruction: dissertation on musical taste: oratorios of the Messiah and the Creation, republished: Old Colony Collection of Anthems, Choruses &c.: Handel and Haydn Collection, of oratorial extracts. Collections similar to the latter, though less in size, have occasionally been issued in this city; and as to catalogues of secular music, one might as well attempt to count the leaves of the forest which after flourishing for a season are withered by the Autumnal frost and scattered by the winds of heaven.

History

Four Book Reviews from 1969

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The following was published in The Choral Journal, Vol. 10, No. 1 (JULY-AUGUST 1969), p. 8.

Book Review . . .

CHARLES G. BOODY
1248 St. Clair Ave., Apt. 9
St. Paul, Minnesota 55105

WHITE SPIRITUALS IN THE SOUTHERN UPLANDS by George Pullen Jackson. New York: Dover Publications, Inc., 1965 (Original Publication 1933). Paperback, $2.50.

SPIRITUAL FOLKSONGS OF EARLY AMERICA by George Pullen Jackson. New York: Dover Publications, Inc., 1964 (Original Publication 1937). Paperback, $2.00.

THE SOUTHERN HARMONY by William Walker. Edited by Glenn C. Wilcox. Los Angeles: Pro Musicamer icana, 1966 (Reprint of 1854 edition). $6.00.

THE SACRED HARP by B. F. White and E. J. King. Nashville: Broadman Press, 1968 (Reprint of 3rd edition of 1859). $6.50.

One of the choral reviewers for this journal recently wrote that in a new edition of “Early American” choral music several of the works were arranged, and the user would do well to “Check this out”. That reviewer was right. These pieces were largely the melodies of works by early American composers unidiomatically arranged by the editor. This approach to any music is disgusting! Even if all of the readers do not feel this way about such arrangement, they are certain to be curious about the original work, and about the circumstances which surrounded its inception. We are, after all, educating our choirs by our selection of and comments about the music — whether or not that may be our main purpose. The four books examined here discuss or present facsimile reprints of part of our repertory of “early American” choral music, the shape note tune books. The idea of using shaped note heads to represent the syllables first of the old “fa so la fa so la mi” system and later for the more common “do re me . . .” system is entirely an American development. It enjoyed a great vogue at the end of the 18th and beginning of the 19th centuries as an adjunct of the singing school movement. The shape notes were ridiculed and driven out of common usage by the proponents of “European” music who opposed both the musical style of many American compositions and the idea of shaped notation which they termed “buckwheat notes”.

White Spirituals in the Southern Uplands is subtitled “The Story of the Fasola Folk, Their Songs, Singings, and ‘Buckwheat Notes’ “. This extensive study discusses the history of shape notation and its use, the common characteristics of the “Fasola Folk” (as the users of four-shape notation are called), the musical and textual contents of the tune books, sources of the music and texts, changes in the contents of the later books, and differences between the Fasola Folk and the users of the more “modern” seven shape notation. It was the first source and remains a standard source of much of our knowledge of this tradition. Some of Jackson’s work has been criticized for idiosyncratic mode analysis, and for insistence on tracing all aspects of the Negro spiritual back to the “White Spirituals”. This latter point has been thoroughly repudiated since. Despite these shortcomings, the work is still a valuable source of the performance practices and history surrounding part of our first American “musical tradition”.

Spiritual Folksongs of Early America is a collection of 250 tunes and their texts categorized by Jackson. It contains a brief but thorough description of the methods used to collect and classify these tunes, and brief comments about each one. Complete tunes are printed to gether with extensive if not complete texts. This work is probably of more use to the researcher or arranger than to a person wanting to know more about the tradition to which much of this music belongs. The choral settings of the tunes are not given, but indication is made of where they may be found.

The Southern Harmony by “Singin’ Billy” Walker is one of the two most pop ular and enduring of the four-shape tune books. It was such a success that the author proudly appended A.S.H. (Author of the Southern Harmony) to his name. The editor has added a brief listing of errata and an index of first lines to the original book. The errata listing is espec ially important, for it indicates notes of the correct shape which are placed on the wrong position on the staff. The in accurate position will not bother the user of shape notes for he will read the shape, but will certainly confuse those of us who read only the staff position! As was common in these tune books, texts are often set under only one voice of the music, and even then are usually not carefully underlayed. Inevitably only the first verse is underlayed at all. In the fuguing tunes, each voice entrance is given the first word of the text phrase and the singers are left to fit in the re maining text as best they can. In short, this is not music to hand to your choir for sightreading. The texts are all sacred. The music can be classified as anthems, psalms and fuguing tunes from the New England singing school masters, and what Jackson calls “White Spirituals”, the religious music of the revival meet ings and southern protestant churches of that time. The settings are “theorists’ nightmares” in three or four parts, abounding in parallel fifths and octaves, empty fifths at cadences, unresolved dis cords, and rather strange harmonies and progressions. Melodies are often in the tenor line. The settings are quite repre sentative of the American tradition against which Lowell Mason struggled so successfully. Sung in the proper man ner (unaccompanied with men and wo men doubling all parts except the bass) they have a strange yet powerful effect. Alan Lomax described the sound of a “sing” as seventy jackasses braying to gether, but this need not be the case if the performers do not adopt the clenched throat approach to singing affected by most participants in these sings.

The Sacred Harp is the second facsimile edition of this music. Like The Southern Harmony it is an extremely popular and enduring collection. Its musical contents are similar in all respects to that of The Southern Harmony. In addition to the index of first lines, the editors have graciously added a reprint of Jackson’s little book The Story of the Sacred Harp to this edition. A “post script” to this book carries forward the story of this amazing tradition to 1967, and lists 370 singings totalling 403 days as scheduled to take place in 1967. The tradition continues on, though even those who had studied it carefully felt it was destined to die. Unfortunately this reprint does not contain a listing of errata and so must be used with care. No choir director would want to perform only this music, but none should overlook it as a source for an occasional piece, and as an historically important part of our first truly “American” choral music. The reviewer has found the settings of Wondrous Love and The Babe of Bethlehem useful in both church and educational situations. Until some publisher is willing to make available responsible editions of selected works from this repertoire, these facsimile editions will be our only readily available source of this music. After the choral editions become available these reprints will re main useful as a source of further works and a means of “checking” the published edition. We must thank these publishers for making them available at such a reasonable

Cheese Notes

Timeline of “Sacred Harp” Editions

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A Timeline of Sacred Harp Editions, Illustrated and with Minimal Bibliographic Detail.
by Kevin Isaac

“Of making many books there is no end, and much study wearies the body.” —Ecclesiastes 12:12

INTRODUCTION

NOTICE:
THIS IS AN IN-PROGRESS PROJECT, PUBLISHED “EARLY” FOR COLLABORATIVE PURPOSES.
EXPECT CHANGES TO OCCUR AS LONG AS THIS NOTICE IS POSTED.

This timeline presents a selection of at least fifty different editions and iterations of The Sacred Harp by B.F. White and E.J. King, first published in 1844. It includes cover images and is based on Jesse P. Karlsberg’s work here. Significant contributions were made by Robert Vaughn, and additional thanks go to David Smead.

Many books followed the 1844 edition, with some clearly distinct from one another and others less so. While there has been thorough research on this topic, I believe this timeline is unique in its attempt to compile all known derivative works into a single, bibliographic format.

The Sacred Harp has numerous “branches,” and titles within the same branch often changed over time. I have chosen to present the information in a linear format, although I have not determined the precise order for books released in the same year if that information was not available.

Of interest to the reader who asks “why are there so many different branches” is this item from Newnan Herald & Advertiser (Newnan, Ga.) 1909-1915, September 15, 1911:

The “Sacred Harp” convention being in session at Broughton’s Tabernacle, in Atlanta, and having a desire to hear the old songs of by-gone days, we visited the convention and listened to a thousand voices, making these old songs ring. We were cheered to the very core of our heart, and felt like we were mingling voices with the friends of lung ago. The convention was presided over by Col. J. S. James, author of the “Union Harp,” a revised edition of the old “Sacred Harp.” the most noted song hook of the South, which was compiled in the 40’s by Maj. B. F. White, who died in Atlanta a few years ago. His son, Pref. J. L. White, also has out a revised edition of the famous old book, which he is anxious to perpetuate in memory of his father; but it seems that the copyright of father had expired, and, failing to renew it, he lost out. Col. James now claims to possess the copyright to the book, hence the split in the convention. Prof. W. M. Cooper, of Dothan. Al., is also publishing the same book by reason of a copyright which be procured several years ago. Now. it seems to us that this copyrighting business is run in a very slipshod manner by Uncle Sam, and needs a little knocking by some one. We had the pleasure of meeting with many old friends, as well as a lot of new ones, at the convention. Among them were Prof. E.T. Pound, author of several music books, and one of the finest singers in the South, and his brother. Rev. William Pound, who is also the author of several musical works. We were greatly pleased to form the acquaintance of Prof. W. M. Cooper, of Alabama, and Prof. Allen, of the same State. A year hence the convention will meet in Broughton’s Tabernacle by request of Dr. Broughton.

I have color-coded the different branches of The Sacred Harp by adding each branch’s “Informal Name” in a specific color after the book’s basic details. I’ve also included The New Sacred Harp, which was a seven-shape note book compiled by B.F. White’s two sons but ultimately failed. Additionally, I’ve included The Colored Sacred Harp in the timeline, even though it is not part of the King and White book’s printing history. This is due to its significant interest within the singing community and its intriguing placement alongside The Sacred Harp in the publishing timeline.

As a final nontraditional feature, I have noted the years in which significant editors and compilers of The Sacred Harp passed away. Notably, at least three of these individuals died before their respective “branches” were published, starting with E.J. King, one of the original compilers of the first edition.

Two items worth mentioning, though not included in the timeline, are books by J.S. James, editor of the “James Book” that later became the “Denson Book”:

  1. Sacred Tunes and Hymns (1913) – This approximately 190-page tunebook served as a short-lived “companion” to James’ Original Sacred Harp. It features songs in four shape notes and four voices, with additional lines of music intended for instruments at the bottom of the page. The Preface acknowledges the contributions of Prof. S. M. Denson, highlighting his role in the volume’s arrangement. James is noted for framing The Sacred Harp in a nostalgic light, but this book represents a departure from his usual format.
  2. Union Harp and History of Songs (1909) – This 220+ page tunebook established the page format for James’ Original Sacred Harp, published two years later. It includes biographical and historical sketches of the tunes and composers, which later became known as “cheese notes” due to James’ note about John Leland attached to the song “Religion is a Fortune.”

BRANCHES DETAILED HERE

“The Sacred Harp” (1844-1870)
“Cooper Book” (1902-CURRENT)
“White Book” (1909-1911*)
“James Book” (1911-1929*)
“Denson Book” (1936-CURRENT)
“New Sacred Harp” (1884)
“Colored Sacred Harp” (1934-1992)

*The chart above leaves off two recent “commemorative” editions of the “White Book” in 2017 and “James Book” in 2017 from their “usage date ranges”, though they are part of the timeline chart below. Both have been used in modern singings, but are extremely limited in usage, especially compared to the “Denson Book” and “Cooper Book” usage.

INCOMPLETE, AMATUER, AND SOMEWHAT SPECULATIVE

This study is informal and should not be considered definitive. It has been compiled with earnest effort by an amateur bibliophile, aiming to correlate original research with information from various sources. I have consulted with others and will continue to do so, but this work has only been developed over a few weeks, amounting to just a handful of hours. Additionally, the complete printing history of each state, edition, and branch of The Sacred Harp is not fully known, even to long-time scholars, so this study is necessarily incomplete.

The images included come from my own collection, contributions from collaborators, auction listings, used book websites, random online sources, and some academic references. There is a possibility that some sources may have inaccuracies regarding the edition or year of the depicted books. I have strived to use only clear and trustworthy images.

The legend below explains the preferred amount of information for each listing. Please note that this level of detail may not be available for every entry.

All original research presented here is placed in the public domain and may be used freely. If you have information that this collection lacks or if you can provide corrections, please reach out to me at baltimoreshapenote@gmail.com.

LEGEND

(YEAR PRINTED) – (TITLE AS APPEARS ON COVER) – (EDITION/STATE NOTES) – (BRANCH)
(PUBLISHER) / (PRINTER – IF KNOWN)
(NOTES)

The year printed may be different than the year associated with the edition. For example, there are several very different books that all state they are the 1971 printing of the Denson branch.

All of the books are “Sacred Harp” but the cover title was changed many times, sometimes to establish different “branches” of the book sometimes as a marketing strategy.

The “edition notes” is a brief statement about what unique printing the book is, based on either what the book has stated, what researchers have posited.

As there were many publishers involved in the different editions, and many different printers, I’ve detailed that information on the second line. The role of the publisher and the printer can vary greatly depending on the time and project. Early on the printer would have typeset everything, but more recent editions would often have often been typeset by the publishers, etc.

The third line will be used (sparingly) for any additional notes I would like to add that helps further identify and differentiate editions/states/printings.

NOTICE:
THIS IS AN IN-PROGRESS PROJECT, PUBLISHED “EARLY” FOR COLLABORATIVE PURPOSES.
EXPECT CHANGES TO OCCUR AS LONG AS THIS NOTICE IS POSTED.

The Illustrated Bibliographic Timeline

1800s

1844 – E.J. KING DIED

1844 – The Sacred Harp – First Edition, First Printing – “The Sacred Harp”
B.F. White & E.J. King, Hamilton, GA / T.K. & P.G. Collins
This is the first printing of the first edition.

1847 – The Sacred Harp – First Edition, Second Printing – “The Sacred Harp”
(PUBLISHER) / (PRINTER)
(NOTES)

1848 – The Sacred Harp – First Edition, Third Printing – “The Sacred Harp”
B.F. White & Joe King, Hamilton, GA / T.K. & P.G. Collins
This appears to be a third printing of the first edition with cover and title page featuring the year 1848. Note that Joel Kings name has replaced his brothers on the cover as a “proprietor.”

1850 – The Sacred Harp – Second Edition, First Printing “To Which Is Added an Appendix” – “The Sacred Harp”
(PUBLISHER) / (PRINTER)
(NOTES)

1857 – The Sacred Harp – Second Edition, Second Printing “To Which Is Added an Appendix” – “The Sacred Harp”
(PUBLISHER) / (PRINTER)
(NOTES)

1860 – The Sacred Harp – Third Edition “To Which Is Added Appendix I … Also, Appendix II.” – “The Sacred Harp”
S.C. Collins, Philadelphia
A facsimile of this edition was produced in 1968.

1869 – The Sacred Harp – Fourth Edition, First Printing “Fourth Edition, Much Improved and Greatly Enlarged” – “The Sacred Harp”
(PUBLISHER) / (PRINTER)
(NOTES)

1870 – The Sacred Harp – Fourth Edition, Second Printing – “The Sacred Harp”
Chas. P. Byrd, Atlanta / (PRINTER)
(NOTES)

1879 – B.F. WHITE DIED

1884 – The New Sacred Harp – “New Sacred Harp”
(PUBLISHER) / (PRINTER)
(NOTES)

1897 – The Sacred Harp – Fourth Edition, Third Printing – “The Sacred Harp”
(PUBLISHER) / (PRINTER)
(NOTES)

1900s

1903 – The Sacred Harp – 1902 Edition, First Printing “Cooper Book”
W.M. Cooper & Co., Dothan, Al
This first edition of the “Cooper Book” is dated 1902, but was not available until 1903.

1907 – – “Cooper Book”
W.M. Cooper & Co., Dothan, Al
This is a photo of a copy owned by the Texas State University in San Marcos.

1909 – The Sacred Harp – Fifth Edition – “White Book”
(PUBLISHER) / (PRINTER)
(NOTES)

1909 – The Sacred Harp – “Cooper Book”
W.M. Cooper & Co., Dothan, Al
(NOTES)

1910 – The Sacred Harp – _____ – “White Book”
(PUBLISHER) / (PRINTER)
(NOTES)

1911 – “Original Sacred Harp” – First Printing – “James Book”
(PUBLISHER) / (PRINTER)
Mr. Karlsberg has written about this “branch” at length here: https://jpkarlsberg.com/tag/original-sacred-harp/

1911 – “Original Sacred Harp” – Second Printing – “James Book”
(PUBLISHER) / (PRINTER)
(NOTES)

1911 – “Original Sacred Harp” – Second Printing – “James Book”
(PUBLISHER) / (PRINTER)
(NOTES)

1911 – The Sacred Harp – _______ – “White Book”
(PUBLISHER) / (PRINTER)
(NOTES)

19?? – The Sacred Harp – 8th Edition, Alternate State – “Cooper Book”
W.M. Cooper & Co., Dothan, Al
This example of the Eighth Edition was personally owned by S. J. Patterson of Newsome, Texas; dated May 28, 1916. We’re assuming the date inscribed may be close to the date this edition was printed.

1916 – W.M. COOPER DIED

1921 – “Original Sacred Harp” – Fourth Printing – “James Book”
(PUBLISHER) / (PRINTER)
(NOTES)
LINK: INTERNET ARCHIVE

1925 – J.L.WHITE DIED

19??– The Sacred Harp – “1927, 9th Edition” – “Cooper Book”
“Distributed by B.P. Poyner”
The cover of this book states “Distributed by B. P. Poyner,” and was apparently a printing done by Poyner after Cooper’s death and before the 1927 edition. Not much else is known about this edition.

1927– The Sacred Harp – “1927, 9th Edition” – “Cooper Book”
Dr. R. D. Blackshear, Panama City, Fla., Owner and Publisher.
The first printing of the 1927 edition still retained the name R. D. Blackshear as the publisher. He was Cooper’s son-in law. There are at least two other 9th edition printings (says 9th edition on the back) that vary slightly in the covers. There is a 9th edition that has the names of B. P. Poyner, B. F. Faust, and W. M. Faust on it (otherwise the same book, so far as I can tell). There is another 9th edition printing with the names B. P. Poyner and Saxon P. Poyner on it.

1929 – “Original Sacred Harp” – Fifth Printing – “James Book”
(PUBLISHER) / (PRINTER)
(NOTES)

1934 – The Colored Sacred Harp – First Edition, First Printing – “Colored Sacred Harp”
J. Jackson / (PRINTER)
This first edition was a paperback book and printed in a run of 1,000 copies.

19??-1947 – The Sacred Harp – “1927, 9th Edition” – “Cooper Book”
B.P. Poyner Sr. & Saxon P. Poyner, Dothan, Al / (PRINTER)

19??-1947 – The Sacred Harp – “1927, 10th Edition” – “Cooper Book”
B.P. Boyner Sr. & Saxon P. Poyner, Dothan, Al / (PRINTER)
Apparently, the next time B. P. and Saxon Poyner printed this book, they put 10th edition on the back cover. Maybe they forgot to do that with the first printing?

1935 – T.J. DENSON DIED

1936 – S.M. DENSON DIED

1936-‘?? – The Sacred Harp – “1927, 9th Edition” – “Cooper Book”
B.P. Boyner (Dothan, Al), W.M. Faust & B.F. Faust (Ozark, Al)
The Poyner-Faust-Faust, is a printing of the 1927 9th edition. The assumption is they three owned it, and then the Fausts were bought out by Poyners’ son.

1936 – “Original Sacred Harp” – Denson Revision – “Denson Book”
Sacred Harp Publishing Company, Inc., Haleyville, Alabama / (PRINTER)
There are three distinct variants I have documented that have been noted as being a 1936 edition. The first cover shown has a very distinctive typography, that reflects the title page inside the book, but also the title page of the red/orange cover. The photo showing the third variant was published in a recent online story and had the caption: “Two women sing from the 1936 revision of The Sacred Harp at the United Sacred Harp Convention in Atlanta, Georgia, 1940s.”

1947 – The Sacred Harp – 11th Edition – “Cooper Book”
Saxon P. Poyner, Dothan, Ala. / (PRINTER)
The Saxon Poyner 11th edition book was done sometime after his father died, but before the Sacred Harp Book Company was created — so apparently 1947-1948.

1949 – The B.F. White Sacred Harp – 12th Edition – “Cooper Book”
The Sacred Harp Book Co. Inc., Troy, Al / (PRINTER)
The 1949 edition examined has silver lettering on the cover, and the 1950 edition has gold(ish) lettering on the cover. However, the way one can be sure to tell them apart is just look inside and see whether it has the 1949 committee or 1950 committee.
Below is a red cloth cover also identified by a source as a1949 edition.
Because later editions used blue cloth, one could assume the red was printed first, but there is no direct evidence of the printing order.

1950 – The B.F. White Sacred Harp – “Cooper Book”
The Sacred Harp Book Co. Inc., Troy, Al / (PRINTER)
See note above.

1955 – PAINE W. DENSON DIED

1960 – The B.F. White Sacred Harp – “Cooper Book”
The Sacred Harp Book Co., Inc., Troy, AL / (PRINTER)
(NOTES)

1960 – “Original Sacred Harp” – “1960 Revision” – “Denson Book”
Sacred Harp Publishing Company, Inc. & Denson Music Publishing Co. Cullman, Alabama Owen W. Denson- Owner. (PRINTER)
(NOTES)

1960 – “Original Sacred Harp” – “1960 Supplement” – “Denson Book”
Published by Sacred Harp Publishing Company, Cullman Alabama / (PRINTER)
(NOTES)

1964 – The Sacred Harp: James Edition – “James Book”
Denson Music Publishing Company
(PUBLISHER) / (PRINTER)
This is a facsimile edition of the “James Book”

1966 – “Original Sacred Harp” – “Denson Book”
Sacred Harp Publishing Company, Inc., Cullman, AL. / (PRINTER)
(NOTES)

1968 – The Sacred Harp – Third Edition* – “The Sacred Harp”
Broadman Press, Nashville, TN / (PRINTER)
This is a facsimile of the Third Edition published in 1860. It has a new Preface from Davis C. Woolley and includes “The Story of the Sacred Harp 1844-1944” by George Pullen Jackson. Following that is a Postscript by William J. Reynolds.

1971 – “Original Sacred Harp” – 1971 Edition, First printing – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA. / Kingsport Press, Kingsport Tennessee
(NOTES)
LINK: INTERNET ARCHIVE

1973 – The Colored Sacred Harp – First Edition, Second Printing – “Colored Sacred Harp”
H.J. Jackson, Ozark, Alabama / Paragon Press, Montgomery, Alabama
This is the first hardback printing. A small note at the end of the front matter reads: “This project is jointly supported by a grant from the Alabama State Council on the Arts and Humanities and the National Endowment for the Arts in Washington, D.C. a Federal Agency.”

1977 – “Original Sacred Harp” – 1971, Second Printing? – “Denson Book”
Sacred Harp Publishing Company, Inc., Cullman, AL.
The cover reads “(Denson Revision) 1844-1977”, so I’m assuming the end date was the year of printing and not a typo. The Cullman, Alabama address seems like it might imply an earlier printing, as a previous and subsequent books are out of Bremen, Georgia.

“…I sell 5,000 books a year…” –Hugh McGraw “Sacred Harp Singing in Mt Zion GA (July 1977) & Extended Interview with Raymond Hamrick” (link)

1980 – “Original Sacred Harp” – 1971, Third Printing – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA. / (PRINTER)
(NOTES)

An article in The Columbus Ledger (Sun, Sep 11, 1983 · Page 21) notes that Hugh McGraw, of The Sacred Harp Publishing Co., “ships 3,000 books a year of the unique music all over the United States and overseas.”

198_ – “Original Sacred Harp” – 1971 Ed., 4th or 5th Printing – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA. / (PRINTER)
(NOTES)

198_ – “Original Sacred Harp” – 1971 Ed., 4th or 5th Printing – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA. / (PRINTER)
(NOTES)

1983 – The Colored Sacred Harp – Second Revised Edition – “Colored Sacred Harp”
H.J. Jackson, Ozark, Alabama / Brown Printing, Montgomery, AL
In addition to the small note about funding added to the previous edition, the following was added to the same page: “Compiled and edited by H.J. Jackson, Ozark, Alabama, with assistance from Henry Willett, Assistant to the Director/Folklorist, Alabama State Council on the Arts and Humanities.

1987 – Original Sacred Harp – Denson Revision 1987 – “Denson Book”
(PUBLISHER) / (PRINTER)
(NOTES)

1991 – A Proposed Selection of Music 1991 Revision of The Sacred Harp – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA / (PRINTER)
(NOTES)

1991 – The Sacred Harp – 1991 Revision – “Denson Book”
Sacred Harp Publishing Company, Inc., Bremen, GA / (PRINTER)
(NOTES)

1992 – The Colored Sacred Harp – Third Revised Edition – “Colored Sacred Harp”
H.J. Jackson, Ozark, Alabama / Brown Printing, Montgomery, AL
A section titled “Autobiography of Judge Jackson” was added to the front matter, and the Rudiments were expanded by a page.

1992 – The B.F. White Sacred Harp – Revised Cooper Edition – “Cooper Book”
The Sacred Harp Book Company, Samson, Alabama / (PRINTER)
(NOTES)

2000s

2000 – The B.F. White Sacred Harp – Revised Cooper Edition – “Cooper Book”
The Sacred Harp Book Company, Samson, Alabama / (No Printer Noted)
(NOTES)

2006 – The B.F. White Sacred Harp – Revised Cooper Edition – “Cooper Book”
The Sacred Harp Book Company, Samson, Alabama / (PRINTER)
(NOTES)

2007 – The Sacred Harp – 2007 Edition” – “White Book”
Weelyrd Publishing, Buckley WA / Colson Printing Company, Valdosta, GA
Completely retypeset version of the J.L.White “Fourth Edition, With Supplement” with new front matter and indices. The two printings have been “merged” to create what would technically be a new edition.

2012 – The Sacred Harp – “Revised Cooper Edition” – “Cooper Book”
The Sacred Harp Book Company, Samson, Alabama / Colson Printing Company, Valdosta, GA
(NOTES)

2015 – “Original Sacred Harp” – “James Book”
Pitts Theology Library & Sacred Harp Publishing Company / Bookmasters
This “Centennial Edition is a restored “James Book” created from a second edition in the collection of the Sacred Harp Publishing Company. There is new introductory matter added.

2017 – HUGH McGRAW DIED

History

“Social Harp” story from 1974, well illustrated…

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I stumbled across a story about the then new facsimile edition of The Social Harp that was published in the Atlanta Journal on March 1st, 1974. I thought it was so nicely illustrated I would transcribe and post the article and corresponding photos.

Songbook ‘Sings’

by BILLIE CHENEY SPEED
Atlanta Journal Religion Editor

Staff Photos by Bill Mahan

Assembled in the traditional hollow square and using the “Social Harp” songbook more than 30 singers performed the vocal music of America’s oldest days.

“Their music has both the rugged quality of the American frontier and the haunting beauty of British folk melodies” said John F. Garst who was among those who gathered for the second annual singing in the Memorial Hall ballroom of the University of Georgia in Athens.

The shaped notes with which the music is printed in “The Social Harp” and “The Sacred Harp” and other books were invented in 1800 by New Englanders according to Garst. The note heads in the music books are in shapes of squares triangles diamonds and ovals and they match the names of the notes “fa sol la ” serving as aids to sight reading.

Traditionally each piece is sung through once using the notes rather than the words and so from this practice the term “fasola singing” is derived.

Last year’s singing at the university was held in celebration of the republication of John Gordon McCurry’s “The Social Harp” by the University of Georgia Press.

Garst a chemistry professor at the University of Georgia became interested in sacred harp singing when he came to Georgia from California ten years ago. He was instrumental in getting the book originally published in 1855 reprinted.

“The Social Harp” is a singing textbook.

Garst said that singing schools in the 18th century were a weapon of war against the slow embellished congregational singing style that had developed in the colonies by 1700.

Until 1800 the singing school tradition flowered and flourished and then fashion changed and much of the populace rejected the native American music of many of the singing school manuals in favor of European music of the day said Garst.

But the singing schools lived on in rural areas and school texts compiled by the Georgia and South Carolina singing masters include “The Southern Harmony” (1844), “The Social Harp” (1855), “The Christian Harmony (1866), “The Sacred Harp” (1844), “The Hesperian Harp” (1846), and “The Olive Leaf” (1878).

McCurry, who authored “The Social Harp,” was a farmer and singing master from Hart County Ga, and was founding father of Bio Baptist Church, which is located between Hartwell and Bowman.

His book currently available in a new edition was edited by Garst and by Daniel W Patterson.

At this year’s singing at the university a group of traditional Sacred Harp singers from South and West Georgia participated.

They usually sing from “The Sacred Harp,” another’ Georgia book which has been in use continuously since 1844.

The present publisher of “The Original Sacred Harp” (Denson revision) is the Sacred Harp Publishing Co at Bremen.

Numerous singings from this book are held throughout Georgia including the Georgia State Sacred Harp Singing which is always held “the fourth Sunday of March and the Saturday before.”

This year it will be held at Old Valley Grove Primitive Baptist Church five miles southwest of Ocilla off Ga 313 (Ocilla to Tifton).

The singing open to participants as well as visitors starts about 10 am and runs to mid-afternoon with a midday dinner-on-the-grounds.

The Sacred Harp Cookbook? Which one?

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There have been a few times I’ve seen someone on Facebook ask for a recipe, and in response someone said “It might be in The Sacred Harp Cookbook”. This information is almost always met with exuberant confusion that such a thing exists and THEY DON’T HAVE IT!

But there’s not just ONE, I know of THREE different “Sacred Harp Cookbooks”, which I will give information about below, in order they were published. Because of copyright reasons I won’t post more, but I believe the first two are out of print, but the last is still available. Are there MORE? Let me know: baltimoreshapenote@gmail.com

Blessings At Noon: The Sacred Harp Cookbook

by Karen Isbell & Shelly Robbins, Fundcraft Publishing, 1999

This was a comb-bound and professionally printed of about 100 pages. The front matter before the table on contents features photos from the years leading up to publication of “dinner on the ground” at various southern singings. The rest of the book is made up of many recipes from around the country. The publisher of the book specialized in printing fundraising books.

There is a page at Warren Steel’s website on the book containing recipes: “Blessings at Noon” .

A Sacred Feast: Reflections on Sacred Harp Singing and Diner on the Ground

by Kathryn Eastburn, University of Nebraska Press, 2008

Of the three books featured here, this is the only one published by a publisher and made available through major booksellers. The book is part memoir, park recipe book. The chapters are broken down by region: Southwest Texas; Birmingham; Henagar; Seattle, Boulder, and Colorado Springs; Hoboken; and Benton to Birmongham.

East Texas Sacred Harp Convention Book of Recipes

by Kim Vaughn, East Texas Sacred Harp Convention, 2010

The East Texas Sacred Harp Convention has a long history and many members of the Vaughn family appears to have been making contributions to documenting the history of Sacred Harp singing in that area, and in general, for many generations! This wire-coil bound 140 page book is a simple laminated covered book, probably prepared at a local print/copy shop.

Interspersed with the many recipes are short notes and photos related to Sacred Harp.