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A Sleight of History: University of Alabama's Foster Auditorium

...Foster Auditorium, once the university hub, is now relegated to the margins of campus. The building, completed in 1939, served as the site of basketball games, dances, registration, and graduation...

An Unflinching Look: An Interview with Photographer Benjamin Dimmitt

...heard of the place, nor had my brother. We drove up from Clearwater, got in his little jon boat and didn't do a lot of exploring, just fished. I had...

Cultural Life in a "Chocolate City": A Review of Natalie Hopkinson's Go-Go Live

...little to counteract the atmosphere of hopelessness and frustration pervasive in poor black neighborhoods. Go-go is heavily rooted in call-and-response lyrical constructions and polyrhythmic, Latin-inspired percussion. It emerged and persisted...

Petrochemical America, Petrochemical Addiction

...Natural Gas Tanks, Good Hope Street, Norco, Louisiana, 1998. Photograph by Richard Misrach. Courtesy of Pace/MacGill Gallery, New York; Fraenkel Gallery, San Francisco; and Marc Selwyn. © Richard Misrach. As...

Race & Gender in the Latinx South: A Review of Cecilia Márquez’s Making the Latino South & Sarah McNamara’s Ybor City

...with Karla Galarza and her family. Galarza’s experiences in seeking education within the city’s segregated school system highlight how “non-Black Latino people were understood through a mosaic of racial categorizations,”...

Conflict and the Senses: A Review of The Smell of Battle, the Taste of Siege

...this transformative event that gave rebirth to a nation. He tells a compelling story, based on diaries, letters, and other archival material. A number of questions remain unanswered, however. What...

A Review of Matt Miller's Bounce: Rap Music and Local Identity in New Orleans

...States is here generally broken into a number of subgenres of rap and bounce, though the definitions and boundaries of these categories are fluid and often change according to whom...

A Trumped-Up Dixie: White Southern Republicans and Immigration Reform

...killing on the battlefield, or hanging upon the gallows" all Confederates.5Randall, Constitutional Problems Under Lincoln, 99. Military and federal authorities charged or indicted a significant number of former confederate leaders, including...

Farmland Blues: The Legacy of USDA Discrimination

...science and technology across the land, by government programs that favored wealthier farmers, and by USDA discrimination. African Americans had continually moved out of the South to escape violence, gain...

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

...gathered at University College Cork in Cork, Ireland, for the first Ireland Sacred Harp Singing Convention. A sacred, non-denominational, group singing tradition associated with the rural southeastern United States, Sacred...

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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