The Embodiment of Love and Fellowship: Honoring Billy Joe and Evelyn Harris

B. J. Harris, 2007.

B. J. Harris at the 2007 4th of July Singing, Muscadine, Alabama. Photograph by Martha Beverly.

In October, 2015, the members of the Board of Directors of the Sacred Harp Publishing Company voted unanimously to present a citation to the descendants of Billy Joe and Evelyn Harris. The practice of awarding citations to outstanding deceased members of the Company was begun in 1969. This joint award was only the third one given to a couple; previous double recipients were Virgil and Ruby Phillips and Jeff and Shelbie Sheppard.

Billy Joe and Evelyn loved singing and singers; they traveled to sing with others, they supported singings in their area, and they welcomed singers into their home in Oxford, Alabama. They were loyal participants in the “bus trips” conducted by Ruth and Leman Brown and Pearl Guier, an important outreach to new singing communities across the country. [Read a report on a 1985 bus trip to the New England Convention in vol. 2, no. 2 of the Newsletter—Ed.] Their presence on more than thirty-five of those trips was marked by love and laughter. They also were diligent in visiting singers who were homebound or otherwise unable to travel to singings. I have fond memories of their visits to my parents.

Evelyn Harris and Ruth Daniel. Ephesus, Georgia

Evelyn Harris and her sister Ruth Daniel. Ephesus, Georgia. Photograph by Johnathon Kelso.

Evelyn came from a longstanding singing family; her family had participated in Sacred Harp for several generations. She learned to sing as a child and often accompanied her parents, Chester and Estella Warren, to local singings. As a teenager, she attended several singing schools. She introduced Billy Joe to the music after they married. When Mr. Warren passed away in 1951, Evelyn and Billy Joe (or B. J., as he was affectionately called) began regularly taking Mrs. Estella to singings. As long as they were physically able, they never stopped going. In fact, their adult children complained that seeing them on a weekend required an appointment because they were always “gone sangin.”

Evelyn and B. J. could be counted on to support local singings in every way: cooking many dishes, opening their home to visitors, and welcoming one and all—especially new singers. They were the backbone of singings in Cleburne County, Alabama, at Old Harmony, Cane Creek, Edwardsville, and Oak Hill.

Billy Joe was known for his sense of humor, his droll impersonation of local characters, his unlimited supply of jokes, and his ability to laugh at himself. He could engender laughs for even the dullest tales. He was quite the raconteur, and his “spot-on” delivery was unsurpassed. Frequently, he was the subject of the stories. I remember his recounting of the time he went to purchase a new luxury car. He wore his usual overalls and did not display the roll of bills in his wallet with which he intended to pay cash for the vehicle. When he admitted that he did not plan to borrow any money from the local bank and was reluctant to offer any information for a credit check, the salesman ignored him. B. J. promptly went to another dealership, purchased a similar car, and made certain that his route home took him by the earlier dealership so that he could tell the employee that the competitor did not ask for a credit check.

Evelyn continued to participate in singings after Billy Joe had passed away. She often volunteered to drive elderly singers to various locations. She also reached out to singers of all ages, taking a special interest in those who were newly introduced to Sacred Harp. When Mary Jo Shafer came to Anniston to work for the city newspaper, Evelyn encouraged her. This is Mary Jo’s account of the special relationship they shared:

Evelyn Harris, 2007.

Evelyn Harris cleaning up after a singing. Jacksonville, Alabama, 2007. Photograph by Robert Chambless.

I first met Evelyn when I attended my first singing in Alabama. It was the Labor Day singing at Shoal Creek in the Talladega National Forest. I was just settling in, getting adjusted to a new place, new job, and new people. In many ways I was far from my New England home! But, I knew that my move was bringing me closer into the homeland of traditional Sacred Harp singing and so I was excited to go to Shoal Creek that September day. As luck would have it, I sat down next to Evelyn in the alto section. From that serendipitous seating, I had found a real friend. It is her wonderfully welcoming and hospitable nature that I remember most about Evelyn. I include this as one of her key contributions to Sacred Harp. Evelyn was the most welcoming, considerate, and open-hearted woman. She made strangers feel at ease. She was always friendly, smiling, interested in one’s stories, and kind. In all these ways, she was a wonderful ambassador for Sacred Harp. I believe there are numerous other strangers who were put at ease and welcomed by her sweet smile and gentle voice. I count myself as very blessed to have gotten to know her and to travel to various singings throughout the area with her. She was also the best partner to go to a singing with because she was a fount of knowledge about the history and people who populate her corner of Alabama. Some of my best memories are of driving through Cleburne County with her, headed to a singing in a small country church, while she told me stories about her childhood and family and singings in the past. She was, to me, in many ways an embodiment of so much of the history and tradition of Sacred Harp—it was in her blood and in her bones—and she was always willing to share her knowledge and her stories. She did so with a quiet grace, never looking for attention or accolades. Evelyn was one of the many proficient and dedicated practitioners who have helped to keep Sacred Harp singing such a vibrant tradition. She did this through her faithful attendance at singings but I must mention too her dedication in cooking for the hungry singers. I was always amazed at her willingness to get up early and cook huge portions of food. She took much joy in this as well—being able to nourish those who had come to sing. I can still close my eyes and taste her sweet potato casserole, or salted pecans from her own tree. One of the many aspects of Sacred Harp that I appreciate is that we remember and honor those who have gone on before and so getting to hear these stories from someone like Evelyn is so important to me. I will be forever grateful for the time I got to spend with her. She helped me through her welcoming spirit, her infectious joy for the singing, and for her community, her strength, and her faith. She left a lasting legacy in the Sacred Harp community, as did B. J. Harris. I cherish their memories as true ambassadors of the tradition.

As Mary Jo noted, Billy Joe and Evelyn were the embodiment of the love and fellowship that surrounds the hollow square. Their lives will be remembered long after we cease calling their names in memorial lessons.

Posted in Friends Who've Gone Before | Leave a comment

The Variety of Influence: Forms of Craftsmanship in the 1960 Edition

Introduction

The Original Sacred Harp: Denson Revision, 1960 Edition,1 produced by an august music committee consisting of A. M. Cagle (chairman), H. N. McGraw, T. B. McGraw, Elmer Kitchens, Hugh McGraw, and Ruth Denson Edwards and edited by Owel Denson, is remembered today partly as the subject of extramusical anecdotes. Singers were displeased to find the ink of its cover rubbing off onto their clothes. Owel Denson, defending the quality of its binding to a skeptical Hugh McGraw, threw a copy against the Birmingham courthouse wall, but this touching show of faith failed to prevent the eventual consignment of some 1,500 books to oblivion in the Coosa River.2

While there may have been a certain slipshod quality to the book, both as a physical object and in some of the music it contained,3 it could boast of having introduced such quintessential Sacred Harp classics as O. A. Parris’s “My Brightest Days,” A. M. Cagle’s “I’ll Seek His Blessings,” and Paine Denson’s “Peace and Joy” (pp. 546, 542, and 532 in The Sacred Harp: 1991 Edition; hereafter songs mentioned are in the 1991 Edition unless indicated otherwise). It also marked the first appearances in The Sacred Harp of Hugh McGraw, John Hocutt, and Raymond Hamrick.4  The 1960 Edition thus represents a significant milestone: a crucial point of transition, but also one of continuity, between the great Sacred Harp composers of the first half of the twentieth century (Cagle, Parris, the older Densons and McGraws) and those whose names have defined Sacred Harp composition into the present day. As in previous editions of the book, the authors not only sought to emulate existing Sacred Harp musical styles,5 but also turned to established forms of arrangement and adaptation of earlier material. These adaptations provide insight into various aspects of Sacred Harp composition and creative practices.

Companions and Derivations

John Gordon McCurry

John G. McCurry.

One practice with previous Sacred Harp precedents used by 1960 Edition composers was recasting the melody of an existing minor-key tune in the major mode, or vice versa. Later composers referred to such tunes as major or minor “companions,” the best-known pair being Stephen Jenks’s “North Salem” (p. 440) and John G. McCurry’s “Raymond” (p. 441).6 In the 1960 Edition, S. Whitt Denson contributed “Love Beyond Degree” (p. 567 in the 1960 Edition, hereafter OSH1960), a minor companion to “Mount Pleasant” (p. 218), and “Land of Rest” (p. 484 OSH1960), an abbreviated minor companion to “Westford” (p. 280). Owel Denson wrote “Seaborn” (p. 468 OSH1960), a minor companion to “Fillmore” (p. 434), and “The Love of God” (p. 550 OSH1960), a major companion to “Praise God” (p. 328).

Comparing sections of "Fillmore" and "Seaborn" showing Fillmore las and Seaborn sols.

“Seaborn” and “Fillmore” (m. 23–24). In writing his minor companion to “Fillmore,” Owel Denson changed 6-las in “Fillmore” to 7-sols in “Seaborn.”

The major and minor companions have a value beyond mere novelty: they illustrate features of Sacred Harp musical style in a unique way. The companion never maintains a note-for-note (scale degree to scale degree) correspondence with the original; the deviations often occur as the composers negotiate differences in treatment between the respective (major and minor) modes. For example, the sixth scale degree (6-fa) is used frequently in major-key tunes but more sparingly in minor-key tunes; conversely, the seventh scale degree in minor (7-sol) is used extensively, the seventh scale degree in major (mi, the “leading tone”) much less so, and virtually never as the root of a chord since its triad (the “subtonic”) lacks the stable perfect fifth interval found in other triads. Thus Owel Denson changes the prominent 6-las in “Fillmore” to 7-sols in “Seaborn,” using the minor-key 6-fa only as a passing tone. Where an original minor-key tune has a stable harmony on the 7-sol (for example, measures 12–13 of “North Salem”), the major companion will transfer the harmony to some other chord, often the dominant (as in the corresponding measures of “Raymond”). Comparison of companions to their models offers a wealth of insight into the respective properties of major and minor Sacred Harp music; writing companions may have been not only a way to generate new material, but also an opportunity for composers to develop or demonstrate their mastery of the Sacred Harp idiom.

Comparing "Seaborn" and "Fillmore"

The opening bars (m. 1–6) of “Seaborn” and “Fillmore,” illustrating their similar melodic contours.

Double first cousins Robert E. "Bob" Denson and Ruth Denson Edwards, 1960s.

Double first cousins Robert E. “Bob” Denson and Ruth Denson Edwards, 1960s. Photograph courtesy of Michael Hinton.

Comparing "Alstead" and "The Choicest Blessings" reveals they are almost identical.

“Alstead” and “The Choicest Blessings” (m. 1–4), illustrating how rewritten versions of New England tunes often had just eighth-note passing or accessory tones added.

Another longstanding practice found, rather surprisingly, in the 1960 Edition is the unacknowledged derivation of material from early New England composers.7 “Grace So Full and Free” (p. 494 OSH1960) and “Where Ceaseless Ages Roll” (p. 505 OSH1960), both attributed to R. E. (“Uncle Bob”) Denson, are based on Lewis Edson’s “Greenfield” and Ishmael Spicer’s “Carlisle” respectively. (In the 1966 edition, “Where Ceaseless Ages Roll” was rewritten into its current form—an essentially original tune with only vestigial traces of a relationship to “Carlisle.”)8 “The Choicest Blessings” (p. 575 OSH1960), attributed to S. M. Denson, is Oliver Holden’s “Alstead.”9 The tunes are altered from the originals in a fairly consistent fashion, amounting to a cursory remodeling of all four parts, primarily by the addition of eighth-note passing or accessory tones to original quarter notes.

Interestingly, O. A. Parris’s revisions of The Christian Harmony in the 1950s contain similarly rewritten New England tunes attributed to Sacred Harp composers. The 1954 partial revision, in upright format, contained two tunes attributed to S. M. Denson: “Prison Chains” (p. 20 in the 2010 Christian Harmony, hereafter CH2010), based on Japheth Washburn’s “Voice of Nature,” and “Last Bed,” based on Timothy Swan’s “Montague.”10 The completed oblong revision of 1958, co-edited with John Deason, added “Creation” (p. 8 CH2010), attributed to G. S. Doss but based on “Venus,” (probably) by Elijah Griswold.11

Seaborn McDaniel "S. M." Denson, Sidney Whitfield "S. Whitt" Denson, and Thomas Jackson "T. J." Denson.

Seaborn McDaniel “S. M.” Denson, Sidney Whitfield “S. Whitt” Denson, and Thomas Jackson “T. J.” Denson, at the 1930 Young People’s Interstate Sacred Harp Convention in Mineral Wells, Texas. Photograph courtesy of the grandchildren of George Pullen Jackson.

One may be inclined to wonder about the attribution to S. M. Denson of tunes published some twenty years after his death (and, in the case of “The Choicest Blessings,” dated 1959),12 especially considering The Sacred Harp’s unusual practice, described by David Warren Steel in The Makers of the Sacred Harp, of “dedicatory attributions”—songs which “are credited to an individual as a form of tribute or dedication, but are actually composed by another person, perhaps a well-known Sacred Harp composer who already has many tunes to his credit.”13 “Prison Chains,” “Last Bed,” and “The Choicest Blessings” are found in an undated manuscript book, now in the collection of the Sacred Harp Publishing Company’s Sacred Harp Museum, in which S. M. Denson wrote down his arrangements of forty-four pieces from William Hauser’s 1848 tunebook The Hesperian Harp. Annotations on the manuscript suggest it was later reviewed by others, including S. Whitt Denson and R. E. Denson (S. M. Denson’s sons) and A. M. Cagle, and was the source of the material published in The Christian Harmony and The Sacred Harp.14

Also among the arrangements in S. M. Denson’s manuscript book are those published as “Grace So Full and Free” and the 1960 version of “Where Ceaseless Ages Roll.” These can thus be identified as examples of dedicatory attributions—doubtless considered fitting in light of R. E. Denson’s status as S. M. Denson’s son and a much respected and beloved singer in his own right.

Melodic Re-mappings

The above examples show how the 1960 Sacred Harp perpetuated historical practices of deriving tunes from earlier material. Close analysis suggests that another of its tunes is also derived from an existing tune, but this time in a more distant and unusual way that provides insight into its composer’s creative process and how he may have thought about music.

John Hocutt leading

John Hocutt at the 1995 National Convention, Birmingham, Alabama. Photograph by Ginnie Ely.

John Hocutt’s tunes, described as “thumping, robust” and “sturdy, cleverly crafted pieces” by Buell Cobb in Like Cords Around My Heart, have quickly established themselves as favorites in all the books where they have appeared. Hocutt also sang Christian Harmony and “new book” music; his compositions had appeared in the 1954 and 1958 editions of Christian Harmony before he contributed three new tunes to the 1960 Sacred Harp. One of these, “The Resurrection Day” (p. 498), shares some unusual features—despite outward differences in musical style and content—with a tune from the 1958 Christian Harmony, John Deason’s “Among That Band” (p. 322 CH2010). The tunes not only have the same peculiar meter15 but are in fact rhythmically identical, except at the end of the penultimate phrase where Hocutt draws out the words “snow white throne.” They also have the same structure of paired voices in the fuging section, with the alto and treble exchanged (in “Among That Band,” the treble, rather than the alto, enters with the bass). Could there be a deeper relationship between the tunes?

Re-mapping the triad. "The Resurrection Day" above and "Among that Band" below. the 1-doe, 3-mee, and 5-sole of "Among That Band" become, respectively, the 3-la, 5-sol, and 1-fa (in the upper octave) of "The Resurrection Day."

Re-mapping the triad. “The Resurrection Day” above and “Among that Band” below. the 1-doe, 3-mee, and 5-sole of “Among That Band” become, respectively, the 3-la, 5-sol, and 1-fa (in the upper octave) of “The Resurrection Day.”

Comparing "The Resurrection Day" and "Among That Band."

Hocutt’s re-mapping of the tonic triad in action. “The Resurrection Day” above, and “Among That Band” below.

“Among That Band” has a strongly triadic melody—the notes on the first and third beats of each measure are almost entirely from the 1-3-5 tonic triad. To look at it another way, the melodic contour—the rising-and-falling shape of the melody—is articulated on a root-position triad. Hocutt, I believe, has fashioned the melody of “The Resurrection Day” by “re-mapping” the contour of the Deason melody onto a first-inversion rather than root-position triad.16 That is, the 1-doe, 3-mee, and 5-sole17 of “Among That Band” become, respectively, the 3-la, 5-sol, and 1-fa (in the upper octave) of “The Resurrection Day.” While the correspondence (as with the major/minor companions) is not exact throughout—Hocutt applies the re-mapping scheme loosely where appropriate for the new tune—I think the overall similarity of contour, and the triad-to-triad correspondence of at least one entire phrase, are sufficient to suggest that such a “thought experiment” involving melodic structure was the initial seed from which the new tune germinated.18 It is a testament to his skill and grasp of the idiom that, while “Among That Band,” with its varied harmonization, exemplifies a certain type of Christian Harmony style, Hocutt is able in “The Resurrection Day” to turn the remodeled tune into an equally compelling example of a different Sacred Harp style, which quickly found and continues to enjoy a well-deserved popularity.

Conclusion

It is perhaps unfair, though understandable, that the 1960 Edition is often remembered today for its failures, its musical content becoming partly inaccessible19 as newer revisions of the book superseded the old, leaving behind only a memory of ink-stained clothes. Its symbolic importance (of which its architects may well have been conscious) as a point of continuity in the lineage joining the 1911 James revision to later editions of the book, including the 1991 Edition, is considerable—all the more so in that many of its living links to the 1911 and 1936 editions, including Cagle, Parris, Whitt and Owel Denson, and T. B. and H. N. McGraw, would pass away in the decade following its publication. At this significant moment in the book’s history, its authors hewed to the classic adage. The music of the 1960 Edition enlarges our understanding of the many ways in which Sacred Harp composers have sought the old paths, to walk therein.

  1. Called the “1960 Supplement” on its title page. It added 103 tunes (91 of them new compositions) to the back of the book, but otherwise left the 1936 edition unchanged. []
  2. Hugh McGraw shared these and other stories at Camp Fasola in 2008 where they were recorded in the camp’s minutes. See Jesse P. Karlsberg and Aldo Ceresa, “Camp Fasola Session I (Adult Emphasis),” in Minutes of Sacred Harp Singings, June 28, 2008. []
  3. The book’s physical and musical shortcomings may possibly be due to the sheer haste of its production. The music committee was only appointed on February 7, 1959, so the book, with 116 pages of new material, must have been produced in barely a year. Acknowledging the uneven quality of the 1960 book’s music, the 1966 edition advertised the correction of “all errors and irregularities in the music contained in the 1960 supplement,” bringing it “up to the standard” of the rest of the book. The 1971 edition went even further, calling the 1960 edition “a great disappointment to those most concerned” and noting that the 1966 revision committee “was careful to secure high-quality workmanship and good printing.” []
  4. Credited with arranging the Southern Harmony/Christian Harmony tune “Kambia” and selecting William Billings’s Beneficence (p. 486) for inclusion in the book. Hamrick later acknowledged his authorship of “Millard” (p. 572t OSH1960), dedicated to South Georgia singing school teacher Millard Hancock, and credited to Mrs. Raymond Hamrick. []
  5. Over half the new compositions added in 1960 were fuging tunes, most of them in much the same vein as the Denson and McGraw fuging tunes in the 1936 edition. []
  6. McCurry also created a major companion to “Stratfield” (p. 142) called “Hermon” (p. 70 in The Social Harp). “North Salem” and “Raymond” first entered The Sacred Harp in the 1911 James revision; an earlier companion, from the 1870 edition, is “St. Peters” (p. 389t), but in this case the original model, Billings’s “Savannah,” was not included. Revisions of the B. F. White Sacred Harp contain several major and minor companions by Cooper Book composers, the earliest predating the addition of “North Salem” and “Raymond” to the James revision. See Robert L. Vaughn’s Songs Before Unknown: A Companion to The Sacred Harp, Revised Cooper Edition, 2012 (Mount Enterprise, TX: Waymark Publications, 2015) for identification of these tunes. []
  7. The nineteenth-century editions contained New England pieces, by Abraham Maxim, Samuel Holyoke, and others, arranged without acknowledgment (until later editions) or claimed outright by Sacred Harp composers. The practice continued into the twentieth-century Cooper Book revisions as well. It is hard to say whether the inaccurate (by modern standards) or incomplete attributions reflect a conscious attempt at deception, or a different concept of authorship than is generally held today, or perhaps in some cases (such as the attribution of Lowell Mason’s “Shawmut” (p. 535) to Ruth Denson Edwards in the 1960 Edition) were accidental. []
  8. The bass, treble, and alto parts of “Grace So Full and Free” were also rewritten. Both tunes were re-credited “Re-Arranged by R. E. Denson 1966”. []
  9. “Showers of Blessings” (p. 528), now acknowledged as an arrangement of Joseph Stone’s “Grafton” but in the 1960 Edition credited outright to A. A. Blocker, might also be included in this list, but is much closer to what we would consider an actual arrangement, with alterations to the fuging structure and (unlike the other examples) completely new bass, treble, and alto parts. []
  10. Thanks to Rachel Wells Hall for pointing out “Last Bed”/”Montague” to me. “Last Bed” was removed in the 1958 revision. Christian Harmony tune dates are from copyright dates in the 1994 edition. []
  11. Later often printed with the title “Creation” and, beginning with Ananias Davisson’s Kentucky Harmony, attributed to Nehemiah Shumway. []
  12. This type of careless oversight occurred in several other cases in the 1960 Supplement where there is otherwise no apparent reason to doubt the authorship. Tunes by Paine Denson (d. 1955), T. J. Denson (d. 1935), and L. A. McGraw (d. 1957) were also dated 1959. On the other hand, two other newly-published tunes by T. J. Denson were “correctly” (or at least plausibly) dated 1935 while other new compositions were not dated at all. In the 1966 Edition, “The Choicest Blessings” and T. J. Denson’s “Admonition” were re-dated to 1935, and the new Paine Denson tunes to 1950. []
  13. Examples identified by Steel include “Humility” and “Shining Star” (pp. 50b and 461; both written by Raymond Hamrick) from the 1991 Edition, and “The Lamb of God” (p. 572; written by T. B. McGraw) from the 1966 Edition. []
  14. The arrangements in Denson’s manuscript were untitled and had no texts. O. A. Parris wrote a text for “Prison Chains;” texts found elsewhere in The Sacred Harp were used for “Last Bed” and “The Choicest Blessings.” []
  15. Three couplets of 6s & 10s followed by a concluding 8, 6. O. A. Parris wrote the text for “Among That Band.” []
  16. Inversions of triads are described in the 1991 Edition rudiments, p. 22. []
  17. Spelling per the Christian Harmony rudiments, p. vii. []
  18. This may also at least partly explain the relationship between Hocutt’s own “Hocutt” (p. 464 in The Sacred Harp, Revised Cooper Edition, 2012; printed during Hocutt’s lifetime in The New Millennium Harp, a 2001 collection of new compositions edited by Lisa Grayson) and his earlier Christian Harmony tune “This Heavy Load” (p. 316 CH2010). The tunes seem obviously related somehow, with their distinctive double fuge and even shared melodic material (transposed and exchanged from one part to another in places), but the exact nature of the relationship is elusive. A plausible reading is that Hocutt again experimented with taking the contours of one melody and re-mapping them onto a different range of pitches to create a new melody. []
  19. The new tunes in the 1960 Edition are, of course, still under copyright, even if since deleted, and thus (unlike material from older public-domain tunebooks) have not been widely reprinted in later compilations or editions. In recent years, with the permission of the Sacred Harp Publishing Company, all deleted tunes from the 1960 and 1966 editions have been made available online, first by Berkley Moore, later by Robert Stoddard at “The Sacred Harp: Deletions for the 1991 Edition,” BostonSing.com, http://www.bostonsing.org/music/sacred-harp-deletions/. This is a valuable resource, although its picture of the 1960 Edition is not quite complete, since where 1960 tunes were revised in 1966 or 1971, the revised version rather than the original is presented. (The original version of “Where Ceaseless Ages Roll”/”Carlisle” is not included, since technically the tune was never deleted. []
Posted in Of Harmony and Composition | Leave a comment

Entropy Unpacked: The Entropy Number from “FaSoLa Minutes”

Introduction

FaSoLa Minutes appSince its initial release in 2013, the “FaSoLa Minutes” iOS app has become an important component of how many singers learn and engage with Sacred Harp songs, singers, and singings. The app includes data from the Minutes of Sacred Harp Singings since 1995. A review of the app appeared in vol. 3, no. 2 of this newsletter. Among many useful features described in that review, the app can be used to answer statistical questions such as:

  • Which songs in The Sacred Harp: 1991 Edition have been led the most often?
  • How has the popularity of each song varied over time?
  • How many times has each leader led since 1995, and how many different songs?
  • What is each leader’s entropy number?

…and this is the point in many discussions of the “FaSoLa Minutes” app where the puzzled expressions appear, because the entropy measure is unfamiliar to most Sacred Harp singers. You may have some additional questions:

  • Why is the entropy measure included with the other statistics in the app?
  • What does a leader’s entropy indicate about that leader?
  • How is the entropy number calculated?
  • How does my choice of songs change my entropy number?
  • Does my entropy measure matter—and should I work to change it?

We will answer these questions with both nontechnical explanations and formulas for readers who are so inclined. In the following sections, we describe what the entropy number is intended to measure and how to interpret it. Then we explain the formulas used to define entropy with simple examples that illustrate how song choice affects the entropy measurement. We conclude with thoughts on how song leaders can use the entropy number, with tables that illustrate how entropy is affected based on a leader’s choice of songs.

Fa So La Minutes poster

Information poster for the “Fa So La Minutes” app, designed by Lauren Bock, at the 2013 National Convention. Photograph by Robert Chambless.

How to Interpret the Entropy Number

The “Help” page in the “FaSoLa Minutes” app describes entropy as “a measure from 1 to 0 of a singer’s unpredictability when leading.” An entropy number near 0 indicates that a leader is very predictable, while a number near 1 indicates high unpredictability.

The entropy measure is built from the frequency that a leader has called each song in the book, so it provides more information about how predictable the song choices of that leader are than the other song count information in the app. For example, picture two hypothetical leaders, Adam and Bertrand, who have each led 100 times and have led 20 different songs. However, Adam has led each of his 20 songs 5 times, while Bertrand has led 19 songs 1 time each, and “Rose of Sharon” (p. 254 in The Sacred Harp) 81 times. At the next singing Adam and Bertrand attend, the arranging committee will have a harder time predicting what Adam will lead. The entropy measure for each leader reflects this by assigning a higher entropy number to Adam than to Bertrand.

Note that the entropy number does not indicate whether someone is a good leader. For example, one of the qualities of a good leader is the ability to choose an appropriate song considering such factors as the time of day and the energy of the class. A leader who is unpredictable to the point of being completely random is unlikely to do this well. Also, the statistics in the app are based on song choices in the minutes, and therefore don’t reflect other recognized qualities of a good leader, such as familiarity with the song one chooses to lead, selection of appropriate verses and tempo, and good communication of the leader’s intentions to the class. There are excellent leaders with relatively high entropy, and there are other excellent leaders with relatively low entropy.

History and Mathematical Formula for Entropy

Claude_Shannon_1776

Claude Shannon. Photograph courtesy of DobriZheglov (Own work) [CC BY-SA 4.0], via Wikimedia Commons

The formula for entropy was developed by Claude Shannon in the 1940s. Shannon was a mathematician at Bell Labs, the research and development branch of the Bell Telephone Company. His ideas of information theory became part of the foundation of computer science. Shannon defined the smallest unit of information as a “bit,” which can only have one of two values: \boldsymbol{0} or \boldsymbol{1}. He described how any message can be encoded as a sequence of bits, and developed the entropy formula as a way to measure the amount of information in a message. Shannon entropy “\boldsymbol{H}” is defined by this formula:

\boldsymbol{H= -\sum p_i log_2(p_i)}

where:
\boldsymbol{p_i} is the probability of a particular term appearing in the message, out of all the possible terms—in our case, the probability of leading a particular song (song \boldsymbol{i}) from The Sacred Harp.

\boldsymbol{log_2} is a logarithm to base 2. (Logarithms are the reverse of exponentiation. We say that the logarithm of 8 to base 2, written \boldsymbol{log_2(8)}, is equal to 3 because \boldsymbol{{2}^{3} = 8}.) Shannon
used base 2 in this formula because the “bit” has two possible values.

The symbol \boldsymbol{\sum} (the Greek letter Sigma) is mathematical shorthand for a sum of a number of terms, where in this case each term is \boldsymbol{p_i log_2(p_i)} with the index value “\boldsymbol{i}.” So the entropy formula could also be written as:

\boldsymbol{H= -[p_1 log_2(p_1) + p_2 log_2(p_2) + p_3 log_2(p_3) + ... ]}

including a separate term for each song, but that would take much longer to write out.

For the entropy calculation in the app, we make the assumption that the frequency each song has been lead in the past is likely to predict future behavior. So, for example, if you’ve led 100 times in the minutes, and 20 of those were “Lenox” (p. 40), then
the frequency with which you led “Lenox” was 0.2, or 20 percent, and we would use 20 percent as the probability \boldsymbol{p_i} for “Lenox.”

For each leader, the probabilities of leading each song in the book need to be added together to calculate that leader’s entropy. If you’ve never led a particular song, it neither adds to nor subtracts from your entropy.

The maximum possible entropy comes from choosing any of the 554 songs in The Sacred Harp: 1991 Edition, with equal probability. In other words, the class has no way of predicting which song you are about to call, so the leader with maximum entropy is completely unpredictable. In math terms, all the \boldsymbol{p_i}’s would be the same, 1/554. The Shannon entropy of the completely unpredictable leader would be:

\boldsymbol{H = -554 (1/554) log_2(1/554) = -log_2(1/554) = 9.114}

In the “FaSoLa Minutes” app, someone who is completely predictable (i.e. always leads the same song) has an entropy of 0, and the completely unpredictable leader has an entropy of 1.0. This is because entropy reported in the app has been “normalized” by dividing by \boldsymbol{-log_2(1/554) = 9.114}. (Normalization is frequently used in statistics, because it makes it easier to identify where a statistical value falls between the minimum (0 or 0%) and maximum (1 or 100%) possible values.) A reported (“relative”) entropy of 0.600 is actually a raw entropy of 5.47, divided by 9.114, the maximum possible entropy.

“FaSoLa Minutes” app normalized entropy \boldsymbol{= -\sum p_i log_2(p_i)/-log_2(1/554)}

Example: How Song Choice Affects Entropy Number

Say a leader, Catherine, has led 2 different songs 3 times: “Lenox” twice, and “New
Britain” (p. 45t) once.

Then in the calculation of the entropy formula, “Lenox” has a probability of 2/3, and “New Britain” has a probability of 1/3, so the entropy number is 0.1008. (If you look through the leaders listed in the app, you will find many leaders who have led two different songs three times and therefore have this entropy number.)

Now Catherine is going to lead for a fourth time, and is choosing a song. How will her entropy number change based on her choice?

Option 1: If she leads “Lenox” again, its probability rises to 3/4, and “New Britain’s” drops to 1/4. This makes her song choice more predictable than before, so her new entropy number goes down to 0.0890.

Option 2: If she leads “New Britain” again, then its probability rises to 2/4, and “Lenox’s” probability falls to 2/4. Her entropy rises to 0.1097, because her song choice is less predictable than before, even though she has still only led 2 songs.

Option 3: She picks a new song to lead—for the formula it doesn’t matter which of the other 552 songs in The Sacred Harp she chooses. Then “Lenox’s” probability drops to
2/4, “New Britain’s” drops to 1/4, and the new song has probability 1/4. As a result, her entropy rises to 0.1646, because her song choice is much less predictable than before.

In general, leading a song that was previously led could either increase or decrease the entropy number, depending on how it changes the probabilities of the songs already led, but leading a new song always results in the largest change in entropy, and it always increases the entropy number.

(Homework for the interested reader: Using some algebra and the properties of logarithms, the formula for “FaSoLa Minutes” app entropy shown above simplifies to \boldsymbol{E = \sum p_i log(p_i)/log(1/554)}, which uses common logarithms instead of the logarithm to base 2. Common logarithms are a common function on scientific calculators, so this makes it possible to work out simple examples such as the ones above with a calculator. Give it a try!)

How Song Leaders Use Entropy

Matt Hinton, Anna Hinton and Mark Godfrey consult the app.

Matt Hinton, Anna Hinton and Mark Godfrey consult the app. Photograph by Leigh Cooper.

So what does entropy mean for song leaders? One way to think about it is in terms of the number of songs a singer seems to be leading. If a leader has led 20 different songs one time each, her entropy would be 0.48. If she has led 50 different songs, her entropy would be 0.63. See Table 1 below for some sample figures. If a leader led the number of songs on the left, one time each, that leader would have the entropy number on the right.

Table 2 shows the equivalent number of songs, led one time each, which correspond to a given entropy number in the app. This gives a sense of the minimum number of songs/times an individual would have to lead to arrive at the corresponding entropy.

Your entropy number can be interpreted as a measure of the range of songs you are likely to select. Repeating a previously-led song will result in a lower entropy than leading a new song, as described in the previous section. The number of songs listed in the tables serves as a kind of “functional minimum” on the possible number of songs a leader is expected to have available. Looking at the table, a leader with an entropy of 0.700 has at least 83 song choices available, but likely many more. For example: After leading five different songs, I would have an entropy of 0.255. If I then choose to lead a repeat song, my new entropy will be 0.247. But if I choose to a lead a new song, my new entropy will be 0.284. As the entropy number rises, the differences will become smaller. Any repetition of a song makes you more “predictable,” and lowers your entropy. At the other end of the spectrum, if you only lead two songs in perfect alternation, your entropy number will oscillate around 0.11, no matter how many times you lead.

Note that because almost all leaders have repeated songs, and most leaders lead some songs more often than other songs, most leaders who have led 20 different songs will have an entropy lower than the maximum 0.48; this difference between the actual entropy for a leader and the highest possible entropy in these tables indicates indirectly how often a leader has chosen to repeat a previously-led song, as opposed to trying a new one.

Some Observations

Graph of Table 2 showing non-linear relationship between number of songs and entropy.

This graph of Table 2 shows the non-linear relationship between the entropy number and required minimum number of songs led (with each song being led one time).

You’ll notice from the tables that the result isn’t “linear”: as the entropy number increases, it takes a lot more songs to get the same amount of change in entropy.

The best way to raise your entropy number is to lead a lot of songs at singings recorded in the minutes, and to lead a new song each time. But the fact that the app measures entropy doesn’t mean this needs to be your goal. While leading many different songs might be a good way to become a more proficient leader, we should always think about how a song might fit with the texture of the singing when choosing. This should be something we consider whether we’re leading a new song or not. For example, it’s not a sign of a proficient leader to choose “Rose of Sharon” at the end of a day-long singing, regardless of the leader’s entropy number. In addition, the only way to improve your leading of a particular song is to lead it multiple times.

Conclusion

We hope that this article improves understanding of the entropy statistic in the “FaSoLa Minutes” app, and appreciation for all the components that make one a good leader. Attaining a high entropy number is not a useful end in itself, but the entropy measure provides information that can help us think about how we choose songs to lead.

The iOS application “FaSoLa Minutes” was developed by Mark Godfrey, and designed by Lauren Bock. It is available for $4.99 from the iPhone App Store, with proceeds going to the Sacred Harp Musical Heritage Association.

Tables

Table 1
Minimum Number of Songs Entropy
4 0.219
8 0.329
16 0.439
32 0.549
64 0.658
128 0.768
256 0.878
Table 2
Entropy Minimum Number of Songs
0.30 7
0.35 9
0.40 13
0.45 17
0.50 24
0.55 32
0.60 44
0.65 61
0.70 83
0.75 114
0.80 157
0.85 215
0.90 295
0.95 404
1.00 554
Posted in Number, Measure, Weight | 7 Comments

Sacred Harp’s (All-)California Dreaming

Singing inside Templars Hall.

2016 All-California Convention at Templars Hall, San Diego, California. Photograph by Judy Getrich.

On the weekend of January 16–17, 2016, an enthusiastic crowd of singers gathered in Poway, California, for the 28th All-California Sacred Harp Singing Convention. Poway, known as the “City in the Country,” is centrally located in San Diego County. The All-California Convention rotates between the Los Angeles area, the San Francisco area, and the San Diego area, so it was last held in Poway in 2013. Singers from eighteen states, the United Kingdom, Germany, and Canada attended.

The San Diego singers offered a full weekend of events, starting with the Friday night activities, held in the Old Adobe Chapel, in the Old Town neighborhood of San Diego. This is a beautiful and intimate space, with great acoustics. The pews were rearranged for singing in the traditional hollow square. In addition to the electric lights, lit candles in sconces and candelabras added to the mood, creating a warm nostalgic feeling on a rare rainy night in San Diego.

We started with “pitching practice,” a friendly chance for novices to practice pitching, or keying. Singers chose a song, set a pitch for the piece, and led the class in a verse. At the end of each song, first the leader, and then the singers, provided feedback on the pitch. It was interesting to hear comments from such a variety of perspectives. A few people felt their pitch was off, but the crowd felt comfortable. Several experienced keyers also offered their insights. [Read about Georgia keyers’ perspectives on this mysterious art and new findings about how singers pitch Sacred Harp music in vol. 2, no. 2 of the Newsletter.—Ed.]

Next, the alternative singing from The Shenandoah Harmony started. With sixty to seventy people, the class filled the chapel with soaring song. The songs were new to many of us, but beautifully rendered. I thought this was a great reminder of how our shape-notes help with sight singing.

There was a truly magical moment during a break. The electric lights in the chapel were turned off, so we could imagine attending a service lit only by candlelight. A call from the crowd started us on a haunting rendition of Idumea (p. 47b in The Sacred Harp) sung from memory. I know many of us were deeply touched by this spontaneous song.

exterior of Templars Hall, San Diego, CA.

Templars Hall, San Diego, California. Photograph by Judy Getrich.

Saturday morning we gathered at Templars Hall in Old Poway Park. This is another building with great acoustics. The beautiful hardwood floors, the floor-to-ceiling windows decorated with swags of hunter green, the vaulted ceilings, and the fresh air breezing through make it a wonderful singing space. Well over one hundred singers gathered to raise their voices in lovely harmony. The chair, Elaine Denny, opened the convention with the vice chair, Esteban Veliz, and the chaplain, David Fetcho, who led an opening prayer.

Carla Smith and Elaine Denny

Carla Smith and Elaine Denny. Photograph by Judy Getrich.

The members of the arranging committee, Judy Getrich and Carla Smith, kept the class going with a great balance of singing and visiting over the breaks. During the day, singers led ninety-six songs, as recorded by the secretaries, Mimi Wright and Judy Getrich.

Mike Hinton, a singer from San Antonio, Texas, and president of the Sacred Harp Publishing Company, said, “Session after session, I would think, ‘this next session cannot possibly be as strong and lively as the morning session,’ and lo and behold, the singing just kept going, tune after tune.”

Dinner on the ground included so much food on the tables, no one could have gone hungry. Food for all—vegans, vegetarians, (well, this IS California!) and as our chair, Elaine, put it, “people who eat meat.” And there were so many desserts, we didn’t just have a dessert table—there was a dessert ROOM. So many delicious contributions!

Midge Harder fixing up dinner table.

Midge Harder fixing up the dinner table. Photograph by Judy Getrich.

On Saturday evening, Susan Willis-Powers organized a Composium. An enthusiastic crowd sung new pieces composed in the Sacred Harp style. And then there were two separate socials—one at a local hotel, for those who wanted to stay close to Poway, and another at my house in Escondido. For those who asked about the addictive and delicious chocolate confection I made, here’s the recipe for the Nanaimo Bars. (I use pecans in place of the almonds.)

On Sunday, we gathered again to sing, and singers led ninety-five songs. The memorial lesson, given by Mike Hinton and Susan Cherones, included moving observations about those who could not join us. Mike’s remark that we find mention of memorial lessons in the oldest minutes of singings was a powerful reminder that what we sing has the weight of tradition behind it.

Elaine made an impassioned speech about the wonderful Camp Fasola experience, and asked past participants to stand. I didn’t count, but there were probably dozens. She thanked David Ivey, the camp organizer, for doing so much to help keep our tradition alive and well, and encouraged everyone to attend if they can.

Jerry Schreiber and Geoff Grainger of the resolutions committee helped to wrap up the day by recognizing so much of what went into hosting a wonderful singing and expressing thanks to all.

And, although the singing ended, the events didn’t. Since this convention fell over a holiday weekend, many people could stay on Monday. Susan Willis-Powers led a wander through the tide pools of La Jolla, and Elaine Denny led a hike in the mountains.

Speaking for the San Diego singers, I can say we delighted in creating a weekend of song and joy, and are so grateful for the many folks who traveled to spend time with us. And now, we’re all looking forward to next year’s All-California Sacred Harp Singing Convention, scheduled for the Los Angeles area. Come sing on the third Sunday and the Saturday before, which falls on January 14–15, 2017. Hope to see you there!

Posted in Singing Reports | Leave a comment

Grandpa McWhorter: Singer and Civil Servant

Millard Fillmore McWhorter

M. F. McWhorter, probably about 1930.

The issuance early last year of the reproduction of the 1911 Original Sacred Harp (the James Book) caused me to reflect upon the extraordinary influence that historic old book and its predecessors had on common community life throughout the deep South a century ago. I knew from childhood that my grandfather, M. F. McWhorter (1858–1940) had a significant role in the production of the James Book. In 1906, he was named by the United Sacred Harp Musical Association as a member of a committee to bring forth this new revision of the 1870 Sacred Harp. The first printing of the book had a page of photographs of leading men of the Sacred Harp movement: the chairman of the committee, Joseph S. James, and all members of the music editorial committee, including Grandpa McWhorter. Like my grandfather, many of the singers depicted on this page were leaders in their communities. In many cases, I believe Sacred Harp singing was a key to their prominence and orientation toward service. My grandfather’s life demonstrates this influence of The Sacred Harp on everyday life in Alabama during his era.

Members of the 1911 Original Sacred Harp book committee.

Members of the 1911 Original Sacred Harp book committee. McWhorter is on the top row, second from left.

The Sacred Harp was recognized in its day as second only to the Holy Bible; it was seemingly prevalent in nearly all “cultivated” homes. Before there was radio, television, the internet and other forms of communication and entertainment, choral music was a major facet of southern society, and The Sacred Harp from mid-nineteenth century onward was the king of choral music. Nearly every community crossroads hosted at least one singing a year. George Pullen Jackson, the Vanderbilt University professor who “discovered” Sacred Harp for academia, wrote in one of his several books that in a typical year, 1929, there were 150 singing events of note in the north half of Alabama alone. “Nine of these,” he wrote, “[were] three-day affairs, eight last[ed] two days, and the rest [were] merely for one day.”1

"Denson," from the 1911 Original Sacred Harp.

M. F. McWhorter’s “Denson,” from the Original Sacred Harp.

Millard Fillmore McWhorter was an obscure dirt farmer of the Mars Hill community in far northeast Cleburne County, Alabama, a stone’s throw from the Georgia state line. Obscure except for one thing: he had in some manner now unknown become addicted to the Sacred Harp song movement, and had given himself to teaching that widely-accepted art form in communities all around him in Alabama and Georgia. It is apparent that he had come under the tutelage of a pair of brothers, Seaborn M. Denson (1854–1936) and Tom J. Denson (1863–1935), both born in Cleburne County’s Arbacoochee community, who had taught singing schools far and wide and eventually became the deans of Sacred Harp. The 1911 edition of the song book included a song McWhorter wrote, at page 515, titled simply “Denson,” testimony to the author’s friendship with the pair. Another piece of Grandpa’s, Jackson, at page 518, continues in the current Sacred Harp: 1991 Edition (now on p. 317).

Grandpa followed the Densons and became a leading teacher of the music, which leads me to believe that his resulting widespread popularity was the single factor that led to his success when he offered for the elective position of county sheriff in the early 1920s. He thus quit the farm and moved his family to the two-story brick jailhouse behind the courthouse in the county seat of Heflin, which became a center of music on the first floor where the sheriff and family resided, whereas the second floor was given to housing county inmates, all supplied by a first floor kitchen. The brood of eleven McWhorter children, who by that time had many children of their own, must have felt it quaint to gather for annual family reunions and singings at the county’s jailhouse!

After that four-year term ended, McWhorter moved back to the farm and offered himself for another county leadership position: commissioner for his district on the county governing body. He was successful there also.

McWhorter Family

Millard Fillmore McWhorter and Martha Jane Hayes McWhorter with their large family at a family reunion, likely 1922. They pose before the Cleburne County jail which housed McWhorter’s family as he served as county sheriff.

As unlikely as it may seem, some of those same factors seem to be at work in 2016 in DeKalb County, Alabama, quite possibly the most Sacred Harp-centric county of the state’s sixty-seven, that county alone hosting about a dozen singings each year. There, three major current county leaders are ardent Sacred Harp people, led again by a man who taught Sacred Harp throughout the area in his younger years. Ricky Harcrow of Ider, sixty-four, taught many singing schools until his calling into the ministry redirected the emphasis of his life. He became a Primitive Baptist pastor but that did not supplant his interest in the old music; he continues today as an active leader of song, as well as a popular preacher in his denomination at large. But he also is in his second term as the county’s CEO, the head of the county commission, after first having served three terms as a commission district member. He also is retired from the Tennessee Valley Authority.

Terry Wootten of Ider, sixty-year-old farmer, is in his sixteenth year as a member of the county’s board of education. He is of the famous Wootten family which is widely known in the singing world. And Terry’s cousin, Shane Wootten of Henagar, in his forties is the newest and youngest Sacred Harp mainline singer-turned-politician. He is a member of the county commission, filling the position Harcrow had when he was elevated to chairman.

It seems that history still repeats itself, and in this case we’re all the better for it. The resurrection of these stories from the distant past serves to reinforce the value we justly place on The Sacred Harp in shaping and ordering society in the early singing South, instilling qualities of community leadership in that day as well as this.

  1. George Pullen Jackson, White Spirituals in the Southern Uplands: The Story of the Fasola Folk, Their Songs, Singings, and “Buckwheat Notes” (Chapel Hill: University of North Carolina Press, 1933), 105. []
Posted in Citizen of the Month, Read the Old Paths | 1 Comment

“With One Accord”: A UK West Gallery Quire at the National Convention, June 12, 1997

Editor’s Note: This issue’s installment of “Just a Minute,” our examination of the story behind an unexpected line in the Minutes of Sacred Harp Singings, features a paragraph from the minutes documenting an unusual event: a performance by a musical ensemble at a Sacred Harp singing. The minutes of the 1997 National Sacred Harp Convention report:

The United Kingdom group, With One Accord, was then introduced by Buell Cobb. The group, who brought 14 of their members to the convention, then sang selections from their repertoire of 18th and 19th century music. It is in this music that the roots of Sacred Harp can be found.

Helen Brown, a member of the group, and today a stalwart of the National Convention’s arranging committee, explains how the performance came about.

In 1997, a group of fourteen singers from the United Kingdom formed a scratch choir we called “With One Accord.” Our intention was to perform concerts of music from the English West Gallery tradition (a music practice in which Sacred Harp has some of its roots) in the heartland of Sacred Harp and to culminate in attending the National Sacred Harp Convention in Birmingham, Alabama.

With One Accord outside Trinity Baptist Church.

With One Accord outside Trinity Baptist Church, Homewood, Alabama 1997.

The music we performed was from the rich and varied tradition of eighteenth- and nineteenth-century English rural parish and non-conformist church music. The construction of special galleries to house the singers and musicians at the west end of churches gave rise to the name West Gallery Music for this style of sacred song. Mainly metrical psalm settings, the music consists of plain tunes and more intricate fuging tunes with robust harmonies and rhythms which would have been performed in an uninhibited fashion by a band of local singers and musicians (known as the Quire), essentially formed to help lead the worship in church. This music fell from favor by the Victorian era; the bands were replaced with organs and the quires were disbanded. The music only survived in the carol-singing traditions of the West Country, South Yorkshire, and Derbyshire until the past thirty years or so when enthusiasts revived interest in this music, performing pieces rediscovered in old and dusty church manuscripts. Unlike Sacred Harp, West Gallery music is revivalist and mainly performance music. Yet there are many similarities between the two styles, and both are exhilarating to sing and a joy to share.

Our trip began in Atlanta, where we were hosted by the congregation of the First Baptist Church in Tucker, Georgia. We performed a couple of concerts around this area, including an evening concert at the church, where the audience included Sacred Harp singers John Plunkett, Judy Mincey, and Lee Rogers.

With One Accord concert at First Baptist Church, Tucker, GA.

The choir performing a concert at First Baptist Church, Tucker, Georgia.

With One Accord at Holly Springs, Bremen, GA.

With One Accord singing with Hugh McGraw at Holly Springs Primitive Baptist Church, Bremen, Georgia.

The next day we headed off on I-20 with a scheduled stop which would have been unthinkable for us not to make. We arrived at Holly Springs Primitive Baptist Church in Bremen, Georgia, where Hugh McGraw was waiting to meet us. We were privileged to visit with him for a couple of hours, chatting and singing for a while. I particularly remember that Hugh called “War Department” (p. 160t in The Sacred Harp); the majority of us were not at all competent in reading the notes at this time and the song was pretty much a train wreck!

We got lost as we headed into Birminghamno GPS in those days! A frantic phone call brought Buell Cobb out to meet us and we were guided in to the Church of the Advent, where we were to give a concert that evening. I seem to remember that the church was fairly full for the concert, with quite a few folks in the audience who had arrived in time for the National Convention. After the concert we had dinner with Buell at a small restaurant in Homewood and then we were ferried out to our various housing hosts.

The National Convention met at Trinity United Methodist Church, Homewood, and we arrived on the first morning in great anticipation of what we were sure would be a wonderful experience. As we registered, we were warmly welcomed by several folks in the reception area, amongst them Judy Hauff and Jim Carnes, as I recall, and then, later on, Amanda Denson. As the first group of UK singers to attend the convention, there was great deal of interest in usand our strange accents! We met so many people, all of whom were so wonderfully welcoming.

The buzz in the hall was already vibrant, and as the first notes were given, the singing began. I can only say that, from that first moment, I was blown away by the sound in that room. The energy was almost tangible and the sound was like nothing I had ever heard. I had been singing Sacred Harp music for about eight years in a small group and had, of course, heard recordings, but this was on a completely different scale. I was totally overwhelmed by the sound and the emotion and, after a little while, felt that I had to move to escape an intensity which I was not used to. Also, despite being able to read music, I did not read the shapes very well at this time and was experiencing a very steep learning curve. After the recess, I went to sit in the balcony area overlooking the singing space, just to let the experience sink in and to give me a moment to acclimatize, as it were. It seemed that many of the group had the same idea and I think that the majority of us spent much of that first day just revelling in this wonderful, incredible sound, struggling with the volume and the emotions which were being evoked, but enjoying it from a safe distance.

With One Accord outside Trinity United Methodist Church.

With One Accord outside Trinity United Methodist Church, Birmingham, Alabama.

In the session after lunch, Buell introduced us, advising a little about West Gallery music, and asked us to sing a few pieces from our repertoire. I’m sure that most folks really just wanted to get on and sing (after all, this was the always the best session of the day, right?) but everyone listened patiently and were very complimentary about our music.1

As the three days went by, we all became a little more used to the intensity (which only heightened on Friday) and felt more able to be a part of the singing square, surrounded, carried, helped, and encouraged by the singers around us in our sections. It was such a privilege for me to sing in the treble section with singers including Freeman Wootten, Shelbie Sheppard, and Mary Lambert within earshot (of course I had no idea who they were at the time) and I wholly reveled in the entire experience. On several occasions I would just stop singing and let the sound wash over me whilst I watched some of the older ladies, particularly, leading their songs so gracefully. It was an inspiring experience for which I am so grateful.

I can only speak for myself in relaying what happened (albeit a dim and distant memory from nineteen years ago), but I know that being a part of this convention had a profound effect on most of the group. What I can say, however, is that the trip completely changed my life; Sacred Harp in its entirety has been a blessing and has truly enriched my and my husband Ted’s lives.

  1. Our selections that day included “Arise and Hail the Glorious Star,” “Pentonville,” and “Gibraltar.” On Friday we sang for the convention again, performing “Shropshire Funeral Hymn” and “Kingsbridge.” []
Posted in Just a Minute | Leave a comment

Introducing Vol. 4, No. 2 of the Sacred Harp Publishing Company Newsletter

The ninth issue of the Sacred Harp Publishing Company Newsletter shares stories from Sacred Harp’s past, explores the leading choices of singers today, and offers thoughts on how our singings continue to expand as well as suggestions for how each singer might contribute to Sacred Harp’s future.

Printable version of the Sacred Harp Publishing Company Newsletter, Vol. 4, No. 1 (3.2 MB PDF).

Printable version of the Sacred Harp Publishing Company Newsletter, Vol. 4, No. 2 (3.2 MB PDF).

The issue begins with Warren Steel’s account of how he happened upon a unique artifact from our past, a 1924 trophy awarded to the winners of a Sacred Harp singing contest. Joe Jones tells the story of how whistling a Sacred Harp tune in 1954 sparked an encounter with his future wife. In this issue’s “Just a Minute” installment, Nathan Rees reveals just what caused Sacred Harp singers to break into a Northwest Georgia church in November 1997. Turning to the present, Jesse P. Karlsberg and Mark T. Godfrey explore how leaders think about songs in relation to the calendar. Reports on singings in Sweden, The Netherlands, Alaska, and British Columbia by Gill Minor and Jesse detail the remarkable role strong regional hubs are playing in fostering the growth of new singings. Finally, two articles—one new, one old—suggest how we all might contribute to Sacred Harp’s future. Robert L. Vaughn details how any singer with computer access can contribute to preserving Sacred Harp history for future generations by searching historical newspapers. Priestley Miller’s list of Sacred Harp “Dos and Don’ts” is a pithy reminder of why so many of us value our music, and it still retains currency fifty years after its original publication.

The Newsletter team welcomes your comments on these articles. We also invite your suggestions of topics for future issues. Please don’t hesitate to get in touch.

Vol. 4, No. 2 Contents

Newsletter Team

  • Editor: Jesse P. Karlsberg
  • Associate Editor: Nathan Rees
  • Design (web edition): Leigh Cooper
  • Design (print edition): Elaena Gardner and Jason Stanford
Posted in Introduction | 1 Comment

The W. T. Gwin Old Harp Singers Trophy: A Unique Piece of Sacred Harp Memorabilia from Mississippi

An Unexpected Object on the Front Porch

A unique piece of Sacred Harp memorabilia came to light recently. On April 13 of this year, my wife Anne and I arrived at our home in Oxford, Mississippi, to find an unexpected object on our front porch: a large silver trophy cup with a detached base. A note inside indicated that it had come from our neighbor, Lee Uhlhorn, and had been presented to her great-grandfather, W. T. Gwin, a prominent Sacred Harp singer in Webster County. We decided to donate the trophy to the Sacred Harp Museum in Carrollton, Georgia, where it would add to the meager documentation of Sacred Harp in Mississippi.

Mississippi Sacred Harp Trophy

W. T. Gwin’s Sacred Harp trophy, along with a print of Ethel Wright Mohamed’s depiction of a Mississippi Sacred Harp singing, at the home of Warren and Anne Steel.

In the early twentieth century is was not unusual for Sacred Harp singers to compete at singing conventions, state fairs, and other events. This trophy cup was first awarded to the Webster County Old Harp Singers, representing the New Harmony Singing Convention of Webster County, for their performance in a community singing contest at the North Mississippi Fair, Grenada, Mississippi in October 1924. The winners of the trophy in turn presented it to W. T. Gwin in appreciation of forty years faithful service as Director. Gwin later became the first president of the Mississippi State Sacred Harp Singing Convention when it was organized in 1929. Both events were memorialized on the cup in handsome, stylized engravings.

After the trophy arrived, I attempted to find more information on Gwin, while the trophy was exhibited at three events before reaching the museum. On May 17, at the 141st annual singing at Concord Church in Calhoun County, the trophy was shown, and Lee Ulhorn, Mark Davis, and I led the song on page 36b in memory of Lee’s great-grandfather Gwin, who had led this song to begin the first Mississippi State Convention in 1929. On August 22, I brought the trophy to the Mississippi State Convention, of which Gwin had served as the first president; current president Mark Davis and I led the same song. Finally, on September 12, Anne and I carried the trophy to the United Sacred Harp Musical Convention in Atlanta, where I spoke a few words at the annual business meeting.

William Thomas Gwin

William Thomas Gwin

William Thomas Gwin,

William Thomas Gwin was born July 21, 1853 in Woodruff, Spartanburg County, South Carolina. He emigrated to Mississippi at a young age, where in 1874 he married Mississippi native Gennella Inez Pounds. They had seven children, born between 1875 and 1893. Gennella died in Eupora in 1915; Tom Gwin died in Eupora in 1934; both are buried in the Eupora City Cemetery. Gwin served as tax assessor for Webster County, and was an incorporator of Cumberland Normal Institute. Where he learned music is not known, but in 1883, he was the founding president of the New Harmony Singing Convention of Webster County; which he led for 52 years until his death.

On August 30, 1929, a group of singers met in Houston, Mississippi to organize a “State Singing Convention” to be held the following November. W. T. Gwin was elected temporary chairman. On 2 November, again in Houston, Gwin opened the convention by leading “the old song, ‘Ninety-Fifth,’ page 36, with much sentiment and force in poetry.” At the business meeting that afternoon, Gwin was elected the first President of the Mississippi State Sacred Harp Singing Convention. The following day, 3 November, prior to adjournment,

“the President and Convention sang that great and by all much beloved song, so full of hope and wonderful love, to-wit: “God be with you till we meet again”; with this great hope and sweet injunction the Mississippi State Sacred Harp Singing Convention closed its first great session, with her interest and hope of future success burning in the hearts of her officers and members, and the session will long be remembered and never forgotten, by all who were present and by those who in after years, may chance to read her proceedings, recorded in her book of records; long may she live and soon may her influence touch the minds, hearts and lives of every man, woman and child in our great State, and we will ever ascribe the honor and glory of it all to Him, who rules the destiny of man.”

Among Tom Gwin’s children, Lillie (1890–1955) became deaf in childhood, and attended Gallaudet College in Washington, D.C. Theodosia (“Dosia,” 1875–1971) married Hilliard Earnest and was a lifelong Sacred Harp singer in Webster County. Another daughter, Minnie Mae (1885–1982), married Lee Harpole. The Harpoles had five daughters, all of whom became church musicians, including Minnie Lee (1907–2003), who married Edward Atkinson Pryor. Their daughter Lee Uhlhorn is likewise a church music director, and has preserved the trophy presented to her great grandfather W. T. Gwin.

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Sacred Harp Singing: A Way of Wife

Editor’s Note: This article was initially published in the Huntsville Sacred Harp Newsletter, no. 18 (February 1994), edited by David Ivey. Thanks to David and to the author for suggesting it for inclusion in this issue.

How many of you Sacred Harp singers can give credit, unquestionably, to that cherished oblong book for your introduction to your life-long mate? Who can say that whistling a song brought them a wife or a husband?

First Baptist Church, Montgomery, Alabama.

First Baptist Church, Montgomery, Alabama. Photograph by Carol M. Highsmith. Courtesy of the Library of Congress Prints and Photographs Division, LC-DIG-highsm-05622.

I can. Let me tell you about it.

In January, 1954, when I was a young unmarried newspaper reporter and a member of Montgomery’s First Baptist Church, the Howard College (now Samford University in Birmingham) a cappella choir presented a Sunday night program for our church. One of the pieces they sang was a beloved “standard” from the Sacred Harp tradition—I don’t now even remember which piece it was. Their singing put me in mind of The Sacred Harp, for then and even more so now, Sacred Harp is never very far from my mind.

I inherited a trait from my father, the late Leo R. Jones, who as he went about work or just “doing nothing,” would sing, whistle, or hum a Sacred Harp tune. That became my habit and remains with me, pronounced even, in the graying years. But I have other expressions of Sacred Harp music that Papa didn’t have. My vehicles are strewn with Sacred Harp cassettes, most of them homemade and not very well recorded. Though not an accomplished singer myself, I have a keen love of the music, and typically several times a week I hear those blessed songs from tapes—especially and unfailingly on Sunday morning during the twelve-minute drive to church.

With that background, then, one should not be surprised that following the Birmingham choir’s singing from The Sacred Harp book, I would have the music on my mind, and would be whistling a Sacred Harp tune as I climbed the stairs leading to the church’s fellowship hall, where our church young people would host the visiting choir singers in a little reception. On the stairs nearby, unknown to me at that point, was a pretty young lady, a student at Huntingdon College, who was visiting our church that night with a girlfriend. Frances Etheredge of Ozark was a product of Primitive Baptist and Sacred Harp traditions, the youngest child of the late Elder S. W. Etheredge, who pastored Primitive Baptist churches in the Wiregrass and elsewhere for sixty years. Frances, too, had a love for and devotion to the old music that was as fully developed as mine—and more informed, for she was a music student and would later teach Sacred Harp singing schools in the Dale County, Alabama, area.

So, it was quite understandable that Frances would hear and be attracted to the strains of the music, inexpertly whistled by the fellow who was three or four steps ahead of her on the stairs. She made herself known to me, who, by any unbiased measure, would have had to be considered gawky and somewhat socially deprived. That stairway self-introduction and further conversation in the social hour that followed led, naturally, to a suggestion on my part that she allow me to escort her back to her college dorm, in company with her girlfriend who paired up with a friend of mine. So, we descended the stairs to my new Chevy, still hardly girl-broke, and made our way in a decorous manner to the campus.

It was nearly as whirlwind a romance as one encounters. Several phone conversations occurred that week, followed not many days later by a bona-fide date. And another and another. In less than five months, on May 28, 1954, we were made Mr. and Mrs. by Elder Etheredge at the family home in Ozark. And we are still making music together.

Joseph and Frances Jones, 1960s

Joe and Frances James outside their Huntsville, Alabama, home in the early 1960s.

Joseph and Frances Jones

A recent photograph of Joe and Frances Jones.

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Regional Roots: Growing Sacred Harp in the Netherlands, Alaska, and British Columbia

Introduction

Sacred Harp’s first wave of expansion beyond the southern United States was boosted by the dedication of dozens of long-time southern singers who traveled repeatedly to sing with newcomers across the country. These emissaries exemplified the sincere fellowship and deep love of our music that has long characterized Sacred Harp singing. Their presence also shored up the sound of these new singings, enveloping new singers in the received practices that define Sacred Harp’s rich history. This contact helped new singers learn and provided the connection to southern singing that ensured that as singing from The Sacred Harp spread, its many traditions followed. [Read about a 1985 trip to New England in a previous issue of the Newsletter—Ed.]

Night Singing in Amsterdam

Night singing in Amsterdam. Photograph by Lauren Bock.

Today Sacred Harp classes across the United States and in parts of Europe are well established; their local ranks capable of sustaining lively and well-attended singings and conventions. Singers are still connected to each other across Sacred Harp’s ever-expanding geography through reciprocal travel. Yet in some areas, regional cores—sturdy groups of singers with substantial Sacred Harp experience—are helping ensure the success of new classes in their areas by attending new singings in significant numbers, holding singing schools, forming friendships, and encouraging budding singers to travel within their region and beyond. Through these activities, singers from regional cores welcome 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 (although talk is underway to revive them). I myself have lived in places where our singings were supported by nearby hubs and in some of these regional cores. In central Connecticut and the mid-Hudson Valley of New York, our small but stable local groups were supported at all-day singings and conventions by larger established cores in Boston, New York City, and Western Massachusetts. In Boston, and now in Atlanta, I’ve carpooled with other members of these cities’ active and growing Sacred Harp classes to support singing schools and new singings in our regions.

Over the past few months I have seen Sacred Harp’s regional hubs in action far from home. In late August, my wife Lauren Bock and I attended singings in Amsterdam and Utrecht, and in October, I traveled to Sitka, Alaska, and Vancouver, British Columbia, in western Canada. Each of these newer local singings were supported by and connected to Sacred Harp’s larger family through the presence of singers from well-established classes in the region. Although the singings I attended differed in size, circumstance, and history, all owed their success to the energetic efforts of devoted local singers, boosted by regional support. The quality of the singing itself, the speed of its growth, and its sense of connection to the larger Sacred Harp world are all buoyed by these nearby hubs. In her essay in last winter’s issue of the Newsletter on “our transnationally expanding singing community,” Ellen Lueck argued “that the roots of … new singings [established abroad] are growing, and will soon run deep.”1 In the Pacific Northwest, in Germany, and in many other places, Sacred Harp singing’s regional roots are deep and vital, spurring the flowering of new branches across the Sacred Harp landscape.

Germany as an Engine of Central Europe’s Sacred Harp Growth:
The Netherlands All-Day Singing

Sacred Harp arrived in the Netherlands when Amsterdam lawyer Anne Eringa discovered the music by happenstance and traveled to Alabama in 2009 to attend Camp Fasola. Eringa began attending singings in Europe soon after, and eventually founded a local group. To firm up its ranks, she drew in members of a Bach choir with which she sings. Singings continued in Amsterdam in the years that followed, growing at a slow yet steady pace. A plan to hold the country’s first all-day singing coalesced after the singers were invited to organize a workshop at the Utrecht Early Music Festival, a world-renowned annual gathering in a historic city thirty minutes southeast of Amsterdam by train. Festival organizers invited Cath Tyler to teach a morning singing school. The Amsterdam singers obtained permission to use the designated space, a school auditorium, to continue singing into the afternoon. About seventy festival attendees signed up for the workshop, joining local singers and Sacred Harp visitors from afar. I was invited to give a short historical introduction before Cath’s workshop, and to speak about Sacred Harp’s contemporary sound and expansion to Europe at a symposium held at the festival the day before the singing.

Lauren Bock on one of Amsterdam's canal lined streets

Lauren Bock on one of Amsterdam’s canal lined streets.

Lauren and I arrived in Amsterdam on August 26, a few days before the festival. Anne generously hosted us in her apartment. During a couple of days of exploring the city we attempted to adjust to the bike-centric culture; enjoyed the beautiful canals, art, and architecture; and got to meet several of the Dutch singers over dinner, a forthrightly friendly group of varied ages and backgrounds. The day before the festival symposium, we traveled out to Utrecht, equally beautiful with its two-tiered central Oldgracht canal, lined with cafés and shops. We ran into Frankfurt singers Andreas Manz and Laura Eisen at a Hesperion XXI concert in the festival’s main concert hall. That evening we enjoyed exploring the city with Andreas and Laura, winding up sitting at one of many café tables crowding a large cobblestoned square filled with socializing patrons enjoying the night air.

Night Singing in Amsterdam - Singing 84 for the First Time

Night singing in Amsterdam, singing 84 for the first time. Photograph by Lauren Bock.

A number of singers from Germany and two from the United Kingdom joined several of the Dutch locals for my talk during the August 29 symposium, which focused on the contemporary performance of historical music forms such as early music. The singers sang two songs—“Hallelujah” (p. 146 in The Sacred Harp) and “Florida” (p. 203)—during the talk, which addressed how contemporary Sacred Harp singers think about the style’s past in deciding how we should sound when we sing. After the symposium we journeyed back to Amsterdam for an evening singing and social; perhaps the largest local singing yet held in Amsterdam. Twenty-five or so local singers were joined by us two Americans, Ellyn Stokes from the UK, and several singers from various locations in Germany. The strong singing offered a chance to meet and get to know each other prior to the all-day singing scheduled for the next day. Midway through the evening singing, a German visitor called “Amsterdam” (p. 84). Amazingly, the song was new to the Dutch singers in the room!

The all-day singing itself began on Sunday morning, August 30, with Cath’s singing school. The Utrecht school auditorium in which we gathered was full with over 100 singers and festival-goers arranged in a hollow square. After my short introduction on the history of singing schools and singings, Cath taught an engaging introduction to the rudiments, sharing knowledge of Sacred Harp’s practices and her own love of the music, making particularly clear how meaningful it is to singers. A delightful moment for non-Dutch speaking visitors occurred when Cath, in the course of running the group through scale exercises, led the group through the first notes of “Twinkle twinkle”/”Baa-baa black sheep.”2 The class caught on, and continued singing the melody, gradually breaking into a set of words in Dutch, and continuing to the end of the song. As the singing school continued, Cath taught the class to sing “Primrose” (p. 47t) from a printed packet. The sound of all 100 of us was astounding.


Cath Tyler leads “Primrose.”

Dinner on the playground, Utrecht all-day singing.

Dinner on the playground, Utrecht all-day singing.

We broke for dinner on the grounds—a bag lunch in the school’s playground—and then reunited for a demonstration singing for festival attendees. After singing the two songs we had practiced during the singing school, the arranging committee took over and the singing itself was underway. Following a break, many workshop participants left, leaving us with a core group of Dutch and German singers to carry on for the remainder of the day. For almost all of the Dutch singers, this marked their first all-day singing experience. Although some had sung locally for a few years, others were almost entirely new. In the days leading up to the singing, the Dutch group had attempted to learn about and decide whether and how to adopt Sacred Harp practices common to conventions: what the roles and responsibilities of the singing’s chair, chaplain, and arranging committee would be, and when to incorporate prayer into the day’s proceedings. The German singers present—drawn from three cities with thriving singings (Frankfurt, Hamburg, and Bremen) and other towns where singings are not yet held but in many cases workshops were already scheduled—provided a continuity of practices and profound support to the sound of our class. Much as English and Irish singers do at new singings in the British Isles, the German singers helped connect first time attendees to the broader Sacred Harp network with their voices and their embodiment of our music’s traditions.

Socializing by the canal in Utrecht after the all-day singing.

Socializing by the canal in Utrecht after the all-day singing. Photograph by Lauren Bock.

The singing weekend also cemented bonds, several newly formed, between the Dutch and German (and English and American) singers attending. Many of us lingered at the school after the singing concluded, then crossed the street to the bank of a nearby canal to sit and talk. The two of us then followed a handful of German singers to the home of Utrecht singer and linguistics professor Jacomine Nortier for a delicious home-cooked Indonesian meal and more good conversation. As it so often is after a moving weekend of singing, food, and fellowship, it was hard to say good-bye.

Pacific Northwestern Roots and Sacred Harp’s Growth Above the 49th Parallel: The Alaska Convention, and the Vancouver All-Day Singing

Sacred Harp has had a foothold in Alaska for decades, yet singing in Vancouver, British Columbia, in western Canada is just a few years old. Sacred Harp has had a foothold in Alaska for decades. A singing community in Fairbanks coalesced in the 1970s when a singer from Austin, Texas, arrived and introduced the style to a group of friends who were singing mostly rounds. In Anchorage, Bob Hume and Peg Faithful were introduced to Sacred Harp by Michael McKernan from Vermont at a local dance camp in the early 1980s. They ordered copies of the 1971 Original Sacred Harp: Denson Revision and recordings, and for several years taught workshops at the local dance camp and had a monthly singing at their home. Contemporary Fairbanks stalwarts Lynn and Charley Basham first encountered the music in the 1980s at one of Bob and Peg’s dance camp workshops. Today the Fairbanks intergenerational group includes singers with decades of experience and high-schoolers who have just discovered the style. Kari Lundgren encountered Sacred Harp singing in Fairbanks in the early 1990s and sang in Louisiana and Mississippi while attending graduate school in the area. With David Kriess-Tompkins, Kari started a local singing in Sitka upon her return to Alaska in 2000. A motivated and energetic organizer, Kari decided several years later to take on organizing the state’s first convention, which was held in 2008. More than thirty singers attended this first convention, including several from Oregon and Washington. Since then the singing has gradually grown: over fifty attended on a bright sunny day this October. Two years ago John David Thacker, then from Anchorage, attended the Convention in Sitka and decided it was time to revitalize Sacred Harp singing in Anchorage. With Bob, Peg, Joseph McGilloway, and a few others, a semi-monthly singing in Anchorage got off the ground. Meanwhile, the Fairbanks weekly singing continues.3

In Vancouver, as in Amsterdam, Sacred Harp’s first seeds were planted by a Camp Fasola camper. Caroline Helmeczi, who attended the adult session in 2010, started a weekly singing at her home soon after returning. This singing received a major boost of energy just this year when Kevin Beirne, who recently relocated to Vancouver from Cork, Ireland, discovered Sacred Harp, attended the youth session of Camp Fasola, and returned to Vancouver excited at the prospect of organizing an all-day singing. Since the summer, the Vancouver weekly singing has moved to the Grandview Calvary Baptist Church, where it attracts a small but growing group of singers. The Vancouver singers hosted their first all-day singing this August, a successful affair that attracted more than fifty singers from as far away as New York City, and was supported by many from the Pacific Northwest.

View from the "Milk Run"

View from the “milk run.”

I visited the Alaska convention and Vancouver weekly singing on a trip to a conference in Vancouver this October, arriving in Sitka on the 22nd, the Thursday before the singing. While en route, after arriving in Seattle, I joined a dozen other singers from California, Oregon, and Washington (and one from Texas, an Alaskan singer expat returning home) on the “milk run,” an Alaska Airlines plane that runs from Seattle to Fairbanks with stops along the way in Ketchikan, Sitka, Juneau, and Anchorage. The view from the plane was incredible: dramatic tree-covered mountains spotted with pools of freshwater fed by the near-constant rain, descending into a vast blue ocean, snow-covered peaks in the distance. The large number of singers with me on the flight made it clear that, now in its eighth year, the Alaska Convention is still supported by singers from nearby states. As I soon learned, the Sitka singers overwhelmingly reward out-of-state singers with wonderful hospitality, delicious Alaskan cuisine, and a full itinerary of sightseeing.

Hostel in Sitka

Hostel in Sitka.

Once in Sitka we were shepherded over a small suspension bridge to a rustic café for supper. The town’s radio station was located right upstairs from the café and when we finished eating about fifteen of us walked straight into the studio and sang a few songs on the air to promote the upcoming singing. While some of the visiting singers stayed with locals, many of us were put up at the local hostel, which the convention had exclusively booked for the weekend. In this camp-like atmosphere we had the chance to chat into the evening and get to know each other.

Friday was a jam-packed day. A tour of the town must have taken us on nearly all of Sitka’s twelve miles of paved roads. We drove along the harbor, past the Russian Orthodox church (one of many remnants of the town’s Russian history), the Tlingit meeting house (one of many markers of the continuing presence of Native Alaskans in Sitka), the totem pole park at the museum, and to impressive sanctuaries for injured bears and raptors. After lunch, many of the Alaskan singers joined us tourists for a whale watch in the harbor. The beauty of this spot, enhanced by the unseasonably clear weather, is hard to convey with words alone. The boat navigated through kelp forests and between rocky outcroppings up to a nearby volcanic island and then back, passing dozens of spouting and diving humpback whales. A bald eagle, perched at the entrance to the marina, stood sentinel as the tour came to an end.

Sitka Harbor.

Sitka Harbor from whale watching boat.

A whale viewed from Sikta Harbor

Humpback whale spotted near Sitka.

I taught a singing school that evening for a crowd of nearly sixty singers, two-thirds of them Alaskans with a range of experience levels. The singing itself drew a slightly smaller crowd, probably because the unseasonably sunny weather persisted; it was hard for Sitkans to pass up such a rare day of bright fall sun. But the singing was strong nonetheless, ably orchestrated by chair Steve Helwig, of Eugene, Oregon. Kari was taking a year off after chairing the convention the previous seven years, but you wouldn’t know it from her constant work ferrying singers around town, cooking, cleaning, and otherwise taking care of us guests.

Alaska Convention class

Alaska Convention class.

As in the Netherlands, the support of visitors from the strong nearby singing communities such as Seattle and Portland made a considerable impact, bolstering the sound of our Alaskan hosts. These excellent visiting singers helped hold down the sections, and modeled leading and singing for the Alaskans. Singers from these Pacific Northwestern states, where Sacred Harp singing has a thirty-year history, have contributed to the strength of the convention each year since its founding, demonstrating their dedication to supporting fledgling singings in their region. Though perhaps it’s also a testament to the wonderful hospitality of the Sitka singers and the stunning surroundings.

Dinner on the grounds at the Alaska Convention

Dinner on the grounds at the Alaska Convention.

Oh, and did I mention the food? Dinner on the grounds in Sitka alone is worth the trip. The most delicious meal included black cod, shrimp so big I thought they were lobster tails, moose barbeque, a salad made of crunchy kelp covered on each side with cod roe, sea asparagus, sourdough bread made from 100-year-old starter, and much, much more. When our hosts told us about the various dishes before we ate, we learned just how fresh the seafood was, much of it collected just that day from relatives and friends in town.

The singing, at the southern tip of the country’s largest state, was in a sense the northern outpost of the thriving Sacred Harp network of the Pacific Northwest. Singers from Oregon and Washington have attended nearly every session of the Alaska Convention. As they help bolster the class during the singing, they also strengthen ties between the Alaska singers and the region at large, forging friendships while in Sitka and helping to promote the event to Pacific Northwesterners throughout the year.

A social Saturday evening provided time for yet more fellowship, which continued back at the hostel that night, and at brunch at the airport café the next morning. I was among several singers headed back to the lower forty-eight on Sunday’s midday “milk run” plane, while several others stuck around for Sitka’s monthly singing that afternoon. Parting was again poignant, as we said farewell to new friends from across the state and throughout the region.

As others headed home, I traveled back north from Seattle to Vancouver, where an academic conference I was presenting at that week fortunately enabled me to stay long enough to attend the Thursday night weekly singing at Grandview Calvary Baptist Church. The evening of energetic singing was the largest weekly gathering the Vancouver singers have yet hosted, with sixteen singers present including members of the growing core group, two local newcomers, and three visitors aside from myself, David Wright, Kate Coxon, and Laura McMurray, who had driven for two hours from Seattle for the singing, crossing an international border along the way. The larger than expected crowd added energy to the night’s singing. Solid singers supported each part. Some had just been singing a few months but were already quite able sight-singers. During a break between the two hour-long sessions, singers enjoyed a delicious spice cake Kevin Beirne had baked. Social media posts promoting the singing tend to focus on Kevin’s weekly creations, which are meticulously documented and often cater to visitors’ tastes (I had requested the spice cake).

At a local watering hole after the singing, Kevin, David, and Kate described the first Vancouver All-Day singing. Like the Alaska Convention, the well-attended day was enlivened by the presence of many experienced singers from Washington and Oregon. Their voices helped make the day a solid example of the powerful, confident, and energetic sound of the contemporary all-day singings too many of us take for granted that bring together experienced and new singers alike from numerous local classes. This sound was a departure from the more intimate weekly practice singings in Vancouver, which typically drew a group of six to a dozen singers, mostly new learners. The invigorating sound of the all-day singing expanded the growing group’s horizons. The weekend also fostered personal connections between the Washington and Oregon singers and their Vancouver counterparts. Vancouver singers have reciprocated, traveling to Seattle for the fall session of the Pacific Northwest Convention, for example.4 As they had on this evening, Seattle singers began to regularly make the drive north across the border to sing in Vancouver on a Thursday night, often returning home well after midnight. These interconnections represent a considerable level of commitment from singers on both sides of the 49th parallel.

Conclusion

My trips to these singings were delightful reminders of the warm hospitality Sacred Harp singers enjoy across our expanding transnational landscape. They also made me think about how the ways singers support this growth are shifting as once-new groups become established and our map continues to expand. Certainly some drivers of this growth have stayed the same. All three of these areas’ singing communities owe their existence to motivated local singers and continued connections to Sacred Harp singing’s most venerable regional cores. Singers in Amsterdam, Sitka, and Vancouver have worked hard year after year to ensure Sacred Harp’s persistence, sometimes singing by themselves or with just a friend or two for months on end before a class of committed singers cohered and hosting an all-day singing became possible. While regional hubs are a great help, for a hub’s range to expand through the support of a new singing, there must be enthusiasm on the ground. What’s more, southern singing schools and singings remain critical training grounds and arenas for cementing these local leaders’ interest in Sacred Harp. For Caroline, Kevin, and Anne, attending Camp Fasola in Alabama was a key step in building confidence in the ability to form a regular practice singing, and in learning skills such as singing, leading, and keying. [Camp Fasola will hold sessions in Alabama and Poland in 2016. Learn more and register at campfasola.org.—Eds.]

Site of the Alaska Convention

Site of the Alaska Convention.

As I observed on these trips, the presence of well established and still growing Sacred Harp classes nearby accelerates the growth of these new areas. In the 1970s and 1980s new classes depended on contact with southern singers for a connection to Sacred Harp’s traditions. In the absence (and even sometimes despite the presence) of such ties, new Sacred Harp singings during this period developed esoteric practices for a time, experienced limited growth, and sometimes functioned in the shadow of stronger and more regionally well-connected folk dance communities. Today, the deepened roots of regional hubs such as those in Germany and the Pacific Northwest foster the flourishing of new groups, offering support and well-worn paths into our international network. Other regional networks exist in the United Kingdom, and, of course, in well-established Sacred Harp regions such as the Northeast, Midwest, and Southeast of the United States. Singers from established cores in North Alabama and Nashville, Tennessee, for example, have recently fostered the growth of emerging singings in Suwanee and Murfreesboro, Tennessee. This regional support too relies on the devotion of dozens of committed singers, willing to travel hours by car or plane, sometimes across national borders, to attend all-day singings, singing schools, and even weekly and monthly practice singings. The support singers in these regional hubs provide is hard work, but it’s also rewarding and great fun—frequently accompanied by delightful food and the opportunity to take in new sites. Even more importantly, trips such as those taken by these singers offer a chance to make wonderful new friends.

So let’s continue to encourage new singers and attend their singings in our regions when they crop up. Let’s give them the space to build their own talents and local capacities. And let’s also support them, and model for them the joys of travel to Sacred Harp singings near and far. Let’s help these members of fledgling classes to discover, as we have, that in addition to the food and the music, a chief joy of Sacred Harp singing is the wide-ranging fellowship our singing and traditions foster.

  1. Ellen Lueck, “The Old World Seeks the Old Paths: Observing Our Transnationally Expanding Singing Community,” Sacred Harp Publishing Company Newsletter 3, no. 2 (November 12, 2014), http://originalsacredharp.com/2014/11/12/the-old-world-seeks-the-old-paths-observing-our-transnationally-expanding-singing-community/. []
  2. The melody to this song predates its association with either set of lyrics and its life as an accompaniment to the English alphabet. The tune originated in the French countryside in the mid-1700s, where it was known as “Ah! vous dirai-je, maman.” See George List, “The Distribution of a Melodic Formula: Diffusion or Polygenesis?,” Yearbook of the International Folk Music Council 10 (1978): 36. []
  3. Thanks to Kari Lundgren, Lynn Basham, and Charley Basham for information on Sacred Harp’s history in Alaska. []
  4. Caroline, in fact, has been attending singings in the Pacific Northwest since 2009. []
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