Critical Review #8

Critical Review #8

Miller Introduction and Chapter 1

So much of learning a new musical technique requires years of mastery and perfecting. As a result, a newcomer may feel intimidated and less enthusiastic about taking on a new musical instrument or joining a specific musical group. However, Sacred Harp Singing seems to do quite the opposite. People are drawn to Sacred Harp Singing because of its inclusive nature and its ability to help an individual find his/her own identity within the tradition. While certain musical traditions and styles seem designated to certain age groups and musical tastes, Sacred Harp Singing has proven otherwise. Ranging from the angsty teen to a young child to a Wagner loving middle aged woman, Sacred Harp Singing has given people of different music interests a place to let go of pre-determined musical notions and has allowed them to come to this new form with wide eyes and open minds. “Generational, religious, political, and geographical differences would ordinarily prevent these people from crossing paths at all….Their ideas of just what “the tradition” is are as diverse as the singers themselves.”

Furthermore, while some must go to a class or a set function in order to take part of in a musical group, Sacred Harp Singing provides singers with the ability to form their own groups, or realize that others around them share this passion for learning the style as well. While location and lack of a common group in one’s own community may hinder the individual new to Sacred Harp, the idea that people can come to Sacred Harp Singing with the hopes of finding a new musical, and sometimes spiritual, identity eases these preconceived inhibitions. Just as Judaism and Christianity have holidays that become ritual for so many, Sacred Harp is able to do the same. The Convention, as well as other communal gatherings, act as a common musical practice that so many can take part in and share; a common musical ritual and practice ground people and give them a sense of musical belonging.

In looking at Sacred Harp Singing, I am so drawn to the notion that both the skilled singer and the novice can partake in its musical ritual. So many of us listen to new music because we are forced to, and as a result, always place assumed opinions and identities onto it. However, because Sacred Harp Singing may be something that not many are familiar with- or at least those who don’t have extensive musical background- people are less inclined and able to automatically place preconceived assumptions on it. As a result, Sacred Harp Singing come across as a balanced way to both shape an existing musical and spiritual identity, and create a new one without assumptions, judgments, or pre-determinations.