Category: ·Sacred Harp & Cultural Impact
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In the 1982 documentary Shouting Song, director Jean Youngblood Albright captured a number of Sacred Harp singings across Alabama—some large and formal, others intimate and deeply local. Among them is a segment filmed at County Line Church in Warrior, Alabama, identified onscreen as the Walter Parker Birthday and Charlie Creel Memorial Singing. The event isn’t…
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Now available as part of Songs for the Holy Other We’re proud to share a new video recorded at the Second Monday singing in Baltimore: a heartfelt performance of Love Astounding, a hymn by Jeannette Lindholm set to the beloved tune Holy Manna. This video is part of the Songs for the Holy Other project,…
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The BBC World Service recently featured Tim Eriksen in a new episode of In the Studio, exploring the continued vitality of Sacred Harp singing in the U.S. and abroad. The broadcast, released April 25, 2025, arrives just as the Sacred Harp Publishing Company prepares to release its long-anticipated new edition—one that will include more contributions…
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Published in the Abolition Intelligencer and Missionary Magazine (Shelbyville, KY, Vol. 1, Iss. 2, June 1822), this letter from Elijah Boardman (findagrave.com) provides a striking glimpse into the use of shape-note singing in early American missionary efforts. The account describes a singing school among the Tuscarora people in Lewistown, New York, where indigenous singers learned…
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In the late 19th century, rural communities across the South and Midwest found joy and connection through the vibrant tradition of shape-note singing. Mitchell B. Garrett’s Horse and Buggy Days on Hatchet Creek: An Alabama Boyhood in the 1890s (Tuscaloosa, AL: University of Alabama Press) offers a rich firsthand account of how this musical practice…
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Born in 1784, Elsie Chittenden of Guilford, Connecticut, was a shape-note singer born sixty years before B.F. White’s The Sacred Harp was published. As a young woman, she sang counter in her church choir when the pitch pipe was the only aid to congregational singing, and tunes like Old Hundred and Mear were the backbone…
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In shape-note singing, we welcome every voice, valuing participation over polish and the shared experience over individual refinement. But not every tradition has held this view. The musical reform movement of the 19th and early 20th centuries sought to reshape American congregational singing, favoring trained voices and standardized harmony over the raw, communal sound that…
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A paper on composing music in the Sacred Harp tradition is the feature article in the new March/April 2025 issue of Choral Journal (Vol. 65, No. 7). Three singers, who are also three scholars, have teamed up for the paper. Lily M. Hammond, Abigail C. Cannon, and Esther M. Morgan-Ellis have written the paper “Compositions…
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Performing at Aviva Studios Manchester, UK on 15,16 and 20-24 November, 2024. After posting about an impressive installation work in London, and a new play in Australia, I was fascinated to learn about Laurie Anderson’s newest work, ARK: United States Part 5, which includes a collaboration with shape-note singers. Premiering in Manchester last week, and…
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Whenever I mention Sacred Harp singing, almost everyone I talk to says they’ve “never heard of it.” Yet now that I’m paying closer attention, I seem to see it everywhere. Maybe it’s just the Baader-Meinhof phenomenon—a kind of observational bias where something you’ve just learned about suddenly appears in your surroundings—but I can’t help but…