This study employed an exploratory approach by applying practice theory to insights gathered throughthe triangulation of interview, document analysis and observation methodologies to 1) map the SacredHarp Singing practice scope and give a nuanced picture of its performativity in the Netherlands, witha particular focus on the Sacred Harp group from Amsterdam comparing it to one from Bremen and 2)investigate the underlying rise of transformative emotions, the social, secular, and religious meanings, andthe sense of belonging to an international community. The findings suggest that Sacred Harp enthusiastsin the region are keen on retaining the legacies of the traditional singers by establishing similar singingatmospheres and by following the practice’s historical customs and practices, including the communalsinging in the “hollow square” and the affinity towards democratic participation. The findings alsoindicate that while there is a noticeable level of commitment and excitement among local enthusiasts,the growth of the groups’ memberships is hampered by a lack of interest by the general public, possiblyin connection with insufficient strategies for publicizing the practice. Therefore, the existence of thesebarriers could imply that the practice would probably grow at a relatively slow pace in the region.
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People with voice problems can seek advice and therapy from a speech-language pathologist. Besides having problems with the speaking voice, a number of them are also amateur choristers. In addition to her standard examination, the speech-language pathologist has to specifically describe the use of the singing voice during choral singing and to assess the amount of mutual influence of speaking and singing voice. In therapy, a healthy phonation is learned. In today's practice, the therapist tends to confine herself to training the sepaking voice. It is known that pitch variation influences phonation. As pitch is a complicating factor in singing, the therapist could make the client aware of this influence by using exercises that alternate speaking and singing voice. Reference to and cooperation with singing teachers is essential. A network of speech-language pathologists 'with an ear for singers' and singing teachers should be built up.
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