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A long time traveling: Song, memory...

Harvard University.

A long time traveling: Song, memory, and the politics of nostalgia in the Sacred Harp diaspora.

Record Type:	Electronic resources : Monograph/item
Title/Author:	A long time traveling: Song, memory, and the politics of nostalgia in the Sacred Harp diaspora.
Author:	Miller, Kiri Mariah.
Description:	484 p.
Notes:	Adviser: Kay Kaufman Shelemay.
Notes:	Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1553.
Contained By:	Dissertation Abstracts International66-05A.
Subject:	Music.
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3173984
ISBN:	9780542114410

A long time traveling: Song, memory, and the politics of nostalgia in the Sacred Harp diaspora.
Miller, Kiri Mariah.

A long time traveling: Song, memory, and the politics of nostalgia in the Sacred Harp diaspora. - 484 p.

Adviser: Kay Kaufman Shelemay.

Thesis (Ph.D.)--Harvard University, 2005.

I theorize this community as an imagined diaspora characterized by travel to distant conventions, memorialization of dead singers, and nostalgia for rural American lifeways. In hymn texts and memorial speeches, travel serves as a core metaphor for worldly life; traveling "home" is a metaphor for dying. Through their shared physical, musical, and metaphorical travels, these Americans imagine a community that transcends ideological conflicts to pass on an ethos of mutual tolerance and democratic music-making. The diaspora model accounts for their interactions by providing a membership category that cuts across the divisions of South vs. North, insider vs. outsider, traditional vs. newcomer, rural vs. urban, and Christian vs. folk enthusiast---dichotomies typically employed by both singers and scholars in taxonomies of Sacred Harp singers---without eliminating the very real importance of these divisions in individual conceptions of the national community.

ISBN: 9780542114410Subjects--Topical Terms:

227185
Music.

A long time traveling: Song, memory, and the politics of nostalgia in the Sacred Harp diaspora.
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245 1 2 $a A long time traveling: Song, memory, and the politics of nostalgia in the Sacred Harp diaspora.
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500 $a Adviser: Kay Kaufman Shelemay.
500 $a Source: Dissertation Abstracts International, Volume: 66-05, Section: A, page: 1553.
502 $a Thesis (Ph.D.)--Harvard University, 2005.
520 # $a I theorize this community as an imagined diaspora characterized by travel to distant conventions, memorialization of dead singers, and nostalgia for rural American lifeways. In hymn texts and memorial speeches, travel serves as a core metaphor for worldly life; traveling "home" is a metaphor for dying. Through their shared physical, musical, and metaphorical travels, these Americans imagine a community that transcends ideological conflicts to pass on an ethos of mutual tolerance and democratic music-making. The diaspora model accounts for their interactions by providing a membership category that cuts across the divisions of South vs. North, insider vs. outsider, traditional vs. newcomer, rural vs. urban, and Christian vs. folk enthusiast---dichotomies typically employed by both singers and scholars in taxonomies of Sacred Harp singers---without eliminating the very real importance of these divisions in individual conceptions of the national community.
520 # $a This dissertation addresses the role of shared music-making in the development of community feeling among Sacred Harp singers, a diverse and far-flung group of Americans. A tradition of all-day singing gatherings grew up around the non-denominational shape-note tunebook The Sacred Harp (1844), partly as a legacy of the participatory religious fervor of the Second Great Awakening. Today, weekend Sacred Harp singing "conventions" take place all over the United States. Singers are a diverse group in terms of age, socio-economic circumstances, religious affiliation, political ideology, and sexual orientation. The desire to learn traditional performance practice draws newer singers---including many folk revival enthusiasts, college students, and liberal agnostic urbanites---to conventions in the rural South, where they rub shoulders with Christian conservatives. Despite their differences, singers consider themselves part of a single "national Sacred Harp community."
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