Spirituals - Knowledge

2241:...Influential in its development were the collective unaccompanied work-songs of the plantation culture, which followed a responsorial 'leader-and-chorus' form that can be traced not only to pre-Civil War origins but to African sources. Responsorial work-songs diminished when the plantations were broken up, but persisted in the southern penitentiary farms until the 1950s. After the Reconstruction era, black workers either engaged in seasonal collective labour in the South or tended smallholdings leased to them under the system of debt-serfdom known as sharecropping. Work-songs therefore increasingly took the form of solo calls or 'hollers', comparatively free in form but close to blues in feeling. The vocal style of the blues probably derived from the holler... Blues instrumental style shows tenuous links with African music. Drumming was forbidden on slave plantations, but the playing of string instruments was often permitted and even encouraged, so the musicians among slaves from the savanna regions, with their strong traditions of string playing, predominated. The 2180:", "Blow your trumpet", "Gabriel", "Praise, member", "Wrestle on, Jacob", "The lonesome valley", "I can't stay behind", "Poor Rosy", "The trouble of the world", "There's a meeting here tonight", "Hold your light", "Happy morning", "No man can hinder me", "Lord, remember me", "Not weary yet", "Religion so sweet", "Hunting for the Lord", "Go in the wilderness", "Tell my Jesus" "Morning", "The graveyard, "John, John, of the holy order", "I saw the beam in my sister's eye", "Hunting for a city", "Gwine follow", Lay this body down", "Heaven bell a ring", "Jine 'em", "Rain fall and wet Becca Lawton", "Bound to go", "Michael row the boat ashore", "Sail, o believer", "Rock o' jubilee", "Stars begin to fall", "King Emanuel", "Satan's camp a-fire", "Give up the world", "Jesus on the water-side", "I wish I been dere", "Build a house in paradise", "I know when I'm going home", "I'm a-trouble in de mind", and "Travel on". 2201:", "No more rain fall for wet you", "I want to go home", "Good-bye brother", "Fare ye well", "Many thousand go", "Brother Moses gone", "The sin-sick soul", "Some valiant soldier", "Hallelu, hallelu", "Children do linger", "Good-bye", "Lord, make me more patient", "The day of judgement", "The resurrection morn", "Nobody knows the trouble I've had", "Who is on the Lord's side", "Hold out to the end", "Come go with me", "Every hour in the day", "In the mansions above", "Shout on, children", "Jesus, won't you come by-and-bye!", and "Heave away". Part II included songs from the Northern Seaboard Slave States, including Delaware, Maryland, Virginia, and North Carolina, such as "Wake up, Jacob", "On to glory", "Just new", "Shock along, John", "Round the corn, Sally", "Jordan's mills", "Sabbath has no end", "I don't feel weary", "The hypocrite and the concubine", "O shout away", "O'er the crossing", " 465: 461:

spirituals that were well-known and regularly sung in American churches but whose origins in plantations, had not been acknowledged. Allen wrote that, it was almost impossible to convey the spirituals in print because of the inimitable quality of African American voices with its "intonations and delicate variations", where not "even one singer" can be "reproduced on paper". Allen described the complexity of songs such as "I can't stay behind, my Lord", or "Turn, sinner, turn O!" which have a "complicated shout" where there are no singing parts, and no two singers "appear to be singing the same thing." The lead "singer starts the words of each verse, often improvising, and the others, who "base" him, as it is called, strike in with the refrain, or even join in the solo, when the words are familiar."

862:(1871–1925). In 1899, Fisk University president E. M. Cravath put out a call for a mixed (male and female) jubilee singers ensemble that would tour on behalf of the university. The full mixed choir became too expensive to tour, and was replaced by John Work II's male quartet. The quartet received "widespread acclaim" and eventually made a series of best-selling recordings for Victor in December 1909, February 1911, for Edison in December 1911, for Columbia is October 1915 and February 1916, and Starr in 1916. John Work Jr.—also known as John Work II—spent three decades at Fisk University, collecting and promulgating the "jubilee songcraft" of the original Fisk Jubilee Singers and in 1901 he co-published 563:, the author wrote that African American "hymns seldom make allusion to the Bible as a source of inspiration. They prefer "heart religion" to "book religion". Barton, who attended services with African Americans, said that they did not sing the "ordinary" hymns that strengthened "assurance by a promise of God in Holy Scripture"; rather, in the African-American hymns, they appeal to a more personal "revelation from the Lord." He cites the examples of "We're Some of the Praying People" and a hymn from Alabama—"Wear a starry crown". He also notes that both these songs have a "threefold repetition and a concluding line." In the latter, we find the "familiar swing and syncopation" of the African American. 371:. In the U.S., the enslaved had higher rates of survival and thus there was a "high and sustained natural increase in the slave population for a more than a century and a half—with numbers nearly tripling by the end of the domestic slave trade in the 1860s." During that period, "approximately 1.2 million men, women, and children, the vast majority of whom were born in America," were displaced—spouses were separated from one another, and parents were separated from their children. By 1850, most enslaved African Americans were "third-, fourth-, or fifth-generation Americans." In the 1800s, the majority of enslaved people in the 454:– that was her nickname—so that when they heard that song, they knew she was coming to the area...I often call the spiritual an omnibus term, because there are lots of different under it. They used to sing songs as they worked in the fields. In the church, it evolved into the gospel song. In the fields, it became the blues." Hansonia Caldwell, who was a professor of music at California State University, Dominguez Hills (CSUDH) from 1972 to 2011, also oversaw an Archive of Sacred Music at CSUDH—an extensive collection of music, books, periodicals, documents, audio & visual materials, and oral histories." 500:, founded "The Spirituals Project" to preserve and revitalize the "music and teachings of the sacred folk songs called spirituals," "created and first sung by African Americans in slavery". Spirituals were created by a "circumscribed community of people in bondage", over time they became known as the first "signature" music of the United States. Forbidden to speak their native languages, they generally converted to Christianity. With narrow vocabularies, they used the words they did know to translate biblical information and facts from their other sources into song. 925: 2143:

conducted in a clandestine manner. During these meetings, worshipers would sing, chant, dance and sometimes enter ecstatic trances. Along with spirituals, shouts also emerged in the Praise Houses. Shouts begin slowly with the shuffling of feet and clapping of hands (but the feet never cross because that was seen as dancing, which was forbidden within the church). Drums were used as they had been in Africa, for communication. When the connection between drumming, communication, and resistance was eventually made, drums were forbidden.

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Caribbean Islands. From 1501 to 1830, four Africans crossed the Atlantic for every one European, making the demographics of the Americas in that era more of an extension of the African diaspora than a European one. The legacy of this migration is still evident today, with large populations of people of African descent living throughout the Americas. Millions more remained enslaved in Africa, where slavery was a complex and deeply-rooted part of culture going back centuries before widespread European presence on the continent.

807: 713: 2205:", "We will march through the valley", "What a trying time", "Almost over", "Don't be weary, traveller", "Let God's saints come in", "The golden altar", "The winter", and "The heaven bells". Part III includes songs from the Inland Slave States, including Tennessee, Arkansas, and the Mississippi River, such as "The gold band", The good old way", I'm going home", Sinner won't die no more", "Brother, guide me home", "Little children, then won't you be glad?", "Charleston gals", "Run, n*, run", " 239:

the "African American" descriptor. The LOC introductory sentence says, "A spiritual is a type of religious folksong that is most closely associated with the enslavement of African people in the American South. The songs proliferated in the last few decades of the eighteenth century leading up to the abolishment of legalized slavery in the 1860s. The African American spiritual (also called the Negro Spiritual) constitutes one of the largest and most significant forms of American folksong."

6523: 1759:. The Sahelian Muslim slaves generally favored wind and string instruments and solo singing, whereas the non-Muslim slaves generally favored drums and group chants. Plantation owners who feared revolt outlawed drums and group chants, but allowed the Sahelian slaves to continue singing and playing their wind and string instruments, which the plantation owners found less threatening. According to Curiel stringed instruments these string instruments may have the precursor to the 992:(1882–1943) is known for his arrangements that incorporated the music and spirit of European Romantic composers with African-American spirituals. In 1918, he said, "We have this wonderful store of folk music—the melodies of an enslaved people" but it will be of no value if it is not used. We must treat spirituals "in such manner that it can be presented in choral form, in lyric and operatic works, in concertos and suites and salon music". R. Nathaniel Dett was a mentor to 905:, who was also the founder of the Tuskegee Institute. Since 1881, Washington had insisted that everyone attending their weekly religious services should join in singing African American spirituals. The Quartet was formed to "promote the interest of Tuskegee Institute". In 1909 a new quartet was formed. The singers travelled intermittently until the 1940s. Like the Fisk Jubilee Singers, the Tuskegee Institute Singers sang spirituals in a modified harmonized style. 979: 7443: 7431: 6988: 405:(1818–1895)—a great orator—described slave songs as telling a "tale which was then altogether beyond my feeble comprehension; they were tones, loud, long and deep, breathing the prayer and complaint of souls boiling over with the bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains… Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds." His 1386:" was an example of a spiritual that African Americans used as work songs. He said, that, "As the singers go on, hour by hour, they bring in lines from many other spirituals. The tempo is vital. Never actually monotonous. Never ecstatic, yet steady in its onflow, sure of its pulses. It is a work song-spiritual. War is pronounced "wah" or "waw" as if to rhyme with "saw." Horse is "hawss." And so on with Negro economy of vocables in speech and song." 7656: 623:". There is also a duality in the lyrics of spirituals. They communicated many Christian ideals while also communicating the hardship that was a result of being an enslaved. The river Jordan in traditional African American religious song became a symbolic borderland not only between this world and the next. It could also symbolize travel to the north and freedom or could signify a proverbial border from the status of slavery to living free. 384: 851:, had not initially been part of the Singers' repertoire because the songs, "were sacred to our parents, who used them in their religious worship and shouted over them." Shephard said that, "It was only after many months that gradually our hearts were opened to the influence of these friends and we began to appreciate the wonderful beauty and power of our songs." Eventually their repertoire began to include these songs. 1670:

in white hymns and spiritual songs. Jackson extended the term "spirituals" to a wider range of folk hymnody but this does not appear to have been widespread usage previously. The term, however, has often been broadened to include subsequent arrangements into more standard European-American hymnodic styles, and to include post-emancipation songs with stylistic similarities to the original African American spirituals.

6998: 2449:|work=United Nations |series=International Day of Remembrance of the Victims of Slavery and the Transatlantic Slave Trade (March 25) |quote="The transatlantic slave trade was the largest forced migration in history, and undeniably one of the most inhumane. The extensive exodus of Africans spread to many areas of the world over a 400-year period and was unprecedented in the annals of recorded human history. 595:

religious traditions declined in America in the 18th and 19th centuries, more African Americans began to convert to Christianity. In a 1982 "scathing critique" of Awakening scholars, Yale University historian, Jon Butler, wrote that the Awakening was a myth that has been constructed by historians in the 18th century who had attempted to use the narrative of the Awakening for their own "religious purposes".

7419: 1797: 1242:, there was no organ or choir and music was louder, more exuberant and included up tempo spirituals called "jubilees". They "used the drum, the cymbal, the tambourine, and the steel triangle. Everybody in there sang, and they clapped and stomped their feet, and sang with their whole bodies. They had a beat, a rhythm we held on to from slavery days, and their music was so strong and expressive." 1554: 2213:", "Pray on", "Good news, member", "I want to die like-a Lazarus die", "Away down in Sunbury", "This is the trouble of the world", "Lean on the Lord's side", "There are all my father's children", "The old ship of Zion", "Come along, Moses", "The social band", "God got plenty o' room", "You must be pure and holy", "Belle Layotte", "Remon", "Caroline", "Calinda", "Lolotte", and "Musieu Bainjo." 1783: 1653:, criticized what she called "Glee Club style" of the Fisk Jubilee Singers, Tuskegee Institute Quartet, and Hampton Singers in the 1930s. She said they were using a style" that was "full of musicians' tricks" that were not authentic to their roots in the original African American spirituals. The authentic spirituals could only be found in the "unfashionable Negro church". 539:

creating their own "way of communicating". Enslaved people introduced a number of new instruments to America: the bones, body percussion, and an instrument variously called the bania, banju, or banjar, a precursor to the banjo but without frets. They brought with them from Africa long-standing religious traditions that highlighted the importance of storytelling.

161:, and plantation songs that evolved into the blues and gospel songs in church. In the nineteenth century, the word "spirituals" referred to all these subcategories of folk songs. While they were often rooted in biblical stories, they also described the extreme hardships endured by African Americans who were enslaved from the 17th century until the 1860s, the 1313:

rebuked, I been scorned; done had a hard time sho's you bawn," he is not only referring to freedom from sin but from physical bondage. Brown cited Douglass, saying that Canaan stood for Canada; and "over and beyond hidden satire the songs also were grapevines for communications. Harriet Tubman, herself called the Moses of her people, has told us that "

1143:, said that in African music, the "complex interweaving of contrasting rhythmic patterns" was central to African music, just as harmonies were valued in European music. Jones described the drum is the highest expression of rhythms, but they can also be produced through hand-clapping, stick-beating, rattles, and the "pounding of pestles in a mortar". 3029:"In various places in Africa, where human sacrifice was connected with ancestor worship, some of the slaves of the deceased were buried alive with him, or they were killed and laid beneath him in his grave. The Dahomey instituted especially elaborate sacrifices at yearly ceremonies related to the cult of deceased kings." 1635:, changed the style of spirituals with their innovative, jubilee style which included new harmonies, syncopation with sophisticated arrangements. An example of their music was their performance of "Oh, Jonah!" The Golden Gate Quartet—who were active from 1934 to the late 1940s—performed in the concert 1312:

One 1953 article by Sterling Brown said that there are scholars who "believe that when the Negro sang of freedom, he meant only what the whites meant, namely freedom from sin." Brown said that, to an enslaved person freedom would also mean freedom from slavery. When the enslaved person sings, "I been

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entitled "Pathways to Freedom: Maryland and the Underground Railroad" had included a section on how songs that many slaves knew had "secret meanings" that they could be "used to signal many things". Certain songs were believed to have contained explicit instructions to fugitive slaves on how to avoid

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By the 17th century, enslaved Africans were familiar with Christian biblical stories, such as the story of Moses and Daniel, seeing their own stories reflected in them. An Africanized form of Christianity evolved in the slave population with African American spirituals providing a way to "express the

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According to the beliefs of slave religion—the "material and the spiritual are part of an intrinsic unity". Music, religion, and everyday life are inseparable in the spirituals, and through them, religious ideals were infused into the activities of everyday life. The spirituals provided some immunity

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said that spirituals, which are "purely and solely the creation" of African Americans, represent "America's only type of folk music...When it came to the use of words, the maker of the song was struggling as best he could under his limitations in language and, perhaps, also under a misconstruction or

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in Nashville drew attention to the existence of a white spiritual genre which differed in many aspects from African American spirituals. The core of Jackson's argument, however, supported by many musical examples, is that African-American spirituals draw heavily on textual and melodic elements found

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The Fisk Jubilee Singers had been so successful that other groups were created to perform similar music. Over time the term "jubilee" was used to refer to other ensembles who sang the original group's repertoire. In the early 1900s jubilee singers also referred to singers who performed gospel music,

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According to a Library of Congress 2016 article, music was central to and permeated every aspect of everyday life and major life events in Africa. Enslaved Africans in America were no longer permitted to worship as Christian colonialists feared "African-infused way of worship". Gatherings had to be

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Frederick Douglass, an abolitionist and a former slave said that slave songs awakened him to the dehumanizing character of slavery, "The mere recurrence, even now, afflicts my spirit, and while I am writing these lines, my tears are falling. To those songs I trace my first glimmering conceptions of

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transported the first African enslaved peoples to the New World, in the 1560s, and until the 1700s Mexico was the primary destination for African Enslaved people under Spanish control. The first African enslaved people in what is now the United States arrived in 1526, making landfall in present-day

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Sacred music, which includes spirituals and gospel music, illustrates the central role that music plays in African American spiritual and religious life. The earliest form of black musical expression in America, spirituals were based on Christian psalms and hymns and were merged with African music

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in 1998, out of the university's Lamont School of Music, described how coded words could be introduced in the call and response overlap, which only insiders aware of the encrypted message could understand. He described "already existing spirituals" were employed "clandestinely" as one of the many

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people originally from West Africa. Most of the 1867 book consisted of songs gathered directly from African Americans. By the 1830s at least, "plantation songs", "genuine slave songs", and "Negro melodies", had become extraordinarily popular. Eventually, "spurious imitations" for more "sentimental

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The US Library of Congress uses the phrase "African American Spirituals", for the numbered and itemized entry. In the introductory phrase, the singular form is used without the adjective "African American." Throughout the encyclopedic entry the singular and plural form of the term, is used without

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became a commercial success, it opened the commercial record market for music for an African American audience. Prior to the success of this recording, commercial recording companies featured non-African American musicians playing African-American music. Bradford's African-American band, the Jazz

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report as the largest forced migration in recorded human history. As a direct result of the transatlantic slave trade, the greatest movement of Africans was to the Americas — with 96 per cent of the captives from the African coasts arriving on cramped slave ships at ports in South America and the

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The Negro Spirituals are purely and solely the creation of the American Negro..." "When it came to the use of words, the maker of the song was struggling as best he could under his limitations in language and, perhaps, also under a misconstruction or misapprehension of the facts in his source of

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Sacred music includes both spirituals and gospel music, which "originated in the black church and has become a globally recognized genre of popular music. In its earliest manifestations, gospel music functioned as an integral religious and ceremonial practice during worship services. Now, gospel

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In a May 2012 PBS interview, Uzee Brown, Jr. said that spirituals were the "survival tools for the African slave". Brown said that while other similarly-oppressed cultures were "virtually wiped out", the African slave survived because of spirituals by "singing through many of their problems", by

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and that held the largest number of enslaved people. The form was collectively developed by generations and communities of enslaved African Americans starting as "unaccompanied work-songs of the plantation culture". The historical roots of the blues have been traced farther back to West African

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preachers converted African Americans, including those who were enslaved. In some communities African Americans were accepted into Christian communities as deacons. From 1800 to 1825 enslaved people were exposed to the religious music of camp meetings on the ever-expanding frontier. As African

535:'s 1996 book, spirituals are a musical form that is indigenous and specific to the religious experience African slaves and their descendants in the United States. Pitts said that they were a result of the interaction of music and religion from Africa with music and religion of European origin. 844:. As a school-fundraiser, the Fisk Jubilee Singers had their first tour on what is now called Jubilee Day—October 6, 1871. The first audiences were small, local, and skeptical, but by 1872, they performed at Boston's World Peace Festival and at the White House, and in 1873 they toured Europe. 555:

said that it was not surprising therefore that "spirituals were sung primarily as rowing songs, field songs, work songs, and social songs, rather than exclusively within the church." The article described how, "through the use of metonymy (substituting associated words to ostensibly alter the

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Black spirituals "use of microtonally flatted notes, syncopation and counter-rhythms marked by handclapping in black spiritual performances." It "stands out for the singers' striking vocal timbre that features shouting, exclamations of the word "Glory!" and raspy and shrill falsetto tones".

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Spirituals were originally oral, but by 1867 the first compilation, entitled "Slave Songbook", was published. In the book's preface, one of the co-compilers, William Francis Allen, traced the "development of Negro Spirituals and cultural connections to Africa." The 1867 publication included

1615:(1911–1972) was one of Gospel music's most prominent defenders. She said that, "Blues are the songs of despair. Gospel songs are the songs of hope. When you sing gospel you have a feeling there's a cure for what's wrong. When you're through with the blues you've got nothing to rest on." 921:, and William Dawson, created a "new repertoire for the concert stage" by applying their Western classical education to the spirituals. They brought spirituals to concert settings and mentored the next generation of professional spirituals musicians starting in the early 20th century. 1550:—with elements such as the "responsorial 'leader-and-chorus' form". The blues became the "most extensively recorded of all traditional music types" and since the "early 1960s, —the "most important single influence on the development of Western popular music," and are now widespread. 199:, created a "new repertoire for the concert stage" by applying their Western classical education to the spirituals. While the spirituals were created by a "circumscribed community of people in bondage", over time they became known as the first "signature" music of the United States. 1069:

founded The American Spiritual Ensemble in 1995, a group of about two dozen professional singers who tour performing spirituals in the United States and abroad. The group has produced several CDs, including "The Spirituals", and is the focus of a public broadcasting documentary.

1277:"already existing spirituals" were employed "clandestinely" as one of the many ways people used in their "multilayered struggle for freedom." He described how coded words could be introduced in the call and response overlap, which only insiders aware of the encrypted message. 4466: 681:

plantations in 1861, where they had formerly been enslaved. Northern abolitionist missionaries, educators and doctors came to oversee Port Royal's development. The authors noted that, by 1867, the "first seven spirituals in this collection" were "regularly sung at church".

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and emancipation, spirituals were originally an oral tradition passed from one slave generation to the next. Biblical stories were memorized then translated into song. Following emancipation, the lyrics of spirituals were published in printed form. Ensembles such as the

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in 1929, which made "spirituals available to solo concert singers as art songs for the first time". Burleigh arranged spirituals with a classical form. He was also a baritone, who performed in many concert settings. He introduced classically trained artists, such as

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in which he included the lyrics of selected spirituals. During the Civil War, Higginson wrote down some of the spirituals he heard in camp. "Almost all their songs were thoroughly religious in their tone, ...and were in a minor key, both as to words and music."

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Between 1501 and 1867, the transatlantic slave trade claimed an estimated 12.5 million Africans and involved almost every country with an Atlantic coastline." This 2015 publication provides an atlas of this "350-year history of kidnapping and coercion". The

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Spirituals were not simply different versions of hymns or Bible stories, but rather a creative altering of the material; new melodies and music, refashioned text, and stylistic differences helped to set apart the music as distinctly African-American.

1486:—the chosen name for LeRoi Jones (1934–2014)—provided a history of African Americans through their music, beginning with the spirituals to the blues. By 1967, Jones had become the main spokesperson for African American intellectuals, displacing 638:. Following the Civil War and emancipation, there has been "extensive collection and preservation of spirituals as folk song tradition". The first collection of Negro spirituals was published in 1867, two years after the war had ended. Entitled 358:

outlawed the international slave trade in 1808, and lasted until the U.S. Civil War, destroyed generations of African American families. Slavery in the United States differed from the institution in other regions of the Americas, such as the

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tastes" were created. The authors noted that "Long time ago", "Near the lake where drooped the willow", and "Way down in Raccoon Hollow" were borrowed from African-American songs. There had been a renewed interest in these songs through the

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in 1927. Boatner "maintained the importance of authenticity regarding the collection and transcription of spirituals, but also clearly identified with the new, stylized and polished ways in which they were arranged and performed".

693:" from 1862 to 1863. Higginson admired the former slaves in his regiment saying, "It was their demeanor under arms that shamed the nation into recognizing them as men." He mingled with the soldiers and in published his 1869 memoir 823:

male and female choir of nine students of the newly established Fisk school in Nashville, Tennessee who were active from 1871 to 1878, popularized Negro spirituals. The name "jubilee" referred to the "year of jubilee" in the

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and his wife Minerva—singing "their favorite plantation songs" from their cabin door in the evenings. They had learned the songs in "Mississippi in their early youth." Reid provided the Jubilee Singers with the lyrics of

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Arthur Jones founded "The Spirituals Project" at the University of Denver in 1999 to help keep alive the message and meaning of the songs that had moved from the fields of the South to the concert halls of the North.

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of African American from the south to the north, especially in the 1930s, gospel songs entered the "mainstream of American popular culture". Gospel music had its heyday from 1945 to 1955—the "Golden Age of Gospel."

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by Albert Murray, said that this interaction between Christianity and African-American spirituals occurred only in the United States. Africans who converted to Christianity in other parts of the world, even in the

729: 5676: 2209:". Part IV includes songs from the Gulf States, including Florida and Louisiana: Miscellaneous: "My father, how long?", "I'm in trouble", "O Daniel", "O brothers, don't get weary", "I want to join the band", " 701:

Starting in 1871, the Fisk Jubilee Singers began touring, creating more interest in the "spirituals as concert repertory". By 1872, the Jubilee Singers were publishing their own books of songs, which included

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As Africans were exposed to stories from the Bible, they began to see parallels to their own experiences. The story of the exile of the Jews and their captivity in Babylon, resonated with their own captivity.

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collected these songs on Port Royal Islands: "Archangel open the door", "My body rock 'long fever", "Bell da ring", "Pray all de member", "Turn, sinner, turn o'", "My army cross over", "Join the angel band",

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Reverend Alexander Reid had attended a Fisk Jubilee Singers' performance in 1871, and suggested they add several songs to their repertoire. Reid, who had been a superintendent at the Spencerville Academy in

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in 2019, as a "pre-eminent scholar of African music", said in 1973 that there is an important, interdependent, dynamic, and "unbroken conceptual relationship between African and African American music".

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The term "negro spirituals" is a 19th century word "used for songs with religious texts created by African Enslaved in America". The first published book of slave songs referred to them as "spirituals".

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Evidence of the vital role African music has played in the creation of African American spirituals exists, among other elements, in the use of "complex rhythms" and "polyrhythms" from West Africa.

457:"The African American spiritual (also called the Negro Spiritual) constitutes one of the largest and most significant forms of American folksong," according to a Library of Congress 2016 article. 4044: 1344:'s "Sing their souls back home'" were based on African American spirituals, and that became the musical backdrop of the call for democracy around the globe. Many of the freedom songs, such as " 1583:

Hounds, "played live, improvised", "unpredicatable", "breakneck" music that was a "refreshing contrast to the buttoned-up versions of the blues interpreted by white artists across the 1910s".

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the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds.

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semantic content), spirituals acted as a form of religious education, able to speak simultaneously of material and spiritual freedom", for example in the spiritual, "Steal Away to Jesus".

1231:" are fast-paced, "rhythmic and often syncopated". Spiritual songs which looked forward to a time of future happiness, or deliverance from tribulation, were often known as 'jubilees. 1220:

and hymns as well as spirituals. Examples of these early nineteenth century groups include the Norfolk Jubilee Quartet, the Utica Jubilee Singers, and the Tuskegee Institute Singers.

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From 1890 through 1919, "African Americans made significant contributions to the recording industry in its formative years", with recordings by the Fisk Jubilee Singers and others.

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From 1501 through 1867, approximately "12.5 million Africans" from "almost every country with an Atlantic coastline" were kidnapped and coerced into slavery, according to the 2015

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In their early days, the Jubilee Singers did not sing the slave songs. Sheppard—who also composed and arranged music—explained how slave songs, like those published in the 1867

1763:. While many were pressured to convert to Christianity, the Sahelian slaves were allowed to maintain their musical traditions, adapting their skills to instruments such as the 397: 327:—were unique, because they had been much more isolated on the islands off the coast of South Carolina. Gullah spirituals are sung in a creole language that was influenced by 634:

African-American spirituals have associations with plantation songs, slave songs, freedom songs, and songs of the Underground Railway, and were oral until the end of the

1744:

since the seventh and eighth centuries." There was particularly a significant trans-Saharan cross-fertilization between the musical traditions of the Maghreb and the

6112:

also houses a special digitized American choral music collection which features arrangements of spirituals by composers like Henry T. Burleigh and R. Nathaniel Dett.

4639:

also houses a special digitized American choral music collection which features arrangements of spirituals by composers like Henry T. Burleigh and R. Nathaniel Dett.

2445:{{Cite web| title = Background on Remember Slavery: Remembrance of the Victims of Slavery and the Transatlantic Slave Trade| access-date = February 27, 2021 | url = 2251:– professional musicians who also acted as their tribe’s historians and social commentators – performed roles not unlike those of the later blues singers, while the 311:—to a life of enslavement in what is now, Mexico. The Kingdom of Kongo, at that time stretched over an area of 60,000 miles (97,000 km) in the watershed of the 2736: 1628: 1181: 722: 528:

interview, "spirituals were religious folks songs, often rooted in biblical stories, woven together, sung, and passed along from one slave generation to another".

2567:

styles and secular American music forms. Spirituals were originally an oral tradition and imparted Christian values while also defining the hardships of slavery.

2556: 1266:—a network of secret routes and safe houses used by slaves in the United States to find freedom. warn slaves to get off the trail and into the water to prevent 551:

protecting the African American religion from being colonized, and in this way preserved the "sacred as a potential space of resistance". A 2015 article in the

2126: 1712:

music, noting that both have similar lyrics praising God, melody, note changes, "words that seem to quiver and shake" in the vocal chords, dramatic changes in

1361: 5350: 1309:". James Kelley in his 2008 article said that there is a lack of corroborating sources to prove that there is a coded message in "Follow the Drinking Gourd". 2702: 3058: 188:'s commercial success in 1920. Starting in the 1920s, the commercial recording industry increased the audience for the spirituals and their derivatives. 4686:

Snyder, Jean E. (1993). "A great and noble school of music: Dvořák, Harry T. Burleigh, and the African American Spiritual". In Tibbetts, John C. (ed.).

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The Development of the Negro Spiritual as Choral Art Music by Afro-American Composers: With an Annotated Guide to the Performance of Selected Spirituals

1538: 275:

enslaved similar numbers of Africans, with between 8 million and 17 million individuals taken from Africa between the 8th and 19th centuries along the

4052: 2355: 7481: 5248: 3532: 1166: 1051:

The latter half of the 20th century saw a resurgence of the spiritual. This trend was impacted strongly by composers and musical directors such as

6852: 2233: 996:(1898–1981), an African American composer who wrote many popular concert arrangements of the spirituals. Boatner and Willa A. Townsend published 208: 6088:. Volume 3: The United States and Canada (New York and London: Garland Publishing, 2001) pp. 624–629; also pp. 523–524, pp. 68–69 1258:, segment entitled "Singing in Slavery: Songs of Survival, Songs of Freedom" said that, while it is "has not been proven, it is believed"—that " 4358: 1345: 1224: 689:, who commanded the first African-American regiment of the Civil War, the 1st South Carolina Volunteers—"recruited, trained, and stationed at 438:, said that spirituals "sustained Africans when they were enslaved." She described them as "code songs" that "would announce meetings, as in " 532: 6091:

Nash, Elizabeth (2007). "Autobiographical Reminiscences of African-American Classical Singers, 1853–Present". Lewiston: Edwin Mellen Press.

6877: 6228: 4208: 2099: 841: 3837: 315:—the second longest river in Africa—and had a population of 2.5 million—was one of the largest African kingdoms. For a brief period, King 6176: 1293:

capture and the route to take to successfully make their way to freedom. Other spirituals that some believe have coded messages include "

259:

based on about 35,000 slaving voyages. Roughly 6% of all enslaved Africans transported via the trans-Atlantic slave trade arrived in the

5394: 7917: 4554: 3964:

Old Plantation Hymns: A Collection of Hitherto Unpublished Melodies of the Slave and the Freeman, with Historical and Descriptive Notes

2339: 2060: 17: 3778: 7922: 6440: 5832: 184:

At first, major recording studios were only recording white musicians performing spirituals and their derivatives. That changed with

1608:

music is also marketed commercially and draws on contemporary, secular sounds while still conveying spiritual and religious ideas."

7670: 5128: 2731: 2010: 1960: 1204: 1146:

Over time "formal concert tradition has evolved," which included the work of the Hampton Singers under composer R. Nathaniel Dett.

1724:

who accounted for an estimated 30% of African slaves in America. According to Kubik, "the vocal style of many blues singers using

1619:

traced the emergence of Gospel music as a "discrete musical style" to the Deep South in 1906 in Pentecostal churches. Through the

6927: 1825: 6127:: Includes commentary on the repertory and the words with the music (harmonized) of the spirituals and other songs anthologized. 4411: 524:

Enslaved African Americans "in the plantation South drew on native rhythms and their African heritage." According to a May 2012

153:, which merged varied African cultural influences with the experiences of being held in bondage in slavery, at first during the 6973: 4659: 1037:

The Fisk Jubilee Singers continue to maintain their popularity in the 21st century with live performances in locations such as

464: 7932: 7474: 6075: 6056: 5965: 5922: 5800: 5771: 5746: 5282: 5202: 4767: 4724: 4588: 4530: 4320: 4089: 3513: 3488: 3270: 2954: 2922: 2530: 2412: 2375: 1995: 1875: 1771:. Some were also allowed to perform at balls for slave-holders, allowing the migration of their music across the Deep South. 1208: 1088:

Along with the "solo call and unison response", songs may include "overlapping layers, and spine-tingling falsetto humming."

264: 212:—one of the largest reference works on music and musicians,—itemized and described "spiritual" in their electronic resource, 6137: 5414:"Song, Story, or History: Resisting Claims of a Coded Message in the African American Spiritual "Follow the Drinking Gourd"" 3877:. Getting Back To You - Divining America: Religion in American History. Research Triangle Park, North Carolina. October 2000 3180:

Rawley, James A.; Behrendt, Stephen D. (December 2005). The Transatlantic Slave Trade: A History. p. 63. ISBN 0-8032-0512-0.

5006: 3226: 858:, Moore—one of the original nine Fisk Jubilee Singers—returned to Fisk and began to coach new jubilee vocalists, including 661: 496:

Arthur C. Jones, a Professor in the Musicology, Ethnomusicology and Theory Department at the Lamont School of Music at the

6121:

American Negro Songs and Spirituals: a Comprehensive Collection of 230 Folk Songs, Religious and Secular, with a Foreword

6085: 1920: 328: 4612: 3190:

Cameron, Guy; Vermette, Stephen (2012). "The Role of Extreme Cold in the Failure of the San Miguel de Gualdape Colony".

6033: 6005: 5598: 4386: 3166: 2551: 2005: 1859: 1620: 626:

Syncopation, or ragged time, was a natural part of spiritual music. Songs were played on African-inspired instruments.

4229: 1122:

Numerous rhythmical and sonic elements of spirituals can be traced to African sources, including prominent use of the

7392: 6902: 6882: 6872: 6278: 6096: 5897: 5071: 4963: 4576: 4027: 3996: 3018: 2862:

Painter, Nell Irvin; Berlin, Ira (2000). "Many Thousands Gone: The First Two Centuries of Slavery in North America".

2210: 2045: 1940: 1840: 2125:

in the 17th, 18th and 19th centuries. Slavery was not abolished in the U.S. until 1865 through the enactment of the

1048:

Spirituals remain a mainstay particularly in small black churches, often Baptist or Pentecostal, in the deep South.

165:

altering mainly the nature (but not continuation) of slavery for many. Many new derivative music genres such as the

7467: 7001: 6887: 6585: 6221: 6105:

on the Library of Congress web portal contains many examples of digitized recordings and sheet music of spirituals.

5354: 1975: 640: 351: 7734: 7514: 7034: 6922: 6917: 6897: 6707: 5466: 3842: 3783: 2090: 833: 3371: 2402: 2193:, "Shall I die?", "When we do meet again", "The white marble stone", "I can't stand the fire", "Meet, o Lord", " 485:

misapprehension of the facts in his source of material, generally the Bible." The couple were active during the

3820: 2065: 1985: 1885: 1081:

Spirituals were originally unaccompanied monophonic songs. The tempo in some songs may be slowed down at times—

586:, resulted in many enslaved people in the colonies being converting to Christianity. During that time northern 375:

and Brazil had been born in Africa, whereas in the United States, they were "generations removed from Africa."

267:; the remainder went to Brazil, the West Indies or other regions. The majority of these Africans came from the 6182: 2222:

A.M. Jones' (1889–1980) experience was in Zambia during the early 1900s. He was a missionary and musicologist.

1401:, described in the 19th century. Field hollers laid the foundations for the blues, spirituals, and eventually 7580: 6487: 6433: 6298: 2664: 1169:

transformed the "cappella arrangements of spirituals for choruses" beyond its "traditional folk song roots".

3663: 2466: 7927: 7799: 6907: 6892: 6544: 6539: 5096: 2130: 1930: 1534: 1004: 513: 443: 114: 5500: 4858: 4700:

This spiritual, "Go Down Moses" sung by Marian Anderson in 1924 was taken from an arrangement to Burleigh.

6912: 6272: 6214: 6158: 5333: 2095: 1990: 1863: 1830: 1285: 620: 31: 5708: 2238: 7490: 6605: 6549: 5590: 5318: 4378:

The Choctaw Freedmen and the Story of Oak Hill Industrial Academy, Valliant, McCurtain County, Oklahoma

3873: 3437: 3128: 1867: 1281: 767: 686: 268: 157:

and for centuries afterwards, through the domestic slave trade. Spirituals encompass the "sing songs",

6147: 4660:"The Life and Career of Edward Boatner and an Inventory of the Boatner Papers at the Schomburg Center" 2446: 7894: 7072: 6673: 4151:(September 1982). "Enthusiasm Described and Decried: The Great Awakening as Interpretative Fiction". 3868: 2272: 2035: 2030: 1915: 1306: 677:(1861 - ), where newly-freed African American plantation workers successfully took over operation of 181:—established in 1871—popularized spirituals, bringing them to a wider, even international, audience. 162: 4105:

Lambert, Frank (Winter 2002). "'I Saw the Book Talk': Slave Readings of the First Great Awakening".

975:

in 1929, which made "spirituals available to solo concert singers as art songs for the first time".

7605: 7092: 6991: 6963: 6958: 6932: 6666: 6426: 2025: 1721: 1637: 1302: 1154: 1131: 776: 738: 690: 579: 4927: 1041:

in 2019 in Nashville, Tennessee. In 2019 Tazewell Thompson presented an cappella musical entitled

7402: 7397: 7387: 7133: 6580: 5546: 5337: 5063: 5002: 2367: 2202: 1880: 1289: 1228: 1199: 423: 3416: 2283:, which seem to have been directly responsible for the characteristic vocal style of the blues." 1426: 787:", and others that Willis and his wife had sung. The Jubilee Singers popularized Willis' songs. 770:

in the 1850s, had heard two workers enslaved by the Choctaw people, —an African-American couple—

6559: 6308: 3988: 3982: 2198: 1810: 1450: 1398: 1078:

Qualities of the spirituals include mastery of the blending of voices, timing, and intonation.

1012: 952:

to African-American spirituals. Some believe that Dvorak was inspired by the spirituals in his

763: 364: 355: 296: 5991: 4714: 4520: 3438:"Sorrow Songs and Self-Knowledge: The Politics of Recognition and Tragedy in W.E.B. Du Bois's 1085:—as in the case of "sorrow songs" and/or to showcase the "beauty and blending of the voices". 949: 7697: 7585: 7573: 7082: 6948: 6651: 6190: 6155:, including 75 African American spirituals with downloadable arrangements for solo instrument 5788: 5672: 4784: 4246:

Allen, William Francis; Ware, Charles Pickard; Garrison, Lucy McKim; Schlein, Irving (1965),

3810: 2267:. One musical influence that can be traced back to African sources is that of the plantation 2181: 2118: 1925: 1910: 1666: 1616: 1353: 1026: 982: 886: 674: 653: 571: 6152: 5029: 4955: 3962: 2794: 1356:(1954–1968) were adapted from some of the early African American spirituals. Some such as, " 7779: 7447: 7256: 7210: 7118: 6727: 5527:

Freedom is a constant struggle: songs of the freedom movement, with documentary photographs

4467:"There Breathes a Hope: The Legacy of John Work II and His Fisk Jubilee Quartet, 1909–1916" 2818: 2161: 1965: 1518: 1374: 1274: 1263: 1177: 1038: 902: 859: 810: 801: 742: 657: 645: 497: 477: 178: 154: 5889: 5883: 4376: 4262: 2186: 889:(1882–1943) as conductor until 1933, Hampton Singers "earned an international following." 8: 7937: 7821: 7541: 7288: 7138: 7027: 6700: 6237: 5840: 4833: 3588: 3537: 2309: 1905: 1632: 1136: 1017: 649: 611:

The lyrics of Christian spirituals reference symbolic aspects of Biblical images such as

372: 276: 272: 235:

in the 1990s, the single term "spirituals" is used to describe "The Spirituals Project".

217: 7509: 6467: 4291: 3541:. The Library of Congress Celebrates the Songs of America. Washington, D.C. July 1, 2016 3337: 2741: 1862:

and may never be able to satisfy particular standards for completeness. You can help by

828:—a time of the emancipation of slaves. On January 9, 1866, shortly after the end of the 307:. In 1619, the first slave ship had carried twenty people from the west central African 7841: 7635: 7271: 7183: 6661: 6627: 6492: 6360: 6194: 5714: 5655: 4594: 4494: 4352: 4168: 4130: 4122: 3936: 3729: 3721: 3636: 3461: 3396: 3318: 3207: 2990: 2887: 2813: 2669: 2640: 2600: 2173: 2152:

Part I of the collection included songs from the South-Eastern Slave States, including

2000: 1717: 1646: 924: 882: 829: 780: 486: 481: 402: 388: 213: 99: 7536: 2971:"Asante: Human Sacrifice or Capital Punishment? An Assessment of the Period 1807-1874" 316: 7853: 7625: 7524: 7193: 7128: 6832: 6716: 6590: 6482: 6355: 6248: 6092: 6071: 6052: 6049:

African American music, spirituals: the fundamental communal music of Black Americans

6029: 6001: 5961: 5918: 5893: 5796: 5767: 5742: 5659: 5604: 5594: 5429: 5278: 5219: 5198: 5077: 5067: 4959: 4948: 4763: 4720: 4584: 4526: 4498: 4486: 4419: 4382: 4316: 4134: 4085: 4023: 3992: 3940: 3928: 3816: 3733: 3713: 3671: 3509: 3484: 3481:

African American music, spirituals: the fundamental communal music of Black Americans

3465: 3345: 3310: 3266: 3234: 3199: 3162: 3155: 3014: 2950: 2918: 2905:

Lovejoy, Paul E. (2011), "Slavery and "Legitimate Trade" on the West African Coast",

2879: 2799:. Book from the collections of University of Michigan. New York: A. Simpson & Co. 2674: 2526: 2408: 2371: 2102: 2055: 2040: 1900: 1890: 1702: 1683: 1422: 1357: 1349: 1259: 989: 929: 918: 878: 678: 583: 575: 432:

African American music, spirituals: the fundamental communal music of Black Americans

283: 196: 150: 81: 7563: 7546: 5313: 2336:

material, generally the Bible." "...this music which is America's only folk music...

1111:. According to a McGraw Hill publication for grade school, "Spirituals were sung as 7595: 7324: 7235: 7097: 6817: 6595: 6283: 6109: 6102: 5647: 5425: 4636: 4598: 4478: 4160: 4114: 3918: 3705: 3453: 3302: 3031: 2982: 2942: 2910: 2871: 2632: 2592: 2363: 2106: 2015: 1955: 1442: 1402: 1298: 1294: 1123: 1066: 806: 703: 343:. The institution of slavery in the United States ended with the conclusion of the 308: 6142: 7865: 7709: 7610: 7225: 7188: 7077: 6953: 6847: 6842: 6837: 6806: 6750: 6740: 6656: 6610: 6449: 6392: 6380: 6200: 4988: 4755: 4310: 4079: 3009: 2946: 2914: 1945: 1852: 1835: 1815: 1705: 1698: 1612: 1406: 1337: 1162: 1158: 1140: 1056: 957: 940: 837: 336: 304: 232: 146: 7600: 5871:

Welding, Pete (September 1966). "Ethnomusicology". University of Illinois Press.

1021:

which was revised with added African rhythms in 1952 following Dawson's trip to

7831: 7719: 7702: 7630: 7435: 7283: 7215: 7168: 7020: 6827: 6812: 6782: 6755: 6735: 6693: 6622: 6600: 6288: 6253: 6187:, performed by unknown persons in the Bay Area of California in the early 1920s 6041:

Extending the Canon: Thomas Wentworth Higginson and African-American Spirituals

5651: 4345:

Extending the Canon: Thomas Wentworth Higginson and African-American Spirituals

4075: 2169: 2153: 2050: 1970: 1756: 1679: 1570: 1502: 1434: 1235: 1194: 1007:(1876 – 1938), a composer, choir director, music professor, and 993: 936: 914: 854:

By 1878 the Singers had disbanded. In 1890 the Singers legacy was revived when

771: 665: 451: 418: 300: 292: 248: 192: 4859:"African American Spirituals (unable to access title, author, date, live url)" 4803: 4482: 4248:

Slave songs of the United States; the complete original collection (136 songs)

4081:

The Great Awakening: The Roots of Evangelical Christianity in Colonial America

3612: 3112: 2623:

Nketia, J.H. Kwanbena (1978). "The Study of African and Afro-American Music".

7911: 7882: 7809: 7690: 7675: 7568: 7459: 7371: 7349: 7261: 7251: 7230: 7205: 7173: 7156: 6646: 6634: 6615: 6407: 6372: 5608: 5562: 5190: 5098:

West African music in the music of Art Blakey, Yusef Lateef, and Randy Weston

4915: 4899: 4876: 4490: 4186: 3932: 3923: 3717: 3675: 3376:

The Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition

3349: 3314: 3238: 3203: 2883: 2678: 2276: 2194: 2177: 2122: 1935: 1737: 1713: 1690: 1686: 1642: 1596: 1574: 1547: 1487: 1379: 1329: 1325: 1314: 1108: 1096: 1092: 855: 825: 447: 340: 332: 260: 68: 63: 5861:"Crazy Blues" was recorded by Okeh Records and its catalogue number is 4169. 2561: 1755:

slaves and the predominantly non-Muslim slaves from coastal West Africa and

7714: 7519: 7423: 7356: 7298: 7161: 7123: 7102: 7087: 7062: 6968: 6822: 6792: 6777: 6772: 6765: 6745: 6641: 6564: 6554: 6333: 6293: 5627: 5622: 5585: 5580: 5081: 3108: 2844: 2304: 2280: 1820: 1802: 1788: 1733: 1709: 1566: 1483: 1478: 1465: 1438: 1418: 1410: 1394: 1104: 1008: 965: 961: 635: 414: 344: 324: 173: 58: 7531: 6522: 5424:(2). The Journal of Popular Culture 41.2 (April 2008): 262–280.: 262–280. 4701: 3583: 1751:

There was a difference in the music performed by the predominantly Muslim

303:. They were also the first enslaved Africans in North Americas to stage a 7804: 7764: 7744: 7339: 7334: 7278: 7266: 7220: 7198: 7178: 7067: 6502: 6497: 6260: 5938: 5833:""Crazy Blues"—Mamie Smith (1920) - Added to the National Registry: 2005" 5703: 5445: 5055: 4118: 2795:

Charles Pickard Ware; Lucy McKim Garrison; William Francis Allen (1867).

2206: 2157: 1950: 1729: 1578: 1562: 1543: 1506: 1414: 1341: 1267: 1239: 1150: 1052: 1022: 360: 312: 185: 142: 7620: 5434:

Kelley said that the 1928 popular account by H.B. Parks was implausible.

3211: 2665:"100 Years Ago, 'Crazy Blues' Sparked a Revolution for Black Women Fans" 2190: 1360:," combined the gospel hymn "I'll Overcome Someday" with the spiritual " 978: 7655: 7366: 7361: 7344: 7329: 6507: 6402: 6397: 6385: 4172: 4148: 4126: 3725: 3262:

The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo

2937:

McMahon, Elisabeth (2013), "Mitigating Vulnerability through Kinship",

2891: 2644: 2268: 2020: 1498: 1333: 1100: 1011:, is known, among other accomplishments, for the world premiere by the 819: 784: 753: 616: 439: 288: 228: 158: 53: 6206: 4716:

Lost Sounds: Blacks and the Birth of the Recording Industry, 1890–1919

4581:

Lost Sounds: Blacks and the Birth of the Recording Industry, 1890–1919

3322: 2994: 2970: 2604: 2580: 1728:, wavy intonation, and so forth is a heritage of that large region of 7872: 7816: 7615: 7057: 6797: 6463: 6326: 6265: 6163: 5997: 5501:"Negro Folk Expression: Spirituals, Seculars, Ballads and Work Songs" 3664:"J.H. Kwabena Nketia, 97, Pre-eminent Scholar of African Music, Dies" 3372:"The Gullah: Rice, Slavery, and the Sierra Leone-American Connection" 3293:

Schrag, Norm; Hilton, Anne (1987). "Review of The Kingdom of Kongo".

2467:"Hansonia Caldwell: 'Living Legend' Presents Final Spiritual Concert" 2117:

Spirituals originated with the enslaved Africans who were brought to

1895: 1592: 1526: 1522: 1430: 591: 7504: 5413: 4164: 3906: 3709: 2875: 2636: 1211:"—songs that are intense and melancholic—are sung at a slower pace. 885:. They were the first ensemble to "rival the Jubilee Singers". With 7558: 7303: 6345: 3457: 3306: 2986: 2596: 2447:

https://www.un.org/en/events/slaveryremembranceday/background.shtml

1752: 1397:

music, also known as levee camp holler music, was an early form of

943:

composer and baritone performed in many concert settings published

656:(1830–1889) The 1867 compilation built on the entire collection of 383: 6418: 5376: 4954:(First ed.). New York: Macmillan Publishing Company. p. 3260: 7792: 7729: 7724: 7685: 7640: 7308: 6760: 6472: 6350: 6070:(First ed.). Los Angeles, California: Ikoro Communications. 5377:"The Official Site of the Negro Spirituals, antique Gospel Music" 4928:"KET Documentaries | American Spiritual Ensemble | KET" 3812:

Old Ship of Zion: The Afro-Baptist Ritual in the African Diaspora

2490: 2488: 1980: 1741: 1725: 1514: 1510: 1112: 1107:,. Historian Jonathan Curiel also noted possible influences from 587: 5129:"The Spirituals Project And The Deep Meaning Of Slave-Era Songs" 1855:

spirituals were written or widely adopted by African Americans:

1223:

Jubilee songs, also known as "camp meeting songs," such as and "

7860: 7769: 7590: 6338: 5300:

Just over the Line: Chester County and the Underground Railroad

4997: 2165: 1768: 1764: 1185:

ways people used in their "multilayered struggle for freedom."

669: 368: 320: 7826: 3401:

Narrative of the Life of Frederick Douglass, an American Slave

2707:

African American Composers and The Concert Spiritual Tradition

2485: 1382:(1878–1967), the American poet and folklorist, he wrote that " 795: 398:

Narrative of the Life of Frederick Douglass, an American Slave

7877: 7836: 7787: 7749: 7680: 7645: 7553: 7293: 7043: 6719: 6316: 3059:"Historical Context: Facts about the Slave Trade and Slavery" 2726: 2724: 2333:. Da Capo Press. pp. 13, 17 – via Google Scholar. 2263: 2257: 2252: 2247: 1760: 1745: 1694: 1553: 1530: 1461: 1318: 612: 490: 166: 94: 4950:

Honkers and Shouters: The Golden Years of Rhythm & Blues

4230:"African American spiritual music: A historical perspective" 3227:"A Brief History of Slavery That You Didn't Learn in School" 2239:

From obscure and largely undocumented rural American origins

1115:

and play songs. Some spirituals were adapted as work songs.

7889: 7759: 7739: 6477: 6321: 4267:

Dictionary of Unitarian and Universalist Biographies (UUDB)

3611:

blackhistorywalksundefined (Director) (November 17, 2013).

2941:, Cambridge: Cambridge University Press, pp. 193–230, 2909:, Cambridge: Cambridge University Press, pp. 160–184, 1446: 410: 4443:

Portable Nineteenth Century African American Women Writers

4285: 4283: 3747: 3412: 3410: 2721: 1321:

in the slave states, but the people sang it nonetheless."

629: 604:

community's new faith, as well as its sorrows and hopes."

491:

National Association for the Advancement of Colored People

7848: 5249:"Singing in Slavery: Songs of Survival, Songs of Freedom" 4575: 3847: 3788: 2349: 2347: 2085: 525: 7012: 5730: 5395:""Follow the Drinking Gourd"—African American Spiritual" 5195:

Black Gospel: An Illustrated History of the Gospel Sound

4245: 4239: 3861: 4733: 4280: 3655: 3407: 3295:

The International Journal of African Historical Studies

3265:. Chapel Hill: The University of North Carolina Press. 2975:

The International Journal of African Historical Studies

2756: 2557:

National Museum of African American History and Culture

2129:

when all enslaved people were legally emancipated. See

1693:

as an influence. Diouf notes a resemblance between the

5242: 5240: 4441:

Robbins, Hollis; Gates, Henry Louis Jr., eds. (2017).

3829: 3698:

Africa: Journal of the International African Institute

2658: 2656: 2654: 2344: 1720:. She attributes the origins of field holler music to 6166:, searchable discography of spirituals for solo voice 6068:

African American music: a chronology : 1619–1995

5875: 5266: 4829:"'Jubilee' makes a star of the chorus at Arena Stage" 4802:

Barbershop Harmony Society (Director) (May 3, 2019).

4460: 4458: 4456: 4454: 4452: 4254: 3506:

African American music: a chronology : 1619–1995

3338:"A Black Cultural Tradition and Its Unlikely Keepers" 3329: 2839: 2837: 2441: 2439: 2275:

format, and more especially the relatively free-form

864:

New Jubilee Songs as Sung by the Fisk Jubilee Singers

436:

African American music: a chronology : 1619–1995

27:

Music genre created by generations of Black Americans

5635: 4525:. Rowman & Littlefield Publishers. p. 387. 3431: 3429: 3218: 2898: 2396: 2394: 2329:

Johnson, James Weldon; Johnson, J. Rosamond (2009).

1778: 660:, who had mainly collected songs at Coffin's Point, 5525:Carawan, Guy; Carawan, Candie; Raim, Ethel (1968), 5237: 5030:"Pentatonic Scales In Popular Music And Spirituals" 4653: 4651: 4649: 4647: 4645: 4406: 4404: 4402: 4400: 4398: 4209:"River Jordan in Early African American Spirituals" 3772: 3770: 3768: 3766: 3764: 3053: 3051: 3049: 3047: 3045: 2790: 2788: 2786: 2784: 2782: 2780: 2778: 2776: 2774: 2651: 331:with the majority of African words coming from the 5707: 5615: 5573: 5524: 5217: 5185: 5183: 4947: 4719:. University of Illinois Press. pp. 488–492. 4449: 4370: 4368: 3900: 3898: 3896: 3894: 3892: 3395: 3225:Elliott, Mary; Hughes, Jazmine (August 19, 2019). 3154: 2834: 2436: 1073: 1045:, which is a tribute to the Fisk Jubilee Singers. 1032: 908: 644:, it was compiled by three northern abolitionists— 442:", and describe the path for running away, as in " 6051:. Culver City, California: Ikoro Communications. 5342: 4894: 4892: 4890: 4141: 4051:. Spotlight on music. McGraw Hill. Archived from 4039: 4037: 4035: 3508:. Los Angeles, California: Ikoro Communications. 3483:. Culver City, California: Ikoro Communications. 3426: 3423:, Annenberg Learner. Retrieved September 9, 2019. 2471:California State University, Dominguez Hills News 2391: 1270:—used by the slavers—from following their trail. 783:, "The Angels are Coming", "I'm a Rolling", and " 7909: 5824: 5698: 5696: 5694: 5533: 5369: 4642: 4395: 4012: 4010: 4008: 3976: 3974: 3761: 3578: 3576: 3183: 3063:The Gilder Lehrman Institute of American History 3042: 2771: 2762: 2461: 2459: 2457: 2455: 1468:are derivatives of African American spirituals. 1421:) or turpentine camps were the precursor to the 956:. He coached African-American soloists, such as 247:The transatlantic slave trade is described by a 5864: 5755: 5446:"Follow the Drinking Gourd: A Cultural History" 5180: 5166:"Golden Gate Quartet: Gospel Train (1937–1942)" 4739: 4690:. Portland, Oregon: Amadeus Press. p. 131. 4365: 3889: 3574: 3572: 3570: 3568: 3566: 3564: 3562: 3560: 3558: 3556: 3527: 3525: 3363: 3189: 3126: 2939:Slavery and Emancipation in Islamic East Africa 2765:The New Grove Dictionary of Music and Musicians 2697: 2695: 2523:Wade in the water: the wisdom of the spirituals 2400: 2234:The New Grove Dictionary of Music and Musicians 877:In 1873, the Hampton Singers formed a group in 209:The New Grove Dictionary of Music and Musicians 7489: 6715: 5786: 5555: 5494: 5492: 5490: 5488: 5291: 4887: 4342: 4032: 3987:. New York: W.W. Norton and Company. pp. 3157:Islam's Black Slaves: The Other Black Diaspora 2618: 2616: 2614: 2328: 2324: 2322: 2320: 2255:is thought to be a direct descendant of their 1673: 1497:The blues form originated in the 1860s in the 7475: 7028: 6701: 6434: 6222: 6153:Historical Notes on African American melodies 5915:How Sweet the Sound: The Golden Age of Gospel 5809: 5691: 5677:African American Intellectual History Society 5561: 5518: 5505:University of Illinois, Department of English 4930:. October 19, 2023 – via video.ket.org. 4583:. University of Illinois Press. p. 656. 4522:Encyclopedia of Great Popular Song Recordings 4381:. Iowa and Florida: Journal and Times Press. 4206: 4005: 3971: 3614:Slave Songbook: Origin of the negro Spiritual 3497: 3472: 3224: 2861: 2808: 2806: 2546: 2544: 2542: 2452: 1324:A 2016 Library of Congress article said that 960:, as solo classical singers. Others, such as 892: 817:The original Fisk Jubilee Singers, a touring 5780: 5621: 5579: 4744:, Nashville, Tenn.: Sunday School Pub. Board 4539: 4512: 4440: 3553: 3522: 3389: 3292: 3252: 3152: 2763:Hitchcock, H. Wiley; Stanley, Sadie (1986). 2732:"Sweet Chariot: the story of the spirituals" 2692: 2516: 2514: 2512: 2510: 2508: 2506: 1273:Jones described how during the years of the 545: 5985: 5983: 5981: 5979: 5977: 5485: 5348: 5054: 4740:Boatner, Edward; Townsend, Willa A (1927), 4569: 2611: 2317: 1708:in the early 7th century) and 19th-century 1262:" was one of the songs associated with the 796:Fisk Jubilee Singers popularized spirituals 489:James Weldon Johnson was the leader of the 7482: 7468: 7035: 7021: 6708: 6694: 6441: 6427: 6229: 6215: 6138:Sweet Chariot: the story of the spirituals 6026:Blues People: Negro Music in White America 5405: 5159: 5157: 5155: 5153: 5151: 5149: 5048: 4712: 4706: 4357:: CS1 maint: location missing publisher ( 4336: 4224: 4222: 3802: 3689: 3661: 2803: 2539: 2368:10.1093/gmo/9781561592630.article.A2225625 1405:. Field hollers, cries and hollers of the 1193:Slave songs were called "Sorrow Songs" by 1180:professor, Arthur Jones, who established " 901:Tuskegee Quartet was organized in 1884 by 5787:Komara, Edward; Washburn, Robert (2005). 5189: 5127:Stephanie Wolf (Director), Arthur Jones. 5094: 4983: 4981: 4979: 4977: 4975: 4471:Journal of the Society for American Music 4308: 4290:Higginson, Thomas Wentworth (June 1867). 4289: 4021:(3 ed.). W. W. Norton & Company. 3922: 3835: 2503: 1203:. Sorrow songs are spirituals, such as, " 1025:. One of his most popular spirituals is " 6065: 6046: 5974: 5297: 5272: 4853: 4851: 4826: 4805:Fisk Jubilee Singers - Wade In the Water 4754: 4518: 4016: 3980: 3604: 3503: 3478: 3435: 3335: 3082:Luiz Felipe de Alencastro, "Traite", in 2968: 2578: 2401:Eltis, David; Richardson, David (2015). 2011:Sometimes I Feel Like a Motherless Child 1663:White Spirituals in the Southern Uplands 1552: 1533:—states that were most dependent on the 1205:Sometimes I Feel Like a Motherless Child 1149:In the 20th century, composers, such as 977: 923: 805: 559:In William Eleazar Barton's (1899–1972) 468:Portrait of James Weldon Johnson in 1932 463: 382: 6236: 5993:Routledge Handbook of Islam in the West 5989: 5955: 5870: 5815: 5247:Berry, Kenyatta D. (January 27, 2017). 5146: 4941: 4939: 4937: 4785:"William Levi Dawson papers, 1903–1990" 4760:The Music of Black Americans: A History 4260: 4219: 4107:The Journal of African American History 4104: 4019:The Music of Black Americans: A History 3696:Jones, A. M. (1954). "African Rhythm". 3662:Russonello, Giovanni (March 19, 2019). 3258: 2936: 2904: 2131:History of slavery in the United States 2094:May 2012 interview with members of the 1826:History of slavery in the United States 1599:, did not evolve this particular form. 630:Collections of lyrics of the spirituals 574:, or "Evangelical Revival"—a series of 401:, an essay on abolition and a memoire, 169:emerged from the spirituals songcraft. 14: 7910: 6974:Contemporary Catholic liturgical music 5881: 5830: 5820:. Hamburg: Rowohlt Taschenbuch Verlag. 5736: 5665: 5641: 5467:"About the African-American Spiritual" 5411: 4987: 4972: 4783:Dawson, William Levi (July 24, 2006). 4782: 4685: 4657: 4464: 4147: 3960: 3904: 3748:"Morehouse College Glee Club: History" 2821:Arts, Humanities & Social Sciences 2662: 2622: 2404:Atlas of the Transatlantic Slave Trade 2353: 2331:The Books of American Negro Spirituals 474:The Books of American Negro Spirituals 7463: 7016: 6689: 6422: 6210: 5912: 5762:Kubik, Gerhard (September 23, 2009). 5761: 5673:"The Historical Roots of Blues Music" 5499:Brown, Sterling Allen (Winter 1953). 5498: 5353:. Soul Review. Jersey. Archived from 5246: 4848: 4667:American Music Research Center (AMRC) 4309:Higginson, Thomas Wentworth (2001) . 4213:National Endowment for the Humanities 4084:. Yale University Press. p. 19. 3815:. New York: Oxford University Press. 3808: 3695: 3336:Freedman, Samuel G. (June 18, 2011). 2663:Brooks, Daphne A. (August 10, 2020). 2520: 2494: 2088:correspondent Bob Faw said this in a 1961:He's Got the Whole World in His Hands 1229:Rocky my soul in the bosom of Abraham 866:with his brother, Frederick J. Work. 508: 6997: 6878:Christian bands and artists by genre 5943:Library of Congress, Washington, D.C 5644:Review of LeRoy Jones "Blues People" 5302:. Chester County Historical Society. 5120: 4945: 4934: 4074: 3740: 3421:American Passages: A Literary Survey 1172: 6448: 6086:Garland Encyclopedia of World Music 5766:. University Press of Mississippi. 5443: 4065:A connectED program for Grades 1–8. 3776: 1656: 1425:of African American spirituals and 939:'s (1866–1949)—an African-American 503: 329:African American Vernacular English 24: 6521: 6018: 5702: 5163: 4375:Flickinger, Robert Elliot (1914). 4315:. Digital Scanning, Incorporated. 3836:Abernethy, Bob (August 26, 2005). 2579:Franklin, Bruce H. (Spring 1979). 2098:—the official choral group of the 2006:Satan, Your Kingdom Must Come Down 1996:Nobody Knows the Trouble I've Seen 1732:that had been in contact with the 1209:Nobody Knows the Trouble I've Seen 973:Jubilee Songs of the United States 945:Jubilee Songs of the United States 872: 711: 598: 323:people—whose country of origin is 25: 7949: 7918:African-American cultural history 6193:, from the Library of Congress's 6131: 5027: 4827:Pressley, Nelson (May 20, 2019). 4742:Spirituals triumphant old and new 4261:Andrews, Barry (March 24, 2015). 3436:Kirkland, Paul E. (Summer 2015). 3369: 3127:Adam Hochschild (March 4, 2001). 3013:". Transaction Publishers. p.63. 1841:Songs of the Underground Railroad 1413:working in cotton fields, prison 1238:church in the 1910s and 1920s in 998:Spirituals triumphant old and new 790: 430:Hansonia Caldwell, the author of 7923:African-American spiritual songs 7654: 7442: 7441: 7430: 7429: 7417: 6996: 6987: 6986: 6586:Christian electronic dance music 6170: 5949: 5931: 5906: 5855: 5459: 5437: 5430:10.1111/j.1540-5931.2008.00502.x 5387: 5306: 5275:Harriet: The Moses of Her People 5211: 5108:(Thesis). PhD in Ethnomusicology 5088: 5034:Culture and the Pentatonic Scale 4465:Graham, Sandra Jean (May 2012). 4049:spotlightonmusic.macmillanmh.com 3961:Barton, William Eleazar (1899). 3843:Religion & Ethics Newsweekly 3784:Religion & Ethics Newsweekly 3192:The Georgia Historical Quarterly 2797:Slave Songs of the United States 2225: 2216: 2091:Religion & Ethics Newsweekly 1976:Joshua Fit the Battle of Jericho 1846: 1795: 1781: 1490:, according to a 1965 review of 1389: 1245: 1214: 752:Problems playing this file? See 727: 641:Slave Songs of the United States 413:entry. Slave songs were called " 6928:Christian worship music artists 6199:, performed by W. M. Givens in 6148:Marian Anderson: A Life in Song 5913:Boyer, Horace Clarence (1995). 5273:Bradford, Sarah H. (May 2008). 5036:. World Wide Jazz. pp. 6–8 5021: 4920: 4869: 4820: 4795: 4776: 4748: 4694: 4679: 4630: 4605: 4434: 4374: 4302: 4200: 4179: 4098: 4068: 3954: 3629: 3592:. Washington, D.C. July 1, 2016 3286: 3174: 3146: 3120: 3102: 3089: 3076: 3023: 3001: 2962: 2930: 2855: 2581:"Songs of an Imprisoned People" 2572: 2560:. June 29, 2012. Archived from 2552:"Celebrating Black Music Month" 2146: 2136: 2111: 2079: 1602: 1441:, and ultimately to the blues, 1188: 1126:(the black keys on the piano). 1074:Stylistic origins and qualities 1033:Spirituals in contemporary life 909:The concert spiritual tradition 834:American Missionary Association 668:, home to the African-American 295:in a short-lived colony called 6066:Caldwell, Hansonia L. (1996). 5888:. New York: Da Capo. pp. 5569:. Harcourt, Brace and Company. 5551:. Music Library UT Song Index. 5418:The Journal of Popular Culture 5095:Squinobal, Jason John (2009). 4236:, Vol. 18, No. 2, Spring 2000. 4207:Smith-Christopher, Daniel L., 3504:Caldwell, Hansonia L. (1996). 3344:. Charleston, South Carolina. 2525:. Maryknoll, NY: Orbis Books. 2297: 2168:people of Port Royal Islands, 2066:When the Saints Go Marching In 2046:We Are Climbing Jacob's Ladder 1986:Lord, I Want to Be a Christian 1886:Children, Go Where I Send Thee 1456: 1384:Ain' go'n' to study war no mo' 1280:A collaborative production by 1234:In some churches, such as the 1139:(1889–1980), a missionary and 271:. Other sources estimate the 202: 13: 1: 6488:Hymnody of continental Europe 6047:Caldwell, Hansonia L (2003). 5642:Deakin, N.D. (July 1, 1965), 5471:Charleston Spiritual Ensemble 5298:Kashatus, William C. (2002). 4900:"African American Spirituals" 4789:findingaids.library.emory.edu 4312:Army Life in a Black Regiment 4045:"African American Spirituals" 3838:"African-American Spirituals" 3779:"African-American Spirituals" 3584:"African American Spirituals" 3479:Caldwell, Hansonia L (2003). 3161:, Farrar, Straus and Giroux, 2845:"African American Spirituals" 2305:"African American Spirituals" 1367: 840:in Nashville, Tennessee, the 695:Army Life in a Black Regiment 619:from Egypt in songs such as " 578:in the 1730s and 1740s swept 516:(1921–2019) described by the 7933:Slavery in the United States 7822:European witchcraft folklore 6545:Contemporary Christian music 6540:Christian adult contemporary 6177:"Pharaoh's Army Got Drowned" 6110:Performing Arts Encyclopedia 6103:Performing Arts Encyclopedia 5956:Hurston, Zora Neale (1938). 5545:University Libraries at the 5529:, New York: Oak Publications 5351:"Understanding pages: coded" 5314:"Secrets: Signs and Symbols" 4688:Dvořák in America: 1892–1895 4637:Performing Arts Encyclopedia 4263:"Thomas Wentworth Higginson" 4250:, New York: Oak Publications 3984:The Music of Black Americans 3086:(2002), corpus 22, page 902. 2969:Williams, Clifford. (1988). 2947:10.1017/cbo9781139198837.008 2915:10.1017/cbo9781139014946.012 2354:Graham, Sandra Jean (2012). 2290: 2231:According to Paul Oliver in 2197:", "Early in the morning", " 1921:Every Time I Feel the Spirit 1542:sources by scholars such as 1471: 263:, both before and after the 7: 6123:. New York: Bonanza Books. 5791:. In Komara, Edward (ed.). 5334:Maryland Historical Society 5322:. Pathways to Freedom. 2002 5220:"My Bondage and My Freedom" 5218:Frederick Douglass (1855). 5168:. Thousand Oaks, California 4993:"Muslim Roots of the Blues" 4904:Singers: Primarily a capela 4881:American Spiritual Ensemble 4153:Journal of American History 3869:"African-American Religion" 2625:Black Perspectives in Music 2096:Morehouse College Glee Club 1991:Michael Row the Boat Ashore 1876:All God's Chillun Got Wings 1831:Original Nashville Students 1774: 1674:Possible Islamic influences 1286:Maryland Historical Society 954:Symphony From the New World 913:African American composers— 832:(1861 to May 9, 1865), the 621:Michael Row the Boat Ashore 378: 131:African American spirituals 32:Spirituals (disambiguation) 10: 7954: 7491:African diaspora religions 6606:Christian alternative rock 6550:Contemporary worship music 6179:, artists unknown (765 KB) 5652:10.1177/030639686500700114 5349:Ponomarenko, John (2001). 5332:in collaboration with the 5319:Maryland Public Television 4579:; Dick Spottswood (2004). 3905:Barker, Thomas P. (2015). 3874:National Humanities Center 3446:American Political Thought 2907:Transformations in Slavery 2176:", "Jehovah, hallelujah, " 2164:collecting songs from the 1941:Go Tell It on the Mountain 1857: 1665:, Vanderbilt University's 1627:Gospel Quartets, like the 1569:recording of the composer 1282:Maryland Public Television 1091:Stylistic origins include 893:Tuskegee Institute Quartet 842:historically black college 799: 723:"Swing Low, Sweet Chariot" 687:Thomas Wentworth Higginson 242: 29: 18:African-American spiritual 7895:Native American religions 7778: 7663: 7652: 7497: 7411: 7380: 7317: 7244: 7147: 7111: 7050: 7042: 6982: 6941: 6903:Christian hip hop artists 6883:Christian country artists 6873:Anglican church composers 6865: 6791: 6726: 6682: 6674:Urban contemporary gospel 6573: 6532: 6519: 6456: 6371: 6307: 6244: 6203:, on about March 19, 1926 5990:Tottoli, Roberto (2014). 5793:Encyclopedia of the Blues 4547:"John Wesley Work Papers" 4483:10.1017/S1752196312000107 4017:Southern, Eileen (1997). 3981:Southern, Eileen (1983). 3809:Pitts, Walter F. (1996). 2521:Jones, Arthur C. (1993). 2495:Evans, Arthur L. (1972). 2407:. Yale University Press. 2178:I hear from heaven to-day 2172:. These songs including " 2036:This Little Light of Mine 2031:There Is a Balm in Gilead 1931:Follow the Drinkin' Gourd 1916:Down in the River to Pray 1611:Well-known gospel singer 1307:Follow the Drinking Gourd 546:Religion in everyday life 444:Follow the Drinkin' Gourd 155:transatlantic slave trade 113: 108: 87: 77: 46: 41: 7393:Blues musicians by genre 7093:Traditional blues verses 6964:Christian music industry 6959:Christian music festival 6888:Christian hardcore bands 6084:Koskoff, Ellen, Ed. The 5816:Kunzler, Martin (1988). 5589:(1 ed.). New York: 5106:University of Pittsburgh 5060:Studies in African Music 4519:Sullivan, Steve (2017). 4228:Pershey, Monica Gordon. 3924:10.1177/0021934715574499 3911:Journal of Black Studies 3777:Faw, Bob (May 4, 2012). 3617:. Event occurs at 17:40 3259:Fromont, Cécile (2014). 3097:African Economic History 3084:Encyclopædia Universalis 2814:"The Spirituals Project" 2072: 2026:Swing Low, Sweet Chariot 1638:From Spirituals to Swing 1303:Swing Low, Sweet Chariot 1197:in his book, 1903 book, 1132:Studies in African Music 881:at what is now known as 777:Swing Low, Sweet Chariot 768:Choctaw Nation territory 739:Swing Low, Sweet Chariot 691:Beaufort, South Carolina 553:Journal of Black Studies 269:West African slave coast 172:Prior to the end of the 149:that is associated with 6923:Christian vocal artists 6918:Christian record labels 6898:Christian metal artists 6581:Christian country music 6191:"Deep Down in My Heart" 6164:The Spirituals Database 6159:Free Gospel sheet music 6039:Bauch, Marc A. (2013). 5917:. Elliott & Clark. 5882:Murray, Albert (1976). 5547:University of Tennessee 5381:www.negrospirituals.com 5338:Maryland State Archives 5064:Oxford University Press 5003:San Francisco Chronicle 4808:. Event occurs at 3:45 4658:Glover, Gisele (1998), 4445:. Penguin. p. 230. 4343:Bauch, Marc A. (2013). 3641:The Spirituals Database 3036:Encyclopædia Britannica 2864:African American Review 1372:In the 1927 anthology, 1290:Maryland State Archives 1200:The Souls of Black Folk 584:North American colonies 424:The Souls of Black Folk 391:from his 1845 narrative 354:that emerged after the 7664:Practices and concepts 6751:Ethiopian and Eritrean 6560:Neues Geistliches Lied 6526: 6309:African-American music 6024:Baraka, Amiri (1999). 5412:Kelley, James (2008). 4418:. 2006. Archived from 3967:. New York: AMS Press. 2737:The Spirituals Project 2499:. University of Miami. 2187:I an' Satan had a race 2061:When the Chariot Comes 1811:African-American music 1695:Islamic call to prayer 1629:Golden Jubilee Quartet 1558: 1451:African American music 1399:African American music 1182:The Spirituals Project 1013:Philadelphia Orchestra 986: 968:continued his legacy. 933: 814: 716: 469: 392: 356:United States Congress 297:San Miguel de Gualdape 216:—an important part of 7083:Musical improvisation 6949:Anglican church music 6652:Latin Christian music 6525: 5958:The Sanctified Church 5737:Oliver, Paul (1970). 5718:. Oxford Music Online 4946:Shaw, Arnold (1978). 4863:The Salt Lake Tribune 4551:Emory Libraries MARBL 3637:"The Negro Spiritual" 3153:Ronald Segal (2002), 2182:William Francis Allen 2119:British North America 1926:Ezekiel Saw the Wheel 1911:Down by the Riverside 1722:African Muslim slaves 1667:George Pullen Jackson 1651:The Sanctified Church 1617:Horace Clarence Boyer 1556: 1354:Civil rights movement 1027:Ezekiel Saw the Wheel 983:Robert Nathaniel Dett 981: 927: 887:Robert Nathaniel Dett 809: 715: 675:Port Royal Experiment 654:William Francis Allen 572:First Great Awakening 467: 386: 299:under control of the 6908:Christian punk bands 6893:Christian rock bands 6717:Christian liturgical 6457:Roots and beginnings 6143:Fisk Jubilee Singers 6028:. Harper Perennial. 5795:. Psychology Press. 5764:Africa and the Blues 5739:Savannah Syncopators 5567:The American Songbag 5009:on September 5, 2005 4416:Fisk Jubilee Singers 4119:10.1086/JAAHv87n1p12 3907:"Spatial Dialectics" 3115:Islam's Black Slaves 2819:University of Denver 2767:. London: Macmillan. 2207:I'm gwine to Alabamy 2162:Charles Pickard Ware 1966:I Shall Not Be Moved 1864:adding missing items 1565:'s August 10, 1920, 1476:In the early 1960s, 1375:The American Songbag 1352:," that defined the 1275:Underground Railroad 1264:Underground Railroad 1178:University of Denver 1039:Grand Ole Opry House 903:Booker T. Washington 860:John Wesley Work Jr. 811:Fisk Jubilee Singers 802:Fisk Jubilee Singers 743:Fisk Jubilee Singers 646:Charles Pickard Ware 561:Old Plantation Hymns 498:University of Denver 478:James Weldon Johnson 472:In their 1925 book, 352:domestic slave trade 179:Fisk Jubilee Singers 30:For other uses, see 7928:American folk music 7139:American folk music 6913:Christian ska bands 6238:American folk music 5841:Library of Congress 5831:Komara, Ed (2005). 5541:"Wade in the Water" 5197:. Blandford Press. 4991:(August 15, 2004). 4834:The Washington Post 4713:Tim Brooks (2010). 4617:Tuskegee University 4599:10.5406/j.ctt2jcc81 3589:Library of Congress 3538:Library of Congress 3440:Souls of Black Folk 3010:Death by government 2849:Library of Congress 2703:"Wade In The Water" 2310:Library of Congress 2195:Wait, Mr. Mackright 1906:Do Lord Remember Me 1649:, in her 1938 book 1645:in the late 1930s. 1633:Golden Gate Quartet 1137:Arthur Morris Jones 1018:Negro Folk Symphony 971:Burleigh published 785:Steal Away To Jesus 741:" performed by the 650:Lucy McKim Garrison 514:J.H. Kwabena Nketia 373:British West Indies 273:Islamic slave trade 218:Oxford Music Online 7636:Trinidadian Vodunu 6662:Black Gospel music 6628:Christian hardcore 6527: 6493:Exclusive psalmody 6043:. Munich, Germany. 5885:Stomping the Blues 5715:Grove Music Online 4347:. Munich, Germany. 4292:"Negro Spirituals" 3668:The New York Times 3397:Frederick Douglass 3342:The New York Times 3231:The New York Times 3038:. August 26, 2019. 2670:The New York Times 2607:– via JSTOR. 2564:on April 2, 2015. 2360:Grove Music Online 2174:Roll, Jordan, Roll 2156:, Georgia and the 2127:Thirteen Amendment 2100:historically black 2001:Roll, Jordan, Roll 1697:(originating from 1661:In his 1938 book, 1647:Zora Neale Hurston 1588:Stomping the Blues 1559: 987: 934: 883:Hampton University 830:American Civil War 815: 781:Roll, Jordan, Roll 717: 576:Christian revivals 509:African foundation 487:Harlem Renaissance 482:Grace Nail Johnson 470: 421:in his 1903 book, 403:Frederick Douglass 393: 214:Grove Music Online 100:Black gospel music 7905: 7904: 7817:Western occultism 7626:Spiritual Baptist 7457: 7456: 7073:Call and response 7010: 7009: 6861: 6860: 6596:Christian R&B 6591:Christian hip hop 6416: 6415: 6196:Gordon Collection 6184:Gordon Collection 6077:978-0-9650441-0-3 6058:978-0-9650441-5-8 5967:978-0-913666-44-9 5960:. Turtle Island. 5924:978-1-880216-19-4 5802:978-0-415-92699-7 5773:978-1-62846-720-8 5748:978-0-8128-1315-9 5741:. Stein and Day. 5284:978-1-4099-0461-8 5224:Project Gutenberg 5204:978-0-7137-1530-9 4769:978-0-393-97141-5 4726:978-0-252-09063-9 4590:978-0-252-02850-2 4532:978-1-4422-5449-7 4422:on March 21, 2007 4322:978-1-58218-359-6 4091:978-0-300-11887-2 4055:on March 15, 2015 3515:978-0-9650441-0-3 3490:978-0-9650441-5-8 3370:Opala, Joseph A. 3272:978-1-4696-1873-9 3032:"Human Sacrifice" 3007:R. Rummel (1997)" 2956:978-1-139-19883-7 2924:978-1-139-01494-6 2532:978-0-88344-923-3 2414:978-0-300-21254-9 2377:978-1-56159-263-0 2273:call-and-response 2103:Morehouse College 2056:We Shall Overcome 2041:Wade in the Water 1684:ethnomusicologist 1423:call and response 1417:, railway gangs ( 1362:I'll Be all right 1358:We Shall Overcome 1350:Eyes on the Prize 1260:Wade in the Water 1173:Call and response 1141:ethnomusicologist 1129:In his 1954 book 1005:William L. Dawson 990:R. Nathaniel Dett 930:Harry T. Burleigh 919:R. Nathaniel Dett 897:The first formal 879:Hampton, Virginia 732: 685:In 1869, Colonel 679:Port Royal Island 662:St. Helena Island 284:Portuguese Empire 197:R. Nathaniel Dett 191:Black composers, 151:African Americans 120: 119: 82:African Americans 47:Stylistic origins 16:(Redirected from 7945: 7671:Animal sacrifice 7658: 7596:Louisiana Voodoo 7484: 7477: 7470: 7461: 7460: 7445: 7444: 7433: 7432: 7424:Blues portal 7422: 7421: 7420: 7325:Rhythm and blues 7098:Twelve-bar blues 7037: 7030: 7023: 7014: 7013: 7000: 6999: 6990: 6989: 6933:Gospel musicians 6710: 6703: 6696: 6687: 6686: 6443: 6436: 6429: 6420: 6419: 6231: 6224: 6217: 6208: 6207: 6081: 6062: 6012: 6011: 5987: 5972: 5971: 5953: 5947: 5946: 5935: 5929: 5928: 5910: 5904: 5903: 5879: 5873: 5872: 5868: 5862: 5859: 5853: 5852: 5850: 5848: 5837: 5828: 5822: 5821: 5813: 5807: 5806: 5784: 5778: 5777: 5759: 5753: 5752: 5734: 5728: 5727: 5725: 5723: 5711: 5700: 5689: 5688: 5686: 5684: 5669: 5663: 5662: 5639: 5633: 5632: 5619: 5613: 5612: 5577: 5571: 5570: 5559: 5553: 5552: 5537: 5531: 5530: 5522: 5516: 5515: 5513: 5511: 5496: 5483: 5482: 5480: 5478: 5473:. August 4, 2012 5463: 5457: 5456: 5454: 5452: 5441: 5435: 5433: 5409: 5403: 5402: 5399:www.eduplace.com 5391: 5385: 5384: 5373: 5367: 5366: 5364: 5362: 5357:on July 24, 2008 5346: 5340: 5331: 5329: 5327: 5310: 5304: 5303: 5295: 5289: 5288: 5270: 5264: 5263: 5261: 5259: 5244: 5235: 5234: 5232: 5230: 5215: 5209: 5208: 5187: 5178: 5177: 5175: 5173: 5161: 5144: 5143: 5141: 5139: 5124: 5118: 5117: 5115: 5113: 5103: 5092: 5086: 5085: 5052: 5046: 5045: 5043: 5041: 5028:Henry, Richard. 5025: 5019: 5018: 5016: 5014: 5005:. Archived from 4989:Curiel, Jonathan 4985: 4970: 4969: 4953: 4943: 4932: 4931: 4924: 4918: 4914: 4912: 4910: 4896: 4885: 4884: 4873: 4867: 4866: 4855: 4846: 4845: 4843: 4841: 4824: 4818: 4817: 4815: 4813: 4799: 4793: 4792: 4780: 4774: 4773: 4762:. W. W. Norton. 4756:Southern, Eileen 4752: 4746: 4745: 4737: 4731: 4730: 4710: 4704: 4698: 4692: 4691: 4683: 4677: 4676: 4675: 4673: 4664: 4655: 4640: 4634: 4628: 4627: 4625: 4623: 4609: 4603: 4602: 4573: 4567: 4566: 4564: 4562: 4557:on June 11, 2010 4553:. 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Archived from 2728: 2719: 2718: 2716: 2714: 2699: 2690: 2689: 2687: 2685: 2660: 2649: 2648: 2620: 2609: 2608: 2576: 2570: 2569: 2548: 2537: 2536: 2518: 2501: 2500: 2492: 2483: 2482: 2480: 2478: 2463: 2450: 2443: 2434: 2433: 2423: 2421: 2398: 2389: 2388: 2386: 2384: 2351: 2342: 2338: 2326: 2315: 2314: 2301: 2284: 2229: 2223: 2220: 2214: 2150: 2144: 2140: 2134: 2115: 2109: 2107:Atlanta, Georgia 2083: 2016:Song of the Free 1956:The Gospel Train 1881:Bosom of Abraham 1868:reliable sources 1805: 1800: 1799: 1798: 1791: 1786: 1785: 1784: 1657:White spirituals 1443:rhythm and blues 1403:rhythm and blues 1299:Song of the Free 1295:The Gospel Train 1124:pentatonic scale 1067:Everett McCorvey 734: 733: 714: 704:The Gospel Train 504:Cultural origins 309:kingdom of Kongo 135:Black spirituals 127:Negro spirituals 88:Derivative forms 78:Cultural origins 39: 38: 21: 7953: 7952: 7948: 7947: 7946: 7944: 7943: 7942: 7908: 7907: 7906: 7901: 7774: 7710:Hot foot powder 7659: 7650: 7493: 7488: 7458: 7453: 7418: 7416: 7407: 7403:Blues festivals 7398:Blues standards 7388:Blues musicians 7376: 7313: 7240: 7149: 7143: 7107: 7078:Eight-bar blues 7046: 7041: 7011: 7006: 6978: 6954:Christian media 6937: 6857: 6795: 6787: 6722: 6714: 6678: 6657:Southern gospel 6611:Christian metal 6569: 6528: 6517: 6452: 6450:Christian music 6447: 6417: 6412: 6367: 6303: 6279:Native American 6240: 6235: 6201:Darien, Georgia 6173: 6134: 6115:Work, John W., 6078: 6059: 6021: 6019:Further reading 6016: 6015: 6008: 6000:. p. 322. 5988: 5975: 5968: 5954: 5950: 5937: 5936: 5932: 5925: 5911: 5907: 5900: 5880: 5876: 5869: 5865: 5860: 5856: 5846: 5844: 5835: 5829: 5825: 5814: 5810: 5803: 5785: 5781: 5774: 5760: 5756: 5749: 5735: 5731: 5721: 5719: 5701: 5692: 5682: 5680: 5671: 5670: 5666: 5640: 5636: 5620: 5616: 5601: 5593:. p. 244. 5578: 5574: 5560: 5556: 5539: 5538: 5534: 5523: 5519: 5509: 5507: 5497: 5486: 5476: 5474: 5465: 5464: 5460: 5450: 5448: 5444:Bresler, Joel. 5442: 5438: 5410: 5406: 5393: 5392: 5388: 5375: 5374: 5370: 5360: 5358: 5347: 5343: 5325: 5323: 5312: 5311: 5307: 5296: 5292: 5285: 5271: 5267: 5257: 5255: 5245: 5238: 5228: 5226: 5216: 5212: 5205: 5188: 5181: 5171: 5169: 5162: 5147: 5137: 5135: 5126: 5125: 5121: 5111: 5109: 5101: 5093: 5089: 5074: 5066:. p. 295. 5053: 5049: 5039: 5037: 5026: 5022: 5012: 5010: 4986: 4973: 4966: 4944: 4935: 4926: 4925: 4921: 4916:www.singers.com 4908: 4906: 4898: 4897: 4888: 4875: 4874: 4870: 4857: 4856: 4849: 4839: 4837: 4825: 4821: 4811: 4809: 4801: 4800: 4796: 4781: 4777: 4770: 4753: 4749: 4738: 4734: 4727: 4711: 4707: 4702:"Go Down Moses" 4699: 4695: 4684: 4680: 4671: 4669: 4662: 4656: 4643: 4635: 4631: 4621: 4619: 4613:"Choir History" 4611: 4610: 4606: 4591: 4574: 4570: 4560: 4558: 4545: 4544: 4540: 4533: 4517: 4513: 4503: 4501: 4463: 4450: 4439: 4435: 4425: 4423: 4410: 4409: 4396: 4389: 4373: 4366: 4350: 4349: 4341: 4337: 4327: 4325: 4323: 4307: 4303: 4288: 4281: 4271: 4269: 4259: 4255: 4244: 4240: 4234:The Dragon Lode 4227: 4220: 4215:, Bible Odyssey 4205: 4201: 4191: 4189: 4185: 4184: 4180: 4165:10.2307/1893821 4146: 4142: 4103: 4099: 4092: 4076:Kidd, Thomas S. 4073: 4069: 4058: 4056: 4043: 4042: 4033: 4015: 4006: 3999: 3979: 3972: 3959: 3955: 3945: 3943: 3903: 3890: 3880: 3878: 3867: 3866: 3862: 3852: 3850: 3834: 3830: 3823: 3807: 3803: 3793: 3791: 3775: 3762: 3752: 3750: 3746: 3745: 3741: 3710:10.2307/1156732 3694: 3690: 3680: 3678: 3660: 3656: 3646: 3644: 3643:. 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Ware 632: 601: 599:Biblical themes 548: 511: 506: 381: 317:João I of Kongo 305:slave rebellion 245: 233:ethnomusicology 205: 147:Christian music 139:spiritual music 125:(also known as 104: 73: 69:Christian hymns 35: 28: 23: 22: 15: 12: 11: 5: 7951: 7941: 7940: 7935: 7930: 7925: 7920: 7903: 7902: 7900: 7899: 7898: 7897: 7887: 7886: 7885: 7875: 7870: 7869: 7868: 7858: 7857: 7856: 7846: 7845: 7844: 7839: 7829: 7824: 7819: 7814: 7813: 7812: 7807: 7797: 7796: 7795: 7784: 7782: 7776: 7775: 7773: 7772: 7767: 7762: 7757: 7752: 7747: 7742: 7737: 7732: 7727: 7722: 7720:Kromanti dance 7717: 7712: 7707: 7706: 7705: 7695: 7694: 7693: 7688: 7683: 7673: 7667: 7665: 7661: 7660: 7653: 7651: 7649: 7648: 7643: 7638: 7633: 7631:Tambor de Mina 7628: 7623: 7618: 7613: 7608: 7603: 7598: 7593: 7588: 7583: 7578: 7577: 7576: 7566: 7564:Dominican Vudú 7561: 7556: 7551: 7550: 7549: 7544: 7539: 7529: 7528: 7527: 7517: 7512: 7507: 7501: 7499: 7495: 7494: 7487: 7486: 7479: 7472: 7464: 7455: 7454: 7452: 7451: 7439: 7427: 7412: 7409: 7408: 7406: 7405: 7400: 7395: 7390: 7384: 7382: 7378: 7377: 7375: 7374: 7369: 7364: 7359: 7354: 7353: 7352: 7347: 7342: 7337: 7327: 7321: 7319: 7315: 7314: 7312: 7311: 7306: 7301: 7296: 7291: 7286: 7281: 7276: 7275: 7274: 7269: 7259: 7257:Classic female 7254: 7248: 7246: 7242: 7241: 7239: 7238: 7233: 7231:United Kingdom 7228: 7223: 7218: 7213: 7208: 7203: 7202: 7201: 7196: 7186: 7181: 7176: 7171: 7166: 7165: 7164: 7153: 7151: 7145: 7144: 7142: 7141: 7136: 7131: 7126: 7121: 7115: 7113: 7109: 7108: 7106: 7105: 7100: 7095: 7090: 7085: 7080: 7075: 7070: 7065: 7060: 7054: 7052: 7048: 7047: 7040: 7039: 7032: 7025: 7017: 7008: 7007: 7005: 7004: 6994: 6983: 6980: 6979: 6977: 6976: 6971: 6966: 6961: 6956: 6951: 6945: 6943: 6942:Related topics 6939: 6938: 6936: 6935: 6930: 6925: 6920: 6915: 6910: 6905: 6900: 6895: 6890: 6885: 6880: 6875: 6869: 6867: 6863: 6862: 6859: 6858: 6856: 6855: 6850: 6845: 6840: 6835: 6830: 6825: 6820: 6815: 6810: 6803: 6801: 6789: 6788: 6786: 6785: 6780: 6775: 6770: 6769: 6768: 6758: 6753: 6748: 6743: 6738: 6732: 6730: 6724: 6723: 6713: 6712: 6705: 6698: 6690: 6684: 6680: 6679: 6677: 6676: 6671: 6670: 6669: 6659: 6654: 6649: 6644: 6639: 6638: 6637: 6632: 6631: 6630: 6623:Christian punk 6620: 6619: 6618: 6608: 6601:Christian rock 6598: 6593: 6588: 6583: 6577: 6575: 6571: 6570: 6568: 6567: 6562: 6557: 6552: 6547: 6542: 6536: 6534: 6530: 6529: 6520: 6518: 6516: 6515: 6510: 6505: 6500: 6495: 6490: 6485: 6480: 6475: 6470: 6460: 6458: 6454: 6453: 6446: 6445: 6438: 6431: 6423: 6414: 6413: 6411: 6410: 6405: 6400: 6395: 6390: 6389: 6388: 6377: 6375: 6369: 6368: 6366: 6365: 6364: 6363: 6353: 6348: 6343: 6342: 6341: 6331: 6330: 6329: 6319: 6313: 6311: 6305: 6304: 6302: 6301: 6296: 6291: 6286: 6281: 6276: 6270: 6269: 6268: 6258: 6257: 6256: 6245: 6242: 6241: 6234: 6233: 6226: 6219: 6211: 6205: 6204: 6188: 6180: 6172: 6169: 6168: 6167: 6161: 6156: 6150: 6145: 6140: 6133: 6132:External links 6130: 6129: 6128: 6113: 6106: 6099: 6089: 6082: 6076: 6063: 6057: 6044: 6037: 6034:978-0688184742 6020: 6017: 6014: 6013: 6007:978-1317744023 6006: 5973: 5966: 5948: 5930: 5923: 5905: 5898: 5874: 5863: 5854: 5823: 5808: 5801: 5779: 5772: 5754: 5747: 5729: 5690: 5664: 5634: 5614: 5600:978-0688184742 5599: 5591:William Morrow 5572: 5554: 5532: 5517: 5484: 5458: 5436: 5404: 5386: 5368: 5341: 5305: 5290: 5283: 5277:. Dodo Press. 5265: 5236: 5210: 5203: 5191:Broughton, Viv 5179: 5164:Ginell, Cary. 5145: 5119: 5087: 5072: 5047: 5020: 4971: 4964: 4933: 4919: 4886: 4868: 4847: 4819: 4794: 4775: 4768: 4747: 4732: 4725: 4705: 4693: 4678: 4641: 4629: 4604: 4589: 4568: 4538: 4531: 4511: 4477:(2): 253–255. 4448: 4433: 4394: 4388:978-1515222804 4387: 4364: 4335: 4321: 4301: 4279: 4253: 4238: 4218: 4199: 4178: 4159:(2): 305–325. 4140: 4097: 4090: 4067: 4031: 4004: 3997: 3970: 3953: 3917:(4): 363–383. 3888: 3860: 3828: 3821: 3801: 3760: 3739: 3688: 3654: 3628: 3603: 3552: 3521: 3514: 3496: 3489: 3471: 3458:10.1086/682046 3452:(3): 412–437. 3425: 3417:"Sorrow Songs" 3406: 3388: 3362: 3328: 3307:10.2307/219308 3301:(1): 145–147. 3285: 3271: 3251: 3217: 3198:(3): 291–307. 3182: 3173: 3168:978-0374527976 3167: 3145: 3133:New York Times 3119: 3101: 3095:Ralph Austen, 3088: 3075: 3041: 3022: 3000: 2987:10.2307/219449 2981:(3): 433–441. 2961: 2955: 2929: 2923: 2897: 2854: 2833: 2802: 2770: 2755: 2720: 2691: 2650: 2610: 2597:10.2307/467516 2571: 2538: 2531: 2502: 2484: 2451: 2435: 2413: 2390: 2376: 2343: 2316: 2295: 2294: 2292: 2289: 2286: 2285: 2224: 2215: 2211:Jacob's ladder 2170:South Carolina 2154:South Carolina 2145: 2135: 2110: 2077: 2076: 2074: 2071: 2069: 2068: 2063: 2058: 2053: 2051:Were You There 2048: 2043: 2038: 2033: 2028: 2023: 2018: 2013: 2008: 2003: 1998: 1993: 1988: 1983: 1978: 1973: 1968: 1963: 1958: 1953: 1948: 1943: 1938: 1933: 1928: 1923: 1918: 1913: 1908: 1903: 1901:Didn't It Rain 1898: 1893: 1888: 1883: 1878: 1872: 1848: 1845: 1844: 1843: 1838: 1833: 1828: 1823: 1818: 1813: 1807: 1806: 1792: 1776: 1773: 1757:Central Africa 1714:musical scales 1706:African Muslim 1680:Sylviane Diouf 1678:The historian 1675: 1672: 1658: 1655: 1604: 1601: 1571:Perry Bradford 1503:South Carolina 1473: 1470: 1458: 1455: 1435:minstrel shows 1391: 1388: 1378:, compiled by 1369: 1366: 1247: 1244: 1216: 1213: 1195:W.E.B. Du Bois 1190: 1187: 1174: 1171: 1167:Wendell Whalum 1075: 1072: 1034: 1031: 994:Edward Boatner 950:Antonín Dvořák 937:Harry Burleigh 928:Photograph of 915:Harry Burleigh 910: 907: 894: 891: 874: 871: 797: 794: 792: 791:Popularization 789: 772:Wallace Willis 749: 736: 726: 721: 720: 719: 710: 709: 708: 666:South Carolina 631: 628: 600: 597: 547: 544: 518:New York Times 510: 507: 505: 502: 452:Harriet Tubman 450:" referred to 419:W.E.B. Du Bois 380: 377: 301:Spanish Empire 293:South Carolina 279:trade routes. 249:United Nations 244: 241: 204: 201: 193:Harry Burleigh 118: 117: 111: 110: 106: 105: 103: 102: 97: 91: 89: 85: 84: 79: 75: 74: 72: 71: 66: 61: 56: 50: 48: 44: 43: 26: 9: 6: 4: 3: 2: 7950: 7939: 7936: 7934: 7931: 7929: 7926: 7924: 7921: 7919: 7916: 7915: 7913: 7896: 7893: 7892: 7891: 7888: 7884: 7881: 7880: 7879: 7876: 7874: 7871: 7867: 7864: 7863: 7862: 7859: 7855: 7852: 7851: 7850: 7847: 7843: 7840: 7838: 7835: 7834: 7833: 7830: 7828: 7825: 7823: 7820: 7818: 7815: 7811: 7810:Protestantism 7808: 7806: 7803: 7802: 7801: 7798: 7794: 7791: 7790: 7789: 7786: 7785: 7783: 7781: 7780:Diverse roots 7777: 7771: 7768: 7766: 7763: 7761: 7758: 7756: 7753: 7751: 7748: 7746: 7743: 7741: 7738: 7736: 7733: 7731: 7728: 7726: 7723: 7721: 7718: 7716: 7713: 7711: 7708: 7704: 7701: 7700: 7699: 7696: 7692: 7689: 7687: 7684: 7682: 7679: 7678: 7677: 7676:Fetish priest 7674: 7672: 7669: 7668: 7666: 7662: 7657: 7647: 7644: 7642: 7639: 7637: 7634: 7632: 7629: 7627: 7624: 7622: 7619: 7617: 7614: 7612: 7609: 7607: 7604: 7602: 7599: 7597: 7594: 7592: 7589: 7587: 7584: 7582: 7579: 7575: 7572: 7571: 7570: 7569:Haitian Vodou 7567: 7565: 7562: 7560: 7557: 7555: 7552: 7548: 7545: 7543: 7540: 7538: 7535: 7534: 7533: 7530: 7526: 7523: 7522: 7521: 7518: 7516: 7513: 7511: 7508: 7506: 7503: 7502: 7500: 7496: 7492: 7485: 7480: 7478: 7473: 7471: 7466: 7465: 7462: 7450: 7449: 7440: 7438: 7437: 7428: 7426: 7425: 7414: 7413: 7410: 7404: 7401: 7399: 7396: 7394: 7391: 7389: 7386: 7385: 7383: 7379: 7373: 7372:Southern rock 7370: 7368: 7365: 7363: 7360: 7358: 7355: 7351: 7350:Southern rock 7348: 7346: 7343: 7341: 7338: 7336: 7333: 7332: 7331: 7328: 7326: 7323: 7322: 7320: 7318:Fusion genres 7316: 7310: 7307: 7305: 7302: 7300: 7297: 7295: 7292: 7290: 7289:Fife and drum 7287: 7285: 7282: 7280: 7277: 7273: 7270: 7268: 7265: 7264: 7263: 7260: 7258: 7255: 7253: 7252:Boogie-woogie 7250: 7249: 7247: 7243: 7237: 7234: 7232: 7229: 7227: 7224: 7222: 7219: 7217: 7214: 7212: 7209: 7207: 7204: 7200: 7197: 7195: 7192: 7191: 7190: 7187: 7185: 7182: 7180: 7177: 7175: 7172: 7170: 7167: 7163: 7160: 7159: 7158: 7155: 7154: 7152: 7146: 7140: 7137: 7135: 7132: 7130: 7127: 7125: 7124:Field hollers 7122: 7120: 7117: 7116: 7114: 7110: 7104: 7101: 7099: 7096: 7094: 7091: 7089: 7086: 7084: 7081: 7079: 7076: 7074: 7071: 7069: 7066: 7064: 7061: 7059: 7056: 7055: 7053: 7049: 7045: 7038: 7033: 7031: 7026: 7024: 7019: 7018: 7015: 7003: 6995: 6993: 6985: 6984: 6981: 6975: 6972: 6970: 6967: 6965: 6962: 6960: 6957: 6955: 6952: 6950: 6947: 6946: 6944: 6940: 6934: 6931: 6929: 6926: 6924: 6921: 6919: 6916: 6914: 6911: 6909: 6906: 6904: 6901: 6899: 6896: 6894: 6891: 6889: 6886: 6884: 6881: 6879: 6876: 6874: 6871: 6870: 6868: 6864: 6854: 6851: 6849: 6846: 6844: 6841: 6839: 6836: 6834: 6831: 6829: 6826: 6824: 6821: 6819: 6816: 6814: 6811: 6808: 6805: 6804: 6802: 6799: 6794: 6790: 6784: 6781: 6779: 6776: 6774: 6771: 6767: 6764: 6763: 6762: 6759: 6757: 6754: 6752: 6749: 6747: 6744: 6742: 6739: 6737: 6734: 6733: 6731: 6729: 6725: 6721: 6718: 6711: 6706: 6704: 6699: 6697: 6692: 6691: 6688: 6685: 6681: 6675: 6672: 6668: 6665: 6664: 6663: 6660: 6658: 6655: 6653: 6650: 6648: 6647:Gospel reggae 6645: 6643: 6640: 6636: 6635:Christian ska 6633: 6629: 6626: 6625: 6624: 6621: 6617: 6616:Unblack metal 6614: 6613: 6612: 6609: 6607: 6604: 6603: 6602: 6599: 6597: 6594: 6592: 6589: 6587: 6584: 6582: 6579: 6578: 6576: 6574:Fusion genres 6572: 6566: 6563: 6561: 6558: 6556: 6553: 6551: 6548: 6546: 6543: 6541: 6538: 6537: 6535: 6533:Modern genres 6531: 6524: 6514: 6511: 6509: 6506: 6504: 6501: 6499: 6496: 6494: 6491: 6489: 6486: 6484: 6481: 6479: 6476: 6474: 6471: 6469: 6465: 6462: 6461: 6459: 6455: 6451: 6444: 6439: 6437: 6432: 6430: 6425: 6424: 6421: 6409: 6408:Western swing 6406: 6404: 6401: 6399: 6396: 6394: 6391: 6387: 6384: 6383: 6382: 6379: 6378: 6376: 6374: 6373:Country music 6370: 6362: 6359: 6358: 6357: 6354: 6352: 6349: 6347: 6344: 6340: 6337: 6336: 6335: 6332: 6328: 6325: 6324: 6323: 6320: 6318: 6315: 6314: 6312: 6310: 6306: 6300: 6297: 6295: 6292: 6290: 6287: 6285: 6282: 6280: 6277: 6274: 6271: 6267: 6264: 6263: 6262: 6259: 6255: 6252: 6251: 6250: 6247: 6246: 6243: 6239: 6232: 6227: 6225: 6220: 6218: 6213: 6212: 6209: 6202: 6198: 6197: 6192: 6189: 6186: 6185: 6181: 6178: 6175: 6174: 6171:Audio samples 6165: 6162: 6160: 6157: 6154: 6151: 6149: 6146: 6144: 6141: 6139: 6136: 6135: 6126: 6122: 6118: 6114: 6111: 6107: 6104: 6100: 6098: 6097:0-7734-5250-8 6094: 6090: 6087: 6083: 6079: 6073: 6069: 6064: 6060: 6054: 6050: 6045: 6042: 6038: 6035: 6031: 6027: 6023: 6022: 6009: 6003: 5999: 5995: 5994: 5986: 5984: 5982: 5980: 5978: 5969: 5963: 5959: 5952: 5944: 5940: 5934: 5926: 5920: 5916: 5909: 5901: 5899:0-306-80362-3 5895: 5891: 5887: 5886: 5878: 5867: 5858: 5843: 5842: 5834: 5827: 5819: 5812: 5804: 5798: 5794: 5790: 5783: 5775: 5769: 5765: 5758: 5750: 5744: 5740: 5733: 5717: 5716: 5710: 5705: 5699: 5697: 5695: 5679:. May 9, 2018 5678: 5674: 5668: 5661: 5657: 5653: 5649: 5645: 5638: 5631:(2 ed.). 5630: 5629: 5624: 5618: 5610: 5606: 5602: 5596: 5592: 5588: 5587: 5582: 5576: 5568: 5564: 5563:Carl Sandburg 5558: 5550: 5548: 5542: 5536: 5528: 5521: 5506: 5502: 5495: 5493: 5491: 5489: 5472: 5468: 5462: 5447: 5440: 5431: 5427: 5423: 5419: 5415: 5408: 5400: 5396: 5390: 5382: 5378: 5372: 5356: 5352: 5345: 5339: 5335: 5321: 5320: 5315: 5309: 5301: 5294: 5286: 5280: 5276: 5269: 5254: 5250: 5243: 5241: 5225: 5221: 5214: 5206: 5200: 5196: 5192: 5186: 5184: 5167: 5160: 5158: 5156: 5154: 5152: 5150: 5134: 5130: 5123: 5107: 5100: 5099: 5091: 5083: 5079: 5075: 5073:0-19-713512-9 5069: 5065: 5061: 5057: 5051: 5035: 5031: 5024: 5008: 5004: 5000: 4999: 4994: 4990: 4984: 4982: 4980: 4978: 4976: 4967: 4965:0-02-061740-2 4961: 4957: 4952: 4951: 4942: 4940: 4938: 4929: 4923: 4917: 4905: 4901: 4895: 4893: 4891: 4882: 4878: 4872: 4864: 4860: 4854: 4852: 4836: 4835: 4830: 4823: 4807: 4806: 4798: 4790: 4786: 4779: 4771: 4765: 4761: 4757: 4751: 4743: 4736: 4728: 4722: 4718: 4717: 4709: 4703: 4697: 4689: 4682: 4668: 4661: 4654: 4652: 4650: 4648: 4646: 4638: 4633: 4618: 4614: 4608: 4600: 4596: 4592: 4586: 4582: 4578: 4572: 4556: 4552: 4548: 4542: 4534: 4528: 4524: 4523: 4515: 4500: 4496: 4492: 4488: 4484: 4480: 4476: 4472: 4468: 4461: 4459: 4457: 4455: 4453: 4444: 4437: 4421: 4417: 4413: 4412:"Our History" 4407: 4405: 4403: 4401: 4399: 4390: 4384: 4380: 4379: 4371: 4369: 4360: 4354: 4346: 4339: 4324: 4318: 4314: 4313: 4305: 4297: 4293: 4286: 4284: 4268: 4264: 4257: 4249: 4242: 4235: 4231: 4225: 4223: 4214: 4210: 4203: 4188: 4182: 4174: 4170: 4166: 4162: 4158: 4154: 4150: 4144: 4136: 4132: 4128: 4124: 4120: 4116: 4112: 4108: 4101: 4093: 4087: 4083: 4082: 4077: 4071: 4054: 4050: 4046: 4040: 4038: 4036: 4029: 4028:0-393-97141-4 4025: 4020: 4013: 4011: 4009: 4000: 3998:0-393-95279-7 3994: 3990: 3986: 3985: 3977: 3975: 3966: 3965: 3957: 3942: 3938: 3934: 3930: 3925: 3920: 3916: 3912: 3908: 3901: 3899: 3897: 3895: 3893: 3876: 3875: 3870: 3864: 3849: 3845: 3844: 3839: 3832: 3824: 3818: 3814: 3813: 3805: 3790: 3786: 3785: 3780: 3773: 3771: 3769: 3767: 3765: 3749: 3743: 3735: 3731: 3727: 3723: 3719: 3715: 3711: 3707: 3703: 3699: 3692: 3677: 3673: 3669: 3665: 3658: 3642: 3638: 3632: 3616: 3615: 3607: 3591: 3590: 3585: 3579: 3577: 3575: 3573: 3571: 3569: 3567: 3565: 3563: 3561: 3559: 3557: 3540: 3539: 3534: 3528: 3526: 3517: 3511: 3507: 3500: 3492: 3486: 3482: 3475: 3467: 3463: 3459: 3455: 3451: 3447: 3443: 3441: 3432: 3430: 3422: 3418: 3413: 3411: 3402: 3398: 3392: 3377: 3373: 3366: 3351: 3347: 3343: 3339: 3332: 3324: 3320: 3316: 3312: 3308: 3304: 3300: 3296: 3289: 3274: 3268: 3264: 3263: 3255: 3240: 3236: 3232: 3228: 3221: 3213: 3209: 3205: 3201: 3197: 3193: 3186: 3177: 3170: 3164: 3159: 3158: 3149: 3134: 3130: 3129:"Human Cargo" 3123: 3117: 3116: 3110: 3105: 3098: 3092: 3085: 3079: 3064: 3060: 3054: 3052: 3050: 3048: 3046: 3037: 3033: 3026: 3020: 3019:1-56000-927-6 3016: 3012: 3011: 3004: 2996: 2992: 2988: 2984: 2980: 2976: 2972: 2965: 2958: 2952: 2948: 2944: 2940: 2933: 2926: 2920: 2916: 2912: 2908: 2901: 2893: 2889: 2885: 2881: 2877: 2873: 2869: 2865: 2858: 2850: 2846: 2840: 2838: 2822: 2820: 2815: 2809: 2807: 2798: 2791: 2789: 2787: 2785: 2783: 2781: 2779: 2777: 2775: 2766: 2759: 2743: 2739: 2738: 2733: 2727: 2725: 2708: 2704: 2698: 2696: 2680: 2676: 2672: 2671: 2666: 2659: 2657: 2655: 2646: 2642: 2638: 2634: 2630: 2626: 2619: 2617: 2615: 2606: 2602: 2598: 2594: 2590: 2586: 2582: 2575: 2568: 2563: 2559: 2558: 2553: 2547: 2545: 2543: 2534: 2528: 2524: 2517: 2515: 2513: 2511: 2509: 2507: 2498: 2491: 2489: 2473:. May 2, 2011 2472: 2468: 2462: 2460: 2458: 2456: 2448: 2442: 2440: 2432: 2430: 2416: 2410: 2406: 2405: 2397: 2395: 2379: 2373: 2369: 2365: 2361: 2357: 2350: 2348: 2341: 2337: 2332: 2325: 2323: 2321: 2312: 2311: 2306: 2300: 2296: 2282: 2281:sharecroppers 2279:of the later 2278: 2277:field hollers 2274: 2270: 2266: 2265: 2260: 2259: 2254: 2250: 2249: 2244: 2240: 2236: 2235: 2228: 2219: 2212: 2208: 2204: 2200: 2196: 2192: 2188: 2183: 2179: 2175: 2171: 2167: 2163: 2159: 2155: 2149: 2139: 2132: 2128: 2124: 2123:United States 2120: 2114: 2108: 2104: 2101: 2097: 2093: 2092: 2087: 2082: 2078: 2067: 2064: 2062: 2059: 2057: 2054: 2052: 2049: 2047: 2044: 2042: 2039: 2037: 2034: 2032: 2029: 2027: 2024: 2022: 2019: 2017: 2014: 2012: 2009: 2007: 2004: 2002: 1999: 1997: 1994: 1992: 1989: 1987: 1984: 1982: 1979: 1977: 1974: 1972: 1969: 1967: 1964: 1962: 1959: 1957: 1954: 1952: 1949: 1947: 1944: 1942: 1939: 1937: 1936:Go Down Moses 1934: 1932: 1929: 1927: 1924: 1922: 1919: 1917: 1914: 1912: 1909: 1907: 1904: 1902: 1899: 1897: 1894: 1892: 1889: 1887: 1884: 1882: 1879: 1877: 1874: 1873: 1869: 1865: 1861: 1856: 1854: 1847:Notable songs 1842: 1839: 1837: 1834: 1832: 1829: 1827: 1824: 1822: 1819: 1817: 1814: 1812: 1809: 1808: 1804: 1793: 1790: 1779: 1772: 1770: 1766: 1762: 1758: 1754: 1749: 1747: 1743: 1739: 1738:Islamic world 1735: 1731: 1727: 1723: 1719: 1715: 1711: 1707: 1704: 1700: 1696: 1692: 1691:Islamic music 1688: 1687:Gerhard Kubik 1685: 1681: 1671: 1668: 1664: 1654: 1652: 1648: 1644: 1643:Carnegie Hall 1640: 1639: 1634: 1630: 1625: 1622: 1618: 1614: 1609: 1600: 1598: 1597:Latin America 1594: 1589: 1586:A 1976 book, 1584: 1581: 1580: 1576: 1575:New York City 1572: 1568: 1564: 1555: 1551: 1549: 1548:Gerhard Kubik 1545: 1540: 1536: 1532: 1528: 1524: 1520: 1516: 1512: 1508: 1504: 1500: 1495: 1493: 1489: 1488:James Baldwin 1485: 1481: 1480: 1469: 1467: 1463: 1454: 1452: 1448: 1444: 1440: 1436: 1432: 1428: 1424: 1420: 1419:gandy dancers 1416: 1412: 1411:sharecroppers 1408: 1404: 1400: 1396: 1390:Field hollers 1387: 1385: 1381: 1380:Carl Sandburg 1377: 1376: 1365: 1363: 1359: 1355: 1351: 1347: 1343: 1339: 1335: 1331: 1330:protest songs 1327: 1326:Freedom songs 1322: 1320: 1316: 1315:Go Down Moses 1310: 1308: 1304: 1300: 1296: 1291: 1287: 1283: 1278: 1276: 1271: 1269: 1265: 1261: 1257: 1252: 1246:Freedom songs 1243: 1241: 1237: 1232: 1230: 1226: 1221: 1215:Jubilee songs 1212: 1210: 1206: 1202: 1201: 1196: 1186: 1183: 1179: 1170: 1168: 1164: 1160: 1156: 1155:Roland Carter 1152: 1147: 1144: 1142: 1138: 1134: 1133: 1127: 1125: 1120: 1116: 1114: 1110: 1109:Islamic music 1106: 1102: 1098: 1094: 1093:African music 1089: 1086: 1084: 1079: 1071: 1068: 1064: 1060: 1058: 1054: 1049: 1046: 1044: 1040: 1030: 1028: 1024: 1020: 1019: 1014: 1010: 1006: 1002: 999: 995: 991: 984: 980: 976: 974: 969: 967: 963: 959: 955: 951: 946: 942: 938: 931: 926: 922: 920: 916: 906: 904: 900: 890: 888: 884: 880: 870: 867: 865: 861: 857: 856:Ella Sheppard 852: 850: 845: 843: 839: 835: 831: 827: 826:Old Testament 822: 821: 812: 808: 803: 788: 786: 782: 778: 773: 769: 765: 757: 755: 744: 740: 724: 707: 705: 699: 696: 692: 688: 683: 680: 676: 671: 667: 663: 659: 655: 652:(1842–1877), 651: 648:(1840–1921), 647: 643: 642: 637: 627: 624: 622: 618: 615:and Israel's 614: 609: 605: 596: 593: 589: 585: 581: 580:Great Britain 577: 573: 568: 564: 562: 557: 554: 543: 540: 536: 534: 531:According to 529: 527: 522: 519: 515: 501: 499: 494: 492: 488: 483: 479: 475: 466: 462: 458: 455: 453: 449: 448:Go Down Moses 445: 441: 437: 433: 428: 426: 425: 420: 416: 412: 408: 404: 400: 399: 390: 387:Engraving of 385: 376: 374: 370: 366: 362: 357: 353: 348: 346: 342: 338: 334: 330: 326: 322: 318: 314: 310: 306: 302: 298: 294: 290: 285: 280: 278: 277:Trans-Saharan 274: 270: 266: 262: 261:United States 258: 253: 250: 240: 236: 234: 230: 225: 221: 219: 215: 211: 210: 200: 198: 194: 189: 187: 182: 180: 175: 170: 168: 164: 160: 156: 152: 148: 144: 140: 136: 132: 128: 124: 116: 112: 109:Fusion genres 107: 101: 98: 96: 93: 92: 90: 86: 83: 80: 76: 70: 67: 65: 64:African music 62: 60: 57: 55: 52: 51: 49: 45: 40: 37: 33: 19: 7800:Christianity 7754: 7715:Jazz funeral 7601:María Lionza 7520:Black church 7446: 7434: 7415: 7272:Hill country 7184:Hill country 7162:Desert blues 7103:Walking bass 7063:Blues ballad 7051:Musical form 6969:Church music 6773:Prostopinije 6642:Gospel blues 6565:Mass (music) 6555:Gospel music 6512: 6273:Folk revival 6195: 6183: 6124: 6120: 6116: 6067: 6048: 6040: 6025: 5992: 5957: 5951: 5942: 5933: 5914: 5908: 5884: 5877: 5866: 5857: 5845:. 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