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Crosses, Flowers, and Asphalt: Roadside Memorials in the US South

...longer lifespan and are less affected by the decrees of highway officials. Those located on back roads or on private property appear to have even greater longevity and can change...

Haiti and the Fear of Insurrection: A Review of The Slaveholding Crisis

...slaveholders abandoned the "necessary evil" defense of slavery in favor of the "positive good" argument and sought to punish abolitionists. Planters began to fear that they could no longer count...

A Real American Horror Story: On Steve McQueen's 12 Years a Slave

...Years a Slave (Auburn: Derby and Miller, 1853). From Archive.org. 12 Years a Slave was an important American story long before Steve McQueen put it on screen, and it was...

Reckoning with Enslavement

...uncovering the lawsuits they had brought against the Jesuits and other prominent Maryland slaveholders long before the 1838 sale. Some won their freedom. Others didn't—but each of their cases challenged...

Lift Every Voice and Sing: The Quilts of Gwendolyn Ann Magee

...Introduction The art flows through me, but does not belong to me alone. It speaks for those who have no voices, whose voices have been ignored, whose voices have been...

Carolina's Caribbean Origins: A Review of Hubs of Empire

...Anglophone Caribbean's plantation zone. The founding of a settlement that became Charleston, South Carolina, by a group of planters from Barbados in the 1670s functions as the analytical core of...

Besieged Terrain

...The technique destroys forests, introduces heavy metals into drinking water, vastly increases erosion and flooding, and reduces the number of many species of birds, especially wood warblers, and other rare...

Hillside Refuge: Tornado Shelters in Northeast Mississippi

...number of reported tornadoes in the state each year is twenty-five, with sixty-two the highest number reported in a single year, and five the fewest. The average number of tornado-related...

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

...music was long practiced, questions of “tradition” and “authenticity” have become pervasive. Many new singers locate authenticity with prominent singing families from Alabama, Georgia, and Texas who have long histories...

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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