need history of Sacred Harp in New Jersey

[Linda Griggs]

I haven't found much.

From the new book, "The Makers of the Sacred Harp"

Nehmiah Shumway marries Sarah Tice in 1795 in Freehold where he is a
school principal then moves to upstate ny then back to
Freehold
he wrote 192, 217 and New Jordan 442

Lowell Mason from Medfield, Mass settles in Orange New Jersey where he
dies and is buried in Rosedale Cemetery. introduced music ed. to
public schools 1838-45.

Elphrey Heritage native nj, wrote in Lowell Mason style
213, 489

And then there's this information about "The Colored Sacred Harp" and
I'd really like to know more about this:

In his book Judge Jackson and The Colored Sacred Harp, Joe Dan Boyd
has identified four regions of Sacred Harp singing among African-
Americans - eastern Texas (Cooper book), northern Mississippi (Denson
book), south Alabama and Florida (Cooper book), and New Jersey (Cooper
book).

he Colored Sacred Harp is limited to the New Jersey and south Alabama-
Florida groups. Sacred Harp was "exported" from south Alabama to New
Jersey.
- wiki

The
Colored Sacred Harp is used not only in Alabama, but in locations as
distant as Chicago
and Newark, New Jersey.
liner notes for The Colored Sacred Harp
New World Records 80433

[Richard Hulan]

There was a good bit of shape note activity in New Jersey long before the Sacred Harp was published, if that's of any interest...  William Smith's participation in the Easy Instructor (and especially its Part II, of 1803) would be first on the list.  The New Brunswick Collection may be second -- or may not, I forget.  Check Charles H. Kaufman, Music in New Jersey, 1655-1860, pp. 133-45 or so, for these and other references.

The content of these things is a lot more like that of The Sacred Harp than is the content of The Colored Sacred Harp, lately transplanted to NJ from its native Alabama.  I just mention it; no value judgement is intended.

Dick Hulan

Spfld VA

[Linda Griggs]

Thanks for these leads. I appreciate the reply.

A surprising number of people in Asbury Park have solid understanding
of the history of their town and I want to be able to at least provide
a general overview of SH in the area.

I'm looking at "Music in New Jersey, 1655-1860" now thanks to google books.

So, I have another question for you. What do you think they were
singing in Ocean Grove?
Ocean Grove was founded in 1861 so Shape Note Singing was already
pushed out of favor. Yes?
But it was a camp meeting so maybe some of the camp meeting songs
might be in the SH? Certainly, those Charles Wesley songs persisted.
Obviously, history is not my strong point.

--
www.LindaGriggs.com

[R. L. Vaughn]

Linda, I am not personally familiar with much about New Jersey
history. Dick or someone else will know more about your Ocean Grove
questions.

But I think New Jersey history relative to Sacred Harp would fall into
two categories: (1) early shape note activity of the kind that is
foundational to the Sacred Harp, and (2) the actual entry of Sacred
Harp to New Jersey. I would suspect (this is just a guess) that there
was probably no actual singing from the Sacred Harp until that
mentioned by Joe Dan Boyd and Buell Cobb. In his _The Sacred Harp: A
Tradition and Its Music_, Buell identifies this as "since the turn of
the twentieth century, in and around Union County, New Jersey..." This
would be Sacred Harp singing from the Cooper Book by African-
Americans, according to them. The Colored Sacred Harp could not have
been used until 1934, since that is when it was published. The
connections between the singers in NJ and Alabama evidently brought
its entry to New Jersey. Its content divergence from the James/Denson
stream of Sacred Harp makes it no less a part of the Sacred Harp
history of New Jersey.

Hope this helps a little.

Sincerely,
Robert Vaughn
Mt. Enteprise, TX

[Richard Hulan]

By about 1880 or so Ocean Grove had its own hymn book, and I have a copy... someplace.  Pretty sure it's in round notes.  Its best content would be in the tradition of The Revivalist (Troy, NY) and related things from Round Lake, the National Camp Meeting, Chautauqua and so on.  (Basically, upstate New York; but those people have always assumed that their activities, however local, are "the national" one.  In several cases, they have held on long enough almost to be proven correct.)

If you want me to look for some Ocean Grove stuff, and have a reasonable deadline, we can take this conversation off-list and I can zap you scans.  (If I can find it, and if I can persuade my MacBook to talk to my HP scanner -- always iffy.)

Dick Hulan

Spfld VA

[Linda Griggs]

It helps a lot and I appreciate the citation and the suggestion for
ordering the research very much.

[Chris Noren]

Buell Cobb's book (which I don't have with me at work) has an Appendix of regular singings extant in the late 1970's, including African-American singings in Newark. I recall one of the venues was the "Church of the Sacred Harp" or something like that. I suspect these singings are long gone, but Buell's book might point you in the right direction.

Chris Noren

Bxfd, MA

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[R. L. Vaughn]

I don't have the book with me, and Google only has a preview. But from
the previews I can't look at further, there is a hit on pages 183 and
184 that shows two locations where the singings were held:

Religious Institute of Sacred Harp, Vauxhall, New Jersey
Religious Temple of Sacred Harp, Madison Avenue, Newark, New Jersey

Robert Vaughn
Mt. E. TX

[Linda Griggs]

I saw those two in google books as well. Very frustrating. I
couldn't find any such venue in Vauxhall or Newark.

[Linda Griggs]

I wouldn't even have this much if it weren't for Richard Hulan and the
rest of you.

TIME LINE

1797 New-Jersey Harmony published in Philadelphia. Uncredited. 2
known copies in NYPL
1803 The Easy Instructor - Freehold-Hopewell, NJ was "one of the most
popular and influential early-American music books." Written by
William Little and William Smith of Hopewell, NJ.

Nehemiah Shumway - married in Freehold in 1795 and taught in NJ
1793 Compiled the "American Harmony" who also wrote
1805 Schenectedy, pg 192
1809 Ballstown, pg. 217
1815 442 New Jordan

Mason, Lowell dies in Orange, NJ
1823 145b Sweet Affliction,
1830 147b Laban,
no date 535 Shawmut, Charles Wesley 1759
1823 566 Hebron
1832 147t Boylston,

1833 ...Most of the southern singing-school teachers made use of
Little and White's shape-notes in their teaching and in their
publications, and the official book of the Methodists, The Methodist
Harmonist, was published in shape notes beginning in 1833.

Better Music Movement
1838-45. Lowell Mason introduced music ed. to public schools. (I'm
guessing these are active years relating to the Better Music Movement
and eliminating "dunce notes".) Later settles in Orange, New Jersey

where he dies and is buried in Rosedale Cemetery.

1859 Mason, along with Edwards A. Parks and Austin Phelps published
the "Sabbath Hymn and Tune Book"
1860, he developed congregational singing to the point where the
church was known has having the finest congregational singing in the
city

Elphrey Heritage native NJ, wrote in Lowell Mason style
1869 "The Good Old Way" pg 213
1869 "The Savior's Call" pg 489

No Shape Notes found here yet.
1869 Ocean Grove was founded as an outgrowth of the camp meeting
movement.
1871 Asbury Park founded as buffer bet. Ocean Grove and sinful Long
Branch

1907 The Cooper Book published

1890-1910 Cooper book in use in Union Co. NJ by African Americans

1935 "The Colored Sacred Harp" published. Used in Newark, NJ

from Buell Cobb's book
???? Afternoon Religious Institute of Sacred Harp, Vauxhall, New
Jersey.  3rd Sun.
???? Afternoon Religious Temple of Sacred harp, Madison Ave nue,
Newark, New Jersey.

???? Montclair started?
???? Princeton started?
-

[Buell Cobb]

Linda and all,

I'm sorry that I don't have information about black Sacred Harp singing in New Jersey beyond the general description in my book ("...since the turn of the twentieth century, in and around Union County, New Jersey, where blacks brought the singing with them from the South.") and the listings for annual singings (3rd Sunday in June and preceding Thursday & Fridays nights, Newark; 2nd Sunday in September and preceding Thursday & Friday nights; Vauxhall) and the listings for monthly sessions (2nd Sunday afternoons, Vauxhall; 3rd Sunday afternoons, Newark). 

Well, except for this additional info, which won't help much but which may be of general interest:  In the earliest minutes I have of the 1967-68 Alabama & Florida State Union Sacred Harp Singing Convention (45th & 46th annual sessions), there is a letter to the convention from the Union County Convention, as follows:

Mr. J. J. Humphrey, President

Alabama State Sacred Harp Convention

Dothan, Alabama

Dear Sir:

There will be a representative from the Union County Sacred Harp Convention in the person of Mrs. Ouchie Cox, member of the Union County Sacred Harp Convention of Union County, New Jersey. We hope that you will have a very fine Convention, and we are praying to that effect.

Our check for $10.00 is enclosed as our representative fee.

Very truly yours,

Ruby J. Lee, President

Julia Lewis, Secretary

(Address was: 240 Berkley Place, Vauxhall.)

If the singings in Union Co. were at all like those in southeastern AL that I attended in the 60s & 70s (a typed list I have of black SH singings in AL from that era listed 16 annual sessions spread over 7 counties), most of the singing would have come from the Cooper Book, with a few songs selected from the Colored Sacred Harp. Probably in about the 1990s, I began to notice an increased emphasis on singing from the "little book," as it was often called, as singers in and around Ozark, AL, seemed to realize what was slipping from their grasp. As to the fate of the black singings in New Jersey, we can well imagine their earlier demise, as black singings in SE AL & NW FL, with originally a much wider base of support, began to falter and disappear.

Buell Cobb

Birmingham, AL

---

From: Linda Griggs <lindagr...@gmail.com>
To: Fasola Discussions <fasola-di...@googlegroups.com>
Sent: Mon, March 7, 2011 2:29:53 PM
Subject: [fasola-discussions] Re: need history of Sacred Harp in New Jersey

[Warren Steel]

At 02:32 PM 3/7/2011, Linda Griggs wrote:
>TIME LINE
>1797 New-Jersey Harmony published in Philadelphia. Uncredited. 2

>known copies in NYPL....

Kaufman (Music in New Jersey, 1635-1860) suggests that
Shumway may have been the compiler.

>No Shape Notes found here yet.

As Richard Hulan mentioned, shape-notes abounded:

Easy Instructor, part 2 by William Smith of Hopewell, NJ
(1803 and 1806 editions), MORGAN (Sacred Harp, p. 304) is
from this book.

also the following collection, with three NJ authors. The
second and third were only involved in the first edition of
1817. Nevius remained until 1822. The book was then taken
over by publishers Terhune and Letson of New Brunswick, who
continued new editions. John Terhune kept it in print until
1841!

The New-Brunswick Collection of Sacred Music, being a choice
selection of tunes, from the most celebrated authors, in Europe
and America. By John W. Nevius, Cornelius Van Deventer, and
John Frazee, teachers of sacred music in the State of New-Jersey.
New-Brunswick: published by J. W. Nevius & W. Myer, . . .
W. Myer, printer. 1817. 72 pp.

I believe the the three authors are:
John W. Nevius (1774-1854), New Brunswick, N.J.
carpenter, bandleader, judge Presbyterian
Cornelius Van Deventer (1767-1849) New Brunswick, N.J.
music teacher Dutch Reformed
Capt. John Frazee (1778-1846) Piscataway, N.J.
schoolteacher

--
Warren Steel mu...@olemiss.edu
Department of Music University of Mississippi
http://www.mcsr.olemiss.edu/~mudws/

[Linda Griggs]

Okay, here's what I've got today. I still can't find any shape notes
in Ocean Grove but you've all led me to a wealth of New Jersey
information. Comments, corrections, additions are all welcome.

Shape note singing has a long history in New Jersey.
"New Jersey Harmony" was published in 1797. It's complier was almost
certainly Nehemiah Shumway. A New Englander, he settled in Freehold,
marrying Sarah Tice (a relation of George Tice, New Jersey's most
famous photographer) and become a school principal there. Three of
the songs he composed are still being sung today.
In 1803, "The Easy Instructor, Part 2" was published by William Smith
of Hopewell, NJ and William White who seems to have been from the same
area. The singing school teachers that spread this music through the
south used this book or one it's editions.
The New-Brunswick Collection, which remained in print from 1817 to
1841, appeared with this advertisement.

The New-Brunswick Collection of Sacred Music, being a choice
selection of tunes, from the most celebrated authors, in Europe
and America.  By John W. Nevius, Cornelius Van Deventer, and
John Frazee, teachers of sacred music in the State of New-Jersey.
New-Brunswick: published by J. W. Nevius & W. Myer, . . .
W. Myer, printer.  1817.  72 pp.

Lowell Mason factors into the history of Sacred Harp in New Jersey.
He is known for bringing music education to the public schools and for
his compositions, some of which are included in the Sacred Harp
against his strong objection. He is less well known for deliberate
attempts to replace shape note singing, derided as 'dunce notes' or
'buckwheat notes, with European style hymns in standard notation. It
is worth noting that as he was replacing a cappella singing, his
family was in the business of selling organs.
As he was doing that Elphrey Heritage, a New Jersey native, wrote a
Sacred harp song in the Lowell Mason style called "The Good Old Way".
It is still included in the Sacred Harp along with another of his
tunes.

Lowell Mason retired to his estate in Orange, New Jersey, died in
1872, and is buried in Rosedale Cemetery.

The Great Migration brought Southern Blacks to the North beginning
around 1910. Sacred Harp came back to New Jersey with them. Buell
Cobb in his 1978 book, "The Sacred Harp: A Tradition and Its Music"
noted that there was a monthly singing in Vauxhall with an annual
convention for Union County and a monthly and annual singing in
Newark. Author, Joe Dan Boyd, finds that both sang from the Cooper
Book with Newark also singing from "The Colored Sacred Harp". It is
assumed that these singings passed on with the aging singers.

Sacred Harp Sings have been increasing in New Jersey. There are sings
in Princeton and Montclair. Additionally, Montclair will host their
19th annual Garden State Sacred Harp Convention at the Friends'
Meeting House about twelve miles from where Lowell Mason is buried.

[Linda Griggs]

Thanks, Warren Steel, for you email.
I'm working on those corrections now.

[Linda Griggs]

One of the most obscure, bizarre and wonderful components of American
roots music will be presented in a free event in the Asbury Park
Convention Hall on March 19th at 2pm.

Presented as part of the Smithsonian Institution's New Harmonies, this
Sacred Harp Singing demonstration will offer audiences the opportunity
to hear and participate in the four-part harmony, a capella, folk-type
singing that taught legions of Americans to sight read using its
shaped notehead system.

Shape note singing, also known as fasola singing after the names of
the shaped notes, is now generally called Sacred Harp singing after
the most used of its many tune books, The Sacred Harp, which has been
in print continuously since 1844.

This music, with its dispersed harmonies, now sometimes called “power
chords,” has been sung since colonial times. It was nearly wiped out
in the north by the mid 1800's by Lowell Mason and the "Better Music,"
or “Scientific Music” movement. It persisted in both White and Black
churches in the South and is one of the roots of bluegrass and
country. Johnny Cash, the Carter Family, the Louvin Brothers and Hank
Williams all sang Sacred Harp. It returned to New Jersey with the
Great Migration and as part of its original diaspora, was still being
sung here in the 1970's. It is now enjoying an revival in popularity.

Sacred Harp harmony has little of the sweetness of Victorian music or
parlor songs which use close harmony in support of the soprano melody
line. Instead its broad harmonies are sung with equal vigor by the
alto, bass, tenor and treble parts. It is participatory, social
singing. There is no choir-audience relationship and the singers take
turns leading their favorite tunes. It is a profoundly democratic,
American music. It comes as no surprise then that it was referenced
in modern composition by Aaron Copland and Charles Ives.

Shape note singing has a long history in New Jersey and New Jerseyans
played an important role in its development. Shaped notes were
developed in an effort to teach music reading in a systematic manner.
The first shape note book, "The Easy Instructor," appeared in 1801 and
was the product of the efforts of William Smith and William Little.
Traveling music teachers called Singing School Masters had been around
since the colonial period, teaching singing and musical literacy.
Once the shape-note system was introduced, they are said to have most
often used this book or one its many editions.

In his "Music in New Jersey, 1655-1860: a study of musical activity
and musicians in New Jersey from Its First Settlement to the Civil
War," Charles H. Kaufman states, "There appears little doubt that
William Smith, co-compiler of the highly important ‘Easy Instructor,’
was a New Jerseyan and a resident of Hopewell." Much less is known
about William Little. He wrote the tune "Hopewell" which appeared in
the first edition of the book, and there is inconclusive evidence that
he may have been from Scotch Plains, so Kauffman feels "one can make a
strong case for New Jerseyans as compilers of the Easy Instructor".

An early composer of songs, three of which appear in the Sacred Harp
and are still being sung today, was Nehemiah Shumway. Though
originally from Massachusetts, Nehemiah Shumway, settled in Freehold,
marrying Sarah Tice (a relation of the ancestors of noted, New Jersey
photographer, George Tice) and becoming a school principal at Freehold
Academy.

"The New-Brunswick Collection of Sacred Music" is considered by some
the most important tune book published in New Jersey. It is self-
described on its title page as "a choice selection of tunes, from the

most celebrated authors, in Europe and America. By John W. Nevius,
Cornelius Van Deventer, and John Frazee, teachers of sacred music in

the State of New-Jersey." Certainly it retained its popularity for
many years going through eight editions and remaining in print from
1817 to 1841.

Lowell Mason, of the Better Music movement, factors into the history

of Sacred Harp in New Jersey. He is known for bringing music

education to American public schools and for his European-inspired
compositions, ironically, some of which have been included in later
editions of the Sacred Harp, against his strong objection. He is less

well known for deliberate attempts to replace shape note singing,
derided as “dunce notes” or “buckwheat notes,” with European style
hymns in standard notation. It is worth noting that as he was
replacing a cappella singing, his family was in the business of

selling pianos and organs. Lowell Mason retired to his estate in
Orange, New Jersey, died in 1872, and is buried in Rosedale Cemetery,
just a few miles from the site of the current Garden State Sacred Harp
Singing Convention.

In spite Lowell Mason's efforts, shape note songs continued to be
written. Elphrey Heritage, a New Jersey native, wrote two songs that
appear in the Sacred Harp dated 1869 and an additional seven appear in
another shape note tune book, The Social Harp.

The Great Migration brought Southern Blacks to the North beginning
around 1910. Sacred Harp came back to New Jersey with them. Buell

Cobb in his 1978 book, "The Sacred Harp: A Tradition and Its Music,"

noted that there was a monthly singing in Vauxhall with an annual
convention for Union County and a monthly and annual singing in

Newark. Author Joe Dan Boyd found that both groups sang from the
Cooper edition of the Sacred Harp with Newark also singing from "The
Colored Sacred Harp," a book of original compositions compiled in 1934
by Judge Jackson of Ozark, Alabama. It is assumed that these singings
passed on with the aging singers but they were, in the late 60's,
active enough for Ruby J. Lee, president, and Julia Lewis, secretary,
to arrange for a representative, Mrs. Ouchie Cox, to attend the
Alabama & Florida State Union Sacred Harp Singing Convention in
Dothan, Alabama,.

Sacred Harp singings were revived in New Jersey in the early 90s.
There are currently monthly singings in Princeton and Montclair.
Additionally, on May 13 and 14, Montclair will host the 19th annual

Garden State Sacred Harp Convention at the Friends' Meeting House

where often 100 or more people gather to sing . Monthly singings tend
to last under three hours, while conventions are usually two days with
all day singing, dinner on the grounds and up to 100 songs a day being
sung.

If you attend the convention and find your voice needs a break from
singing “dunce notes” all day, you might want to visit Lowell Mason's
grave. He's buried about three miles away.

My thanks to Richard Hulan, Buell Cobb, Gina Balestracc and Warren
Steel, but any mistakes are mine.

-- www.LindaGriggs.com

[ppa...@yahoo.com]

Linda wrote: "One of the most obscure, bizarre and wonderful components of American roots music will be presented in a free event"

Great article, thank you with one exception - how does the word "bizarre" fit in to this tradition? I will save my breath explaining that most singers qualify as salt of the earth and hope that "bizarre" was simply a poor choice.

All the best,
Peter

Sent from my Verizon Wireless BlackBerry

[Gabriel Kastelle]

:-)

Linda Briggs--

Good !!

Thanks for questions here and for your research and for the concise, detailed info on New Jersey in the tradition!

(yes, I wonder about the 'bizarre' bit as well...  steadfastly distinct from the "Better Music" and Victorian parlor and American Idol mainstream, but that doesn't mean bizarre...  the three latter seem a bit bizarre to me!  But I wouldn't say that in print...

... wait--   what did I just do !?)

;-)


-- Gabriel Kastelle --
New London, CT
long-time of NJ neighbor Philadelphia, PA

[Linda Griggs]

Well, I already changed the last paragraph.

Sacred Harp singings were revived in New Jersey in the early ‘90s.
There are currently monthly singings in Princeton and Montclair.
Additionally, on May 13 and 14, Montclair will host the 19th annual
Garden State Sacred Harp Convention at the Friends' Meeting House

where often 100 or more people gather to sing. Monthly singings tend

to last under three hours, while conventions are usually two days with
all day singing, dinner on the grounds and up to 100 songs a day being
sung.

After a full day of singing 'dunce notes' in Montclair, you might

want to visit Lowell Mason's grave. He's buried about three miles
away.

The free lesson and singing demonstration in the Asbury Park
Convention Hall on March 19th begins at 2pm. The Singing School
Master will be Dr. Thomas B. Malone, Assistant Professor of Music,
Molloy College.

My thanks to Richard Hulan, Buell Cobb, Gina Balestracci and Warren

Steel, but any mistakes are mine.

[Chris Noren]

My online dictionary defines "bizarre" as "strikingly out of the ordinary", which, to someone outside of the tradition, would be a perfectly apt description of Sacred Harp singing. Sadly, what passes for "ordinary" these days singing-wise is American Idol-style caterwauling, talentless auto-tuned Biebers, and in our churches, boring, bland pablum that makes Lowell Mason sound like Marcus Cagle. The more strikingly out of that particular ordinary, the better. So while most singers qualify as "salt of the earth", I prefer to think of us as a quality Fleur de Sel, rather than Morton's.

So I for one will continue to wear my "bizarre and wonderful" appellation with pride.

Chris Noren

A former Jersey boy living in Massachusetts

On Wed, Mar 9, 2011 at 5:21 PM, <ppa...@yahoo.com> wrote:

[rgoodell]

Sing on, Chris!
"Strikingly out of the ordinary" it is.

Bobbie Goodell
P.S. What is a "Bieber"?
P.P. S.  I leave tomorrow for an 8 hour bus trip to NYC, then the same back on Sunday.  I'm taking some copies of shape note tunes and some introductory text material, hoping to spread the word (and notes) a bit as we ride.  Any suggestions on how best to proceed would be welcome as the audience may be tough -- the 80-voice Rachmaninoff Choir, consisting of the Downeast Singers (my home group), and the Bowdoin College Choir and others from Brunswick.  (We're heading for the Greek Orthodox Church of the Annunciation on the northwest side to sing a concert of the Rachmaninoff All-Night Vigil/Vespers on Saturday, March 12, 7:30.)  

[Linda Griggs]

There are sentences and ideas that I'd like to tweak but this article
is in support of a sing on March 19th so I had a deadline.

FYI, doing an article really does help get the out. So thanks again
to the great folk on this list.

http://www.app.com/article/20110312/GETPUBLISHED/103120316/Free-Sacred-Harp-Singing-demonstration-school-bring-NJ-tradition-back

On Mar 9, 5:58 pm, Linda Griggs <lindagriggs...@gmail.com> wrote:
> Well, I already changed the last paragraph.
>
> Sacred Harp singings were revived in New Jersey in the early ‘90s.
> There are currently monthly singings in Princeton and Montclair.
> Additionally, on May 13 and 14, Montclair will host the 19th annual
> Garden State Sacred Harp Convention at the Friends' Meeting House
> where often 100 or more people gather to sing. Monthly singings tend
> to last under three hours, while conventions are usually two days with
> all day singing, dinner on the grounds and up to 100 songs a day being
> sung.
>
>  After a full day of singing 'dunce notes' in Montclair, you might
> want to visit Lowell Mason's grave.  He's buried about three miles
> away.
>
> The free lesson and singing demonstration in the Asbury Park
> Convention Hall on March 19th begins at 2pm.  The Singing School
> Master will be Dr. Thomas B. Malone, Assistant Professor of Music,
> Molloy College.
>
> My thanks to Richard Hulan, Buell Cobb, Gina Balestracci and Warren
> Steel, but any mistakes are mine.
>