Sacred Harp and Historical Reenactment

“Sacred Harp is not historical reenactment!” You can find this statement cried loud and long online. Notice this example:

“…the practice of singing is not a historical reenactment, but a gathering of enthusiasts. Over the last ten years, Sacred Harp has gained popularity in Europe with singing groups establishing themselves in many countries. The spirit of Sacred Harp is primarily that of communion in song, and while it has religious and local origins, today the Sacred Harp is international and open to all. In the cultural porosity of our times, Sacred Harp has paved its way to become a universal and inclusive singing practice. All voices and ages can sing the Sacred Harp.”

“*The religiosity of Sacred Harp, as in gospel singing, is an integral part of the origins of the tradition and gives vibrancy through customs that remain true to the original practice (the day opens with a blessing, the texts are from a liturgical repertoire etc.). However, the practice considers itself secular; atheists and members of all faiths are welcome and celebrated, as are people of all ages and social backgrounds. Everyone is free to define the spirituality that he or she wishes to find. This is what makes the practice of Sacred Harp a unique space to mix and meet people of all denominations, generations, and backgrounds in a climate of tolerance and openness.”[i]

Funny how no one ever thought about or discussed Sacred Harp being historical reenactment until it became filled with folks who don’t believe the words of the songs they are singing. Then it became a necessary “thing” to carefully explain they were not doing historical reenactment! Why would anyone think they were doing so in the first place? Because they do not believe what they are singing.

Historical re-enactment and living history are immersive activities/gatherings of individuals and/or groups that perform accurate recreations (from music to war). They do research to confirm accuracy – re-enactors often conduct extensive research in order to replicate the details of their activity. Many non-traditional non-Christian Sacred Harp singers do just that.

Singings ran by unbelievers re-enact the sitting in the square, opening & closing with prayer, the memorial lesson, the way to lead/keep time, and so on. I have observed that non-traditional singers are often the ones who are the most fastidious and fussy in their attempts to re-enact the traditions accurately and vociferously condemn any perceived deviation from their way of re-enacting the tradition.[ii] Why? Because their sense of being part of the Sacred Harp tradition is found not in the Christian tradition of Sacred Harp, but in the accurate recreation of the outward motions.[iii]

For atheists, non-Christians, and those who otherwise reject the meaning of the hymns, Sacred Harp is supposedly not re-enactment for them because the singings have historical continuity. Certainly, singing from The Sacred Harp has historical continuity, but without a genuine religious feeling, some continuity interacting with the text and not just the music, there must necessarily be some element of historical re-enactment by non-Christian Sacred Harp singers – no matter how much they enjoy the practice or loudly and vociferously re-enactment is denied.

No, Sacred Harp is not just historical re-enactment for the non-traditional non-Christian singer.[iv] Yes, there is an element of refuge in historical re-enactment for the non-traditional non-Christian singer. They imply it in many camouflaged ways. Why not just be straightforward and say so clearly? Then we can move on to the next issue.

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[i] The above quote was copied from few months ago, but currently (March 2026) is no longer available online. A Google search suggests it first appeared online April 15, 2017. It touts the fact that Sacred Harp is not historical reenactment, while laying groundwork showing that, for some people, it actually is.
[ii] “Orthopraxic obsessions in matters of musical performance also sideline the issue of authentic feeling in a way that frustrates many singers. Some suggest that no matter how perfectly one reproduces the musical characteristics of an eighteenth century of Civil War era performance, singing religious music without religious faith is not historically accurate…” (Traveling Home, Kiri Miller, page 185). Miller goes on to discuss an online debate about Sacred Harp historical re-enactment, including whether non-Christian singers were “firing blanks.”
[iii] This is not to say that Sacred Harp does not touch these folks beyond the outward formality. Obviously, for many/most it does. However, their sense of being part of the tradition is nevertheless grounded in being able to recreate what traditional Christian singers have received supernaturally. Sacred Harp singers who are not Christians cannot recreate the internal belief and therefore must recreate the external trappings. Often the leaders of the non-traditional singers become obsessed with exactitude –the sixth must always be raised, all songs much meet our exacting standards of dispersed harmony, and so on. It is my opinion that this brand of external formality played some part in what songs were added to and what songs were removed from the 2025 edition of The Sacred Harp.
[iv] Again, I acknowledge “not just” historical re-enactment, but assert yes there “is some” historical re-enactment.

Attitude of getting older

“Let us correct our attitude of getting older. Believers must not allow the carnal thinking of this world to form our opinions and attitudes. The reason so much emphasis is placed on youth, physical strength and beauty, riches and possession is because this is all that the worldling has and when these are gone-all is gone! Actually age, while it mars outward beauty, should bring us real lasting beauty-which is inward grace, mercy and peace. Age will decrease our physical strength but should increase our spiritual strength. We grow in faith, love, and patience. Age may make our arms weak and tremble, but it should establish us more firmly on the everlasting arm. Age may make the present less sure, but it gives us assurance of the certainty of the future. I’ll always be young in Christ! My steps may be slower, but I walk with the King. My eyes may be dimmer, but as I see less of the world, I see more of my Lord. My ears may be dull, but I hear His Voice more clearly. My body may be weak, but I am stronger in faith. I may not know the latest story, but I know the old, old story a little better. I may not be surrounded by as many human admirers, but I am surrounded by a heavenly host which waits to take me home.”

Henry T. Mahan, 13th Street Baptist Church

My Jesus, I Love Thee

“We love him because he first loved us.” I John iv. 19.

Baptist pastor Adoniram Judson Gordon is the composer of the well-known tune for the hymn “My Jesus, I love thee.” He found the hymn (uncredited) in the “London Hymn Book” (The London Hymn Book for Prayer Meetings and Special Services, edited by Charles Russell Hurditch, and published around 1864). Gordon wrote a tune for it, which was first published in The Vestry Hymn and Tune Book (A. J. Gordon, editor. Boston, MA: Henry A. Young and Co., 1872). It is Hymn 562 (four stanzas, as in the “London Hymn Book”) on page 284. The original hymn (see below) had six stanzas. The hymn and tune are in 11s. meter. Gordon titled the song “My Jesus, I Love Thee.” In modern times the tune has been designated the name Gordon, after the composer.

Gordon was born in New Hampshire in 1836, and died in 1895 at age 58. He is buried at the Forest Hills Cemetery in Jamaica Plain, Suffolk County, Massachusetts.

1. My Jesus, I love thee, I know thou art mine;
For thee all the pleasure [follies] of sin I resign;
My gracious Redeemer, my Savior art thou;
If ever I loved thee, my Jesus, it’s [’tis] now.

2. I love thee because thou hast first loved me,
And purchased my pardon when nailed to the tree [on Calvary’s tree];
I love thee for bleeding on Calvary’s brow:
If ever I loved thee, my Jesus, it’s now.

3. I love thee because thou hast saved me from hell—
How dearly I love thee my tongue cannot tell;
I love thee for wearing the thorns on thy brow;
If ever I loved thee, my Jesus, it’s now.

4. I love thee for pardon, I love thee for peace,
And sweet hope of heaven thy Spirit conveys,
For it gladdens my heart as onward I go;
If ever I loved thee, my Jesus, it’s now.

5. May I love thee in life, may I love thee in death,
And praise thee as long as thou lendest me breath,
And say, when the death-dew lies cold on my brow.
“If ever I loved thee, my Jesus, it’s now.”

6. In mansions of glory and endless delight,
I will ever adore thee in regions of light;
I’ll sing with the glittering crown on my brow,
“If ever I loved thee, my Jesus, it’s now.”

The six stanzas of this hymn appear to have first appeared, uncredited, in February 1862 in The Christian Pioneer. The Pioneer was edited by Joseph Foulkes Winks. It borrows some lines and thoughts from the hymn “O Jesus my Savior, I know though art mine,” written by Kentucky evangelist Caleb Jarvis Taylor (and published in 1804 in Spiritual Songs). For example:

“…I know thou art mine, For thee all the pleasures of sin I resign”

The hymn has at times been attributed to William Ralph Featherston. However, this has not been substantiated and seems unlikely. In 1862, Featherston would have been only about 12 years old.

In other words, aboulia to vying

• aboulia (also abulia), noun. A pathological inability to make decisions.
• aesthete, noun. A person who has or professes to have refined sensitivity toward the beauties of art or nature.
• aseity, noun. (Theology, Metaphysics) Existence originating from and having no source other than itself; self-existence (from Latin a ‘from’ and se ‘self’ + -ity, a suffix of state, condition, or quality).
• catena, noun. A connected series of related things; (Theology) a connected series of texts written by early Christian theologians (from the Latin, meaning “chain”).
• circumambient, adjective. Ascribing to all aspects of; encompassing; surrounding.
• cognomen, noun. Name; surname; any name, especially a nickname.
• concatenation, noun. A series of things depending on each other as if linked together; the state of being linked together as in a chain; union in a linked series.
• desideratum, noun. Something considered essential, necessary, or highly desirable.
• froth, noun. Bubbles formed in or on a liquid; foam.
• froth, verb. To foam at the mouth; to cause to foam.
• frother, noun. A device for making liquid, especially milk for coffee, frothy (that is, full of small air bubbles).
• gallimaufry, noun. A confused medley, jumble, hodgepodge; also, a type of stew or hash.
• gauche, noun. Lacking grace and perceptivity in social situations; tactless; socially awkward (from French, meaning “left”).
• gaucho, noun. A cowboy of the South American pampas; (pl.) Calf-length pants with flared legs (from South American Spanish, meaning “comrade”).
• hospo, noun. (Australian and New Zealand slang). The hospitality industry.
• inspissate, verb. Become thick or thicker; make thick.
• ludic, adjective, Of or pertaining to play; playful; lively and full of fun.
• minatory, adjective. Of a menacing or threatening nature; minacious.
• minority, noun. The smaller in number of two groups forming a whole.
• myrmidon, noun. A soldier or a subordinate civil officer who executes orders of a superior without protest or pity.
• propaganda, noun. Ideas, facts, or allegations spread deliberately to further one’s cause or to damage an opposing cause; (Roman Catholic) A committee of cardinals, established in 1622 by Pope Gregory XV, having supervision over foreign missions and the training of priests for these missions. (from Latin congregātiō dē propāgandā fidē meaning “congregation for propagating the faith”)
• spoonerism, noun. The transposition of initial or other sounds of words, usually by accident (e.g. snail tracks for trail snacks).
• stochastic, adjective. Random; chance; involving probability; opposite of deterministic.
• vying, verb. Present participle of vie ( to strive for superiority; contend).

Can’t get there from here

Ausgangstext, noun. Initial text, that is, the earliest recoverable version of a text that can be considered the direct predecessor to the surviving manuscript traditions (not the original text).

“When textual criticism speaks about the original text, it typically means this Ausgangstext. It is only with this text that genuine text critical methods are dealing. Textual stages that may have been situated between the autograph and the Ausgangstext, are not accessible to text critical means.” [bold emphasis mine] (Gerd Mink; English translation by Peter Gurry, citing from “Eine umfassende Genealogie der neutestamentlichen Überlieferung, Gerd Mink, New Testament Studies, Volume 39, Issue 4, October 1993, pp. 481-499)

It is revealing, tragic, and cautionary that the text critics continue to tell us that they do not believe we either have or can have the original inspired scriptures as written by the original inspired authors. Let God be true, but every man a liar.

Pot calling the kettle

https://baptistnews.com/article/how-a-group-of-presbyterians-is-trying-to-reshape-the-sbc/

How a group of Presbyterians is trying to reshape the SBC:

“…there is no independent nonprofit called the Center for Baptist Leadership. CBL is only a d/b/a (doing business as) moniker of American Reformer…”

Appendix U

A Summary of APPENDIX U – PAUL’S FOURTH MISSIONARY JOURNEY?

In the “Pastoral Epistles” of Paul (I and II Timothy, and Titus), there are references to places and events that do not seem to fit the timeline of the book of Acts. These logically fit a time after Paul’s first imprisonment (Acts 28) and before his execution (II Timothy 4:6). There is enough available biblical information to permit reconstruction of some of the events that happened in Paul’s ministry after Acts 28:31. For that reason, the phrase “Fourth Missionary Journey of Paul” has been set forth by some to describe this time and these events.

These following examples and suggestions are founded on three presuppositions: (1) that the Bible is divinely inspired, absolutely infallible, and accurately preserved; (2) that the book of Acts presents a trustworthy historical record and is not historical fiction; and (3) that all the epistles traditionally ascribed to Paul were in fact written by him during his lifetime. The notes below attempt to grapple with the issue, and give the “chronological order” in simple order of mention in Bible rather than a likely order in the travel route. A possible trajectory of the journey might be based on moving in a circuitous route from Rome and back again.

• Paul appeared before Nero at some point in time during his first arrest in Rome, after Acts 28:31. This is a known fact because God promised it. In Acts 27:24 it is recorded that God said Paul would stand before Cæsar.
• Paul expects to be released from his house arrest. See his letter to Philemon. He was in bonds, but expected to be released (Philemon, verses 10, 13, 22). Cf. also Philippians 1:12-26 (especially v. 26), for an expectation of release and traveling to Philippi.
• Paul traveled to Ephesus, where Timothy was serving (I Timothy 1:3). He saw a falling away in Asia, by followers of Phygellus and Hermogenes (II Timothy 1:15). He was helped by Onesiphorus (II Timothy 1:18). He encountered opposition from Alexander the coppersmith (II Timothy 4:14).[1]
• Paul went to Miletum with Trophimus and left him there sick (II Timothy 4:10). He traveled, possibly by ship to Troas, and left some things there with Carpus, including his cloke and some books (II Timothy 4:13). Since he left his cloke, we might assume that it was during a warm season. He sent Tychicus from Rome to Ephesus (II Timothy 4:12).
• Paul traveled to Crete, laboured together with Titus, and then left Titus to complete the work and appoint elders in the churches (Titus 1:5).
• Paul wrote a letter to Titus (Titus 3:12), and expected to meet him in Nicopolis, a city on the west coast of Achaia – planning to be there during the winter (Titus 3:12). Paul would send Artemas or Tychicus to Crete, so Titus could meet him in Nicopolis (Titus 3:12).
• Paul evidently with to Corinth, left Erastus there, and then headed toward Nicopolis (II Timothy 4:20).[2]

A possible itinerary of Paul’s “fourth missionary journey” might be: leaving Rome, traveling to Crete, Miletus, Ephesus (or simply sent Timothy there), (possibly) the area of Colosse to see Philemon, Troas, Philippi, Corinth, and Nicopolis. Paul had determined to winter over in Nicopolis, and could have possibly been taken into custody there. At some point during his final ministry, Paul was arrested, taken to Rome, and imprisoned. This stay was probably not with any kind of liberty as formerly, but rather than in a “hired house,” in a dank prison that was cold (II Timothy 4:13, 21).[3] While in prison before his execution, Paul was visited by Onesiphorus (II Timothy 1:16–17), left alone by others (II Timothy 4:16), forsaken by Demas (II Timothy 4:10), and wrote his farewell epistle – the second letter to Timothy. Paul was aided by the physician Luke, who looked after his needs (II Timothy 4:11).

Paul may have traveled to Spain during this time, though the scriptures do not tell us. He had at least written of planning to minister there (Romans 15:22-29).  However, this was when he was also planning to go to Rome of his own volition (which did not transpire in that way). If he did go to Spain, it would have been most likely that he would have left for there first, after being freed from this imprisonment – since he was already on the west side of Italy.

Paul the apostle probably lived about five or six years after the end of the book of Acts.

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[1] His warning to Timothy implies that Alexander was in Ephesus.
[2] Erastus was from Corinth, if the letter to the Romans was written from Corinth. See Romans 16:23.
[3] Regardless, Paul’s last letter indicates that his friends were given access to meet with him.

A laughable position?

From a report that a Sacred Harp singer made about the September United Association weekend:

“Over the weekend I heard a lot of sacred harp politics and gossip, including some dissatisfaction over the revision process and consultation with composers. … Unsurprisingly there seems to be a small schism forming that intends to stick with the 1991 book, rejecting the 2025 due to all the non-Christians and queers who worked on the book or who have their music included. This is a laughable position if one has even superficial knowledge of Sacred Harp history.”

The above excerpt is from a report that one singer wrote about his experience at the singing of the United Association in Atlanta in September. (He rejoiced in “the presence of many transgender singers able to be themselves with such apparent confidence.”) Take note of a few things stated in the excerpt.

1. The “dissatisfaction over the revision process and consultation with composers” is quickly passed over to make it about “all the non-Christians and queers who worked on the book or who have their music included.” This takes the focus away from the discussion of ethics and makes it more of an emotional appeal to get people on the side of what might be made to seem like a minority. However, from the beginning the main objections concerned questionable ethics, a premeditated agenda, and the lack of promised impartiality in how the revision played out. Who knew what when? How many times did the committee know who submitted certain songs? Why did the committee revise songs without the permission of the composers? Why did some composers have opportunities to revise their songs, while others had their songs revised by someone on or working for the committee – with a “here it is, take it or leave it” option? Why do songs appear in the book dated after the submission deadline? None of these answers have been forthcoming. There is no transparency, but rather subterfuge in its place.

• Re ethics, see: https://baptistsearch.blogspot.com/2025/09/outside-looking-in-part-2.html

This is not to say we are not dissatisfied with leaders trying to normalize behaviour that is inconsistent with the historic practice of Sacred Harp, and outside of Christian worldview and morality. It is to say that leaders apparently want to put the focus on this and hope for a sympathetic reaction – because they cannot and will not answer the ethical questions.

2. “a small schism…” The author wishes to dismiss and downplay the “schism” as “small.” I do not doubt that more people are now using the new 2025 than are using the 1991 book. However, might does not make right. Additionally, that fact does not necessarily mean that all who are using the 2025 like everything about the new book or the way the revision process was conducted. It may mean that some singers have just accepted the book as what is now being printed and that they are willing to live with. It may mean that some singers are unwilling to stand against these things to the point of not using the new book. It may mean that a few people are in “la-la land” and have no idea what is going on. It is a known fact that some people who are using the new book have complained of some things about it. Eventually, the euphoria will wear off and time will test the quality of the work done for the 2025 revision.

3. “Unsurprisingly…” The author uses the word “unsurprisingly” when referencing a schism over the book. Why is it “unsurprising”? Because you knew this would lead to dissatisfaction, dissension, and division? Yes, this is a (perhaps unintended) admission that folks pushing the boundaries knew that they were moving things in a direction that would lead to schism. So, you now say that it is “unsurprising” when it occurs, and call the ones who you knew would object schismatics.

4. The author finds that those who are dissatisfied have a “laughable position if one has even superficial knowledge of Sacred Harp history.” This in itself is laughable from someone who has been involved in Sacred Harp less than 10 years, to think he has a firm grasp on Sacred Harp history while those from families that have been singing it for multiple generations are quite slow on the uptake! It is also a disrespectful dig at the living elders who have passed this Christian faith singing tradition down from the previous generation to the present generation. Such is the hubris of the new non-traditional singer. Considering that kind of attitude, I guess a schism is unsurprising after all!

A pilot without a compass

The true Christian was intended by Christ to prove all things by the Word of God, all churches, all ministers, all teaching, all preaching, all doctrines, all sermons, all writings, all opinions, all practices. These are his marching orders. Prove all by the Word of God; measure all by the measure of the Bible; compare all with the standard of the Bible; weigh all in the balances of the Bible; examine all by the light of the Bible; test all in the crucible of the Bible. That which cannot abide the fire of the Bible, reject, refuse, repudiate, and cast away. This is the flag which he nailed to the mast. May it never be lowered!

A church which does not honor the Bible is as useless as a body without life, or a steam engine without fire. A minister who does not honor the Bible is as useless as a soldier without arms, a builder without tools, a pilot without compass, or a messenger without tidings.

J. C. Ryle, Light from Old Times