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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.
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/
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.
This popular collection of 280 musical pieces from both the African American and Gospel traditions has been compiled under the supervision of the Office of Black Ministries of the Episcopal Church. It includes service music and several psalm settings in addition to the Negro spirituals, Gospel songs, and hymns.
"Black Song" is a literary tribute to the power and beauty of the timeless musical tradition of Afro-American spirituals. The author charts the evolution and development of the Black spiritual, and presents hundreds of examples of the more than 6,000 remaining songs. This is the definitive history of a simple musical form in all its complexities -- music, religion, philosophy, poetry, and politics. The book's first part, "The Forge," presents the authentic "story of how the songs were hammered out." In the second part, "The Slave Sings Free," the author examines the creators and their communities, and interprets the meanings and implications of the songs that have passed into, and have become part of, our society. The development of the spiritual as a world phenomenon is traced in the final part, "The Flame." "Black Song" will remain in the literature of our musical, cultural, and social heritage as a fascinating reader and essential reference book. -- From publisher's description.
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
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.
The work of James Weldon Johnson (1871 - 1938) inspired and encouraged the artists of the Harlem Renaissance,a movement in which he himself was an important figure. Johnson was active in almost every aspect of American civil life and became one of the first African-American professors at New York University. He is best remembered for his writing, which questions, celebrates and commemorates his experience as an African-American.
Fight On brings together three dynamic elements to tell the story of the African American Spirituals tradition: fifty-nine paintings from a series by Aaron F. Henderson, the lyrics of fifty-six spiritual songs, and narrative writings by scholars of art and culture, and Henderson himself. The elements come together to make this more than an art book, a lyric book, autobiography or cultural commentary. Fight On is a celebratory document of African American culture, giving evidence to how Black people in a nation that grew rich and powerful on the strength of their unpaid labor survived and liberated themselves.Two things have been a consistent in the life of Aaron F. Henderson: making art and listening to spirituals-at home, in church, and later in college. He has also always valued history, the scholarly work required to write it, and recognizes its power expressed in different ways, including music. Fight On reveals how music has served as medicine, spiritual sustenance and a means of communication for Black people in general, and himself in particular. He studies great African American thinkers, such as W. E. B. Du Bois who in The Souls of Black Folk called spirituals sorrow songs that "articulate messages of the slave to the world," messages of suffering, despair, freedom, faith, hope, and the power of the spirit. Henderson references Frederick Douglass who wrote about the double meanings in their words and how every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The paintings in Fight On show us the spirit of Harriet Tubman who used the spirituals as a signal of her arrival to facilitate the escape of others by way of the Underground Railroad. The songs kept people working in the fields, on the railroads and marching during the civil rights movement. The songs are the foundation of Black music, i.e., blues, jazz, R&B, gospel, Rock & Roll, rap, and hip hop. Du Bois said it this way "by fateful chance the Negro folksong---the rhythmic cry of the slave---stands today not simply as the sole American music.
A collection of familiar and lesser-known spirituals including "Walk Together Children, " "Little David Play on Your Harp, "" I Got Shoes, " and others.