Stormy Banks and Sweet Rivers:
A Sacred Harp Geography
A Sacred Harp Geography
James B. Wallace, Emory University
Essay Sections:
Introduction | History
of Sacred Harp | The Spaces of Sacred Harp |
Many Harps | Sacred Harp as Folk Tradition |
Sacred Harp and the Pastoral | Conclusion
| Recommended Resources
Sacred Harp as Folk Tradition:
Is Sacred Harp a folk tradition? On the one hand, it
exists in a published form. The music and words are preserved in a songbook.
However, many of the tunes collected in The Sacred Harp derive
from folk melodies passed down aurally before being written (cf. Cobb
1989, 73-74). Varieties of styles and the differences from region to region
reflect the importance of local preferences. For example, Black Sacred
Harp singers have developed styles so unique that, according to Cobb,
the prospects for "consolidation" with white singers are slim
(Cobb 1989, 6). Even among white singers united by the use of the Denson
book, stylistic differences exist depending upon location (on the question
of Sacred Harp as a folk tradition, see especially Bealle).
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The Wootten family of the Sand
Mountain region in Alabama has helped to preserve the Sacred
Harp tradition for many generations. In this photo, Terry Wootten
leads a song at Holly Springs Primitive Baptist Church in Bremen,
GA. The Wootten Family, with Terry Wootten leading, performed
most musical selections included in this essay ("Pisgah"
is performed by the Wiregrass Sacred Harp Singers).
Image courtesy of Matt and Erica Hinton. |
Many of the audio selections in this piece are performed
by the Wootten
family, most of whom live in north Alabama. Many hail from the Sand
Mountain region, especially the communities of Ider and Henagar. Sacred
Harp singers know the Wootten family for their distinct style of leading.
If a song is in 4/4 time, the leader will wave his or her hand left and right at the bottom of the down-stroke to account for all the beats, rather than using the simpler up and down motion which most leaders employ (Cobb 1995, 42). The Woottens also tend to sing slowly. |
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Map of the Sand Mountain Region
|
Audio Recording:
Commentary by Terry Wootten (0:45 min.)
RealMedia | Windows Media | QuickTime
Terry Wootten discusses dispersed harmony, one of the distinct features of Sacred Harp music.
Commentary by Terry Wootten (0:45 min.)
RealMedia | Windows Media | QuickTime
Terry Wootten discusses dispersed harmony, one of the distinct features of Sacred Harp music.
Essay Sections:
Introduction | History
of Sacred Harp | The Spaces of Sacred Harp |
Many Harps | Sacred Harp as Folk Tradition |
Sacred Harp and the Pastoral | Conclusion
| Recommended Resources
