183:, who had been singing from publications of Ananias Davisson for 25 years, were joined by other singers who reviewed thousands of nineteenth-century shape-note songs from over seventy sources, as well as new compositions. Members of the Music Committee composed alto parts when they were lacking. New compositions by living composers were reviewed, and dozens were included—not as a separate section, but integrated with traditional tunes. The Music Committee limited their selections to songs that would be accepted by contemporary singers: "All killer, no filler," as member Leyland del Re explained to a journalist.
487:"The amount of attention that the editors paid to these practical and ergonomic considerations speaks to both the fluency exhibited by the contemporary compilers with regard to fasola tradition and convention, as well as to the highly evolved and well-adapted physical form of the shape note tunebook." (p. 153)
76:
have emerged not only in the mid-Atlantic region, but also in the UK, Ireland, and
Germany. The popularity of the regional tunebook outside of the core area can be attributed to a design that has been optimized for sight-singing: "visually attractive, the songs are easy to read ... and the book feels
775:"Given that the original project had as its crux the tunes from Ananias Davisson's publications in the second and third decades of the 19th century, the decision to include more than sixty 20th- and 21st-century compositions in The Shenandoah Harmony was a bold one, but a wise one."
17:
101:
669:"The original inspiration for The Shenandoah Harmony was to create a tunebook that included the best of the shape-note songs collected, printed, and published by Ananias Davisson from 1816 to 1826 in the Shenandoah Valley of Virginia."
81:
satisfies this peculiarity more than any other publication in current use, 52% of the tunes being minor. A third reason is that, although many shape note singers know of
Ananias Davisson as the composer of the iconic tune
320:
Sitting in the square of this shape note sing, I feel transported to the
Shenandoah Valley of the 1800s. I picture harsh winters in a new world, and a long walk through dark woods, to arrive in a place made of rough
164:. Reflecting the vitality of the tradition as practiced today are dozens of new compositions by singers living at time of publication (2013). Tunes that already appear in the
558:
362:
798:
However, alternative versions of some tunes are provided, such as alternate words for
Stafford (page 78 in both books), replacing the anti-Semitic lyrics
463:
609:"Admired for its scholarship, curation, and design, its use has quickly surpassed any other recently published tunebook of its kind." (page 119 of)
44:
singing groups. Although a number of new shape note tune books were compiled and published in the two decades leading up to the publication of the
92:
does not contain any other songs by him; thus, having an entire book inspired by
Davisson's work appealed to many traditional shape note singers.
332:
Recordings of all-day singings in
Northern Shenandoah Valley (near the grave of Ananias Davisson) and in Lehigh Valley (PA) are posted to the
555:
are over 50% minor. As our book has evolved, we’ve added songs from other sources; the finished book will have about 52% minor songs."
112:
has been called a "curatorial" compilation of fasola repertoire from the mid-Atlantic region paying special attention to the works of
52:, whose importance in the emergence of a distinctive Southern shape-note singing tradition has been noted by many musicologists.
845:"Our quote was 'all killer, no filler,'" del Re says. "The songs that made it deserve to be back out there — they're gorgeous."
710:
Barnett, Joshua Rush (Summer 2015). "The
Brandstetter Tunebook: Shape-Note Dissemination and the Germans of Western Maryland".
696:
David W. Music, "Ananias
Davisson, Robert Boyd, Reubin Monday, John Martin, and Archibald Rhea in East Tennessee, 1816-26",
48:
this volume is notable as "the largest new four-shape tunebook published for more than 150 years." The book is named after
880:
671:
566:
778:
820:
389:
303:
242:
849:"Family Affair: The Richmond Shape Note Singers teach new generations to sing the oldest American folk songs"
124:
but cultivated a network of singing-school teachers and composers in
Tennessee, Kentucky, and Virginia. The
919:
848:
408:
490:
526:(University of Georgia Press, 2004), p. 34, states that "the high percentage of "minor music" in the
61:
25:
924:
909:
656:. Another tunebook based on the "curatorial themes of regionality and place" mentioned by Davis is
140:
745:
737:
381:
224:
155:
741:
216:
121:
49:
16:
914:
727:
719:
373:
130:
117:
113:
77:
good in your hand." Another reason is that shape note singers love minor-key songs, and the
37:
884:
421:
180:
200:
150:
903:
749:
385:
723:
28:
typically ends by singing
Davisson's "Retirement" at the graveside of the composer.
889:
100:
334:
281:
806:
802:
527:
165:
161:
88:
877:
779:"The Shenandoah Harmony, 2012 - A ray of light in an otherwise troubled world"
675:
589:
440:
145:
41:
220:
639:
612:
139:
Works by other composers from his era have also been revived: five tunes by
644:
Beyond Revival: Composition and Compilation Amidst the Sacred Harp Revival
617:
Beyond Revival: Composition and Compilation Amidst the Sacred Harp Revival
530:(roughly two songs out of five) is an anachronism"; in fact, only 23% of
120:(1816) and subsequent publications by Ananias Davisson, who lived in the
40:(1780–1857) and other composers of his era, in the format used by modern
799:
377:
228:
339:
204:
732:
99:
365:
Sacred Harp Singing In Europe: Its Pathways, Spaces, And Meanings
534:
songs are minor, but they are indeed sung about 40% of the time.
128:
contains 24 compositions by Ananias Davisson, 52 songs from his
57:
64:, felt "transported to the Shenandoah Valley of the 1800s."
160:
compiled and published by him in 1848); and 9 by Lucius or
504:(Masters thesis). University of Florida. pp. 151–160
268:
Shape-note hymnody in the Shenandoah Valley, 1816-1860.
590:"Indexes for The Sacred Harp, 1991 Edition: Composers"
672:"Shenandoah Harmony: A New Four-Shape Tunebook»About"
762:
Song counts are from the "Index" at the back of the
551:are roughly 60% minor; even the early editions of
827:. Carrollton, GA: Sacred Harp Publishing Company
892:, learning pages for individual songs in the
561:One of the most beautiful of those old minors
282:"Shape-Note Singing in the Shenandoah Valley"
8:
502:The Fasola Tunebook Publication Renaissance
524:The Sacred Harp: A Tradition and Its Music
825:Sacred Harp Publishing Company Newsletter
777:Macadam, Sheila Girling; Macadam, Edwin.
731:
700:Vol. 1, No. 3 (Autumn, 1983), pp. 72-84.
72:All-day singing events dedicated to the
36:is a 2013 republication of the works of
15:
205:"The Decline of the American Tune Book"
192:
821:"The making of the Shenandoah Harmony"
417:
406:
304:"Shenandoah Valley Shape Note Singers"
243:"The Making of The Shenandoah Harmony"
464:"Book Review—The Shenandoah Harmony,
7:
819:Hall, Rachel Wells (July 29, 2013).
640:"Chapter 5 From Seeking To Dwelling"
613:"Chapter 5 From Seeking To Dwelling"
335:"Shenandoah Harmony YouTube Channel"
20:The annual all-day singing from the
137:Supplement to the Kentucky Harmony.
247:The Sacred Harp Publishing Company
60:, attending an all-day singing in
14:
372:(PhD diss). Wesleyan University.
116:. The curatorial focus is on the
495:(3rd printing of 1st ed., 2014)"
466:Country Dance & Song Society
175:Compilation and creation process
766:(no pagination for end matter).
742:10.5406/americanmusic.33.2.0176
724:10.5406/americanmusic.33.2.0176
489:Streicker, A. Mitchell (2019).
146:Wyeth's Repository, Part Second
179:In 2010, the del Re family of
1:
310:. 6:24 minutes in. PBS. WFAE
878:Shenandoah Harmony Homepage
941:
143:, originally published in
805:with uplifting poetry by
56:reporter Kelley Libby of
434:List of singings at the
270:Tulane University, 1966.
638:Davis, Clinton (2016).
611:Davis, Clinton (2016).
522:Buell E. Cobb, Jr., in
166:1991 Denson edition of
416:Cite journal requires
105:
29:
658:The American Vocalist
549:The Tennessee Harmony
361:Lueck, Ellen (2017).
153:(and another 13 from
103:
19:
545:The Kentucky Harmony
646:(PhD). UC San Diego
619:(PhD). UC San Diego
553:The Easy Instructor
395:on 16 December 2019
378:10.14418/wes01.3.69
141:Elkanah Kelsey Dare
46:Shenandoah Harmony,
894:Shenandoah Harmony
890:Sacred Harp Bremen
883:2021-07-30 at the
764:Shenandoah Harmony
569:on 9 December 2019
493:Shenandoah Harmony
468:(Easthampton, MA)"
436:Shenandoah Harmony
209:The Choral Journal
156:The Hesperian Harp
135:and 46 songs from
126:Shenandoah Harmony
110:Shenandoah Harmony
106:
79:Shenandoah Harmony
74:Shenandoah Harmony
34:Shenandoah Harmony
30:
22:Shenandoah Harmony
543:"The editions of
462:Taaffe, Brendan.
122:Shenandoah Valley
50:Shenandoah Valley
932:
865:
864:
862:
860:
847:Baldwin, Brent.
843:
837:
836:
834:
832:
816:
810:
796:
790:
789:
787:
785:
773:
767:
760:
754:
753:
735:
707:
701:
694:
688:
687:
685:
683:
674:. Archived from
667:
661:
655:
653:
651:
635:
629:
628:
626:
624:
607:
601:
600:
598:
596:
585:
579:
578:
576:
574:
565:. Archived from
541:
535:
520:
514:
513:
511:
509:
499:
485:
479:
478:
476:
474:
459:
453:
452:
451:
449:
442:All-Day Singings
432:
426:
425:
419:
414:
412:
404:
402:
400:
394:
388:. Archived from
371:
358:
352:
351:
349:
347:
330:
324:
323:
317:
315:
299:
293:
292:
290:
288:
277:
271:
264:
258:
257:
255:
254:
239:
233:
232:
197:
131:Kentucky Harmony
118:Kentucky Harmony
114:Ananias Davisson
38:Ananias Davisson
940:
939:
935:
934:
933:
931:
930:
929:
900:
899:
885:Wayback Machine
874:
869:
868:
858:
856:
846:
844:
840:
830:
828:
818:
817:
813:
797:
793:
783:
781:
776:
774:
770:
761:
757:
709:
708:
704:
695:
691:
681:
679:
678:on 30 July 2021
670:
668:
664:
649:
647:
637:
636:
632:
622:
620:
610:
608:
604:
594:
592:
587:
586:
582:
572:
570:
556:
542:
538:
521:
517:
507:
505:
497:
488:
486:
482:
472:
470:
461:
460:
456:
447:
445:
439:
433:
429:
415:
405:
398:
396:
392:
369:
360:
359:
355:
345:
343:
333:
331:
327:
313:
311:
308:Authentic South
302:Kelley, Libby.
301:
300:
296:
286:
284:
280:Steel, Warren.
279:
278:
274:
265:
261:
252:
250:
241:
240:
236:
201:Music, David W.
199:
198:
194:
189:
181:Boyce, Virginia
177:
168:The Sacred Harp
98:
70:
54:Authentic South
12:
11:
5:
938:
936:
928:
927:
922:
917:
912:
902:
901:
898:
897:
887:
873:
872:External links
870:
867:
866:
838:
811:
791:
768:
755:
718:(2): 176–218.
712:American Music
702:
698:American Music
689:
662:
630:
602:
580:
557:Hall, Rachel.
536:
515:
480:
454:
427:
418:|journal=
363:"Ellen Lueck,
353:
325:
294:
272:
259:
234:
191:
190:
188:
185:
176:
173:
171:were avoided.
151:William Hauser
149:(1813); 13 by
97:
94:
69:
66:
13:
10:
9:
6:
4:
3:
2:
937:
926:
923:
921:
920:2013 in music
918:
916:
913:
911:
908:
907:
905:
895:
891:
888:
886:
882:
879:
876:
875:
871:
855:. Richmond VA
854:
850:
842:
839:
826:
822:
815:
812:
808:
804:
800:
795:
792:
780:
772:
769:
765:
759:
756:
751:
747:
743:
739:
734:
729:
725:
721:
717:
713:
706:
703:
699:
693:
690:
677:
673:
666:
663:
659:
645:
641:
634:
631:
618:
614:
606:
603:
591:
584:
581:
568:
564:
562:
554:
550:
546:
540:
537:
533:
529:
525:
519:
516:
503:
496:
494:
484:
481:
469:
467:
458:
455:
444:
443:
437:
431:
428:
423:
410:
391:
387:
383:
379:
375:
368:
366:
357:
354:
342:
341:
336:
329:
326:
322:
309:
305:
298:
295:
283:
276:
273:
269:
266:Harry Eskew,
263:
260:
248:
244:
238:
235:
230:
226:
222:
218:
214:
210:
206:
202:
196:
193:
186:
184:
182:
174:
172:
170:
169:
163:
159:
157:
152:
148:
147:
142:
138:
134:
132:
127:
123:
119:
115:
111:
102:
95:
93:
91:
90:
85:
80:
75:
67:
65:
63:
59:
55:
51:
47:
43:
39:
35:
27:
23:
18:
893:
857:. Retrieved
853:Style Weekly
852:
841:
829:. Retrieved
824:
814:
794:
782:. Retrieved
771:
763:
758:
715:
711:
705:
697:
692:
680:. Retrieved
676:the original
665:
657:
648:. Retrieved
643:
633:
621:. Retrieved
616:
605:
593:. Retrieved
588:fasola.org.
583:
571:. Retrieved
567:the original
560:
552:
548:
544:
539:
531:
523:
518:
506:. Retrieved
501:
492:
483:
471:. Retrieved
465:
457:
446:, retrieved
441:
435:
430:
409:cite journal
397:. Retrieved
390:the original
364:
356:
344:. Retrieved
338:
328:
319:
312:. Retrieved
307:
297:
285:. Retrieved
275:
267:
262:
251:. Retrieved
249:. 2013-07-29
246:
237:
212:
208:
195:
178:
167:
154:
144:
136:
129:
125:
109:
107:
87:
83:
78:
73:
71:
53:
45:
33:
31:
21:
807:Joseph Hart
803:Isaac Watts
784:21 February
682:23 December
650:22 December
623:22 December
595:23 December
573:23 December
532:Sacred Harp
528:Sacred Harp
473:23 December
448:13 December
399:21 February
346:21 February
287:23 December
215:(1): 8–15.
162:Amzi Chapin
89:Sacred Harp
925:2013 books
910:Shape note
904:Categories
733:1903/12804
253:2020-08-09
187:References
104:Book Cover
62:Cross Keys
42:shape note
26:Cross Keys
859:1 January
831:1 January
750:160357611
660:of Maine.
508:1 January
386:193936027
221:0009-5028
68:Diffusion
881:Archived
314:30 March
229:26412810
203:(2017).
915:Hymnals
340:YouTube
321:boards.
96:Content
84:Idumea,
748:
740:
438:page.
384:
227:
219:
746:S2CID
738:JSTOR
498:(PDF)
491:"The
393:(PDF)
382:S2CID
370:(PDF)
225:JSTOR
861:2020
833:2020
786:2021
684:2019
652:2019
625:2019
597:2019
575:2019
547:and
510:2020
475:2019
450:2019
422:help
401:2021
348:2021
316:2020
289:2019
217:ISSN
108:The
86:the
58:WFAE
32:The
801:of
728:hdl
720:doi
374:doi
24:at
906::
851:.
823:.
744:.
736:.
726:.
716:33
714:.
642:.
615:.
500:.
413::
411:}}
407:{{
380:.
337:.
318:.
306:.
245:.
223:.
213:58
211:.
207:.
896:.
863:.
835:.
809:.
788:.
752:.
730::
722::
686:.
654:.
627:.
599:.
577:.
563:"
559:"
512:.
477:.
424:)
420:(
403:.
376::
367:"
350:.
291:.
256:.
231:.
158:,
133:,
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
