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References
1.	For more on Sacred Harp singing, see, especially, Buell E. Cobb Jr., The Sacred Harp: A Tradition and Its Music (Athens: University of Georgia Press, 1989); John Bealle, Public Worship, Private Faith: Sacred Harp and American Folksong (Athens: University of Georgia Press, 1997); Kiri Miller, Traveling Home: Sacred Harp Singing and American Pluralism (Champaign: University of Illinois Press, 2008); David Warren Steel and Richard H. Hulan, The Makers of the Sacred Harp (Champaign: University of Illinois Press, 2010).
2.	"Akin," music by P. Dan Brittain (1971), words by Isaac Watts (1719), in Hugh McGraw et al., eds., The Sacred Harp: 1991 Edition (Carrollton, GA: Sacred Harp Publishing Company, 1991), 472.
3.	Janko Roettgers, "Google Is Shutting Down Its Jump VR Video Program," Variety (blog), May 18, 2019, https://variety.com/2019/digital/news/google-jump-shutting-down-1203219306/.
4.	On Sacred Harp's shifting geography, see James B. Wallace, "Stormy Banks and Sweet Rivers: A Sacred Harp Geography," Southern Spaces, June 4, 2007, http://southernspaces.org/2007/stormy-banks-and-sweet-rivers-sacred-harp-geography; Jesse P. Karlsberg, "Folklore's Filter: Race, Place, and Sacred Harp Singing" (PhD diss., Emory University, 2015), https://etd.library.emory.edu/concern/etds/n009w256n?locale=en; Jesse P. Karlsberg and Robert A. W. Dunn, "Mapping the 'Big Minutes': Visualizing Sacred Harp's Geographic Coalescence and Expansion, 1995–2014," Southern Spaces Blog (blog), January 23, 2018, https://southernspaces.org/2017/mapping-big-minutes-visualizing-sacred-harps-geographic-coalescence-and-expansion-1995-2014.
5.	On how Sacred Harp's spatial organization compares to that of historically related sacred music cultures, see Paula Tadlock, "Shape-Note Singing in Mississippi," in Discourse in Ethnomusicology: Essays in Honor of George List, ed. Caroline Card et al. (Bloomington: Ethnomusicology Publications Group, Indiana University, 1978), 191–207.
6.	On verbal and nonverbal communication, the hollow square, and affective intensity in Sacred Harp singing, see Miller, Traveling Home; Kiri Miller, "'Like Cords Around My Heart': Sacred Harp Memorial Lessons and the Transmission of Tradition," Oral Tradition 25, no. 2 (2010), http://muse.jhu.edu/journals/oral_tradition/v025/25.2.miller.html; Anne Heider and R. Stephen Warner, "Bodies in Sync: Interaction Ritual Theory Applied to Sacred Harp Singing," Sociology of Religion 71, no. 1 (2010): 76–97.
7.	Irving Lowens, "The Origins of the American Fuging Tune," Journal of the American Musicological Society 6, no. 1 (April 1, 1953): 46, https://doi.org/10.2307/829998. On fuging tunes, see also Karl Kroeger, American Fuging-Tunes, 1770–1820: A Descriptive Catalog (Westport, CT: Greenwood Press, 1994); Maxine Ann Fawcett-Yeske, "The Fuging Tune in America, 1770–1820: An Analytical Study" (PhD diss., University of Colorado at Boulder, 1997); Jesse P. Karlsberg, "Genre Spanning in the Close and Dispersed Harmony Shape-Note Songs of Sidney Whitfield Denson and Orin Adolphus Parris," American Music 35, no. 1 (2017): 94–132.
8.	"New Jerusalem," music by Jeremiah Ingalls (1796), words by Isaac Watts (1707), in McGraw et al., The Sacred Harp, 299.
9.	"Newburgh," music by Amos Munson (1798), words by Isaac Watts (1719), in McGraw et al., 182.
10.	"Providence," music by C. Curtis (1820), words by Isaac Watts (1719), in McGraw et al., 298.
11.	Alan Lomax and Alabama Sacred Harp Singers, All Day Singing from "The Sacred Harp," recorded 1959, 33 1/3 rpm record, Southern Journey (Bergenfield, NJ: Prestige, 1961).
12.	Cobb, The Sacred Harp.

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