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COMPOSITIONS SHAPED BY COMMUNITY

of shape-note singing affects the contents of the com- Origin and Evolution (The Florida State University, 1969),
positions, the composers’ philosophies, and the singers’ 118.
engagement with the works. 15 Buell Cobb, The Sacred Harp, 128.
16 Kiri Miller, Traveling Home: Sacred Harp Singing and American
Pluralism (University of Chicago Press, 2010), 2.
NOTES 17 George P. Jackson, The Story of The Sacred Harp, 1844-1944
(Vanderbilt University Press, 2010), 3.
1
See: Derrick Fox, “African American Practice of Shape- 18 b. 1981
Note Singing in the United States” Choral Journal 56, no. 19 Jesse P. Karlsberg, interview.
5 (December 2015): 38-51. 20 1946-2023
2
Jesse Karlsberg, interview by Abigail Cannon, September 21 b. 1969
7, 2023. 22 Rachel Wells Hall, “The Alto Part in Shape Note Tune-
3
Fiona Evison, “From Art Music to Heart Music: The Place books, 1867–1911” (paper, Annual Meeting of the So-
of the Composer in Community Singing,” in The Oxford ciety for American Music, Minneapolis, MN, March 11,
Handbook of Community Singing, ed. Esther M. Morgan-El- 2023).
lis and Kay Norton (Oxford University Press, 2024), 949- 23 Laura Clawson, I Belong to This Band, Hallelujah! Community,
50. Spirituality, and Tradition among Sacred Harp Singers (Universi-
4
Thomas Turino, Music as Social Life: The Politics of Participa- ty of Chicago Press, 2011), 159.
tion (The University of Chicago Press, 2008), 28. 24 David Steel and Richard Hulan, The Makers of the Sacred
5
Buell Cobb, The Sacred Harp: A Tradition and Its Music (Uni- Harp (University of Illinois Press, 2010), 119-20.
versity of Georgia Press, 1978), 6. Readers may also 25 David Carlton, “To the Land I Am Bound: A Journey into
be interested in: David W. Music, “The Decline of the Sacred Harp,” Southern Cultures 9, no. 2 (2003): 53.
American Tune Book,” Choral Journal 58, no. 1 (August 26 Jesse P. Karlsberg, interview.
2017): 8-15. 27 Benjamin Franklin White and Elisha James King, The Sacred
6
Buell Cobb, The Sacred Harp, 66. Harp, 1991 Revision (Sacred Harp Publishing Company,
Stephen Marini, Sacred Song in America: Religion, Music, and 1991), 21.
7
Public Culture (University of Illinois Press, 2003), 68. 28 William Hauser, The Hesperian Harp (S.C. Collins, 1874):
Jesse P. Karlsberg, “Joseph Stephen James’s Original Sacred xviii.
8
Harp: Introduction to the Centennial Edition,” in Original 29 P. Dan Brittain, interview by Lily Hammond, September
Sacred Harp: Centennial Edition, ed. Jesse P. Karlsberg (Pitt 4, 2023.
Theological Library, 2015), viii. 30 David Steel and Richard Hulan, The Makers of the Sacred
9
James R. Goff, Close Harmony: A History of Southern Gospel Harp, 43.
(University of North Carolina Press, 2002), 52, 67. 31 Judy Hauff, interview by Esther Morgan-Ellis, January 15,
10 Jesse P. Karlsberg, “Joseph Stephen James’s Original Sacred 2025.
Harp,” xii. 32 Benjamin Franklin White and Elisha James King, The Sacred
11 A. Michael V. Stecker, “‘If I can Reach the Charming Harp, 21.
Sound, I’ll Tune my Harp Again’: The Fasola Tunebook 33 Ibid., 22.
Publication Renaissance,” master’s thesis (University of 34 P. Dan Brittain, interview.
Florida, 2019), 193. 35 Jesse P. Karlsberg, interview.
12 Anne Heider and R. Stephen Warner, “Bodies in Sync: In- 36 Rachel Wells Hall, interview by Lily Hammond, September
teraction Ritual Theory Applied to Sacred Harp Sing- 3, 2023.
ing,” Sociology of Religion 71, no. 1 (2010): 84. 37 Kiri Miller, Traveling Home, 110.
13 John Bealle, Public Worship, Private Faith: Sacred Harp and Amer- 38 Jesse P. Karlsberg, “‘A Glimpse of Thee’ in The Sacred Harp:
ican Folksong (University of Georgia Press, 1997), 4. Revised Cooper Edition,” Jesse P. Karlsberg, PhD, February
14 Charles Ellington, The Sacred Harp Tradition of the South: Its 4, 2013, https://jpkarlsberg.com.

20 CHORAL JOURNAL March/April 2025 Volume 65 Number 7