Sacred Harp music or shape-note singing is as old as America itself. The term sacred harp refers to the human voice. Brought to this continent by the settlers of Jamestown, this style of singing is also known as “fasola.” In Legacy of the Sacred Harp, author Chloe Webb follows the history of this musical form back four hundred years, and in the process uncovers the harrowing legacy of her Dumas family line. The journey begins in contemporary Texas with an overlooked but historically rich family heirloom, a tattered 1869 edition of The Sacred Harp songbook. Traveling across the South and sifting through undiscovered family history, Webb sets out on a personal quest to reconnect with her ancestors who composed, sang, and lived by the words of Sacred Harp music. Her research irreversibly transforms her rose-colored view of her heritage and brings endearing characters to life as the reality of the effects of slavery on Southern plantation life, the thriving tobacco industry, and the Civil War are revisited through the lens of the Dumas family. Most notably, Webb’s original research unearths the person of Ralph Freeman, freed slave and pastor of a pre-Civil War white Southern church. Wringing history from boxes of keepsakes, lively interviews, dusty archival libraries, and church records, Webb keeps Sacred Harp lyrics ringing in readers’ ears, allowing the poetry to illuminate the lessons and trials of the past. The choral shape-note music of the Sacred Harp whispers to us of the past, of the religious persecution that brought this music to our shores, and how the voices of contemporary Sacred Harp singers still ring out the unchanged lyrics across the South, the music pulling the past into our present.

A standard collection of traditional shape-note hymns.

This authoritative reference work investigates the roots of the Sacred Harp, the central collection of the deeply influential and long-lived southern tradition of shape-note singing. David Warren Steel and Richard H. Hulan concentrate on the regional culture that produced the Sacred Harp in the nineteenth century and delve deeply into history of its authors and composers. They trace the sources of every tune and text in the Sacred Harp, from the work of B. F. White, E. J. King, and their west Georgia contemporaries who helped compile the original collection in 1844 to the contributions by various composers to the 1936 to 1991 editions. Drawing on census reports, local histories, family Bibles and other records, rich oral interviews with descendants, and Sacred Harp Publishing Company records, this volume reveals new details and insights about the history of this enduring American musical tradition. David Waren Stel is an associate professor of music and southern culture at the University of Mississippi. Richard H. Hulan is an independent scholar of American folk hymnody.

The Sacred Harp choral singing tradition originated in the American South in the mid-nineteenth century, spread widely across the country, and continues to thrive today. Sacred Harp isn’t performed but participated in, ideally in large gatherings where, as the a cappella singers face each other around a hollow square, the massed voices take on a moving and almost physical power. I Belong to This Band, Hallelujah! is a vivid portrait of several Sacred Harp groups and an insightful exploration of how they manage to maintain a sense of community despite their members’ often profound differences. Laura Clawson’s research took her to Alabama and Georgia, to Chicago and Minneapolis, and to Hollywood for a Sacred Harp performance at the Academy Awards, a potent symbol of the conflicting forces at play in the twenty-first-century incarnation of this old genre. Clawson finds that in order for Sacred Harp singers to maintain the bond forged by their love of music, they must grapple with a host of difficult issues, including how to maintain the authenticity of their tradition and how to carefully negotiate the tensions created by their disparate cultural, religious, and political beliefs.

Darkness looms over the ancient world of Ahn Norvys, and the Great Harmony of Ardiel lies rent asunder. Prince Starigan, heir to the throne, has been abducted and power has been usurped by a traitorous cabal In the mountainous highlands of Arvon is the small but ancient community the Stoneholding, which has held out against the gathering forces of the evil Ferabek. Here by tradition, from earliest times, the High Bard has resided as guardian of the Sacred Fire, as well as the golden harp called the Talamadh. But in his search for the lost prince, Ferabek has attacked the Stoneholding with his Black Scorpion Dragoons and razed it to the ground. Wilum, the aged High Bard was forced to flee for his life with a ragged band of survivors, including Kalaquinn Wright, the wheelwrightss son. Kal, green in years and understanding, was torn from his pastoral life in a remote highland clanholding, and thrust out onto a broader stage in a journey of danger and escape, discovery and enlightenment. Now, as night covers Ahn Norvys, he must save what remains of the hallowed order of things and seek his destiny, a destiny that lies far beyond the Stoneholding. He must somehow find Prince Starigan and rekindle the Sacred Fire. At the publisher's request, this title is sold without DRM (Digital Rights Management).

Samantha King Holmes brings forth a raw, original perspective. A collection of poetry that breathes hope into the idea of love while mourning the human condition of seeking out connections, sometimes with the wrong people. Her verse takes the readers on an introspective journey of love, longing, and self-evolution. Born to Love, Cursed to Feel Revised Edition brings to life an answer to the many difficult questions involving self-love and the feelings we have for others. The book explores the need to connect and the way emotions can complicate our decision making. Ultimately this book is a poetic documentation of heartbreak, anguish, and redemption. A story told in hopes of reminding others that their mistakes do not define them and that the end is usually the beginning of something more. In this revised edition, new, never-before-seen poems are sprinkled throughout among beloved and refreshed pieces from the first edition.

When a young woman leaves her family to join a secret off-the-grid community headed by an enigmatic leader, she discovers that belonging comes with a deadly cost, in this “stunning debut,” (The New Yorker) “perfect for fans of Philip Roth’s American Pastoral and the film Martha Marcy May Marlene” (Booklist, starred review). At nineteen, Berie encounters a seductive and mysterious man at a bus station near her home in North Carolina. Shut off from the people around her, she finds herself compelled by his promise of a new life. He ferries her into a place of order and chaos: the Ash Family farm. There, she joins a community living off the fertile land of the mountains, bound together by high ideals and through relationships she can’t untangle. Berie—now renamed Harmony—renounces her old life and settles into her new one on the farm. She begins to make friends. And then they start to disappear. “An excellent debut, Molly Dektar probes life in a cult with a masterful hand, excavating the troubled mind of a young woman,” (Publishers Weekly). The Ash Family explores what we will sacrifice in the search for happiness, and the beautiful and grotesque power of the human spirit as it seeks its ultimate place of belonging. “A captivating and haunting tale” (New York Journal of Books).

The children of U.S. small-town Alexandria are just trying to live like normal teens until their parents’ promised return from a mysterious, four-year religious pilgrimage, and Ben Schiller is no exception. She’s just trying to take care of her sister, keep faith that her parents will come back, and get through her teen years as painlessly as possible. But her relationship with her best friend is changing, her younger sister is hiding a dark secret, and a terrible tragedy is coming for them all.

On any Sunday afternoon a traveler through the Deep South might chance upon the rich, full sound of Sacred Harp singing. Aided with nothing but their own voices and the traditional shape-note songbook, Sacred Harp singers produce a sound that is unmistakable--clear and full-voiced. Passed down from early settlers in the backwoods of the Southern Uplands, this religious folk tradition hearkens back to a simpler age when Sundays were a time for the Lord and the “singings.” Illustrated with forty-one songs from the original songbook, The Sacred Harp is a comprehensive account of a unique form of folk music. Buell Cobb’s study encompasses the history of the songbook itself, an analysis of the music, and an intimate portrait of the singers who have kept alive a truly American tradition.

A collection of papers that brings needed scope, focus and diversity to postcolonial studies in education, and its authors deliver pertinent, unsettling analysis of pervasive colonial legacies, matched by postcolonial conceptions of knowledge and culture as well as exciting approaches to teaching and learning.