Inclusivity

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The Shenandoah Harmony Publishing Company and the co-authors of The Shenandoah Harmony are committed to building a welcoming and affirming shape note singing community. Currently, there is a much needed discussion about racial and gender inclusion in singing and we feel compelled to address this. Read more

"One of the most beautiful of those old minors"

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In the early stages of working on The Shenandoah Harmony, we jokingly titled the project The Mostly Minor Melodeon because, try as we might, we couldn't escape the fact that the songs we had chosen were overwhelmingly minor! The editions…

Singing Judith Brock and Polly Gould

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A wonderful anecdote in this 1902 History of Newbury, Vermont (see embedded text below) gives the background on Jeremiah Ingalls' song LAMENTATION (ShH 258), written for the death of young Judith Brock. [BROCK], JUDITH, b. Aug 6, 1783;…

Barring It All, Part 1

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Thanks to some perceptive comments on fasola-songwriters and elsewhere, I'm going to revisit my previous post on rhythm and meter.  Two comments that intrigued me were Leah Velleman's idea that there might be a generative theory of rhythm that…

Meter, Rhythm, and the Most Awkward Farewell

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Here's a sequel to my previous post on tune families.  After reading Charles Seeger's article ''Versions and variants of the tunes of 'Barbara Allen,'" I was intrigued by the idea of adding rhythm to my analysis of tune families.  In this…

Editing songs in the ShH

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Now that our preview packet is out, we've received several questions and comments about our editorial policy.  As the ``resident academic'' on the music committee, I thought I'd try to explain our process for everyone.  This is the result…