Performance Practice Of Sacred Harp Music
The performance practice of Sacred Harp music denotes the customary styles that are not expressed in the musical notation itself.
Note that the term performance practice is used in a broad way; Sacred Harp singing is participatory, not audience-oriented, and thus is not really "performed" in a traditional sense.
Read more about Performance Practice Of Sacred Harp Music: Transmission of Sacred Harp, Sources of Evidence, The Raised Sixth in Minor Tunes, Dotted Notes, Parallels With Early Music, The Pitch of Musical Notes, Tone Quality, The Pronunciation of The Note Names, Ensemble Issues and The Singing Community
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—Ralph Waldo Emerson (1803–1882)
“Toddlers who don’t learn gradually about disappointment lose their resilience through lack of practice in give-and-take with other people’s needs. They can become self-centered, demanding, and difficult to like or to be with.”
—Alicia F. Lieberman (20th century)
“O native country, repossessed by thee!
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Weak I am grown, and must in short time fall;
Give thou my sacred relics burial.”
—Robert Herrick (1591–1674)
“He’s made a harp of her breast-bane,
Whose sound wad melt a heart of stane.
He’s ta’en three locks o’ her yellow hair,
And wi’ them strung his harp sae rare.”
—Unknown. Binnorie; or, The Two Sisters (l. 41–44)
“Sweet spring, full of sweet days and roses,
A box where sweets compacted lie;
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—George Herbert (1593–1633)