Search for "VIPREG2024 best promo code for 1xbet Cape Verde"

The Bulletin—November 29, 2012

...draw a boundary between North and South Carolina. His instructions were to draw a line which began thirty miles south of the Cape Fear River and extended northwest to thirty-five...

Ungesund: Yellow Fever, the Antebellum Gulf South, and German Immigration

...to the gestalt of this literature within the minds of its readers. To get a sense of this perceived landscape, I have mapped the observations detailed in this work and laid them...

Routes of Reconciliation: Visiting Sites of Cultural Trauma in the US South, Northern Ireland, and South Africa

...of Civil War reenactors, at best, and, at worst, modern Kluxers, trying to mainstream. Southern whites have celebrated the family, racial, and historical meanings of the Lost Cause, but these...

Negotiating Gender Lines: Women's Movement across Atlanta Mosques

...ummah landscape have facilitated some encounters and interactions between the two groups: (1) the close proximity between Atlanta's major immigrant mosque and the city's foremost African American mosques and neighborhoods...

African Americans in Atlanta: Community Building in a New South City

...the shining example of Henry Grady's New South ideology — seeking industrialization through northern capital and promising racial justice through segregation. But in spite of the city's aggressive promotion of...

"Looking Back and Moving Forward": The Records of the Southern Christian Leadership Conference at Emory University's Manuscript, Archives, and Rare Book Library

...segment of the population is involved that even with the best of intentions to try to resolve the racial question . . . you will never know whether you have...

Search Results for VIPREG2024 best promo code for 1xbet Cape Verde

The Bulletin—November 29, 2012

Ungesund: Yellow Fever, the Antebellum Gulf South, and German Immigration

African Americans in Atlanta: Community Building in a New South City

Rose Library Highlights: Amos Kennedy, Jr.

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

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.