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Motivations for Revivalist Participation in Sacred Harp of the Chesapeake Bay Area

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Motivations for Revivalist Participation in Sacred Harp of the Chesapeake Bay Area ABSTRACT Title of thesis: THE PERFORMANCE OF HISTORY: MOTIVATIONS FOR REVIVALIST PARTICIPATION IN SACRED HARP OF THE CHESAPEAKE BAY AREA Brigita Lee Sebald, Master of Arts, 2005 Thesis directed by: Dr. Jonathan Dueck Department of Musicology and Ethnomusicology Sacred Harp performance exists in the Chesapeake Bay area of Maryland, Virginia and southern Pennsylvania primarily inside a revivalist setting of folklore societies. Singers identify both the musical sound and the community of singe rs as their primary motivation for participating in Sacred Harp. Many singers are originally attracted to it because of its harmonies and structure and explore new repertoire through the use of recordings and attendance at conventions. The convention sys tem further enables a community with local, regional, and national levels, which then helps deepen commitment to Sacred Harp performance. Finally, singers interact with historical practices through performance, which results in a transformation and rejuve nation both of the singer and of Sacred Harp itself. THE PERFORMANCE OF HISTORY: MOTIVATIONS FOR REVIVALIST PARTICIPATION IN SACRED HARP OF THE CHESAPEAKE BAY AREA by Brigita Lee Sebald Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2005 Advisory Committee: Dr. Jonathan Dueck, Chair Professor Robert Provine Professor Carol E. Robertson Dr. Boden Sandstrom ©Copyright by Brigita Lee Sebald 2005 TABLE OF CONTENT S Chapter I: Introduction....................................................................................................... 1 Historical Context ........................................................................................................... 1 Chesapeake Bay Performance ......................................................................................... 1 Spirituality ....................................................................................................................... 3 Description of Informants ............................................................................................... 4 Research Questions and Hypotheses .............................................................................. 5 Research Questions and Hypotheses .............................................................................. 5 Chapter II: The Use of Historical Sources ......................................................................... 6 Vignette: Joan ................................................................................................................ 6 Sources for Sacred Harp Performers ............................................................................... 8 George Pullen Jackson................................................................................................ 9 Carl Carmer ............................................................................................................... 11 Buell Cobb ................................................................................................................ 11 John Bealle ................................................................................................................ 13 Academic Sources ......................................................................................................... 14 Colonial Era Performance ............................................................................................. 17 Shape-Note Notational Systems ................................................................................... 20 Four-shape Systems .................................................................................................. 20 Seven -shape Systems ................................................................................................ 22 Lowell Mason and the Better Music Movement........................................................... 23 B. F. White, E. J. King, and the Sacred Harp ............................................................... 25 Revisions of the Sacred Harp ....................................................................................... 27 Nineteenth -Century Revisions.................................................................................. 27 Cooper Revision........................................................................................................ 27 James Revision.......................................................................................................... 28 Denson Revisions...................................................................................................... 29 Nineteenth -century Conventions .............................................................................. 30 Folk Music Revivals ..................................................................................................... 31 Chapter III: The Bounds of Community in the Chesapeake Bay Area ............................ 33 Vign ette I: Entrance Story in Washington, DC ........................................................... 33 Vignette II: Entrance Story in Baltimore ..................................................................... 35 Structure of Community ............................................................................................... 39 Framework of Events .................................................................................................... 40 Local Groups................................................................................................................. 42 Washington, DC ........................................................................................................ 42 Baltimore, Maryland Monthly .................................................................................. 43 Baltimore, Maryland Weekly .................................................................................... 43 Other groups.............................................................................................................. 44 Conventions and All -day Sings .................................................................................... 48 Vignette III: Conventions ........................................................................................ 48 Annual Calendar ....................................................................................................... 51 Networks of Sacred Harp Events .................................................................................. 53 Chapter IV: Formation of a Body of Musical Practices .................................................. 54 Vignette: Lorenzo ........................................................................................................ 54 ii Musical Sound as Initial Attraction .............................................................................. 56 Origins of Musical Form ............................................................................................... 58 Usual Way of Singing ............................................................................................... 58 Poetic Meters ............................................................................................................ 59 Folk Organum ........................................................................................................... 60 Selection Process of Local Repertoire .......................................................................... 61 Fuging Tune.................................................................................................................. 62 Form .......................................................................................................................... 63 Use in Repertoire ...................................................................................................... 64 Anthem .......................................................................................................................... 66 Form .......................................................................................................................... 67 Use in Repertoire ...................................................................................................... 68 Hymn Tune ................................................................................................................... 69 Form .......................................................................................................................... 69 Use in Repertoire ...................................................................................................... 70 Other Musical Sources .................................................................................................. 72 Fiddle Tunes .............................................................................................................. 72 Art Music .................................................................................................................. 72 Camp -meeting Songs ................................................................................................ 73 Addition of Alto Parts ................................................................................................... 75 Methods in Expanding Repertoire ................................................................................ 76 Conventions .............................................................................................................. 77 Recordings ...............................................................................................................
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