Schism and Sacred Harp

This dissertation explores tunebook revisions in the broad Sacred Harp tradition during the period from 1879 through 1936. My work focuses on the split of Sacred Harp singing into three competing sub-traditions during the early twentieth century, forming singing communities in the South with diasporic traits. I will argue that, if one views all of Sacred Harp singing as a diasporic culture, then the center is the antebellum tradition of tunebook singing, embodied in the four original editions of The Sacred Harp published by B. F. White between 1844 and 1870. Sacred Harp singers were "exiled" when other tunebook compilers modified their styles after the Civil War in reaction to the growth of seven-shape and gospel style music, and then disagreements primarily related to stylistic issues caused the dispersal into three related tunebook lines during the early twentieth century. My ultimate goal is to better understand both this under-studied period of Sacred Harp history and the diasporic culture it produced. To that end, I will clarify what was valued (and devalued) and why by different editors and singing communities during the period from the death of B. F. White in 1879 through the publication of the first Denson edition in 1936. "Boylston" will serve as a case study to examine how different editors approached revising a stylistically problematic tune. I will also explore how musical styles found in different tunebooks may reflect particular cultural, political, and religious values associated with parts of the South after Reconstruction, with particular attention to the changing role of women. Ultimately, I will show how these different values fractured what had been a single tradition and promoted the formation of three distinct tunebook lines, a division that is still a feature of Sacred Harp practice today. Through the lens of diaspora theory, I will illuminate how, why, and along what lines this division occurred within the context of Southern history. Although Sacred Harp singing may not fit intuitively into classical conceptions of a diasporic culture, this perspective provides a way to understand the singers' alienation within the broad tunebook singing practice and highlights the importance of history, tradition, and nostalgia to the formation of the identity "Sacred Harp singer." Different responses to these values are key in the development of these new tunebook lines. Post-Reconstruction attitudes toward the antebellum past were generally mixed and complex across the entire South, so the metaphor of exile applied to this relatively small group could also contribute to larger conversations about Southern identity at the time, especially Southerners' relationships to their history and the legacy of previous generations. This sense of diasporic identity within Sacred Harp singing cultures has continued to the present day, producing anxieties documented by contemporary ethnomusicological studies of the now-international singing community.