Progression of the Tradition
The roots of our shape-note tradition go back to the Northeastern United States. As our pioneering ancestors migrated south and west (mainly around Missouri), they took this tradition with them. At the same time, the efforts of the "Better Music Boys" successfully removed any remnants of this tradition in the Northeast.
This tradition was kept alive by the rural Deep South from the Carolinas to Texas and from Virginia to Florida. It was not until the American Bicentennial years that the tradition spread further, a movement instigated by individuals who were interested in the folk arts.
Today the tradition can be found throughout the US, and globally in places such as Canada, Europe, Australia, Israel, and Japan
Today's Practice
At a singing that uses the oblong-shaped books, the singers sit facing each other forming what the singers call a "hollow square" with the song leader standing in the middle of the square. The song leader stands facing the Tenors (who have the melody); the altos sit behind the leader; the trebles (a high harmony part) sit to the leader's left; and the basses sit to the leader's right. Men and women sing both the tenor and the treble parts. The altos are usually all women, and basses are usually all men.
Different individuals take turns leading songs of their choice. The singing is a cappella, or without musical instruments. For each song, the singers will sing the notes, or syllables, using the shapes prior to singing the poetry.
At Southern Gospel singings and in church worship services that use shape-note hymnals, singers do not usually sing the notes before singing the poetry. The singers do not sit in voice part sections; they sit scattered within the congregation. The Southern Gospel singings often use a piano accompaniment, while the various churches will follow the rules and traditions of their denominations.
Today's Singers
Today's singers come from all walks of life, and they have a wide range of occupations. They come from different religious belief systems. They represent different political affiliations.
Some singers have musical ability, but there are many who cannot carry a tune. However, the quality of the voice does not matter. All that matters is "making a joyful noise unto the Lord" (Ps. 100:1) or "speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord" (Eph. 5:19).
Conclusion
Today, shape-note singing is still going strong. While some long-time singing locations have declined or ceased to exist, especially in rural areas, new singings have been established in urban areas. Since the American Bicentennial, new shape-note singings have been established outside of the South. There are now strong singings not only in New England, Midwest, and Western United States, but also in such places as England, Poland, France, and Germany.
Some church groups still use shape-note hymnals. The Primitive Baptist Church and the Church of Christ still publish their own hymnals, and some of their local congregations still hold singing schools.
There have been many changes in the thousand years since Guido d'Arezzo developed his solemnization syllables. No doubt changes will continue. One thing we see today is that some churches are replacing church hymnals with words posted on an overhead projector. Who knows, perhaps one day shape-note music will be posted on an overhead!
We are fortunate to see some of these old books in PDF format on the Internet. This allows us to see and study these old, brittle pages for ourselves, going beyond "we once had a book by that name."
We are also beginning to see eBooks. Perhaps a researcher from a future time will be able to thumb through or even sing from one of the current books highlighted in this essay.
Sources:
Fedele, Gene. Heroes of the Faith. (Gainsville, FL: Bridge-Logos, 2003).
"Guido of Arezzo." Catholic Encyclopedia (Catholic Online, 1907-1912), <http://www.catholic.org/encyclopedia/view.php?id=5444> (3 March 2017).
Jackson, George Pullen. White Spirituals in the Southern Uplands. (Chapel Hill: University of North Carolina Press, 1933).
McLemore, B. F. Tracing the Roots of Southern Gospel Singers. (Jasper, TX: B. F. (Bob) McLemore, 2005).
McNaught, W. G. "The History and Uses of the Sol-Fa Syllables" Proceedings of the Musical Association for the Investigation and Discussion of Subjects Connected with the Art and Science of Music, Volume 19, 1892-93. (London: Novello, Ewer and Co., 1893).
Vaughn, R. L. Songs before Unknown: A Companion to The Sacred Harp Revised Cooper Edition 2012. (Mount Enterprise, TX: Waymark Publications, 2015).