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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“Just as the performance of the vilest and most wicked deeds requires spirit and talent, so even the greatest demand a certain insensitivity which under other circumstances we would call stupidity.”
—G.C. (Georg Christoph)
“If I had my life over again I should form the habit of nightly composing myself to thoughts of death. I would practise, as it were, the remembrance of death. There is no other practice which so intensifies life. Death, when it approaches, ought not to take one by surprise. It should be part of the full expectancy of life. Without an ever- present sense of death life is insipid. You might as well live on the whites of eggs.”
—Muriel Spark (b. 1918)
“Sacrifice is nothing other than the production of sacred things.”
—Georges Bataille (1897–1962)
“God, who gave to him the lyre,
Of all mortals the desire,
For all breathing men’s behoof,
Straitly charged him, “Sit aloof;”
Annexed a warning, poets say,
To the bright premium,—
Ever, when twain together play,
Shall the harp be dumb.”
—Ralph Waldo Emerson (1803–1882)
“When in our music God is glorified,
and adoration leaves no room for pride,
it is as though the whole creation cried Alleluia!”
—Frederick Pratt Green (b. 1903)