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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“Kind are her answers,
But her performance keeps no day;
Breaks time, as dancers,
From their own music when they stray.”
—Thomas Campion (1567–1620)
“Like the British Constitution, she owes her success in practice to her inconsistencies in principle.”
—Thomas Hardy (1840–1928)
“Let me admonish you, first of all, to go alone; to refuse the good models, even those which are sacred in the imagination of men, and dare to love God without mediator or veil.”
—Ralph Waldo Emerson (1803–1882)
“Richard. Harp not on that string, madam, that is past.
Queen Elizabeth. Harp on it still shall I till heart-strings break.”
—William Shakespeare (1564–1616)
“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)