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Originally published in 1867, this book is a collection of songs of African-American slaves. A few of the songs were written after the emancipation, but all were inspired by slavery. The wild, sad strains tell, as the sufferers themselves could, of crushed hopes, keen sorrow, and a dull, daily misery, which covered them as hopelessly as the fog from the rice swamps. On the other hand, the words breathe a trusting faith in the life after, to which their eyes seem constantly turned.
Authoritative study traces the African influences and lyric significance of such songs as Swing Low, Sweet Chariot and John Henry, and gives words and music for 230 songs. Bibliography. Index of Song Titles.
One dozen spirituals arranged for solo voice with accompaniment. Preserved in Burleigh's arrangements are the essential characteristics of these songs that generally derived from spontaneous outbursts of intense religious fervor. Includes: Couldn't Hear Nobody Pray * Were You There * Deep River and others.
A New Perspective for the Use of Dialect in African American Spirituals: History, Context, and Linguistics investigates the use of the African American English (AAE) dialect in the musical genre of the spiritual. Perfect for conductors and performers alike, this book traces the history of the dialect, its use in early performance practice, and the sociolinguistic impact of the AAE dialect in the United States. Felicia Barber explores AAE’s development during the African Diaspora and its correlations with Southern States White English (SSWE) and examines the dialect’s perception and how its weaponization has impacted the performance of the genre itself. She provides a synopsis of research on the use of dialect in spirituals from the past century through the analysis of written scores, recordings, and research. She identifies common elements of early performance practice and provides the phonological and grammatical features identified in early practice. This book contains practical guide for application of her findings on ten popular spiritual texts using the International Phonetic Alphabet (IPA). It concludes with insights by leading arrangers on their use of AAE dialect as a part of the genre and practice.
Renowned choral conductor and educator Andr J. Thomas has crafted a book that the conductor of any choral ensemble-be it church, high school, university, or professional-will want close at hand when preparing to program any concert spiritual. Understanding the Spiritual, the first of the book's two sections, includes an exploration of the beginnings of the spiritual, its role in society and its transition into art music. Issues of interpretation-text, diction, rhythm and tempo-are addressed in the second section, Performing the Spiritual. In addition to interviews with noted conductors Dr. Anton Armstrong and Prof. Judith Willoughby as to matters of performance and selection, the centerpiece of this section is Dr. Thomas's personal reflections on several spiritual arrangements, including his rehearsal techniques (with specific examples and measure-number references to the included scores), as well as an insightful look into his decisions of interpretation.
Spirituals performed by jubilee troupes became a sensation in post-Civil War America. First brought to the stage by choral ensembles like the Fisk Jubilee Singers, spirituals anchored a wide range of late nineteenth-century entertainments, including minstrelsy, variety, and plays by both black and white companies. In the first book-length treatment of postbellum spirituals in theatrical entertainments, Sandra Jean Graham mines a trove of resources to chart the spiritual's journey from the private lives of slaves to the concert stage. Graham navigates the conflicting agendas of those who, in adapting spirituals for their own ends, sold conceptions of racial identity to their patrons. In so doing they lay the foundation for a black entertainment industry whose artistic, financial, and cultural practices extended into the twentieth century. A companion website contains jubilee troupe personnel, recordings, and profiles of 85 jubilee groups. Please go to: http://www.press.uillinois.edu/books/graham/spirituals/
Beloved spirituals include such lasting favorites as All God's Children Got Shoes, Balm in Gilead, Deep River, Down by the Riverside, Ezekiel Saw the Wheel, Gimme That Ol'-Time Religion, He's Got the Whole World in His Hand, Roll, Jordan, Roll, Sometimes I Feel Like a Motherless Child, Steal Away to Jesus, Swing Low, Sweet Chariot, This Train, Wade in the Water, We Are Climbing Jacob's Ladder, Were You There When They Crucified My Lord? and many more. Excellent for sing-alongs, community programs, church functions, and other events.
This is a new release of the original 1933 edition.
Soul Praise is filled with powerful hymns and songs from the rich culture of the African-American church, accompanied by the many powerful stories and insights behind these songs and hymns. This book will help you explore the people, places, and events that have shaped the heart and soul of African-American worship music throughout the years. You will be reminded of the deep spiritual heritage reflected in such lasting favorites as: Precious Lord, Take My Hand, Thomas A. Dorsey There Is a Balm in Gilead, traditional Swing Low, Sweet Chariot traditional Stand By Me,Charles A. Tindley Deep River, H.T. Burleigh Sometimes I Feel Like a Motherless Child,James Weldon Johnson ...and many more