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The Worst of Times: Children in Extreme Poverty in the South and Nation

...continue beyond the first half of 2010. From June 2009 through March 2010, the number of jobless workers continued to grow in the South and the West. The number of...

An Unflinching Look: An Interview with Photographer Benjamin Dimmitt

...terms of both ecology and aesthetics. Dimmitt: My first trip there was in 1977 with a friend and my brother. The friend wanted to do some fishing. I had never...

James Holland, Riverkeeper: Environmental Protection along the Altamaha

...to take, returning the rest to forage through the delta mud. The numbers in the coolers spoke: they were falling, 300 pounds, 225, 175. Every year they fell—he remembers 1,500...

Returning Home, Saxon Mills

...carrying her clothes, my unborn sister, nothing left of marriage but the cheap ring. There was her father, Lonnie, the house painter, in Lantana. Lonnie, always drinking, laughing at poverty....

The Digital Yoknapatawpha Project

...stories into data? Do you experience doubts about this translation exercise? Taylor Hagood: One of our chief concerns involves the texts. We don't want to be involved in a project...

Karen Beck Pooley on Defining Diversity in Segregated Cities

...Contributing to a segment titled "Defining Diversity, Segregated Cities, Break It Down: Gerrymandering," Pooley spoke about her research on Atlanta's demographics and school segregation. Suburbanizing Atlanta, Georgia, March 31, 2009....

Racial breakdown of the population of the fourteen Georgia counties in the Lower Chattahoochee Valley.

County White Alone, #, 2000 White Alone, %, 2000 Black Alone, #, 2000 Black Alone, %, 2000 Chattahoochee 8,643 58.08 4,453 29.92 Clay 1,290 38.43 2,030 60.47 Decatur 16,126...

Color Photographs from the Farm Security Administration/Office of War Information

John Vachon, Workers leaving Pennsylvania shipyards, Beaumont, Texas, 1943. Library of Congress Prints and Photographs Division, FSA/OWI Color Photographs Collection, LC-USW36-839. Southern Spaces recently added six new images to the...

Ireland’s First Sacred Harp Convention: “To Meet To Part No More”

...exceptionally emotional experience for visiting and Irish singers alike. The visiting singers felt the power of their role in introducing the music they loved so much to this enthusiastic and...

References
1.	The title itself of William Little and William Smith’s 1801 songbook, The Easy Instructor, makes a case for the utility of shape notes in the singing school context.
2.	See John Bealle, Public Worship, Private Faith: Sacred Harp and American Folksong (Athens: University of Georgia Press, 1997), 188–244 for an overview of what some singers have regarded as the “Sacred Harp revival.”
3.	See Bealle, Public Worship, Private Faith; Kiri Miller, Traveling Home: Sacred Harp Singing and American Pluralism (Urbana: University of Illinois Press, 2008); and Laura Clawson, I Belong to this Band Hallelujah!: Community, Spirituality, and Tradition Among Sacred Harp Singers (Chicago: University of Chicago Press, 2011) for extended treatments of these ways of thinking about the spread of Sacred Harp singing beyond the southeastern United States.
4.	Miller, in Traveling Home, and Clawson, in I Belong to this Band, are particularly focused on Sacred Harp singers’ notions of “tradition” and “authenticity.”
5.	Early scholarship on Sacred Harp singing, beginning with George Pullen Jackson’s 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), ascribed white and rural characteristics to the practice. However, black and white singers have long sung Sacred Harp music in both urban and rural areas across the US South. Though predominantly black singings have been held from The Sacred Harp since before the Civil War, participation has declined since the 1930s. Most contact that newcomers to the tradition have had with long-time southern singers has been with white singers. For more information on black Sacred Harp singing in the Wiregrass region of southeastern Alabama, see Joe Dan Boyd, Judge Jackson and the Colored Sacred Harp (Montgomery, AL: Alabama Folklife Association, 2002) and “Many Harps” in James B. Wallace, “Stormy Banks and Sweet Rivers: A Sacred Harp Geography,” Southern Spaces, June 4, 2007.
6.	Buell Cobb noted the prominence of universities in the resurgence of interest in Sacred Harp singing outside the “traditional” areas in his introduction to the Brown Thrasher edition of his book Sacred Harp: A Tradition and its Music (Athens: University of Georgia Press, 1989 [1978]), vii–xiv; see also 154, 159. Stephen A. Marini drew attention to the role of academia in the spread of Sacred Harp singing in his review of Miller’s Traveling Home in the Journal of Southern History 76 (2010), 795.
7.	Initially envisioned by Bruce as a one-time occurrence, the New England Convention celebrated its thirty-sixth year in 2011. The convention also established a model for Sacred Harp singings held outside the South, yet patterned on the southern singings. See Annie Grieshop, ed., “Annual Sacred Harp Singings: 2011 Directory,” http://home.olemiss.edu/~mudws/annual.html, accessed September 28, 2011.
8.	Practices are outlined at the beginning of The Sacred Harp, ed. Hugh McGraw et al. (Carrollton, GA: Sacred Harp Publishing Company, 1991), 25. McGraw (personal communication; see also Miller, Traveling Home, 52) offers the five most important elements of a Sacred Harp singing: (1) sitting in a hollow square, (2) rotation of song leaders, (3) singing on the note names before the words, (4) breaking for dinner on the grounds at noon, and (5) opening and closing the singing with a song and a prayer.
9.	Among the songs I learned as a student of Bruce in 2000 were selections he had chosen for an ensemble recording thirty years earlier at the University of Illinois. See Neely Bruce, dir. The American Music Group Volume 4: Hymns, Fuguing Tunes and Anthems from the Original Sacred Harp (Champaign, IL: American Music Group Publishing Company, 1972), 33 ⅓ rpm record.
10.	Founded by Robert Wedgbury and Barry Twomey, this singing was initially held at the Spailpín Fánach pub in Cork, before moving to Camden Palace. See Robert Wedgbury, “Exploring Voice, Fellowship, and Tradition: The Institutionalised Development of American Sacred Harp Singing in Cork, Ireland and the Emergence of a Grassroots Singing Community” (master’s thesis, University College Cork, 2011), 37–39.
11.	Sacred Harp singing began in Poland in 2008 in the wake of a singing school taught by Tim Eriksen, assisted by me, and organized by his wife Magdalena Zapędowska-Eriksen at an early music festival in the southeastern city of Jarosław.
12.	Alice Maggio, “Shout On!” Adventures of Aleece (blog) March 13, 2011, http://adventuresofaleece.wordpress.com/2011/03/13/shout-on/. See also Maggio’s “Regional Report: First Ireland Sacred Harp Convention,” The Trumpet 1, no. 2 (2011), vi.
13.	See the “Sacred Harp Singers of Cork” group on Facebook, accessed March 8, 2011, https://www.facebook.com/groups/110889371183/ and the Facebook wall, accessed March 8, 2011, http://facebook.com/.
14.	A handful of Irish singers visited the United Kingdom in April, 2011, for the East Midlands Convention, returning the favor of the English singers who had flocked to Cork in March. While Sacred Harp singings have been held in Poland since 2008, 2011 marked the first year that a sizable group of Polish singers traveled to England for the U.K. Convention.
15.	Several of the American singers who visited the Ireland Convention have since returned to attend singings in Ireland, Poland, and the United Kingdom. Five singers from Poland traveled to the United States in July 2011 to attend Camp Fasola, a weeklong Sacred Harp singing school and summer camp in Alabama, traveling on to Oregon to visit singers whom they had met at the Ireland Convention. Two Irish singers made a similar trip in September of 2011.
16.	Wedgbury, “Exploring Voice, Fellowship, and Tradition,” 49.

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