I’ve been a few times and had a lot of fun.
My grandfather passed away suddenly when I was very small, and I never got to know him. I left Georgia for Silicon Valley after high school, and thought that I had gone for good. Yet I find the words and images deeply moving; vocal music has always been a big part of my life. I spent many hours, growing up, in conferences like these. I can taste that mid-day meal, stew pork and potato salad, soaking into the cheap paper plate.
This challenges no assumptions I might have about the south. This is so exclusively white that it is immediately notable. Look at the pictures, and then disagree with me. There may be one nonlilywhite face, and even that might be an artefact of lighting. I am a white european, but I have heard a lot of the history of church music in the south, and almost all of that has been about spiritual and blues and gospel-originating music. Yes, this music culture perhaps originated mostly in the notoriously segregated Baptist church, but that's not a reason. My assumotions about the south, and christian fellowship across race, are intact. I'm glad to hear more music, but I'm very sad that this has not led to closer relations, equal before whatever deity or principles you might have.
- The simplification of solfege notation from 7 named tones to 4 is intriguing - while it introduces some ambiguity in that a melody cannot be perfectly reconstructed from the limited information, it lets someone need to remember fewer solfege tones when guided by other information - a bit like https://en.wikipedia.org/wiki/Undersampling ? Optimization for pedagogy rather than perfection is a technique that we should keep in the back of our minds when we're designing any types of systems.
- In the article's words: "With this dispersed music, each line is a tune unto itself. It is not written just to harmonize with the lead. It's a tune unto itself. That's why they call it dispersed harmony." The article goes on to describe how this can feel to a listener like a single thick "heavy metal"-like instrument. The technique here, of thinking of harmony as if each voice is its own melody, rather than just part of a chord, is common in jazz arrangement, referred to as "soli" or a "thickened line" - as explained well in Adam Neely's video here: https://www.youtube.com/watch?v=7vY3IVxl1fU
But what's curious to me is that there's a tremendous psychological element to giving each voice the agency to be the melody. You're not just backing up a higher melodic line; everyone's vocal part has the lead simultaneously. And that's tremendously empowering...
- Neely's video and the OP both touch on a further phenomenon: that this type of polyphonic timbre is very different from the "zeitgeist" of "modern music." There's a deeper societal component to this; we expect things to be so polished in modern popular music that there's little emphasis on the individual contributors (besides a lead singer) to the overall sound. Personally, I wonder: does this parallel the expectation that social systems trend towards a "winner-takes-all" mentality, and that one can only have agency if they strive to be that winner? Does musical taste reflect the stressors of society? Are we less able to appreciate musical complexity if it doesn't have a simple narrative of a single melody, a single winner, a Star to be born?
If any of that is true, things like Sacred Harp, and jazz-fusion rearrangements of pop music per Neely, and musical genres like progressive rock... all may be necessary respites from the crushing trend towards simplicity. At some level, it seems like the people interviewed in the OP are reacting in a similar manner, and it's amazing that there's a cross-cultural community in Sacred Harp that is welcoming them with open arms.
The music is designed to be sung, not listened to. There are a few songs in the book (like 344 Rainbow or even more so 377 Eternal Praise) that can sound like a jumble of sound when listened to from the outside, but they feel so good when you're in the middle singing them.
There are also many singings in Europe, especially in England and Germany. In other countries it's often limited to just one, generally in the capital city.