In a landmark moment for American folk music, The Sacred Harp — a cornerstone of the shape-note singing tradition — has undergone its first revision in 34 years. The updated edition is set to debut at the United Sacred Harp Musical Association convention in Atlanta on September 13–14, 2025, marking a significant evolution in this enduring musical practice.
Originally published in 1844 by Benjamin F. White and Elisha J. King in Georgia, The Sacred Harp employs a unique shape-note system using triangles, ovals, squares, and diamonds to facilitate communal singing. This notation, coupled with four-part a cappella harmony, has fostered a deeply participatory musical culture that emphasizes community over performance. Singers traditionally gather in a hollow square formation, each part facing inward, to sing spirited hymns that have been passed down through generations.
“It’s a renewal, not a reprint,” said David Ivey, chair of the Sacred Harp Publishing Company’s revision and music committee. “That’s credited for keeping our book vibrant and alive.”
The revision process, authorized in October 2018, was a collaborative effort involving extensive community input. Over 1,100 new song submissions were evaluated through regional meetings and singing events held across the United States. A nine-member committee of singers and scholars, including music historian Jesse P. Karlsberg, carefully reviewed each submission. Their goal was to include compositions that resonated with both tradition and contemporary sensibilities.
“Sacred Harp singers are not historical reenactors,” Karlsberg explained. “Singing is a family tradition for many, and it’s also a spiritual experience for some.”
The final edition includes 179 new or newly arranged songs, while retaining hundreds of classic hymns from previous versions. A careful balance was struck between preserving cherished historical content and embracing innovation. The revised edition also features clearer musical notation and improved typesetting to enhance readability.
The Sacred Harp tradition, once confined to rural churches in the Southern United States, now spans urban centers, college campuses, and international communities. While deeply rooted in Protestant Christian practices, Sacred Harp singing has evolved to welcome participants of all faiths, identities, and backgrounds. Among its most dedicated contributors are members of the LGBTQ+ community, non-religious singers, and those from other religious traditions.
Many singers consider the hymnal to be more than just a book. Often handed down across generations, these volumes are filled with handwritten notes, names of departed friends, and personal reflections. They are tokens of memory, connection, and community. “The book is precious to people,” Ivey emphasized.
The revised hymnal will be introduced at the United Sacred Harp Musical Association convention, which takes place at the Foundry at Puritan Mill in Atlanta. The event will include multiple singing sessions showcasing the new compositions, along with tributes to contributors and volunteers who made the update possible. Preceding the convention, Emory University will host a one-day forum on September 12, offering historical and musical context for the revision.
Beyond the Southern United States, Sacred Harp singing has blossomed in places like Chicago, Boston, and even the United Kingdom. Its appeal lies in its open structure, the lack of formal membership, and the communal act of singing itself. No auditions are required, and all voices are welcome, regardless of musical training.
This milestone not only revitalizes a beloved cultural artifact but also highlights the resilience and adaptability of folk traditions in a changing world. With the revised edition, a new generation of singers will carry forward a 180-year-old legacy, bound by the power of collective harmony and shared history.
As the pages of the new Sacred Harp hymnal are turned for the first time this September, they will echo with voices old and new—united not by creed, but by the enduring joy of song.