This social gathering is so popular that some come to the church just for the food. Make friends with the singers and you may be invited to the Saturday night party held in the home of a Henagar Sacred Harp singer, another social event where you may hear traditional mountain music complete with banjoes, fiddles and guitars. The annual Sand Mountain Potato Festival is held each Fourth of July and includes live music, arts and crafts, and an evening of fireworks. Also during the summer months, the Sacred Harp Musical Heritage Association conducts summer camps to teach people how to sing Sacred Harp.
The five-day events are called Camp Fasola , named after the singing notes fa-sol-la. Either of these camps combined with the singing at Liberty Church in Henagar make for a complete Sacred Harp experience.
For those who want to visit in cooler times of the year, Liberty Baptist Church in Henagar and the nearby Antioch Church County Road ; in Ider hold smaller Sacred Harp singings during the fall and winter.
While smaller in size, these singings are equally impressive. There are three Sand Mountain churches that use Sacred Harp exclusively in their services. While Shady Grove meets every Sunday, Liberty meets only on the second and third Sundays of the month and Antioch on the fourth Sunday. Visitors are welcome at all three churches.
While experiencing Henagar, your trip will take you by another type of entertainment from the past — a drive-in theater. These theaters were popular in the early s and you can still watch a movie projected on a large outdoor screen while seated in your car at the Henagar Drive-In Theatre Gourge Road; Travel to Valley Head to watch Valinda Miracle make her brilliant colored pottery.
There are multiple hotels and cabins in Mentone and Fort Payne. All are worth a visit. During his lifetime, the book became popular and would go through three revisions , , and , all produced by committees consisting of White and several colleagues working under the auspices of the Southern Musical Convention. The first two new editions simply added appendices of new songs to the back of the book. The revision was more extensive, removing some of the less popular songs and adding new ones in their places.
From the original pages, the book was expanded by to This edition was reprinted and continued in use for several decades. Ref Wikipedia. The songs refer to the history of their communities in Alabama, their socio-religious experiences, and their aesthetic values. Folklorist John Work's study, published in Musical Quarterly, points out that the African- American Sacred Harp, like African music that might be termed religious, is locatable within the practice of an integrated, rather than a compartmentalized, belief system.
Sacred Heart Movie The documentary offers a glimpse into the lives of modern shape-note singers, who still sing from The Sacred Harp, a year-old hymnal first published in Georgia in Enslaved Africans on plantations and even American whites had their own evolving traditional music that early.
People living in The American Virgin Islands had singing traditions well established before mainland "America" was discovered. Catholic monks performed Gregorian chants as far back as the early 16th Century in America, and there's a thousand-year history prior to that time. America's earliest music wasn't preserved strictly in the rural South either, and of course not by universities or institutions. Among European Americans, there was an 18th century tradition of the singing school -- actually the Sacred Harp was a branch of that.
Started in New England, and spread to the mid Atlantic, and the Germans adopted it. The Pennsylvania Germans -- the Mennonites and the Schwenkfelders especially -- continued the hymnody tradition but in German; the surviving Notenbuchlein from the late 18th and early 19th centuries are examples of teaching tunes that would accompany the hymn words in the Gesang-buch. They also often have glorious fraktur bookplates.
Later, in the Notenbuchlein, some shape note tunes begin to appear. Stephen Shearon, Ph. And let's not overlook the assistance provided by John Plunkett, a prominent Georgia singer and good, kind man. John did a significant amount of research for the Hintons, I believe. I saw the documentary last summer and definitely recommend it. But there were at least three statements and one image that troubled me.
The first was the one you've been discussing, which hits you in the face early on. But the other two are more personal to me and, to my knowledge, haven't been mentioned. Both cases cast a light on cultural difference, not only among the Sacred Harpers and their "Others," but perhaps on the subscribers to this list. Toward the end of the documentary, one sees a black and white photograph, a portrait, of a man one could describe kindly as well-dressed and dignified. He is never identified, but, if memory serves, the narrator describes him as one of the "Better Music" men.
He is cast as one of those enemies of the kind of music contained in The Sacred Harp who demeaned it and sought to raise the quality so perceived of the music sung by American Protestants. This statement and image plays to the Sacred Harp self-narrative, which states [my words] that the SH tradition went into decline because people who considered themselves social or musical betters, and who looked to the superior cultures of Europe for better music, demeaned and damaged this crude but true American music and promoted instead European music or music similar to it.
Usually Lowell Mason is proclaimed Enemy No. The man whose image is held up to mild ridicule is B. Unseld, as I've been learning, is an interesting figure and someone we ought to know. From the west, he made his way to Providence, RI, to study music; became the first secretary of the New England Conservatory of Music in Boston; taught at Fisk University during the early s, helping develop the Fisk Jubilee Singers in the process; and worked with Theodore F.
Seward on the New York Musical Gazette, an important 19th-century music periodical. That school, which taught seven-shape notation, was the precursor of today's Shenandoah Conservatory of Music Shenandoah University, Winchester, VA , which still has a strong Music Education program. Kieffer and Ruebush of the extended Joseph Funk clan were avowed musical populists and promoters of southern music.
After the Civil War, they promoted the use of the seven-syllable solfege system and the seven-shape notation system to go with it. And they stand near the source of the entire southern gospel stream, long before James D. When the Roll is Called Up Yonder. Are You Washed In the Blood. Leaning On the Everlasting Arms. Love Lifted Me. Go Tell It On the Mountain. There's a Great Day Coming. Track Listing - Disc 5.
Anthony Burger. Living By Faith. Homeland Quartet. Florida Boys. I Must Tell Jesus. The Speers. Blessed Assurance. The Dave Brothers. Walk With Me. Unclouded Day. Heaven's Lubilee. Precious Memories. Walt Mills. Just a Little While. Meeting In the Air. It is Well With My Soul. Track Listing - Disc 6. John Saw. Nothing But the Blood. Beneath the Cross. Ivan Parker. The Bishops. Oh, What a Savior. Morning Has Broken.
Rank Strangers To Me. What a Friend. Trade My Cross.The Alabama Sacred Harp Singers were a choir speciallising in Gospel Music that were active during the s. They are most commonly referenced alongside Alan Lomax, who toured the southern states amongst other areas recording rural music. The sacred harp tradition began in .