Everyone,
The "Virginia Roots Music" exhibition at the Library of Virginia includes
examples of shape-note song books, among them "Virginia Harmony"
(Winchester, 1835), by David Clayton and James P. Carrell, and various song
books, in German and in English, compiled by Joseph Funk, who, along with
his sons, was an important music publisher out of Winchester through the
19th century.
On 6 February 2003, at noon at the Library, the Richmond Sacred Harp Singers
will perform shape-note songs and discuss this musical form. There will be
announcements closer to the time.
Until then, and in additional to the suggestions below, a book listed in the
exhibition brochure's bibliography looks useful: John Bealle, Public
Worship, Private Faith: Sacred Harp and American Folksong (Univ. of Georgia
Press, 1997).
John
-----Original Message-----
From: Eric Johnson [mailto:[log in to unmask]]
Sent: Tuesday, July 30, 2002 3:52 PM
To: [log in to unmask]
Subject: Re: Tin-Pan Valley
Hi, Randy--
The answer can be gotten at the wonderful site of fasola.org:
http://fasola.org/introduction/note_shapes.html
It looks like there were a number of practices that finally got more or less
standardized.
There are a number of good sacred harp and shape-note resources out there
that might be of interest to you. Take a look at:
http://fasola.org/
http://www.mcsr.olemiss.edu/~mudws/resource/
http://www.mcsr.olemiss.edu/~mudws/harp.html
http://www.flash.net/~gaylon
http://libweb.uoregon.edu/music/shapenote.html
One day I'll get my site up about early American sacred music. (*sigh*)
--Eric
----- Original Message -----
From: "Randy Cabell" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, July 30, 2002 3:33 PM
Subject: Tin-Pan Valley
Though not generally known, the Valley of Virginia was a major center of
music publishing in the first half of the 19th century, primarily 'Shape
Note' AKA 'Sacred Heart' books. This was considerably before Nashville, and
probably even a bit ahead of Broadway's (NY) Tin Pan Alley. The publishing
industry was centered around Dayton which may say something about why
Shenandoah Conservatory of Music spent its formative years in Dayton.
This week, I dug out some of my original books to set texts of a few of the
gripping post-9/11 hymns to. (Some suggested early American hymtunes like
BANGOR and DETROIT) And wonder-of-wonders, I found that my new installation
of FINALE music printing will actually let me print shape note music!!!! So
with some spilled coffee and an hour or 2 in the sun for the paper to
'cure', I can produce genuine imitation simulated 19th century Sacred Harp
music. Just kidding.
My question is about the shape of the shape notes. While I am sure they
evolved before 'focus groups' and even psychological evaluation, I am
interested in how the shapes were chosen for each note of the scale......
itty bitt triangles for the TONIC, BIG SQUARE note for the minor third
below, other triangles, diamonds, etc. Is there any shape-note capital of
Virginia out there who might have some insight into this?
Randy Cabell
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