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53:, as a way of evangelizing to people on the frontier and in rural areas. They would collect at camp meetings and spend considerable time singing these hymns. The shape notes were an eight-note system used as an easy way to teach people melodies and harmonies for singing sacred music.
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in 1858-1859 consisted of B. F. White, R. F. Ball, J. T. Edmunds, A. Ogletree, E. T. Pound, J. P Reese, T. Waller, and A. S. Webster. The
Southern Musical Convention selected White, Edmund Dumas, R. F. M. Mann, Absalom Ogletree and Marion Patrick as the committee to revise the
67:(1850, 1859, 1869). The 1849-1850 committee consisted of B. F. White, Leonard P. Breedlove, E. L. King, Joel King, R. F. M. Mann, A. Ogletree, S. R. Pennick and J. R. Turner. The second revision committee of the
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The
Southern Musical Convention supplied the pattern for many subsequent Sacred Harp musical organizations. These included the two oldest existing Sacred Harp Conventions: the
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Not only did the convention provide a gathering for vocal musicians, but it also created an authoritative body to approve of teachers for
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After 1867, the
Convention adopted a policy of using other song books. It gradually had less influence in the history of
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and featuring four-part harmonies. Shape-note singing had been taught by preachers and missionaries during the second
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Under White's leadership, the
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was the "textbook" of the convention. It was a collection of songs notated by
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210:Music festivals established in the 19th century
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116:The Sacred Harp: A Tradition and Its Music
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
