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Sacred Harp singing is a tradition of sacred choral music that originated in New England and was later perpetuated and carried on in the American South. The name is derived from The Sacred Harp, a ubiquitous and historically important tunebook printed in shape notes. The work was first published in 1844 and has reappeared in multiple editions ...
A few very old songs of European origin, such as "Old Hundred" (D,C 49), which in its original version dates to 1551. These oldest songs also include a few from a remote ancestor of Sacred Harp singing, the tradition of religious choral music that flourished in rural England in the mid 18th century, for example "Milford" by Joseph Stephenson (D ...
Shape notes are a system of music notation designed to facilitate choral singing. Shape notes of various kinds have been used for over two centuries in a variety of sacred choral music traditions practiced primarily in the Southern region of the United States. "Shape-note singers used tune books rather than hymnals. Hymnals were pocket-size ...
In just two years, J. L. White made three attempts to revise the Sacred Harp in a manner that would satisfy Sacred Harp singers. With the exception of the added gospel songs in close harmony, this 1911 "White Book" is the most traditional of the three early 20th century revisions of the Sacred Harp, reprinting the 1870 book almost "verbatim ...
Works by Billings are commonly sung by American choral groups today, particularly performers of early music. In addition, the recent spread of Sacred Harp music has acquainted many more people with Billings' music: several of his compositions are among the more frequently sung of the works in the Sacred Harp canon. [10]
His works include A Brief History of the Sacred Harp and Its Author, B. F. White, Sr., and Contributors (1904), Union Harp and History of Songs (1909), Sacred Tunes and Hymns (1913), Explanation of the Sacred Harp (1920) and, probably most important, the Original Sacred Harp. The latter tunebook was released in 1911.
Fuguing tunes are sacred music, specifically, Protestant hymns. They are written for a four-part chorus singing a cappella. George Pullen Jackson has described the fuguing tune as follows: In the fuging tune all the parts start together and proceed in rhythmic and harmonic unity usually for the space of four measures or one musical sentence.
[5] White participated with gusto in a number of debates about music in the pages of this paper. A few songs appear in the W. M. Cooper edition of The Sacred Harp with the mysterious notation "For the Organ". This notation, otherwise baffling in a tradition that is firmly a cappella, apparently indicates their original publication in the newspaper.
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