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The "Sacred Harp" in the Urban North: 1970-1995

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The Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1996 The S" acred Harp" in the Urban North: 1970-1995. Mark David Johnson Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Johnson, Mark David, "The S" acred Harp" in the Urban North: 1970-1995." (1996). LSU Historical Dissertations and Theses. 6193. https://digitalcommons.lsu.edu/gradschool_disstheses/6193 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zceb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE SACRED HARP IN THE URBAN NORTH: 1970-1995 A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Mark D. Johnson B.S., Oral Roberts University, 1982 M.M., Oklahoma City University, 1985 May 1996 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 9637781 Copyright 1996 by Johnson, Mark David All rights reserved. UMI Microform 9637781 Copyright 1996, by UMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ACKNOWLEDGMENTS I first heard shape-note singing as a boy, visiting my grandfather's Free Holiness Church in rural Oklahoma. They sang from what I now know was a Stamps-Baxter publication, Heavenly Highway Hvmns. and there were seven shapes. I still have my grandfather's copy. Though reared in a gospel tradition in which the seven-shape style was common, I never made serious study of it. Only years later in graduate school, while enrolled in a seminar in American Music, was I introduced to the four-shape style of music practiced by Sacred Harp singers. I was immediately taken with the sound of the music and its historical connections to early America, and I began attending singings. In typically informal Sacred Harp fashion, the idea for this project arose during a morning break at a Sacred Harp singing at Bethel Primitive Baptist Church in Baton Rouge, Louisiana, in October of 1993. A conversation with Wallace McKenzie, Harry Eskew, and Hugh McGraw became exciting when, with great animation, McGraw began to ii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. describe his observations about the recent growth of the number of singings being founded outside the South, and his interest in the singings and the people who attended them. An analysis of the Directory and Minutes found his impressions to be correct: the majority of new singings founded over the last decades were in urban centers in the North. We were all curious to know more, and so research on the project was begun. The last two years' study has brought to light new ideas about the people involved with Sacred Harp singing outside the South--especially those in urban centers in the North--and impressions about how they came to hear about the Sacred Harp have been clarified. There is now stronger evidence to indicate that the Sacred Harp tradition continues to experience vigorous growth in its sesquicentennial year, as new singings continue to be founded outside the South. Moreover, it is encouraging to note that in the Directory and Minutes for 1994-95, secretary Nora Parker indicates that only four Southern singings were discontinued in the past year. This is fewer than in years past and may indicate that the tradition is stabilizing at a certain point in the rural South. iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. My thanks go to the many Sacred Harp singers of the North and South who extended warm hospitality and a helping hand. Northern singers to thank include Ted Johnson, Ted Mercer and Keith Willard. In the South, special thanks goes to Hugh McGraw, Charlene Wallace, and to Mr. and Mrs. Felton Denny, who graciously assisted me during repeated trips to the Sacred Harp archives near their home in Carroll County, Georgia. Finally, the acknowledgments would not be complete without expressing gratitude to Robert Grayson and Steven Austin for their valuable suggestions during preparation of the final version, and to Wallace McKenzie for his thoroughgoing supervision of the project; to Elizabeth Pearson, Director of Library Services at Montreat College, whose skilled use of the interlibrary loan system literally made possible the completion of this work, to Kim McMurtry for review, proof and preparation of the final manuscript, and to my wife, Molly, and my daughter, Sarah Jane, who on a regular basis were willing to do without daddy for considerable lengths of time. iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS ACKNOWLEDGMENTS ......................................... ii ABSTRACT ................................................. vii CHAPTER I REVIEW OF LITERATURE ......................... 1 Historical Overview ......................... 1 The Sacred Harp Tradition .................. 5 Contemporary Related Studies ............... 22 Additional Resources ........................ 28 II MATERIALS AND METHODS ........................ 31 Informal Interviews ......................... 31 Southerners ................................ 31 Northerners ................................ 33 Survey of Northern Singers ................. 35 Anatomy of a Southern Singing .............. 40 Anatomy of a Northern Singing .............. 47 Sacred Harp Singing and the Twentieth Century Folk-music Revival ... 55 III RESULTS AND DISCUSSION ....................... 62 The Spread of Sacred Harp to the North .... 62 New England ................................ 62 Chicago ..................................... 68 Southerners on Northern Singings ........... 71 Other Midwest Region Singings .............. 73 West and Northwest Region Singings ......... 74 IV SUMMARY AND CONCLUSIONS ...................... 77 Reasons for the Spread ...................... 77 The Speed of the Spread .................... 85 Traditions New and Old ...................... 86 Recommendations for Further Study .......... 95 REFERENCES ....... 96 v Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. APPENDIXES 100 A INTERVIEW SCHEDULES AND SURVEY RESPONSE FORM ............... 100 Interview Schedule for Southern Singers .... 100 Interview Schedule for Northern Singers .... 100 Survey Response Form ........................ 101 B SACRED HARP INTERNET RESOURCES ............... 105 C SACRED HARP AND RELATED SHAPE-NOTE MUSIC: RESOURCES ............ 110 Review ....................................... 110 Title Page .................................. ill VITA ..................................................... 112 vi Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT In 1994 The Sacred Harp, a southern, shape-note tunebook, entered its 150th year of continuous use. First compiled in 1844 by B. F. White and E. J. King, and updated numerous times, The Sacred Harp books in the "Denson" tradition, including The Sacred Harp: 1331 Edition, are today the most popular and widely used twentieth-century revisions of any nineteenth-century tunebook. Sacred Harp singing has been a largely rural, Southern tradition
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