Bremen, Georgia (AP) – “The Holy Harp” is Pre-war War Edit. Updates are derived from sacred songs that incorporate note sounds in various shapes such as triangles, ovals, squares, and diamonds.
Sung in four-part harmony, “The Sacred Harp” has been an integral part of American culture for over 180 years, embodying an acapella tradition that emphasizes community as much as music. “Sacred Harp” is not just a relic; it’s actively used today with a new edition—its first in 34 years—on the way.
Since its inception, a collective of sacred harpsingers has diligently worked to revise the book, preserving its history while infusing it with new energy. This is an update, rather than a mere reprint, led by a lifelong singer and the chairman of the Revision and Music Committee of the Holy Harp Publishing Company.
“It’s believed that we breathe life into our book,” Ivy remarked.
Why is correction vital for a sacred harp singer?
Originally published by West Georgia Compiler in 1844, Benjamin F. White and Elisha J. King crafted this revision to create space for songs by contemporary composers.
The nine-member Amendment Committee feels a deep sense of responsibility, according to Ivey, who also contributed to the last edition published in 1991.
The sacred harp singer is not merely a historical reenactor, he pointed out. For many, singing is a family tradition and a spiritual experience. While many are Christians, the sacred harp community also embraces individuals of other beliefs and those who identify as LGBTQ+, who often feel marginalized in traditional congregations.
Singers engage with hymns on a weekly basis. For some, these books serve as cherished scrapbooks or family bibles, containing memorials tucked between pages or handwritten notes in the margins. Specific songs may evoke deep memories and emotions, with favorites sometimes becoming memorials.
“The book holds great significance for people,” Ivy stated, sitting amidst songbooks and related materials at the Museum of Nonprofit Publishing in Carrollton, Georgia, on a March afternoon.
The process for future editions has been underway for years. The revision, which was greenlit by the publisher’s board in October 2018, faced delays due to the Covid-19 pandemic. It is now set to debut in September at the annual conference of the United Sacred Harp Musical Association in Atlanta.
Ivy hopes singers will develop a love for the new edition but recognizes there’s some tension within the sacred harp community. Many of the changes remain under wraps for now.
The committee has operated systematically, reaching decisions through consensus, Ivy explained. While many original songs remain, some have been removed and new selections added. They welcomed input from singers through community meetings and singing events, managing to evaluate over 1,100 new submissions.
FA, SOL, LA, MI, and Other Shapes – The Unique Nature of Note Singing
The sacred harp singing event is inclusive and communal, rather than a performance. “The Sacred Harp” encourages everyone to sing out loud.
Participants can choose any song from the 554 options available in the hymnal, but each song may typically be performed only once at an event. Known as Fa-Sol-la Singing, the group uses the book’s distinctive musical notation to read the songs, integrating shapes and syllables like FA, Sol, LA, MI.
“The overarching aim is to make the music accessible to all,” Carlsberg shared. “For many of us, it’s an emotional and spiritual experience. It also serves as an opportunity to connect with cherished friends.”
“The Sacred Harp” is performed in a hollow square formation, with singers organized into four vocal parts: treble, alto, tenor, and bass. Each group occupies a side and faces the central opening, while a rotating leader maintains the timing as dozens of voices blend harmoniously.
The shapenote tradition originated from the 18th-century singing school movement in New England, designed to enhance Protestant music. Church music evolved into a communal social activity. Over time, “sacred harp” became synonymous with this choir tradition.
According to Carlsberg, the “sacred harp” was intentionally designed to transcend sectarian lines. Many of the lyrics were contributed by British Christian Reformers, including Isaac Watts and Charles Wesley. It was seldom utilized during church services.
Historically, hymns were segregated and became a part of the sociocultural landscape of the Southern communities, Carlsberg noted. Before emancipation, enslaved singers participated in sacred harp events dominated by white congregations. Following Reconstruction, Black singers established their own sacred harp practices. “The Holy Harp” eventually broadened its reach across the South and into other regions.
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Source: apnews.com