caa a22 4500 386388873 CHVBK 20180307112107.0 cr unu---uuuuu 161130e198901 xx s 000 0 eng 10.1017/S0261143000003159 doi S0261143000003159 pii (NATIONALLICENCE)cambridge-10.1017/S0261143000003159 Wicks Sammie Ann A belated salute to the ‘old way' of ‘snaking' the voice on its (ca) 345th birthday [Elektronische Daten] [Sammie Ann Wicks] When Joe S. James, a southern singing school teacher, brought out his edition of the long-lived shape-note hymnal The Sacred Harp in 1911, he stated rather forcefully that his readers would find ‘but few of the twisted rills and trills of the unnatural snaking of the voice' which he had heard while in the company of those yet untutored in the art of singing by note - or ‘regular singing', as it had been called (James 1911, p. iii). It was not the first time the ‘old way' of singing and its ‘rills and trills' had found a critic among champions of some form of the Western European music system, nor would it be the last. Indeed, the history of the quarrel has shown that if there is anything more intransigent than the old way of singing, it is the accompanying opprobrium spread by a musical élite convinced of the superiority of the diatonic system and all that is extrapolated from it. Copyright © Cambridge University Press 1989 Popular Music Cambridge University Press 8/1(1989-01), 59-96 0261-1430 8:1<59 1989 8 PMU https://doi.org/10.1017/S0261143000003159 text/html Onlinezugriff via DOI 1 research-article jats NATIONALLICENCE 856 40 https://doi.org/10.1017/S0261143000003159 text/html Onlinezugriff via DOI NATIONALLICENCE 100 1- Wicks Sammie Ann NATIONALLICENCE 773 0- Popular Music Cambridge University Press 8/1(1989-01), 59-96 0261-1430 8:1<59 1989 8 PMU CC0 http://creativecommons.org/publicdomain/zero/1.0 nationallicence BK010053 XK010053 XK010000 NATIONALLICENCE NATIONALLICENCE NL-cambridge